Gallery of the Masters Paintings

Sit Pretty Maud Earl (British, American, 1863-1943) Oil on Canvas Laid to Board Signed Lower Right 19 x 25 inches 25.25 x 31.25 inches with frame Alice Maud...

Eugene Joseph Verboeckhoven (Belgian, 1798-1881) Family Portrait, 1871 Oil on Canvas Signed and Dated Lower Right 29 x 44 inches 34.5 x 49.5 inches with frame Verboeckhoven began dr...

The Painted Stallion William Henry Dethlef Koerner (German, American, 1878-1938) Oil on Panel Signed Lower Right Titled Verso 21.5 x 37 inches 26.5 x 42.5 inches with frame Written ...

Returning from the General Store William Henry Dethlef Koerner (German, American, 1878-1938) Oil on Panel Signed Lower Right 24 x 30 inches 27 x 33 inches with frame William Henry D...

Heading Up Trail William Henry Dethlef Koerner (German, American, 1878-1938) Oil on Canvas Board Signed Lower Left 26 x 30 inches 35.25 x 30.75 inches with frame William Henry Dethl...

Canvas Size: approx 26.5 x 18 Framed Size: approx 30 x 22 inches Born into a poor family in Durham, England, John George Brown (1831-1913) earned a reputation as one of 19th-century...

20 x 24 (canvas size) 25.5 x 29.5 (w/ frame) Signed and Dated Lower Left Paul Harney (1850-1915) Born in New Orleans on October 21, 1850, he was a landscape, portrait and still-li...

Arnaldo de Lisio (Italian, 1869-1949) Donna con Ventilatore Oil on Canvas Signed Lower Right 34 x 24 inches 41 x 31.5 inches Arnaldo De Lisio (9 December 1869 – 5 March 1949) was an...

A Day in June, Scene Eastchest, New York Edward Gay (Irish, American, 1837-1928) Oil on Canvas Complimented by original frame in great condition Signed and Dated Lower Right Titled a...

Reclining Nude Carl Rudolph Krafft (American, 1884-1938) Oil on Canvas Signed Lower Left 38 x 40.25 inches Born in Reading, Ohio, Carl Krafft became a prolific regionalist painter o...

Bateau Sous la Pont Yolande Ardissone (French, b. 1927) Oil on Canvas Signed Lower Center 30.25 x 25.25 31.5 x 36.5 inches with frame Born in Normandy on June 6, 1927 to an Italian ...

Ancient Blessing, 2006 Roseta Santiago Oil on Canvas Signed Middle Left 42 x 48 inches 43 x 50 inches with frame Roseta Santiago was born and raised in Washington D.C. She started ...

