Missouri - Paintings

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...

William Quinn (American b. 1929) "The Boneheaded Cat Spies the Red Mouse Hole" Oil on Canvas approx 45 x 55 inches An artist who synthesized the element...

Roy Andersen (b. 1930) "Old High Country Woman" Oil on Canvas 12 x 16 inches 21.5 x 25 inches framed Known as a western painter, Roy Andersen did paintings of Crow, Cheyenne, and Apache Indians. He began his career living in Chicago and New York and working as an illustrator. He did numerous covers for Time Magazine including portraits of Albert Einstein and Prince Fahd. He also did illustrations for National Geographic magazine, and did a stamp series on Dogs and American Horses, and in 1984 and 1985, won Stamp of the Year Award. As a muralist, he has filled commissions for the National Park Service, the Royal Saudi Naval Headquarters, and the E.E. Fogelson Vistor Center at Pecos National Monument in New Mexico. To pursue his talent for painting, Roy Anderson went West, living in Arizona and settling in Cave Creek. In 1990, he was voted official artist for Scottsdale's Parada del Sol, the "world's largest" horse-drawn parade commemorating the Old West. Andersen grew up on an apple farm in New Hampshire and learned about Indian customs from his many hours spent at the Chicago Museum of Natural History. He is meticulous about being historically accurate in his paintings. Of him it was written: "There are no 'happy accidents' in an Andersen painting. He has a knowledge of his subject that is attained only through extensive research. You will not find an Apache medicine bag...

Ernest Tino Trova "Figurative Abstract" 1965 Oil on Canvas approx 17 x 12.5 inches Signed and Dated Lower Right Known for his Falling Man series in abstract figural sculpture, he cr...

Wilfrid Constant Beauquesne (1847 - 1913) "Franco-Prussian Battle Scene" c. 1900 Oil on Canvas Signed Lower Right Site Size: approx 22 x 28 inches Framed Size: approx 35 x 40 inches French artistry was deeply influenced by three wars during the 19th century and, accordingly, the artistic imagination was not lost upon the public. "Patriotism comes to the aid of battle painters," a contemporary remarked, "presenting them with a sympathetic public already fascinated by the subject." After the brief Franco-Prussian conflict of 1870, French painters were particularly anxious to retrieve national pride by presenting works which reflected their own national heroism versus enemy brutality. Known for his scenic depictions of this war, Wilfried Beauquesne, a native of Rennes, France, was undoubtedly influenced in his selection of subjects by his instructors at the Ecole des Beaux Arts in Paris. Vernet-Lecomte and Horace Vernet were both well known military artists. Vernet had actually lived and worked during the period of Napoleonic conflicts - being awarded the Legion of Honor by the Emperor's own hand. Beauquesne exhibited regularly at the annual Paris Salon between 1887 and 1899, as well as throughout Europe. In 1890, illustrating the fortunes of life, The Art Amateur ran the following item in its "Gossip Column:" "A queer story comes to me from Paris. A commission agent made a bargain with a poor painter, living out at Saint-Maude, to paint military subjects for him, at two francs an hour. The agent changed the signature to that of Gaubault, and sold the pictures to various dealers. On day, by chance, the poor painter came to Paris, went to the Salon, and was astonished to see one of his pictures there. He look at the catalogue, and found the name of the artist and the address of the dealer where he was to be found, The poor artist went to the dealer and introduced himself saying, "I am Gaubault." "Most happy to make your acquaintance," replied the dealer. "Your pictures sell very well, and I have been wanting to see you for the last six years." "But my name is not Gaubault, it is Beauquesne." Explanations followed. The dishonest commission agent disappeared; and Beauquesne restored his real signature on the pictures, which had made his pseudonym almost famous...

Laszlo Neogrady (1896-1962) "Tending the Flock" c. 1930 Oil on Canvas approx 24 x 30 approx 30 x 36 framed Laszlo Neogrady was born in Budapest, Hungary in 1896. He was the son of...

Robert Robin Fenson (Active 1889-1914, British) "Sundown" Oil on Canvas 16 x 23.5 (site) 19 x 27 (framed)

James Edwin Meadows (British 1828-1888) "The Haywagon" 1866 Oil on Canvas Site: 24 x 40 inches Framed: 30 x 46 inches approx. A London landscape painter, James Edwin Meadows was the...

