Woolworth An Original Painting by Lynn Curlee

Empire. An original painting by Lynn Curlee. This painting was used as an illustration in skyscraper, an award winning book for children by author/illustrator Lynn Curlee. It i...

Owl Original painting by Lynn Curlee, professional artist and author/illustrator of award winning picture books for children. Acrylic on stretched canvas. The canvas is stretched a...

Butterflies An original painting by Lynn Curlee, fine artist, and author/illustrator of award winning books for older children. The painting is acrylic on canvas. It is 48 x 48 x 1...

FLAMENCO Original painting by Lynn Curlee, professional artist and author/illustrator of award winning picture books for children. Acrylic on stretch canvas. The canvas is stretche...

Locomotive Original painting by Lynn Curlee This painting was used as an illustration in trains, a picture book for older kids published by Simon & Schuster in 2009. This was the c...

LIAISONS I Original painting by Lynn Curlee One of a series of eight paintings based upon 17th century French engravings. Each paint...

Painting by An Buskens, Belgium, 1965. Dimensions without the frame of the painting: Height 59 cm. Width 50 cm.

A mixed media on board from the 1960's by American Artist Agnes Sims "Agi" Sims is known for paintings and sculptures inspired by prehistoric rock art of New Mexico. Born in Devon, Pennsylvania, Sims attended the Pennsylvania Academy of Fine Art and the Philadelphia School of Design for Women. She managed a traveling marionette theater before establishing herself as a textile and needlework designer in Philadelphia. After a visit to New Mexico in 1938, Sims returned to Philadelphia, packed her belongings, and returned to make Santa Fe her permanent home. She opened a classical record store in an eighteenth-century farmhouse on Canyon Road, but the shortage of shellac during the War put her out of business. Sims then became a building contractor (skills taught her by her contractor father), purchasing and renovating historic houses around Santa Fe. She later bought a nineteenth-century house with acreage on Canyon Road and built a compound including a house for herself and one for her long-time partner, Mary Louise Aswell, the fiction editor at Harper's Bazaar who had brought writers such as Eurdora Welty and Truman Capote to the public's attention. Shortly after her arrival, a friend introduced Sims to the Galisteo Basin south of Santa Fe which was dotted with the ruins of prehistoric Indian Pueblos, and home to tens of thousands of ancient petroglyphs. The rock art captivated Sims and became her primary inspiration for the rest of her career. Over the next decade she recorded 3000 petroglyphs in drawings and thousands more in photographs. In 1949 she received a grant from the American Philosophical Society to further her research, and in 1950 she published a portfolio of selected rock at drawings in her monograph, San Cristobal Petroglyphs. Most of Sims paintings and sculptures were inspired by petroglyphs, but unlike her documentary drawings they never were literal copies. Rather she adopted and adapted the two-dimensional representations of people and animal into an art that fit comfortably into the larger world of mid-century modernism. She used simple, idiosyncratic figures to create her own symbolism, the original meanings of the ancient art being mostly lost to the past. Sims worked in a wide array of media. Her oil paintings on canvas often were mixed with an earthen medium which gave them a rough, stone-like texture. She developed a batik-like resist process for painting on cloth, and used it to produce large, un-stretched wall hangings. She used this technique to produce an architectural frieze 3.5 feet high and almost 150 feet long which still adorns the Century Bank lobby in downtown Santa Fe. Sims was a prolific sculptor, working in wood, stone, bronze, terracotta, fiberglass, and polyester. Sims was given one-woman shows at the Brooklyn Museum, U.S. Embassy in London, Folger Library, Colorado Springs Fine Art Center, Santa Barbara Museum of Art, McNay Art Institute in San Antonio, Texas, and the Museum of Fine Art in Santa Fe. She also showed her work at the gallery she owned on Canyon Road. At times, she rented studio space in her gallery building to local artisans, hoping to spark a revival of early New Mexico...

Crashing waves: a painting by Virginia Lynn, oil on canvas, 20th century. Expert brushwork from this American artist shows the tide crashing upon basalt ...

Vibrant original artist signed painting by Rose. Mid century modern wooden frame from the period. Medium is oil on canvas. Colors are vibrant. Titled "An Eagle When She Flies". Great...

Vintage Italian Wall Painting of an Artists Studio, Signed and dated, J. Annus Rome 1960. The painting depicts an artists studio with an easel in the evening set in Rome. Painting i...

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...