Antoine Blanchard (French 1910-1988) "Avenue des Champs-Elysses, Paris" Oil on Canvas Signed approx 18 x 22 (site) approx 26.5 x 30 (framed) Antoine Blanchard (c.1910-1988) was a prolific and successful Neo-Impressionist painter who specialized in nostalgic scenes of Fin de Siècle Paris. Inspired by the subjects as well as the success of earlier painters of Parisian life like E. Galien Laloue (1854-1941), Edouard Cortès (1882-1969), Jean Béraud (1849-1935) and Luigi Loir (1845-1916), Blanchard painted hundreds of views of the “City of Light.” In the late 1950s, his street scenes were exported to the United States and the United Kingdom, where they were sold briskly to collectors. By the1960s, Blanchard paintings were bringing several hundred dollars in galleries, so while they were not inexpensive, they were affordable to collectors who loved Parisian scenes but who could not afford the works of Cortes or one of the other French painters known for their views of Paris in Belle Époque. Eventually Blanchard’s more delicate, feathery pastel-toned scenes of rain-swept Paris became sought after in their own right and, when he died, he was considered the last of what the dealers described as the École de Paris or “School of Paris” painters. The most salient fact about the life and career of the painter Antoine Blanchard was that he was actually born Marcel Masson, the son of a furniture maker who lived in the scenic Loire Valley, south of Paris, where the French nobility had their chateaus. The date that is usually given for Blanchard’s birth is November 15, 1910. However, there has been some speculation that he was born even later, perhaps in 1918, but some of the facts of his life have always been clouded by early biographies that claimed even earlier dates for his birth, so that he would seem to be seen as a contemporary of the famous Belle Époque painters rather than a post-war interpreter of Paris. Blanchard grew up in the hardscrabble years following the First World War. Because he was artistically talented, he was sent first to the nearby city of Blois, the capital of the Loir-et-Cher Département, for artistic training and then to the École des Beaux-Arts in Rennes, on the Brittany peninsula, where he received a classical art education. By some accounts Blanchard also studied in Paris, where the historic École des Beaux-Arts is located, but the depth of his study and the style of his earliest work will require further research. Marcel Masson was married in 1939, as war clouds gathered on the French horizon. He was drafted for service in the French Army and participated in the short and futile struggle against the invading German Panzers before returning to his family and his art during the Nazi occupation. A daughter, Nicole, was born in 1944 with a second daughter, Eveline, who eventually came to the United States, following in 1946. Masson’s early art career was interrupted, first by World War II and later by the necessity of keeping his father’s workshop running in the years after his death. By the late 1940s, though, Masson returned to his art and moved to Paris in order to further his career. Exactly when Marcel Masson adopted the pseudonym Antoine Blanchard is not known, nor are we aware of his motivations for adopting a nom de plume, but the practice was not unusual for French painters. In most cases a pseudonym was adopted because the artist had contractual obligations with more than one agent or dealer. Another motivation could be to obscure the scope of a sizable artistic production. Dealers in that era also liked to keep an artist under their thumb, so a pseudonym was a way for Blanchard’s dealers to tuck him away, out of the sight of their competitors. Like many painters before him Masson may have initially painted different subjects under different names. Marcel Masson neé Blanchard would have been well aware that the famous and prolific French painter E. Galien Laloue (1854-1941) painted under no less than four names – three pseudonyms in addition to name he was christened with – and so the adoption of another name was probably not seen as a liability to him. However, he apparently never took the step to register his pseudonym, which was possible in France, to legally restrict its use. In any event, by the 1950s Marcel Masson had become “Antoine Blanchard,” a painter of Parisian views. With the aging Edouard Cortès (1882-1969) as a model, Blanchard began to specialize in romanticized scenes of la ville des lumières, or the “City of Light.” However, instead of painting contemporary Paris, the crowded metropolis of his own time, which he may have felt was lacking in romance, he chose to look at the French capital through the rear-view mirror. So Blanchard became known for his depictions of the hurly-burly life of Paris in the Belle Époque. For inspiration, he is said to have collected old sepia-toned postcards of life in La Belle Époque (“The Beautiul Era”), the long period of peace and relative prosperity between the end of the Franco-Prussian War and the horrors of the Paris Commune in 1871 and the start of the mass bloodshed of the First World War in August of 1914. In addition, however, the