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Untitled
By Charles Houghton Howard
Located in New York, NY
Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His fat...
Category
20th Century American Modern Abstract Drawings and Watercolors
Materials
Paper, Watercolor, Gouache, Graphite
Excavation
By Charles Houghton Howard
Located in New York, NY
Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His fat...
Category
20th Century American Modern Abstract Paintings
Materials
Canvas, Oil
Surface Tension
By Robert Minervini
Located in New York, NY
Robert Minervini (b.1981 Secaucus, NJ) is an artist working in painting, drawing, printmaking, murals, and site-specific public art. His work examines spatial environments and notion...
Category
2010s Contemporary Still-life Paintings
Materials
Paper, Acrylic, Canvas
Old Country Bazaar
By William S. Schwartz
Located in New York, NY
Oil on canvas, 36 x 42 in.
Signed, dated, and inscribed (at lower right): WILLIAM S. SCHWARTZ 1926; (on the back): “OLD COUNTRY BAZAAR” / BY / WILLIAM S. SCHWARTZ / 1926
RECORDED: C. H. Bonte, “122nd Annual opens at Pennsylvania Academy,” in The Philadelphia Inquirer, Jan. 30, 1927
EXHIBITED: The Art Institute of Chicago, 1926, The Thirty-Ninth Annual Exhibition of American Paintings and Sculpture, no. 174 // The Pennsylvania Academy of the Fine Arts, Philadelphia, 1927, The One-Hundred-and-Twenty Second Annual Exhibition, p. 37 no. 181 // The Chicago Culture Club...
Category
20th Century American Modern Paintings
Materials
Canvas, Oil
Japanese Children with Tortoise
By Harry Humphrey Moore
Located in New York, NY
Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8).
Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly.
In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...
Category
Late 19th Century Figurative Paintings
Materials
Oil, Wood Panel
Hydrangeas and Other Garden Flowers
By John Ross Key
Located in New York, NY
Signed (at lower right): John Ross Key 1882
Category
Late 19th Century American Realist Still-life Paintings
Materials
Canvas, Oil
Bitter Quassia, a native of Surinam
By Frances Jauncey Ketchum
Located in New York, NY
Signed (at lower right): FJK
Category
Early 19th Century American Realist Still-life Drawings and Watercolors
Materials
Watercolor
Annual Lavatera a native of Spain
By Frances Jauncey Ketchum
Located in New York, NY
Signed (at lower right): FJK [partial]
Category
Early 20th Century American Realist Still-life Drawings and Watercolors
Materials
Watercolor
African Agapanthus, or Blue Lily, a native of the Cape
By Frances Jauncey Ketchum
Located in New York, NY
Signed (at lower right): FJK
Category
Early 19th Century American Realist Still-life Drawings and Watercolors
Materials
Watercolor
Become Revolution
By Lily Cox-Richard
Located in New York, NY
Sewn paper collage
Category
2010s Contemporary Mixed Media
Materials
Thread, Paper
Soft Fists Insist 3
By Lily Cox-Richard
Located in New York, NY
Mushroom spores. graphite and pigment on paper
Category
2010s Contemporary More Art
Materials
Paper, Graphite, Pigment
Soft Fists Insist 8
By Lily Cox-Richard
Located in New York, NY
Mushroom spores, graphite and pigment on paper
Category
2010s Contemporary More Art
Materials
Paper, Graphite, Pigment
Wristie
By Lily Cox-Richard
Located in New York, NY
Wristie, a small assemblage atop a block of sandstone, is comprised of a sweater sleeve, a fragment of woven basket and a piece of blasted tree bark all cast in concrete or plaster. ...
Category
2010s Contemporary Abstract Sculptures
Materials
Concrete, Sandstone
Be Still
By Lily Cox-Richard
Located in New York, NY
Sewn paper collage
Category
2010s Contemporary Mixed Media
Materials
Thread, Paper
The Gateway
By Eleanor Parke Custis
Located in New York, NY
Signed (lower right): ELEANOR PARKE CUSTIS
Category
20th Century American Realist Landscape Paintings
Materials
Paper, Gouache
Playground
By Robert Vickrey
Located in New York, NY
Signed (lower right): Robert Vickrey
Category
Late 20th Century American Modern Paintings
Materials
Masonite, Tempera
Untitled [Abstraction]
By George L.K. Morris
Located in New York, NY
Gouache on paper, 18 7/8 x 14 3/4 in.
Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic]
Executed circa late 1940s
A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris
eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150).
Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a
signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in
Connecticut, studying classics and art. He continued to focus on literature and art while attending
Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working
under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only
modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a
family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró.
Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired
by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his
parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...
Category
1940s American Modern Abstract Paintings
Materials
Paper, Gouache
Winter on the River
By Randall Exon
Located in New York, NY
Signed and dated (at lower right): 2011
Category
2010s Contemporary Landscape Paintings
Materials
Oil
The Stars Rise, the Moon Bends Her Arc
By Angela Fraleigh
Located in New York, NY
Signed and dated (on verso): Angela Fraleigh 2021
Category
2010s Contemporary Figurative Paintings
Materials
Linen, Oil
Untitled (Fire Study)
By Louisa Chase
Located in New York, NY
Signed and dated (at lower right): L.C. 83; (on verso): Louisa Chase 1983
Category
Late 20th Century American Modern Paintings
Materials
Canvas, Wax, Oil
Cuban Macaw
By Elizabeth Turk
Located in New York, NY
Anodized aluminum (black)
Category
2010s Contemporary Abstract Sculptures
Materials
Metal
Brace's Emerald (Model)
By Elizabeth Turk
Located in New York, NY
Wood (Cherry, with silver leaf finish), 34 x 7 in.
Category
2010s Contemporary Abstract Sculptures
Materials
Wood
Still Life with Squash
By Amy Weiskopf
Located in New York, NY
Signed (at lower right): A. WEISKOPF
Category
Late 20th Century Contemporary Still-life Paintings
Materials
Linen, Oil
Untitled
By Louisa Chase
Located in New York, NY
Oil on canvas, 11 x 10 in.
Category
Late 20th Century American Modern Abstract Paintings
Materials
Canvas, Oil
Untitled
By Louisa Chase
Located in New York, NY
Untitled, about 2000
Oil on board, 24 x 24 in.
Category
21st Century and Contemporary American Modern Abstract Paintings
Materials
Oil
New York from Hoboken
By William Rickarby Miller
Located in New York, NY
Signed (at lower left): W.R. Miller/ 1851
Category
Mid-19th Century American Realist Landscape Paintings
Materials
Canvas, Oil
American Landscape: Houses, Gardens and Trees
By Ralph Rosenborg
Located in New York, NY
Signed (at lower right): Ralph M. Rosenborg 1939; ll: 3/15 Woodcut
Category
Mid-20th Century American Modern Abstract Prints
Materials
Woodcut
South Island Wren (Suspended)
By Elizabeth Turk
Located in New York, NY
Mahogany
Category
2010s Contemporary Abstract Sculptures
Materials
Wood
Red-browed Parrot
By Elizabeth Turk
Located in New York, NY
Anodized aluminum (green)
Category
2010s Contemporary Abstract Sculptures
Materials
Metal
Alagoas Foliage-gleaner
By Elizabeth Turk
Located in New York, NY
Anodized aluminum (black)
Category
2010s Contemporary Abstract Sculptures
Materials
Metal
Bush Wren I
By Elizabeth Turk
Located in New York, NY
Bronze
Category
2010s Contemporary Abstract Sculptures
Materials
Bronze
Still Life with Apples
By William Rickarby Miller
Located in New York, NY
Signed and dated (at lower left): W. R. Miller 1891; (at lower right): No. 10
Category
Late 19th Century American Realist Still-life Paintings
Materials
Canvas, Oil
Running Man
By Larry Kagan
Located in New York, NY
Signed and dated: L.K. 2012
Category
2010s Contemporary Abstract Sculptures
Materials
Steel
Thrown Drapery (Redux) Study 1
By David Ligare
Located in New York, NY
Signed and dated (at lower right): L; (on verso): D. Ligare / 2004
Category
Early 2000s Contemporary Still-life Paintings
Materials
Canvas, Oil
Interior of a Japanese House
By Harry Humphrey Moore
Located in New York, NY
Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8).
Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly.
In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters.
In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23).
