American Realist Art

This painting is emphasizing the situation that encompasses a youthful love story, in a situation whereby your love partner is a shy and timid type when it comes to getting people to be aware of your relationship, most especially their parents. It feels like damn he/she is at the usual spot location as expected but we can't wait to be free to experience the freedom, passion, and excitement that surrounds love scenarios. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Joshua Salami...

Hobo on Bowery Street by Rollercoaster by Michael Ormerod is a 24" x 34" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the...

Louis Conrad Rosenberg, 'Bowling Green, New York', etching, 1940. Signed in pencil. A superb, richly-inked impression, with all the fine lines printing c...

The starting place for Golightly’s work is decades old found photos. The stillness of a photo belies an anticipation to know what happened before and what is to come next. These imag...

Thelma Corbin Moody AbEx Mountain Side c. 1960's Watercolor on Arches Paper 29.5" x 22", Unframed Thelma Corbin Moody (1908-1986) of Modesto, CA....

Represented by George Billis Gallery, NYC & LA -- Alex Roulette’s paintings depict false realities. The artist constructs landscapes from numerous source photographs, which he uses a...

Represented by George Billis Gallery, NYC & LA --Much of Bennett Vadnais’ subject matter comes from his surroundings in Manhattan and Brooklyn. With a strong background in plein ...

Henriette Wyeth-Hurd Hand signed, Collotype, Limited Edition of 490 Image Size: 20" x 26" framed 28.5 X 34.5 Provenance: printed at Triton Press and has their certificate of authenticity verso. Henriette Wyeth Hurd (1907 – 1997) was an American artist noted for her portraits and still life paintings. The eldest daughter of illustrator N.C. Wyeth, she studied painting with her father and brother Andrew Wyeth at their home and studio in Chadds Ford, Pennsylvania. Henrietta Wyeth was born in Wilmington, Delaware, into an artistic family. Wyeth was the eldest of the five children of noted illustrator N.C. Wyeth and his wife Carolyn Bockius. Her siblings Carolyn and Andrew also became artists, and all three studied with their father. Andrew Wyeth became the most well-known artist of this family. Henriette contracted polio at age 3, which altered her health and use of her right hand. As a result, she learned to draw with her left hand and paint with her right. She grew up on the family farm in Chadds Ford, Pennsylvania, and attended local Quaker schools. She and her siblings were eventually homeschooled because their father distrusted the public school system. She began formal art lessons with her father at age 11, making charcoal studies and geometric shapes. A child prodigy, at age 13 Wyeth was enrolled in the Normal Arts School in Boston, Massachusetts. The next year, in 1921, she entered the Boston Museum of Art Academy. Two years later she moved to Philadelphia to study painting at the Pennsylvania Academy of Fine Arts. By age 16, she was well known as a portraitist and received commissions for paintings of Wilmington residents. Deeply influenced by her father's unique realistic style, she rejected early 20th-century painting styles such as Impressionism and Cubism. She was also socially and politically conservative. As a result, later in life she rejected the progressive movements of the 1960s and 1970s, including the women's movement. She often criticized television and modern culture. At age 21, in 1929 Wyeth married artist Peter Hurd, a fellow student at the Pennsylvania Academy and her father's apprentice. The couple had three children together: Peter Jr., Carolyn, and Michael Hurd...

Most likely for Redbook, Cosmopolitan, Collier's Weekly, Good Housekeeping or Macall's

Water Trails down Empty Street in Front of Water Tower by Michael Ormerod is a black and white photographic print in this size of 24" x 34" in an Edition of 10. Michael Ormerod was ...

Shapiro's Entrance on Rivington Street, 1984 From a 35mm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proo...

Original 1958 Normandie Le Mont Saint Michel Travel Poster – Authentic French Vintage Art. Acid-free archival linen backed in Grade A condition, ready to frame. Step back into the g...

Represented by George Billis Gallery, NYC & LA -- Chidlaw is an American realist seeking, and finding, profundity in the realm of the commonplace. She takes aims at dignity and a dur...

A mid-century American Realist scene of children playing on the railroad entitled, London Round House. The chaotic scene of children rambunctiously playing is suspected to be set in...

BING ZHANG's Subway no. 3, 48 x 48 inches, oil on canvas. Proudly presented by Andra Norris Gallery in California. Bing Zhang’s Subway painting series explores themes of class, labo...

Bright flowers, juicy fruits and of course the helpers of our garden: hardworking bees. They also love the juice of ripe pears. Being behind a canvas woven from my thoughts and emoti...

William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...