paintings of Loir, Baraud, Laloue and Cortès could be found and studied in the flea markets of Paris as well as the auctions at the l’Hôtel Drouot. Reminders of the Belle Epoch were thus all around Blanchard, and of course the architecture that he painted had survived the Second World War intact, because Paris was spared bombing or a siege by the allies. Soon he was painting the horse-drawn omnibuses that took turn-of-the-century Parisians on longer trips throughout the city as well as the tradesmen, children and fashionably dressed ladies that populated Baron Haussmann’s Grand Boulevards. Blanchard’s early work was clearly modeled after the paintings of Edouard Cortès, but he was always his own man and never a slavish copyist. These paintings were darker in palette than the later Blanchard paintings most American collectors have become familiar with, and his red and blue tones were often bolder than those of Cortès. He never adopted the heavy “impasto,” the build-up of paint on the highlights of Cortes’ work, leaving that artistic trademark to the master. Blanchard’s brushwork was painterly, but the buildings in the paintings were always well rendered, for he had an excellent command of composition and perspective. By the late 1950s, agents began to purchase Blanchard’s paintings and then to export them to the United States, selling them to commercial galleries in far away Houston, Los Angeles, San Francisco, Chicago and New York. By the early 1960s, his work was already well known enough to be in reproduced by print publishers and the Donald Art Company published a number of popular prints that are now often mistaken for original paintings. By the end of the 1960s, Blanchard had begun to develop his own mature style by employing a lighter, brighter, palette and a deft, almost calligraphic style of brushwork. This helped him step out of Cortès’ shadow and become a sought-after painter in his own right. Blanchard worked through agents, essentially brokers, who purchased his work and created a demand for it in the United States and Canada. By the 1970s Blanchard’s paintings were being sold by galleries across the United States, and the American market absorbed virtually all of his work. In 1969, with the passing of Edouard Cortès, he became the last of the long series of prolific French painters of Parisian life. Blanchard’s later works were usually daylight scenes, with Paris seen awash in rain or with a mantle of soft snow, and so collectors no longer confused him with Cortes, whose Parisian clock seemed to always be set at twilight. These paintings were rendered in softer, pastel tones and he used his brush with a light touch. These qualities gave Blanchard’s work of the 1970s and 1980s a lighter, more decorative appearance. In the late 1970s, the French agent Paul Larde published a lavish book that was claimed to be an authorized biography of Antoine Blanchard by his “exclusive” dealer. Today, this book is almost impossible to find, because it was apparently the subject of a lawsuit in France. Some of the information in the Larde book was contested and found to be inaccurate and so it was withdrawn from publication. One claim that Larde made was that Blanchard’s production was extremely limited. While he was not as prolific as Cortès or Laloue, he was a hard-working painter who managed to supply a long list of galleries with his work. He produced thousands of paintings during his career. When the motivation for a monograph is marketing rather than art history, accuracy and detail can be swept aside by exaggeration, hyperbole and claims of exclusivity that were meant to discourage collectors or galleries from buying Blanchard’s from other representatives. Blanchard’s legitimate paintings were sold by several agents, who dealt directly with the artist, at least one of whom was American, one Austrian and a few French dealers. The details of Antoine Blanchard’s life are not well known because he never sought the limelight. He was content to work in his studio and ship his paintings to his agents who sold them abroad. Eventually both his daughters – Nicole and Evelyn – followed in his footsteps and became painters themselves. Evelyn (1946-2008) was savvy enough to adopt the Blanchard nom de plume, and she began painting street scenes that closely resembled her father’s later work. Antoine Blanchard passed away in 1988, leaving hundreds of paintings of Belle Époque Paris– the Notre Dame Cathedral, the Opera, the Arc de Triomphe and Place Concorde – as his lasting legacy. Notes on the Authentication of Antoine Blanchard’s Paintings: The vast majority of Blanchard’s paintings were smaller works, which were sent to the United States in tubes and stretched and framed by the galleries that sold them. Virtually all of these Blanchards were painted in European centimeter sizes, which convert to 13” x 18” or 18” x 21 1/2?, but on very rare occasions he painted much larger works in American sizes – such as 24” x 36” – on commission for dealers such as Howard Morseburg in Los Angeles or the dapper Wally Findlay, who had a chain of galleries. The first way to assess the authenticity of a Blanchard...