George W. Drew (1875-1968) "Springtime at the Farm" Oil on Canvas 24 x 36 inches (site) 31.5 x 43.25 (framed) George W. Drew was born 21 December 1875 in Massachusetts. He was a member of the Independent Artists Association. He exhibited at the National Academy of Design and they have him recorded as living at 745 Columbus Ave., N.Y. in the year 1898. He also exhibited at the Allied Artists of America, which was established in 1914, Salons of America, N.Y. State Fair, Newark State Fair, Newark Museum and New York Museum of Science & Industry. Although there is little known about the personal life of George W. Drew, his paintings appear on the art market quite often. It is obvious that his work has always been well received because of the numerous exhibitions he has participated in. He is known for his rustic luminous depictions of the Nineteenth Century American Landscape. Like many of the Hudson River Painters...

Joseph Orr (20th) "Summer Rose" Acrylic on Canvas 12 x 24 inches approx 16 x 28 inches framed Joseph Orr, from Missouri, has been painting professionally ...

Joseph Orr, from Missouri, has been painting professionally since 1972. He paints much of his work on location (plein air) and his paintings depict the land...

Joseph Orr (20th C.) "Winter's Afternoon" Acrylic on Canvas 24 x 30 inches 28 x 34 inches framed Joseph Orr, from Missouri, has been painting professionall...

Joseph Orr (20th C.) "The Long Road Home" Acrylic on Canvas 16 x 20 inches 20 x 24 inches framed Joseph Orr, from Missouri, has been painting professionall...

Joseph Orr "Winter Wood" Acrylic on Canvas 18 x 24 28 x 34 framed Joseph Orr, from Missouri, has been painting professionally since 1972. He paints much o...

Billyo O'Donnell (American, 20th C.) "The Grand Canyon" Oil on Panel 22 x 29 inches 32 x 38 inches framed “For more than two decades I’ve been intrigued by the way a painting’s surf...

Hendrikji Kuehne and Beat Klein Title: Painting with Rock Formations Medium: Collaged from Art Postcards Size: 19.75” x 27.5” Year: 2012 Selected Exhi...

Hendrikji Kuehne and Beat Klein Title: Painting some Mountains Medium: Collaged from Art Postcards Size: 19.75” x 27.5” Year: 2012 Selected Exhibitions: 2018 Graf & Schelble Galerie, Basel "abBild" Sherry Leedy Contemporary Arts, Kansas City/USA: Places to remember Musée jurassien des Arts, Moutier: Une heure dans le Jura (Sticker Book Project) 2017 The Garden of the Zodiac Gallery Omaha/ NE USA "Where do you wanna go from here?" (solo show) Deiglan Art Gallery, Gilfélagið, Akureyri: Temporary Environment (solo presentation) Kunstmuseum Thurgau, Karthause Ittingen, Warth: Menschenbilder (group show) 2016 2016 Graf & Schelble Galerie, Basel "Schauplätze" (solo show) Helvetia Art Foyer, Basel "Assemblage Bricolage Collage" (group show) Kunstmuseum Thurgau, Kartause Ittingen, Warth: "Im Rausch – Zwischen Höhenflug und Absturz" (group show) ZAGREUS PROJEKT, Koch/Kunst/Galerie, Berlin: FOOD raDESIGN-2016, überbeitet und angewandt (installation) 2015 Dr. M.T. Geoffrey Yeh Art Gallery, St. John’s University, New York: Vices Peculiar To These Eclectics: Contemporary Collage (group show) Pavel Zoubok...

Hendrikji Kuehne and Beat Klein Title: Painting People in the Sun Medium: Collaged from Art Postcards Size: 19.75” x 27.5” Year: 2012 Selected Exhibitions: 2018 Graf & Schelble Galerie, Basel "abBild" Sherry Leedy Contemporary Arts, Kansas City/USA: Places to remember Musée jurassien des Arts, Moutier: Une heure dans le Jura (Sticker Book Project) 2017 The Garden of the Zodiac Gallery Omaha/ NE USA "Where do you wanna go from here?" (solo show) Deiglan Art Gallery, Gilfélagið, Akureyri: Temporary Environment (solo presentation) Kunstmuseum Thurgau, Karthause Ittingen, Warth: Menschenbilder (group show) 2016 2016 Graf & Schelble Galerie, Basel "Schauplätze" (solo show) Helvetia Art Foyer, Basel "Assemblage Bricolage Collage" (group show) Kunstmuseum Thurgau, Kartause Ittingen, Warth: "Im Rausch – Zwischen Höhenflug und Absturz" (group show) ZAGREUS PROJEKT, Koch/Kunst/Galerie, Berlin: FOOD raDESIGN-2016, überbeitet und angewandt (installation) 2015 Dr. M.T. Geoffrey Yeh Art Gallery, St. John’s University, New York: Vices Peculiar To These Eclectics: Contemporary Collage (group show) Pavel Zoubok...