Charles Cumberworth (1811-1852) Indian Huntress Bronze with double patina Vittoz chiseller Old cast France circa 1850 height 52 cm Biography: Charles Cumberworth (1811-1852), son...

Balloons on Delancey Street, 1986 From a 35mm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proofs Print s...

Mel Hunter, American (1927 - 2004) - Thoroughbred, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), Des...

Artist : Raphael Soyer Title : Woman Year: 1979 Drawing in Pencil Signed in pencil Drawing Size 11½" x 16 Inches Matted Size : inches 16" x 20" inches Born in 1899, Raphael So...

American School, Portrait of a Blonde Haired Girl, Oil on Canvas, circa 1865, label to verso reading "Annie Budelman Leonard, Gene's Grandmother at the age of about 4 or 5", giltwood...

Represented by George Billis Gallery, NYC & LA --Much of Bennett Vadnais’ subject matter comes from his surroundings in Manhattan and Brooklyn. With a strong background in plein air ...

Kenn Duncan (1928-1986). Portrait of Joe D'Allesandro, ca. 1973. Photographic period print measuring 11 x 14 inches. Measures 12 x 15 inches framed. Studio stamp on verso. The print was used for publication in After Dark Magazine. From the estate of William Como, Editor in Chief, After Dark Magazine. Kenneth Duncan was born September 22, 1928, in New Jersey. He began his career as a skater and then a dancer. After breaking his foot and taking a six-week course on photography at a YMCA, he became a photographer. Duncan worked as a principal photographer for After Dark and Dance Magazine. His photographs also regularly appeared in Vogue, Harper's Bazaar, Life, Time, and Newsweek. In addition, he photographed a score of Broadway shows, including Hair, Applause, The Elephant Man, and Sophisticated Ladies and many dance and Broadway stars including Chita Rivera...

The Saturday Evening Post cover, June 9, 1951 'John Clymer, while migrating through Wyoming in a motorcar, was amazed at the variety of birds that go there summers to keep house....

New Landscapes is a series of landscapes painted over the past year. It includes the artist’s observations of oceans, wooded hills, and ponds in different seasons. In these landscap...

I think of my work as being like a visual journal- observations and interpretations of people, places and things I experience day to day. Translating that experience into two dimensi...

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

'Rocamadour' (French Church Series # 10), etching, 1927, edition 50, Fletcher 186. Signed, dated, and annotated 'First State' in pencil. Titled and dated 'Rocamadour 1926' in the plate, bottom right. A superb, finely detailed impression, in dark brown ink, on buff laid Japan paper, with full margins (1 to 1 7/8 inches), in excellent condition. Image size 13 3/4 x 10 inches (349 x 254 mm); sheet size 15 3/4 x 13 5/8 inches (400 x 346 mm). Matted to museum standards, unframed. Literature: illustrated in Dorothy Noyes Arms, 'Churches of France', The Macmillan Company, 1929. Impressions of this work are in the permanent collections of the Blanton Museum of Art, Chrysler Museum of Art, Cleveland Museum of Art, Davis Museum (Wellesley), McNay Art Museum, Metropolitan Museum of Art, Rhode Island School of Design Museum, and the Whitney Museum of Art. ABOUT THE SUBJECT Rocamadour is a small clifftop village in south-central France. It is known for the Cité Réligieuse complex of religious buildings, accessed via the Grand Escalier staircase. It includes the Chapelle Notre-Dame, with its Black Madonna statue, and the Romanesque-Gothic Basilica of St-Sauveur. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and ...

Every painting begins with a place to stand. Sometimes I find one in seconds; sometimes the hunt goes on for many seasons. A canvas can easily frame the everyday. But my task is to t...

Every painting begins with a place to stand. Sometimes I find one in seconds; sometimes the hunt goes on for many seasons. A canvas can easily frame the everyday. But my task is to t...

'Cowboy on Ranch with Cows' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibiti...