A Place Without Time Michael Protiva (20th/21st Century) Signed Lower Left 48 x 60 inches 49.25 x 61.25 inches with frame Michael Protiva's interest i...

A Golden Light Through the Beechwoods Harvey Joiner (American, 1852-1932) Frame and painting in fantastic condition being kept in original shadow box! 4 x 8 inches 10 x 14 inches with frame 11.5 x 15.5 inches in shadow box Like his contemporary Alexander Drysdale of New Orleans, Kentucky artist...

Preparing the Flag, America's 1784 Golden Girl Arthur Sarnoff (American, 1912-2000) Signed Upper Right 28 x 24 inches 31.5 x 26.5 inches with frame SEE PHOTO: **Used for the Bi-Cen...

Eliza Barchus (American, 1857-1959) Mt. Shasta, California Signed Lower Left Titled Verso 11 x 14 inches 13.75 x 16.75 inches with frame Eliza Rosanna L...

LeRoy Neiman (American, 1921-2012) Statue of Liberty, July 4, 1986 Signed and Dated Lower Left Acrylic Paint and Chalk 24 x 16 inches 37.5 x 29.25 inches with frame Mr. Neiman's ki...

Dark Green Wood, 1956 Philip Sutton RA (British, b. 1928) Oil on Canvas Signed and Titled Verso 34 x 34 inches 41 x 41 inches with frame Philip Sutton studied under William Coldstre...

Joseph Orr (Japanese, American, b. 1949) River Access Signed Lower Right 30 x 30 inches 39.5 x 39.5 inches with frame BORN in Tokyo, Japan, Oct 31,1949, Joseph lived his first years in an orphanage sponsored by American Armed Forces. He was adopted April,1954 and came to the US at age 5 where he became an American citizen. As the Orr’s traveled for the US military Joseph enjoyed a childhood rich in experiences from Germany and back to California where he attended High School and started College. Following his parents to Missouri In 1971 he took a job with Hallmark Cards as machine operator in the cardboard fold dept. It sparked an interest in art, so after a few months he sought out some of the Hallmark artists at their work for private lessons. He learned basic drawing and watercolor from Anthony Allison and, “Probably before I was ready”, he admits, Joseph was entering local art shows and even winning prizes. At that time Joseph also enrolled for art instruction under John Coleman at Longview Community College. He spent one semester there. By the end of 1972 Joseph had quit his day job to become a full time painter, joining an art show tour group called Word Of Art, which was a new concept: culture meets promotion. Booking weekly art exhibits in the new indoor shopping malls across America, The idea transformed part of the art world by bringing art to the masses. For Joe and many other artists in the early 1970’s, it created the chance to paint full time and sell their work to an otherwise unobtainable audience. During this time of continuous self study and painting Joseph transitioned from watercolor to the newer acrylic painting medium. Believing that acrylic, as a fine art painting medium, can be as viable as oil, Orr has always promoted it as the modern medium that it is. In 1990 Joseph, along with his wife, Rita and two other artists, founded the National Oil & Acrylic Painter’s Society. The Orr’s brainchild, they were aided in founding NOAPS organization by local art patrons, Wm & Martha Mitchell and fellow artists Pete Peterson and Dennis T. Yates. While traveling with the World of Art Tour Joseph had met Rita Mathews, an aspiring artist, in Columbia, MO. They were married in June 1974 and stayed in Missouri, traveling and exhibiting their art together. Orr had a brief encounter with printmaking in 1977. He took private instruction in stone lithography and copper plate etching from Frank Stack, professor of art at the Univ of MO, Columbia, but painting remained his principal devotion. By 1999 Joseph had become proficient enough to have obtained Gallery representation with several Fine Art Galleries across the US. Joseph Orr currently resides in Osage Beach, Missouri, but travels to paint and visit his gallery representatives and Exhibit Openings. PHILOSOPHY: For me the idea is that painting should follow some form of illustration and truth telling. Basically, the premise of my painting philosophy, is to build layers of narrative into my paintings. A place or landscape scene is never defined satisfactorily without it’s relationship to color and composition. It is important to balance fact with imagination. “ART REFLECTS THE SOUL OF SOCIETY. A JUDGMENT CAN BE MADE FOR THE ATTITUDE OR CONDITION OF SOCIETY BY INSPECTING THE POPULAR ‘IDEAS’ OF ART OR, IN SOME INSTANCES, THE LACK OF ART.” (JOSEPH C. ORR) NOTED SOLO EXHIBITS : *BIRGER SANDZEN MEMORIAL, LINDSBORG, KS; *HARWELL ART MUSEUM, POPLAR BLUFF, MO; *ASHBY-HODGE GALLERY OF AMERICAN FINE ART, FAYETTE, MO; *NORFOLK ART CENTER, NORFOLK, NE; *KODNER GALLERIES...

