Ted Gilien Art

Danny McCaw's (US based) "Red Symphony" is an original, handmade oil painting with impasto brushstrokes that depicts two ambiguous human figures of white and grey sitting in an inter...

Art Sz: 15 3/4"H x 19 3/4"W Frame Sz: 25"H x 28 1/2"W Limited edition copy number 626/ 2400 Pencil signed LL by the artist Blindstamp LR: The Wildlife Legislative Fund of America Larry Hayden is a visual artist whose drawings and photographs reflect his fascination with his domestic environment and its feathered inhabitants. An ongoing series of photographs spanning nearly five years show him to be an animalier; his subject is his small flock of laying hens who share with him a picturesque 19th century Maine farm that once covered one hundred thirty acres, and whose Northern edge was the Presumpscot River. Now reduced to a bit less than one acre and surrounded by residential Portland, it is this little world that is the core subject of Larry’s work. His photographs; paintings; and drawings are in respected collections including the Portland Museum of Art; Bates College Art Museum; the Colby Museum of Art; The Farnsworth Museum; the Fine Art Collection of William and Hobart Smith Colleges, and the University of New England Art Gallery, as well as distinguished corporate, institutional, and private collections. Larry’s work has been included in many publications including Design Language, 2006, Tim McCreight, Brynmorgen Press; Abstract Art, Dean Nimmer...

"Don't Cry Long" is a self-portrait of the artist and an unusual one at that in which the artist portrays herself shedding tears. Perhaps it is an expression of some grief experienced by Ms. Woodlock, but it also admonishes her to not "Cry Long" while at the same time poking fun because of her elongated face and the one lone "long" tear tracing a pattern down her face. In addition to self-portraits, Ethelyn painted commissioned portraits. In this painting her head is cocked and her famous bangs hang down her forehead. Compare two self-portraits, “Up From Under”, and “M’Eyes" to "Don't Cry Long." The major differences are the close facial view and the brilliant blood red paint that fills the entire canvas. This painting is included in the book, "Dreams Have Wings: An Artist's Journey into Magic and Mystery" printed in the United States, 1985. She describes "Don't Cry Long" as showing how funny looking we are, if we cry too long. Ethelyn Woodlock...

Danny McCaw's (US based) "RAdiance" is an original, handmade oil painting with impasto brushstrokes that depicts an ambiguous figure of white and grey sitting in an interior of grey ...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Cubist Portrait), 1945, oil on masonite, signed and dated lower middle, 20 x 16 inches, remnant of exhibition label verso, perhaps exhibited at Murry's solo exhibition at the Los Angeles's Screen Cartoonists' Gallery, July , 1945, presented in its original frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry studied at the Detroit Academy of Art and worked as an artist for the Detroit News and Detroit Free Press. Murry traveled to the Bahamas, where he was inspired to paint modernist scenes of island life and people. By the early 1930s, Murry had relocated to Los Angeles, where he caught the attention of Synchromist painter Stanton Macdonald Wright, State Supervisor for the Federal Art Project (FAP) in Southern California. MacDonald Wright enrolled Murry into the FAP. Murry’s Gauguin-influenced painting Sun Image was exhibited together with other FAP artists at the Los Angeles County Museum of Art in 1936, and Murry was also included in the FAP exhibit at the Paris Exposition in 1937. Stendahl Galleries in Los Angeles, the Chamber of Commerce Gallery in Santa Barbara, and at the Los Angeles County Museum of Art also showed Murry’s work during the 1930s. Murry created a murals for Los Angeles Water & Power Company, the Boise, Idaho Post Office, and Glendale Junior College. In 1939, Murry's work was exhibited at the Golden Gate International Exposition and the New York World's Fair. He also was included in the All California Exhibition at the Los Angeles County Museum of art that same year. He went on to exhibit in Los Angeles at the Foundation of Western Art's Trends in Southern California Art shows in 1940 and 1941, at Raymond and Raymond Gallery in Hollywood and USC’s Elizabeth Holmes...

Colour lithograph on Japanese paper from portfolio "Elles", 1896. Published by Jean Vallery-Radot and André Sauret. Printed by Mourlot Freres, Paris 1952. Sheet size: 10.91 x 15.16 ...

Mid-Century Modern Abstracted Cubist Table Still-Life in Acrylic on Masonite Vibrant mid-century modern still life with abstracted synthetic cubist elements in warm colors, highligh...

Spring Has Sprung on the Farm - Abstracted Landscape in Oil on Masonite Abstract farm with seeds sprouting in a bold abstract expressionist painting by ...

Born in 1933, Otis Huband declared his intention to be an artist at age 6. He earned his BFA and MFA at Richmond Professional Institute of the College of William & Mary, now Virginia...

Modern Abstract Blue Rose, Vintage Abstracted Minimalist Floral by Eleanor Perry Modernist blue and white rose abstract by San Francisco, California artist Eleanor Louise Perry (Ame...

A dynamic, Mid-Century Modern horse race painting by noted Chicago artist, Rudolph Pen. Artwork size: 27" x 23"; Framed size: 27 1/2" x 23 1/2". Signed "Pen" lower right. Provenan...