Estate stamp (on back, on original stretcher): Estate of/ Edmund Quincy/ 1903-1997 ///

It was Henry Cross's portraits of horses belonging to the prominent breeders and trainers of the second half of the nineteenth century that won the artist renown as an animal painter. Born and raised in upstate New York, Cross's proficiency in both drafting and caricature was revealed while he was still a student at the Binghamton Academy, New York. In 1852, when he was only fifteen years old, Cross joined a traveling circus that took him to Minneapolis, Minnesota, and to the first of many Indian encampments that he would draw upon for subject matter throughout his career. Biographers differ as to the year Cross left for Europe, however, he was in Paris from 1852 to 1853 or 1854, where he studied with Rosa Bonheur, a highly esteemed French painter of horses. Upon Cross's return to the United States he was commissioned to paint the studs of wealthy horsemen, including those of Commodore Cornelius Vanderbilt, Robert Bonner, the owner-publisher of The New York Ledger, and "Copper King" Marcus Daly, whose 18,000 acre stock farm was reputed to be the greatest and most valuable horse ranch in the world. Although Cross received the highest pay of any equine artist of his day (up to $35,000. for one order, according to The Horse Review of April 10, 1918, p. 328), he frequently joined traveling circuses and painted the locales where they visited. He also painted portraits of notable contemporaries, such as President Abraham Lincoln, ex-president Ulysses S. Grant, King Edward VII of England, W. F. "Buffalo Bill...

Original Greta Garbo vintage movie-star personality poster. Archival linen backed in B condition, ready to frame. There is some minor damage in the lower left corner (shown) and on t...

This painting by Jenness Cortez features recreations of the following works, clockwise from upper left: 1. “Girl with a Red Hat,” Johannes Vermeer, 1665-1670, Collection of National Gallery, Washington, DC 2. “Daughters of Revolution,” Grant Wood, 1932, Collection of Cincinnati Art Museum, Cincinnati, OH 3. “Arrangement in Gray and Black-Number One,” James McNeill Whistler, 1871, Collection of Musee d’Orsay, Paris 4. “The Gleaners,” Jean Francois Millet, 1890, Collection of Musee d’Orsay, Paris 5. “Sha-Ko-Ka” (”Mint,” A Pretty Girl), George Catlin, c.1832, Collection of Smithsonian American Art Museum,Washington, DC 6. “Atalanta” (Bronze sculpture), Paul Manship, 1921, Collection of Smithsonian American Art Museum, Washington DC 7. “Purple Robe and Anemones,” Henri Matisse, 1937, Collection of Baltimore Museum of Art, Baltimore, MD 8. “Parvati,” South Indian Bronze...

Meticulously and carefully rendered period piece that reenact this magicaly moment. Works on Paper, Gouache, Watercolor over traces of pencil heightened with white on illustration ...

Breathtaking ocean scene, 'Angles: Above and Below' 2020 oil on canvas, 18 x 36 inches, Here, deep blue water with filtered early evening light is capt...

Celebrate a piece of New York City's culinary history with this stunning poster by Ken Keeley, featuring the iconic Carnegie Deli. Renowned for its photorealist style, Keeley's artwo...

F Ken Cross - Hawk, Medium: Scratchboard, signed lower left, Size: 5.25 x 7.5 in. (13.34 x 19.05 cm), Frame Size: 9 x 10.75 inches

Chris Forrest, American (1946 - ) - Wood Ducks, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Image Size: 23 x 18 inches, Size: 29 in. x 23 in. (7...

Exhibited original watercolor on paper painting by American artist, Joseph DiGemma. Signed lower right and dated 1949. Overall framed and matted (white) in natural maple frame 26 by 32 inches. Exhibition label verso: "Shared Aesthetic, Artists of Long Island North Fork, 2009". From the estate of Countess Consuelo Crespi. Joseph Paul DiGemma was born in New York City and studied at the Pratt Institute and the Arts Students League. His engravings are in the collections of the Metropolitan Museum of Art, the Brooklyn Museum and the Astor-Lenox Collection. Several of his wartime paintings...

Breathtaking and grand ocean scene / landscape with tree branch and distant hills, 'Gravitas' is 4 x 8 feet , 48 x 96 inches. Tranquil blue water with filtered ...

"Potomac Falls" by Diego Glazer is an original oil painting depicting a river with rushing waters. Artist Statement: Painted on location during a trip to Virginia. About the Artis...

A beautiful and delicate 19th century image of one of New England's most storied ports. Boston: Estes & Lauriat Editions, 1882 Etching on cream laid paper, 2 3/4 x 5 1/4 inches (68 ...

"Dragon," by Quang Ho, is a secondary market work with one previous owner. It is signed and dated (1988) on the lower left. The painting comes with it's original frame (measures 50 x...

'Talisman' - oil on canvas is 24 x 60 in (60.96 x 152.40 cm), meticulously painted by American Realist Brooks Anderson. Canvas edges are painted dark in artist's signature style. Lov...

Linen-backed original 1939 James Montgomery Flagg vintage poster: You're in Trust; we must protect it from fire. "If we would have forests--we must prevent fires: Maryland Stat...