Homage To Monet: Water Lilies Ver. I Peter Max (German, b. 1937) Acrylic on Canvas 16 x 20 inches 30.5 x 40.5 inches with frame Signed Lower Right Dedicated Verso Provenance: Wentworth Galleries, c. 2017 Known throughout the world and a household name in America, Max is known for his new age style cosmic imagery and multi-colored blends. During the late 60's and early 70's his colorful art reached millions of people and he won numerous major awards for his work. His paintings, drawings and limited edition graphics have been exhibited in major museums throughout the world. He works in multiple media, including oil, acrylics, water colors, fingerpaints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cels, lithographs, serigraphs, ceramics, sculpture, collage, video, xerox, fax, and computer graphics. He also includes mass media as a "canvas" for his creative expression. Peter Max was born in Berlin, Germany, and spent his childhood in Shanghai. From China, the family went to Tibet for a year, and then on to Israel. His family's odyssey continued to Paris, and finally, at the age of 16, Max arrived in the United States. He began his art studies in New York at the Art Student's League and continued at the Pratt Institute and School of Visual Arts. Max often uses American symbols in his artwork and has done paintings and projects for presidents Ford...

Cherry Blossom Near Washington Bridge Peter Max (German, b. 1937) Acrylic on Canvas 16 x 20 inches 27 x 32 inches with frame Signed lower right Known throughout the world and a household name in America, Max is known for his new age style cosmic imagery and multi-colored blends. During the late 60's and early 70's his colorful art reached millions of people and he won numerous major awards for his work. His paintings, drawings and limited edition graphics have been exhibited in major museums throughout the world. He works in multiple media, including oil, acrylics, water colors, fingerpaints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cels, lithographs, serigraphs, ceramics, sculpture, collage, video, xerox, fax, and computer graphics. He also includes mass media as a "canvas" for his creative expression. Peter Max was born in Berlin, Germany, and spent his childhood in Shanghai. From China, the family went to Tibet for a year, and then on to Israel. His family's odyssey continued to Paris, and finally, at the age of 16, Max arrived in the United States. He began his art studies in New York at the Art Student's League and continued at the Pratt Institute and School of Visual Arts. Max often uses American symbols in his artwork and has done paintings and projects for presidents Ford...

New Moon Detail Peter Max (German, b. 1937) Acrylic on Canvas 15 x 30 inches 26 x 41 inches with frame Signed lower right "Inspired by the monks and sages the artist saw as a child growing up in Shanghai, China, Peter Max's 'New Moon' is representative of his sensual and energetic Neo-Expressionistic brushwork style, and of his bold, Neo-Fauvist color palette which began to emerge in the 1970s. In the painting, a zen monk, holding his umbrella, contemplates the meaning of a new moon rising - new beginnings and goals, a time when new intentions are made. He seems to float somewhere between the horizon and the clouds and heavens, close to the new moon, and painted in the most daring and vibrant of the artist's color palettes." ©ALP, Inc. Known throughout the world and a household name in America, Max is known for his new age style cosmic imagery and multi-colored blends. During the late 60's and early 70's his colorful art reached millions of people and he won numerous major awards for his work. His paintings, drawings and limited edition graphics have been exhibited in major museums throughout the world. He works in multiple media, including oil, acrylics, water colors, fingerpaints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cels, lithographs, serigraphs, ceramics, sculpture, collage, video, xerox, fax, and computer graphics. He also includes mass media as a "canvas" for his creative expression. Peter Max was born in Berlin, Germany, and spent his childhood in Shanghai. From China, the family went to Tibet for a year, and then on to Israel. His family's odyssey continued to Paris, and finally, at the age of 16, Max arrived in the United States. He began his art studies in New York at the Art Student's League and continued at the Pratt Institute and School of Visual Arts. Max often uses American symbols in his artwork and has done paintings and projects for presidents Ford...

Better World Version I Peter Max (German, b. 1937) Acrylic on Canvas 24 x 9.75 inches 36 x 21.5 inches with frame Signed lower right Known throughout the world and a household name in America, Max is known for his new age style cosmic imagery and multi-colored blends. During the late 60's and early 70's his colorful art reached millions of people and he won numerous major awards for his work. His paintings, drawings and limited edition graphics have been exhibited in major museums throughout the world. He works in multiple media, including oil, acrylics, water colors, fingerpaints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cels, lithographs, serigraphs, ceramics, sculpture, collage, video, xerox, fax, and computer graphics. He also includes mass media as a "canvas" for his creative expression. Peter Max was born in Berlin, Germany, and spent his childhood in Shanghai. From China, the family went to Tibet for a year, and then on to Israel. His family's odyssey continued to Paris, and finally, at the age of 16, Max arrived in the United States. He began his art studies in New York at the Art Student's League and continued at the Pratt Institute and School of Visual Arts. Max often uses American symbols in his artwork and has done paintings and projects for presidents Ford...