In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”).
Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5).
During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village.
In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...
Category
Late 19th Century Interior Paintings
Materials
Oil, Wood Panel
Lookout
By Randall Exon
Located in New York, NY
Signed and dated (at lower left): Randall Exon 07
Category
21st Century and Contemporary Contemporary Landscape Paintings
Materials
Canvas, Oil
Arm
By Frantisek Kupka
Located in New York, NY
Pastel on paper
13 x 19 in. (33 x 48.2 cm.)
Signed (at lower right): Kupka
EX COLL.: private collection, St. Louis; to Howard Baer, 1972; [Gimpel-Weitzenhoffer Galleries,
New York...
Category
20th Century Figurative Drawings and Watercolors
Materials
Paper, Pastel
No. 3 -1960
By Stanley Twardowicz
Located in New York, NY
Signed (on stretcher): Stanley Twardowicz
Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hards...
Category
Late 20th Century American Modern Abstract Paintings
Materials
Enamel
#26-1983
By Stanley Twardowicz
Located in New York, NY
Signed (on stretcher): Stanley Twardowicz
Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardsc...
Category
Late 20th Century American Modern Abstract Paintings
Materials
Canvas, Acrylic
#15-1984
By Stanley Twardowicz
Located in New York, NY
Signed (on stretcher): Stanley/ Twardowicz
Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hard...
Category
Late 20th Century American Modern Abstract Paintings
Materials
Canvas, Acrylic
#15-1979
By Stanley Twardowicz
Located in New York, NY
Signed (on stretcher): Twardowicz
Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardscrabble u...
Category
Late 20th Century American Modern Abstract Paintings
Materials
Canvas, Acrylic
Lily and Bird
By Joseph Stella
Located in New York, NY
Silverpoint and colored pencil on paper, 29 x 23 in.
Signed (at lower right): Joseph Stella
Executed about 1919
EXHIBITED: Hirschl & Adler Galleries, New York, November 23, 1985–January 4, 1986, American Masterworks on Paper: Drawings, Watercolors, and Prints, pp. 6, 46 no. 47 illus. // (probably) Richard York Gallery, New York, October 5–November 17, 1990, Joseph Stella: 100 Works on Paper, no. 36
EX COLL.: [Dudensing Galleries, New York]; sale, Christie’s, New York, December 7, 1984, lot 324; [Hirschl & Adler Galleries, New York, 1984]; to private collection, 2006 until the present
An independent-minded artist who adhered to the credo “Rules don’t exist,” Joseph Stella explored a range of styles, media, and themes, willfully ignoring the “barricades erected by ... [the] self-appointed dictators” of the art establishment (Joseph Stella, “On Painting,” Broom 11 [December 1921], pp. 122–23; Joseph Stella, “Discovery of America: Autobiographical Notes,” Art News 59
[November 1960], p. 41). By doing so, he produced a diverse and highly eclectic body of work, ranging from realist figure subjects, pulsating Futurist cityscapes, and modernist religious...
Category
Early 20th Century American Modern Animal Drawings and Watercolors
Materials
Color Pencil, Paper
Portrait of the Ship Excelsior
By Joseph Lee
Located in New York, NY
Oil and India ink on canvas, 34 1/4 x 54 1/4 in.
Signed (at lower right): Joseph Lee
Painted about 1876
EX COLL.: Captain Oscar Conrad Kustel (1834–1921), ...
Category
Late 19th Century American Realist Landscape Paintings
Materials
India Ink, Oil
Fishing Camp on the Labrador Coast
By William Bradford
Located in New York, NY
In 1852, twenty-nine year old William Bradford was a failing shopkeeper in Fairhaven, Massachusetts. With a wife and child at home, Bradford, by his own admission, “spent too much time in painting to succeed” in business. Rescued from insolvency by his well-to-do in-laws, this is not the beginning of a narrative that generally leads to a happy ending. Not so with Bradford, who ultimately found international fame and fortune as a painter of arctic seascapes and dramatic marine paintings.