J. F. BUFFORD PUBLISHER and PRINTER LAST MOMENTS OF PRESIDENT LINCOLN, April 15, 1865 Lithograph, very good impression. The 2 lower publishing lines ...

First Edition; one sheet American theater poster; archivally linen backed. Chapter 1: A Trap for the Mounties! "Gunfighters of the Northwest" Last of the White Horse Rebels!. Starring Jack Mahoney, with Clayton Moore, Phyllis Coates, Don Harvey. NSS: 54/2801. Very good condition with the expert restoration of original theater-issued fold marks. (the old movie posters...

Map of historical landmarks, American Indian territories, rivers, mountains, dams, colleges, federal grazing districts, cities, agriculture, and other activities that were present in...

I have been burning images into wood and paper as a means of drawing for over two decades. During that time I have continued to refine and at the same time experiment with the proces...

Fransioli was born in Seattle, Washington, and received a degree in architecture from the University of Pennsylvania in 1930. He worked with John Russell Pope on plans for the exhibition galleries at the National Gallery of Art in Washington, D.C., which he pinpointed as the beginning of his interest in painting. World War II interrupted a promising career in architecture. Fransioli served in the Pacific Theatre from 1943 until 1946, and was among the first American soldiers to survey Hiroshima after the atomic bomb’s detonation in August 1945. He returned to civilian life and took up painting, basing himself in Boston, but working up and down the eastern seaboard. Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, their forms squarely defined by stark light and long shadows. Saturated color permeates every corner of his canvases, from vibrant oranges and greens to smoky terra cottas and granites. Even the trees that line Fransioli’s streets, parks, and squares are sharp and angular, exactly like those in an architect’s elevation rendering. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for parked cars and an occasional black cat scurrying across the pavement. People make rare appearances in Fransioli’s compositions, and never does the entropy of a crowd overwhelm their prevailing sense of order and precision. People are implied in a Fransioli painting, but their physical presence would detract from the scene’s bleak and surreal beauty. Magic Realism neatly characterizes Fransioli’s artistic viewpoint. The term was first broadly applied to contemporary American art in the 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. As exhibition curator Dorothy Miller noted in her foreword to the catalogue, Magic Realism was a “widespread but not yet generally recognized trend in contemporary American art…. It is limited, in the main, to pictures of sharp focus and precise representation, whether the subject has been observed in the outer world—realism, or contrived by the imagination—magic realism.” In his introductory essay, Lincoln Kirstein took the concept a step further: “Magic realists try to convince us that extraordinary things are possible simply by painting them as if they existed.” This is Fransioli, in a nutshell. His cityscapes exist in time and space, but certainly not in the manner in which he portrays them. Fransioli—and other Magic Realists of his time—was also the heir to Precisionism, spawned from Cubism and Futurism after the Great War and popularized in the 1920s and early 1930s. While Fransioli may not have aspired to celebrate the Machine Age, heavy industry, and skyscrapers in the same manner as Charles Sheeler, his compositions tap into the same rigid gridwork of the urban landscape that was first codified by the Precisionists. During the 1950s, Fransioli was represented by the progressive Margaret Brown...

John McNulty, Irish/American (1949 - ) - Lakeside Trees IV, Year: 1982, Medium: Etching with Aquatint, signed and titled in pencil, Edition: 250, Size: 22 x 30 in. (55.88 x 76.2 cm)

Car Repair on Stanton Street, 1987 From a 6cm x 4.5cm negative, scanned in 2020 Archival Pigment Print available in this size of 16" x 20" in an Edition of 12 with 3 Artist Proofs ...

This painting is signed at the lower right. The frame adds a few inches to the size and was selected by the artist. Jack Henderson (1931-1998) taught at the Art Students League for many years and had a studio in at 30 East 14th Street, New York City. In that building were many other artists including Henderson's teacher and long-time collaborator, Edward Laning. A Kansas City native, Henderson was the recipient of a Fulbright Fellowship and a Fellow of the American Academy in Rome. He continued the Miller/Laning tradition of travel to Italy to study the masters of the Renaissance and the goal of fine figure painting as the ultimate artistic achievement. A version of his monumental triptych, New York in Ruin, 1967, is in the collection of the New York Landmarks Commission. Work by Jack Henderson was shown at the Susan Teller Gallery...

Harry Schaare, American (1922 - 2008) - The Getaway, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 50, Image Size: 16 x 24.5 inches, Size: 23 ...

Harry Schaare, American (1922 - 2008) - Cowboys Racing, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 50, Image Size: 19 x 25 inches, Size...