Site Size: 20 x 15 inches Framed Size: 28.5 x 24 inches Donald Spaulding's artistic talents were recognized early. Encouraged by his high school teachers to pursue formal art traini...

Spring Constantin Kluge (Russian, Latvian, 1912-2003) Signed Lower Right 29.5 x 36.5 inches 36.5 x 44 inches framed He was born in Riga, Latvia, on January 29, 1912 to Russian paren...

Laverne Nelson Black (American, 1887-1938) "The Deer Hunters" Signed Lower Left Canvas: 24 x 22 inches Framed: 30.5 x 28.5 inches Born in Viola,...

Floral Still Life in Cameo Pot Franz Leitgeb (Austrian, 1911-1997) Signed Lower Right 33 x 27 inches 40.5 x 34.5 inches

Floral Still Life in Fluted Bowl Franz Leitgeb (Austrian, 1911-1997) Signed Lower Right 33 x 27 inches 38.5 x 32 inches

The Andalusia John Frederick Herring (English, 1795-1865) Signed Lower Right 14 x 18 inches 18 x 22 inches with frame Provenance: Frost &Reed, Ltd., London 1984 Herring, born in London in 1795, was the son of a London merchant of Dutch parentage, who had been born overseas in America. The first eighteen years of Herring's life were spent in London, where his greatest interests were drawing and horses.[2] In the year 1814, at the age of 18, he moved to Doncaster in the north of England, arriving in time to witness the Duke of Hamilton's "William" win the St. Leger Stakes horserace. By 1815, Herring had married Ann Harris; his sons John Frederick Herring Jr., Charles Herring, and Benjamin Herring were all to become artists, while his two daughters, Ann and Emma, both married painters. When she was barely of age in 1845 Ann married Harrison Weir. In Doncaster, England, Herring was employed as a painter of inn...

Mad River, 1996 Julio Larraz (Cuban, 1944) Signed and Dated Lower Right 41 x 49 inches 43 x 51 inches with frame Provenance: Atrium Gallery, 1999 Accomplished painter, sculptor, and...

Daniel Ridgway Knight "A Thoughtful Moment" Oil on Panel Signed Lower Left "Ridgway Knight, Paris" Framed Size: 12.5 x 14.5 inches Site Size: 8.5 x 11.5 inches Daniel Ridgway Knigh...

Edward Cucuel (American, 1875-1954) Summer Idle, 1918 Signed Lower Right 35 x 43 inches 43 x 51 inches with frame Born in San Francisco, Edward Cucuel was an Impressionist painter o...

The Old Courthouse, 1968 By. Charles Quest (American, 1904-1993) Signed and Dated Lower Left 32 x 44 inches 38.25 x 50.25 inches with frame Born in Troy, New York, Charles Quest was...

Nick Schleicher (American, b. 1988) MKW-003, 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, ...

Nick Schleicher (American, b. 1988) GMA-HLK 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, a...

Nick Schleicher (American, b. 1988) SLM-350, 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, ...

Nick Schleicher (American, b. 1988) STM-HMS, 2019 Acrylic, Fluorescent Pigment, Iridescent Pigment, & Gel Gloss on Panel 36 x 26 inches Signed, Dated, ...

Nick Schleicher (American, b. 1988) CLY-350, 2019 Acrylic and Matte Medium, Gel Gloss, & Glazing Medium 20 x 18 inches Signed, Dated, and Titled Verso ...

Nick Schleicher (American, b. 1988) DLM-125, 2019 Acrylic and Matte Medium, Gel Gloss, & Glazing Medium 20 x 18 inches Signed, Dated, and Titled Verso ...

Nick Schleicher (American, b. 1988) PNK-BRN, 2019 Acrylic and Matte Medium, Gel Gloss, & Glazing Medium 20 x 18 inches Signed, Dated, and Titled Verso ...

