"Portrait of Jane and Alfred Sully"� by Thomas Sully

RICHARD HENNESSY AMERICAN, b. 1941 "THE SUMMER OF OUR CONTENT" "Large" Oil on canvas Signed and dated 1980 on verso 60 by 72 ½ in. Provenance: From the estate of Christopher Scott, acquired from the artist. Note: Christopher Scott was a painter who was best known as curator/gadfly Henry, Geldzahler's partner. This relationship was immortalized in one of David Hockney's best portraits of 1969. EDUCATION: EASTMAN SCHOOL OF MUSIC, 1954-59 COLUMBIA COLLEGE, B.A., 1963 INSTITUTE OF FINE ARTS, NEW YORK UNIVERSITY, 1963-66 PUBLIC COLLECTIONS ALBRIGHT KNOX ART GALLERY, BUFFALO, NEW YORK AMERICAN TELEPHONE AND TELEGRAPH BROOKLYN MUSEUM, BROOKLYN, NEW YORK CARNEGIE MUSEUM, PITTSBURGH, PENNSYLVANIA CENTRO CULTURAL, MUSEO CONTEMPORANEO, MEXICO CITY COPLAND HOUSE, CORTLANDT MANOR, NEW YORK DAYTON ART INSTITUTE, DAYTON, OHIO DOW JONES HEALTH SCIENCE CENTER, UNIVERSITY OF TEXAS, SAN ANTONIO HECKSHER MUSEUM OF ART, HUNTINGTON, NEW YORK I. T. & T. ITALIAN RELIEF FUND J.P.MORGAN CHASE JACK S. BLANTON MUSEUM,UNIVERSITY OF TEXAS, AUSTIN METROPOLITAN MUSEUM OF ART, NEW YORK MOMA/P.S.1, STAIRWELL MURAL NEW YORK UNIVERSITY, NEW YORK PHILADELPHIA MUSEUM OF ART, PENNSYLVANIA PHOENIX ART MUSEUM, PHOENIX, ARIZONA READER'S DIGEST SAMUEL P. HARN MUSEUM, UNIVERSITY OF FLORIDA AT GAINESVILLE SAN FRANCISCO MUSEUM OF MODERN ART SHEPHERD SCHOOL OF MUSIC, RICE UNIVERSITY, HOUSTON SHIMIZU CONSTRUCTION, TOKYO SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK THE COMMODITIES CORPORATION, TRINITY UNIVERSITY, SAN ANTONIO, TX THE LANNAN FOUNDATION, LOS ANGELES, CALIFORNIA THE WADSWORTH ATHENEUM, HARTFORD, CONNECTICUT WESTINGHOUSE CORPORATION WHITNEY MUSEUM OF AMERICAN ART, NEW YORK AWARDS 2008 THE POLLOCK-KRASNER FOUNDATION 1988 THE POLLOCK-KRASNER FOUNDATION 1987 THE ANN AND ERLO VAN WAVEREN FOUNDATION 1983 INGRAM MERRILL FOUNDATION SOLO EXHIBITIONS 2008 CARRIE HADDAD GALLERY HUDSON, NY 1991 MARGULIES/TAPLIN GALLERY BAY HARBOR ISLANDS, FL 1989 BALL STATE UNIVERSITY MUNCIE, IN 1986 NINA FREUDENHEIM GALLERY BUFFALO 1986 JOHN GOOD GALLERY NEW YORK 1985 GETLER/PALL/SAPER GALLERY NEW YORK 1983 HAMILTON GALLERY NEW YORK 1982 HAMILTON GALLERY NEW YORK 1981 IVORY KIMPTON GALLERY SAN FRANCISCO 1980 HAMILTON GALLERY NEW YORK 1978 ROBERT MILLER GALLERY NEW YORK 1976 OLIVER BERNIER, INC. NEW YORK 1976 GREY ART GALLERY, NYU NEW YORK RETROSPECTIVE EXHIBITION 1976 OLIVIER BERNIER, INC. NEW YORK 1970 TIBOR DE NAGY GALLERY NEW YORK 1969 OLIVIER BERNIER, INC. NEW YORK GROUP EXHIBITIONS 2007 VILLE DE REIMS GLOBAL BOOKS: LES LIVRES D'ARTISTE DE GERVAIS JASSAUD 2006 WEBER FINE ART GREENWICH, CT MY FRIENDS-THEIR VISION 2006 SNUG HARBOR CULTURAL CENTER STATEN ISLAND, NY ABSTRACT LANDSCAPES 2000 THE HECKSCHER MUSEUM OF ART HUNTINGTON, NY AARON COPLAND’S AMERICA 1997 ESPACE CULTUREL DE TINQUEUX FRANCE LA TENTATION DU LIVRE 1992 COLUMBIA UNIVERSITY NEW YORK THE ARTIST, THE WRITER AND THE BOOK DESIGN (ARTISTS'S BOOKS FROM COLLECTIF GÉNÉRATION) 1992 MARGULIES/TAPLIN GALLERY MIAMI GROUP SHOW 1991 NINA FREUDENHEIM GALLERY BUFFALO RICHARD HENNESSY AND JEFFREY WASSERMAN 1991 ANDRE EMMERICH GALLERY NEW YORK ABSTRACT PAINTING: THE 90'S 1991 FRENCH CULTURAL SERVICES NEW YORK LIVRES D'ARTISTES OF COLLECTIF GÉNÉRATION 1991 SAMUEL P. HARN MUSEUM, UNIVERSITY OF FLORIDA AT GAINESVILLE GAINESVILLE, FL CONTEMPORARY ART 1990 MARTA CERVERA GALLERY NEW YORK THE PAINTER AND HIS OCCASION, CURATED BY ALAN JONES...