Hendrikji Kuehne and Beat Klein Title: Painting a Vanishing Point Medium: Collaged from Art Postcards Size: 19.75” x 27.5 Year: 2009 Selected Exhibitions: 2018 Graf & Schelble Galerie, Basel "abBild" Sherry Leedy Contemporary Arts, Kansas City/USA: Places to remember Musée jurassien des Arts, Moutier: Une heure dans le Jura (Sticker Book Project) 2017 The Garden of the Zodiac Gallery Omaha/ NE USA "Where do you wanna go from here?" (solo show) Deiglan Art Gallery, Gilfélagið, Akureyri: Temporary Environment (solo presentation) Kunstmuseum Thurgau, Karthause Ittingen, Warth: Menschenbilder (group show) 2016 2016 Graf & Schelble Galerie, Basel "Schauplätze" (solo show) Helvetia Art Foyer, Basel "Assemblage Bricolage Collage" (group show) Kunstmuseum Thurgau, Kartause Ittingen, Warth: "Im Rausch – Zwischen Höhenflug und Absturz" (group show) ZAGREUS PROJEKT, Koch/Kunst/Galerie, Berlin: FOOD raDESIGN-2016, überbeitet und angewandt (installation) 2015 Dr. M.T. Geoffrey Yeh Art Gallery, St. John’s University, New York: Vices Peculiar To These Eclectics: Contemporary Collage (group show) Pavel Zoubok...

Ferdinand V.L. Roybet (1840-1920) "The Cellist" c. 1880s Oil on Panel Site: 20 x 14 inches Framed Size: 28 x 14 inches Ferdinand Roybet is considere...

Hans Amis (AKA An He) "Morning Reflection" Oil on Canvas 30 x 40 inches, site 38 x 48 inches framed An He was born in Guangzhou, China into an artistic family. He was drawn to the...

James Fairman "Sunset" c. 1880 Oil on Canvas Signed Lower Left Site: 32.5 x 29.5 inches Framed: 46 x 42 inches James Fairman worked as a landscape painter, critic, lecturer, musicia...

Paul Cornoyer “Central Park Autumn” c. 1910 Oil on Canvas Framed Size: approx 29 x 35 inches Canvas Size: approx 22 x 26.5 inches Provenance: The Artist to Private Collection, St. Louis thence by Descent Conservation report: Excellent condition. On original canvas, not relined. No in-painting. Paul Cornoyer was born in 1864 in St. Louis, Missouri. He studied there at the School of Fine Arts in 1881. His first works were in a Barbizon mode, and his first exhibit was in 1887. In 1889, he went to Paris for further training, studying at the Academie Julien, and returned to St. Louis in 1894. By the early 1890s, his work was more lyrical and Tonal, and he applied this style to subjects such as cityscapes and landscapes. In 1894, he painted a mural depicting the birth of St. Louis for the Planters Hotel in that city. His activities during the next six years were not particularly profitable, however, and the whereabouts of his St. Louis paintings are scarcely known. One exception is the triptych, A View of Saint Louis, with its strong urban realism. It shows the Eads Bridge...

Paul E. Harney, Jr. "Feeding Time" 1909 Oil on Wood Panel Signed and Dated Panel Size: approx 8 x 12 inches Framed Size: approx. 16 x 19 inches Paul Harney (1850-1915) Born in New ...

Edmund Adler (Rode) "Blowing Bubbles" Oil on Canvas 22 x 27 inches 32 x 37 inches framed Signed Lower Right Edmund Adler (Austrian) 1876-1965 Kno...

Frank Hyde (British 1849-1937) "A Conundrum in the Kitchen" c. 1900 Oil on Canvas Signed Lower Left Image: 37.5 x 57.5 inches Framed: 44 x 64.5 inches From the Maidstone Museum, UK: Hyde was born in Surrey in 1849 and spent a large amount of time in London during his youth. His father had been in the army but retired to live the life of a gentleman upon inheriting the family seat, Hyde End Manor in Berkshire. Hyde, however, would later inherit and sell the Manor. As a young man, Hyde trained as an artist at the Royal Academy, London, and his subsequent career revealed striking artistic versatility. His subjects varied from the portrayal of real, dramatic events to comic characters commissioned by the card manufacturer Raphael Tuck. Starting out as a 1st Lieutenant in the Royal Engineers, Hyde moved on to begin his career as a war artist during the Franco-Prussian war of 1870-71, producing drawings for ‘The Graphic’, an illustrated weekly publication. Hyde married Constance Mary Louise Felgate in 1876, but she died less than a year later. While he travelled extensively throughout his life after Constance’s, death Hyde purchased a villa in Capri where he met Rosina Ferrara, whom he used as a model, and John Singer Sargent, with whom he shared a studio. Hyde is perhaps best known for his paintings of Capri...