Robert Kushner (American, b. 1949) Alphonsine, 1983 30 x 22 inches without frame 32.75 x 25 inches with frame Titled Lower Left Signed and dated Mid Lower Right A member of the Patt...

Oscar E. Berninghaus (American, 1874-1952) "Winter Pasture" Oil on Canvas Unframed: 20 x 24 inches Framed: 25.5 x 29.5 inches Provo: Noonan-Kocian Gallery, St. Louis, Missouri, Dec. 23, 1954 (Copy of Original Receipt Included) * Will be included in Kodner Gallery's upcoming Oscar E. Berninghaus Research Project on the artist A founder in 1898 of the Taos Society of Artists, Oscar Berninghaus excelled at drawing animals and figures in contemporary garb in Southwestern landscapes. Many of his early paintings were Impressionistic, "suffused with color and light". (Gerdts 254) He was born in St. Louis, Missouri and developed an interest in art through his family's lithography business. He attended night classes at the St. Louis School of Fine Art. In 1898, he was on an illustration assignment for "McClure's" magazine, which took him for the first of many times into New Mexico and Arizona. He had heard of the special beauty of Taos and there met Bert Geer Phillips, who was already a resident, and Phillips invited him to return. This visit began a tradition of spending the winter months in St. Louis and the summers in Taos. He remained active in both communities, and for many years designed the costumes and floats for the Veiled Prophet parade, a famous annual event in St. Louis. He also did a series of western scenes commissioned by the Anheuser-Busch Brewing Association to promote a manly, ruggedness theme in their products and to enhance their image as good Americans, an image that was being attacked by suffragettes. In this capacity and without visiting the area, Berninghaus did a painting titled "Old Faithful, Yellowstone" in 1914, which was used as a calendar illustration in the series. Berninghaus was a sketch artist for the Denver and Rio Grande Railroad to depict landscape of Colorado...

Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...

Monsieur lisant a la lumiere de la fenetre By. Louis Mettling (French, 1847-1904) Signed Lower Right Unframed: 16" x 10" Framed: 28.5" x 23" Louis Mettling...

Seagulls (Birds in Flight), 1982 By. Jim Palmer (American, b. 1941) Signed and Dated Lower Right Unframed: 32" x 36" Framed: 37" x 42.5" Born in 1941 in Columbia, South Carolina, Jim Palmer attended the University of South Carolina in 1960 before going on to study at the Atlanta School of Art in 1964. In 1966 he and his wife moved to Hilton Head Island, the second artist to do so during the Island's early years. Since living here, he designed the cover of the Chamber of Commerce' Islander Magazine, has been a contributing artist to the Island Events Magazine, and has painted many Low Country scenes that grace homes and businesses throughout the country. Palmer was the illustrator for two books written by local authors: A Corner of South Carolina and Moonshadows. His work has been included in exhibits at the Hunter Museum in Chattanooga, TN; Mint Museum, Charlotte, NC; Southeastern Artists Exhibition, Atlanta, GA; Greenville County Art Museum, Greenville, SC; Callaway Gardens, Pine Mountain, GA; and Bay Hills Club, Orlando, FL. His paintings are part of the private collections of C&S National Banks in Columbia and Hilton Head Island; Banker's Trust Tower, Columbia, SC; Palmetto State Bank, Bluffton, SC, among others. Several paintings are also included in the collections of former Presidents Jimmy Carter and Dwight Eisenhower, former South Carolina Governor Robert McNair and singer John Denver.

Landscape By Mark Kaplan (Russian, b. 1950) Signed Lower Right Unframed 7" x 9" Framed: 20.25" x 16.25" Mark Kaplan was born in 1950 in Saint Petersburg ...

Duck Family By. David Adolph Constant Artz (Dutch, 1837-1890) Signed Lower Left Unframed: 9" x 12" Framed: 17" x 18.5" David Adolf Constant Artz was a 19th-century Dutch painter an...

Searching for Clams with the Horse Cart By. Gerhard Munthe (German, 1875-1927) Signed Lower Left Unframed: 11" x 14" Framed: 19" x 23" Born in Dusseldo...

