William Rickarby Miller Paintings

This still life of Plums is a top notch example of 19th century still life painting! Beautiful quality and striking but also spare and honest in nature which is what typified Americ...

A finely rendered 19th century Hudson River School landscape depicting cattle grazing within an expansive open field, set beneath a softly illuminated sky. The composition is anchore...

Doug Newton’s hyper-real paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions. His subject matter concentrates on still lives of food, toys, candy and household objects. In addition to many group shows across the country, Mr. Newton’s show, “HARD CANDY and other confections” represents his fifth solo exhibition. His paintings have been collected in numerous private collections. Mr. Newton resides in Fort Greene, Brooklyn, NY. Dr. Sonia Coman writes in her essay, Doug Newton’s hard candy: the confection of painting Doug Newton’s paintings are about… painting. The hyperrealist technique of trompe l’oeil or “trick the eye” is knowingly playful. It simultaneously calls attention to the illusion of a different material—for example, translucent candy wrappers—and the reality of the layers of paint, masterfully applied to the canvas. In that, Newton’s paintings pay homage to an esteemed series of trompe l’oeil masters, from Inquisition-era Spanish painter Francisco de Zurbarán to Gilded-Age American painter William Michael Harnett...

“Quebec City, 1853” by Edmund C. Coates (American, 1816-1871). A luminous 19th-century view of Quebec City by the American painter Edmund C. Coates, known for his detailed Hudson Ri...

Remarkably, this painting tells its own story on the verso. To save your eyesight, here's what it reveals: James McDougal Hart (1828-1901) Landscape, animal, and portrait painter. A ...

Canvas Size: 12 x 16 in. Frame Size: 20.5 x 24.5 in. Signed, lower left: "Don Warren" A serene, classic, and cheerful scene in the Texas Hill Country by Don Warren. The foreground i...

A finely executed late 19th-century still life by Walter Brackett (1823-1919) of a rainbow trout with rod and reel in the foreground, along with the fly that captured the trout. Fin...

"Landscape with Sheep" by Daniel Folger Bigelow (July 22, 1823 - July 14, 1910), Oil on Canvas, signed D. F. Bigelow lower right corner. An American painter active in New England an...

About this work: “Lake in the Adirondacks” by Levi Wells Prentice (American, 1851-1935). A charming and finely detailed Adirondacks landscape by Prentice. This composition looks out...

Much about this late 19th-century painting remains a mystery, including the name of the artist who only left their identity in a single-letter monogram. But the work's moody embrace ...

This atmospheric antique American landscape depicts a rustic wooden covered bridge spanning a quiet river, surrounded by dense foliage and dappled summer light. Painted in oil, the c...

A striking and historically attentive portrait of the sidewheel steamer Kennebec, built in 1842. Rendered in crisp profile against a soft, painterly sky and calm Atlantic swells, Cameron’s portrait captures the stately elegance of early American steam navigation. The Kennebec, identified in bold red lettering on her paddle box, is shown under partial sail with twin smokestacks active - suggesting both the hybrid nature of early steam propulsion and the vessel’s readiness for sea. Flying period flags, including a U.S. ensign and company pennants, she presents as a proud representative of the Sanford Steamship Line, for whom she plied the route between Boston, Bangor, and the summer resorts of Maine. Her design, with a wood hull, 230-foot length, and distinctive “hogging truss,” speaks to mid-19th century innovation tailored to coastwise packets. Cameron’s style is reminiscent of 19th-century ship portraiture yet refined with contemporary technical precision. This is an excellent example of his work. This work is oil on canvas and is signed in the lower right. It is housed in its original black frame and retains the artist’s description of the ship on the reverse. Size: 22 inches tall by 44 inches wide (painting) 26 inches tall by 48 inches wide by 1 inch deep (frame) Provenance: Private collection; Acquired from the above About the artist: A Delaware artist, Scott Cameron paints the simple elegance of the America’s Cup races, serene coastal marsh scenes, timeless landscape vistas and historic steamboats in a style reminiscent of the era in which they reigned. An admirer of Andrew Wyeth and the Brandywine School of painters, Scott has combined the detail and quiet stillness of that School in his landscapes with the Luminist School’s sense of light glowing from within. A soft gentle atmosphere seems to fall over each scene adding to the peacefulness of the setting, and a sense of a time gone by. His America’s Cup scenes capture the action at a moment in time, allowing the beauty of the wind-filled sails to become the central design element of each painting. Scott Cameron has exhibited his oil paintings in numerous national and regional shows from the Mystic Seaport Museum to solo and group shows in some of the foremost galleries throughout the Northeast and Mid-Atlantic states. Favorite painting locations are the waterways and coastal inlets of Martha’s Vineyard and Maryland’s Eastern Shore and the gentle rolling landscapes of rural Pennsylvania, Delaware and Maryland. Meticulous research is behind every historic steamboat and America’s Cup painting...