Frank Usher De Voll
American, 1873-1941

“Madison Square Tower and Park”

Oil on canvas

35...

Daniel Morper American, b. 1944 Lower Manhattan, St. Pauls, Woolworth Building & City Hall, NY Oil on canvas, signed on recto at lower right 36 in. by 50 in. W/frame 38 in. by 52 in. Landscape painter Daniel Morper is known for his naturalistic, light-saturated images of such diverse scenes as views upward into the skies above Manhattan, scenic panoramas of the badlands and canyons of the American West, and nostalgic paintings of rural landscapes and townscapes. In 2008 LewAllen Contemporary presented the first retrospective exhibition covering the full scope of Morper's career, from his Manhattan cityscapes of the 1970s, up to and including his portraits of the old Santa Fe Railyard. "Morper rewards looking." So says well-known art critic and historian Peter Frank in the catalogue for LewAllen Contemporary's retrospective exhibition. Frank adds: "Morper has a knack for finding the spectacular in the mundane…emphasizing - but not exaggerating - the skew of a vantage, the force and weight of a horizon, the surprise and poignancy of an object silhouetted against a sky." By combining a pre-modernist regard for the meaning of nature with a modernist's search for elemental vision and post-modern exactitude, Morper has, in Peter Frank's view, "helped to bring about a veritable renaissance in American landscape painting." Another critic has noted, "Morper's style borders the edge of photo-realism but is filled with metaphor: stunning Southwest light...

Oil on canvas
Signed on back of canvas
64 by 51in. w/frame 65 by 52in.

Daniel Argimon painted for the French Government from 1965-1966 and for the Inte...

Copy of a portrait painting of Thomas Jefferson in fur trimmed coat over red jacket

Alfred Schmidt (1876 ????- 1956) – Portrait of the concert singer Caroline Naase Oil on canvas circa 1920 60 x 47 cm – without frame 78 x 65 cm – frame included Signed center right: Alf Schmidt. Alfred Schmidt 1876 Dresden – 1956 Graefelfing An impressionist at the Chiemsee The painterly mood content, which the artist Alfred Schmidt captured in countless variations on the canvas, occupies such an eminent and substantial position that it is inextricably linked to his oeuvre. “[…] Female creatures walking in the shimmering air […]”(1), who find their pleasure in the warm, golden tones of summer and the grey-silver shimmering water surface of the lake, correspond to the characteristic motif of the native of Dresden. One is inevitably reminded of the impressionist Christian Landenberger (1862-1927), to whom Schmidt was a friend and who painted canvas on canvas at Lake Ammersee, but “[…] softer, sweeter and more narrative, because he [Schmidt] often expands on that Nature and the human body come together to create a small, genre-like idyll”(2). His art is a commitment to plein air painting. He openly displays his impressionistic impetus. The originally anecdotal aspects of his painting, which he had experienced at the Karlsruhe Academy from 1886 to 1893, he gradually put aside both through the one-year study visit to Paris and Brittany in 1889 and through the influence of Landenberger and Swabian landscape painting. From this point onwards, artistic development is hardly noticeable. He had found his individual style and stuck to it. At the end of 1899, Schmidt came to the Swabian capital from Karlsruhe in the entourage of Leopold Graf von Kalckreuth (1855-1922), who was appointed to the Stuttgart Academy with Carlos Grethe (1864-1913) and Robert Poetzelberger...

Thomas Willis (American, 1850-1925) A yacht portrait of The Elmar out of Sheepshead Bay, circa 1910s. Oil on canvas with silk and threadwork. The owner listed as Gus Rau was kn...

Brilliantly conceived and executed by Trew Hocker, an important muralist who was strongly influenced by Thomas Hart Benton and Grant Wood, this portrait of a young African American m...