This is a beautiful impressionist still life by the great Russian artist, Nicolai Cikovsky. Canvas Size: 20 x 30 inches Framed Size: approx 24.5 x 34.5 Signed Lower Right Landscape and figure painter Nicolai S. Cikovsky, 1894-1984, was born in Russia, where he studied at the Vilna Art School, 1910-1914; the Penza Royal Art School, 1914-1918; and Moscow High Tech Art...

By the great California Impressionist, Samuel Hyde Harris. "Along the River" c. 1930s Oil on Board Signed Lower Left Image Size: 12 x 16 inches Framed...

By the great California Impressionist, Sam Hyde Harris. Image Size: 12 x 16 inches Framed Size: 14.25 x 18 inches Signed and Titled Verso At 14 years...

By the great California Impressionist, Samuel Hyde Harris. "Above the Beach" c. 1940s Oil on Board 12 x 16 (image) 18 3/4 x 23 1/4 (framed Signed Titled Verso At 14 years of age Sa...

By the great California Impressionist, Samuel Hyde Harris. "Lone Pine (Cottonwoods)" c. 1940s Oil on Board 16 x 20 (image) 23 x 27 (framed) At 14 years of age Sam Hyde Harris was already a successful commercial artist. A 1903 letter of recommendation from Andre & Sleigh, stated that, "We have the pleasure in stating that Samuel Harris (aged 14 ½ years) has given every satisfaction during the 8 or 9 months he has been engaged in our Artists Department." After moving to California with his family Harris got a job as painter of signs, billboards and hand-lettered show cards in 1906. He developed a reputation for doing excellent commercial work and opened his own commercial art studio by 1914. His commercial art business received a boost in 1920 when he was hired by the Atchison, Topeka, and Santa Fe Railway Company to work on their poster advertising. He was later hired to do artwork Southern Pacific Railways as well. He began studying painting with Hanson Puthuff in 1906, and continued studying throughout much of his life. As early as 1920 he was exhibiting with the California Art Club. He continued exhibiting his paintings for the next fifty plus years including with the Painters and Sculptors of Southern California, the Pacific Advertising Club Association (1929), the San Gabriel Artists Guild, the Laguna Beach Art Association and many other venues. He won countless awards in hundreds of exhibitions throughout Southern and Northern California. Sam Hyde Harris was "Highly recognizable because of his six-foot-three stature and cigar." He "was known for his jovial personality and his love for his adopted California and her landscape." He preferred painting en plein air to the studio. He loved the outdoors. Harris's paintings employ a progressive composition, pushing the viewers eye to an unexpected place. He taught art classes at the Chouinard School of Art (1935) and for many Clubs and Groups. He met and married Marion Dodge in 1945. They moved to Alhambra in 1946. He bought Jack Wilkinson Smith's "Artists' Alley" studio on Champion Place in 1950. He loved looking at the San Gabriel Mountains from his Champion Place studio. Biography submitted by Maurine St. Gaudens, Administrator, Marion Dodge Harris Estate: Sources: Maurine St. Gaudens, Marian Yoshiki-Kovinick, Gary Lang...

Artist: Bai Ming Title: "Untitled" Series - Portfolio with 9 Paintings from 2016 Medium: Ink on handmade paper 6 Paintings: Size: 25" x 39" 3 Paintings: Size: 3...

"Les Usines En Banlieue" 1926 Gouache 31 x 40cm/approx. 12.5 x 16.75 inches Signed and Dated Lower Right Catalogue Raisonne: Petredies, Plate AG166, Page 190-191

Canvas Size: approx 32 x 39 inches Framed Size: approx. 37 x 45 inches Nicola Simbari is a painter of semi-abstract impressionist works. He is a colorist who favors brilliant tones...

Title: Blumenstilleben No. 401 Year: 2009 Medium: Oil on Canvas Size: 100 x 70 cm (39 3/8 x 27 1/2 inches)

“Reason Has Limits” Oil on Wood tiles glued to panel Noremac has been following rock bands in America and Europe for the past several years, photographing young music fans at rock c...