William Bradford, the artist, was a lineal descendant of the 17th-century Separatist leader William Bradford, a founder of the Plymouth Plantation, signer of the Mayflower Compact and Governor of the Plymouth Colony. Our Bradford born to a New Bedford ship outfitter in Fairhaven, Massachusetts By the nineteenth century, this line of Bradfords were Quakers, living on the tract purchased nearly two centuries earlier by their pilgrim ancestor. Fairhaven, across the mouth of the Acushnet River from the whaling center of New Bedford was described by a New York journalist in 1857 as “the Brooklyn of New Bedford” (Home Journal, January 3, 1857). Young Bradford displayed an early predilection for the arts, but his Quaker parents were disinclined to support this particular pursuit. After working in his father’s business and then for a dry goods merchant in New Bedford, by 1849 Bradford had set up in New Bedford as a “merchant tailor” offering outfits for “those going to California,” “seamen’s clothing,” custom-tailored “piece goods...
Category
19th Century American Realist Landscape Paintings
Materials
Canvas, Paper, Oil
Bird in Cage
Located in New York, NY
Gouache on board, 20 x 24 in.
Signed (at lower right): Atherton
Painted about 1940
RECORDED: Art News (May 11, 1940), illus. [clipping citation]
EXHIBITED: The Art Institute of Chicago, 1940, The International Watercolor Exhibition, no. 156, illus. on cover as Bird in Cage...
Category
Mid-20th Century American Modern Landscape Paintings
Materials
Tempera, Wood Panel
Many-Worlds Interpretation (H.C.H.P)
By Colin Hunt
Located in New York, NY
Looking at a painting by Colin Hunt is like watching someone pass through a hole in our consciousness. As the landscape refracts through the sitter’s absence and fills that emptiness...
Category
2010s Contemporary Portrait Paintings
Materials
Egg Tempera, Panel
Stars Splinter, Pointed and Wild
By Angela Fraleigh
Located in New York, NY
Unsigned
Category
2010s Contemporary Portrait Paintings
Materials
Linen, Oil
In an Absent Dream
By Angela Fraleigh
Located in New York, NY
Unsigned
Category
2010s Contemporary Portrait Paintings
Materials
Canvas, Charcoal, Oil
A Word For What Binds
By Angela Fraleigh
Located in New York, NY
Unsigned
Category
2010s Contemporary Portrait Paintings
Materials
Canvas, Charcoal, Oil
Splinters of a Secret Sky - Splinters
By Angela Fraleigh
Located in New York, NY
Signed (on verso): AF/2021
Category
2010s Contemporary Portrait Paintings
Materials
Canvas, Acrylic Polymer, Oil, Acrylic
Waiting
Located in New York, NY
Signed on verso
Category
2010s Contemporary Portrait Paintings
Materials
Canvas, Oil
Land of Fools
Located in New York, NY
Signed on verso
Category
2010s Contemporary Portrait Paintings
Materials
Canvas, Oil
Still Life with Etruscan Cup and White Eggplant
By Amy Weiskopf
Located in New York, NY
Signed (lower left): A. WEISKOPF
Category
2010s Contemporary Still-life Paintings
Materials
Linen, Oil
Province Lands, One
Located in New York, NY
Signed, titled, and dated (on verso): James E Stanley / Province Lands, One 2011
Category
2010s Contemporary Landscape Paintings
Materials
Canvas, Oil
Untitled
By James Guy
Located in New York, NY
Signed (at lower center): Guy
Category
Mid-20th Century Abstract Abstract Sculptures
Materials
Steel
How to Compose II
Located in New York, NY
Signed, titled, and dated (on overflap): J E Stanley / How to Compose, II 2017
Category
2010s Contemporary Landscape Paintings
Materials
Oil, Canvas
Italian Garden in Acadia
By John Moore
Located in New York, NY
Signed (at lower right): MOORE
Category
2010s Contemporary Landscape Paintings
Materials
Oil
Orchids and Lilies
By John Moore
Located in New York, NY
Signed and dated (at lower right): MOORE 21
Category
2010s Contemporary Still-life Paintings
Materials
Oil
Lilies
By John Moore
Located in New York, NY
Signed and dated (at lower right): MOORE 21
Category
2010s Contemporary Still-life Paintings
Materials
Oil
Dye House
By John Moore
Located in New York, NY
Signed and dated (at lower right): MOORE 12
Category
2010s Contemporary Interior Paintings
Materials
Oil