Village Under the Snow By. David Schulman (Dutch, 1881-1966) Signed Lower Right Unframed: 15.5" x 23.5" Framed: 23.5" x 31.5" David Schulman was a Dutch self-taught painter, draftsman and watercolorist. He was born in the city of Hilversum, in 1881. Schulman's father Lion was a painter himself and was known to be come an art dealer in subsequent years. Apart from this, he sold painting...

Four White Chickens, 1911 By. Paul Harney (American, 1850-1915) Signed and Dated Lower Left Unframed: 10.25" x 12" Framed: 17" x 19" Paul Harney (1850-1915) Born in New Orleans on ...

Wooded Landscape with Cattle By James Desvarreux-Larpenteur (American, 1847-1937) Unframed: 22" x 18" Framed: 27.5" x 31.5" Signed Lower Right Born i...

Children at the Seashore By Josef Israels (1824-1911) Unframed: 9" x 15" Framed: 17.5" x 23.5" Signed Lower Left Born in Groningen, Holland, in 1824, Josef Israels was brought up in the traditions of the Jewish faith and destined for the rabbinate. His interest in drawing grew stronger with age however, and in 1840 his father finally relented, sending him to Amsterdam. There he spent his days working in the studio of Jan Kruseman and his evenings painting at the Royal Academy under Jan Pieneman, both leading portrait painters. In Paris, Israels studied a short time with the historical painter Francois Picot...

Abstract, 1971 By Dan Howard (b. 1931) Unframed: 29" x 35" Framed: 30" x 36" Signed Lower Left Influenced by artists of such varying styles as Caravaggio, Rembrandt, De Kooning and Jack Levine, as well as many of the German Neo-Expressionists*, Dan Howard's work often blurs the line between representational* and abstract art*. His experimentation with different canvas preparations, his use of intense colors and his expressive brush strokes have created a myriad of visual combinations in his characteristic larger-sized oil paintings. The result is an emphasis on audience participation and the role of individual interpretation. "I want to make the viewer part of the process. That makes for a richer experience," Howard says. Throughout his career, Howard has been both a dedicated art teacher-administrator and a gifted professional artist. He chaired the departments of art at Arkansas State University, Kansas State University and the University of Nebraska-Lincoln. Howard has received 100 prizes, awards and honors including the top awards in the three longest running national open painting competitions: Society of Four Arts, Palm Beach, Fla.; Butler Institute, Youngstown, Ohio; and Chautauqua Institution, New York. The Omaha World-Herald has acknowledged Howard as "Nebraska's leading award-winning artist." His work is a part of more than 600 public, private and corporate collections including Hallmark Cards, West Law Publishing, United Airlines, Minnesota Mining & Manufacturing (3M), Holiday Inn...

Carl Holty (1900-1973) "Mountain Wall" 1962 Unframed: 12" x 9" Framed: 19.5" x 16.5" Signed Lower Left Known for his floating, luminous, highly-colorful forms, Carl Holty belongs to...

Blue with Green and Grey Spots By Carl Holty (1900-1973) Signed Lower Right Unframed: 16" x 20" Framed: 17" x 21" Known for his floating, luminous, highly-colorful forms, Carl Holty...

Sun Mountain, Adobes, Santa Fe, New Mexico By Julius Lars Hoftrup Unframed: 20" x 20" Framed: 26" x 26" Hofterup in Skane was the birthplace of J. Lars Hoftrup. Hoftrup immigrated to a farm in New York in 1881 but left to study at Cooper Union Art School and later made study journeys to paint landscapes in Canada, France, and North Africa. His work has been shown in exhibitions at the Phillips...

Old Miner's House, Santa Fe, New Mexico By Julius Lars Hoftrup (1874-1954) Unframed: 20" x 20" Framed: 26" x 26" Hofterup in Skane was the birthplace of J...

The Little Red Lighthouse, New York By Gustave Wolff (1863-1935) Signed Lower Right Unframed: 14" x 19.25" Framed: 20.25" x 25.25" Painter Gustav Wolff ...

Bean Picking, New Jersey, 1890 By. Frederick Rondel (1826-1892) Signed Lower Right Unframed: 21.5" x 35.5" Framed: 32" x 46" Frederick Rondel, born in Paris in 1826, came to America...