Ohio - Paintings

Paul Riba (American, 1912-1977) Bighorn Sheep Oil on paper Signed lower right 25 x 30.5 inches 30.5 x 36 inches, framed Paul Riba was a painter of Magic Realism. He explored the un...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Hats, 2000 Oil on canvas Signed and dated lower right 48 x 54 inches Joseph O'Sickey, ...

Richard Andres (American, 1927-2013) Garden, 1972 acrylic on canvas signed, dated and titled verso 59.5 x 50 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Raymond Nott (American, 1888-1948) Fog at Sunset Pastel on paper Signed lower left 18.5 x 23.5 inches 25 x 30 inches, framed Raymond Nott was an American pastelist and painter, very...

Marie Martelli-Chautard (French, 1884-1982) Afternoon in the Park Oil on panel Signed lower right 47 x 31 inches 52 x 36.5 inches, framed

Bunnies on Black Diamond Dust

Louis Bosa (American, 1905-1981) Skinny Dippers Oil on board Signed lower right 15.5 x 20 inches 21.25 x 25.5 inches, framed Born in Codroipo, a small village only a few miles from ...

Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom painted memorable still lifes...

Behind the Curve 45 X 45 Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom pai...

Paul Riba (American, 1912-1977) Walrus Oil on paper Signed lower right 29.25 x 24.5 inches 34.75 x 30 inches, framed Paul Riba was a painter of Magic Realism. He explored the unrea...

Bunnies Blue

White Blue Outline Bunny, Blue Diamond Dust

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Industrial Cityscape Oil on paper Signed lower left 13.75 x 16.5 inches Joseph O'Sicke...

Black Outline BUNNY Pink

Six Masks 69 X 64 Mixed media The masks attached to the canvas are made of plastic and create an inquisative dimension. Painters who have tackled the genre of Still Life are awe ins...

Multicolor outline Bunny, Multicolor Ombre

George Gustav Adomeit (American, 1879-1967) Coastal Scene Oil on canvas Signed lower left 19 x 23 inches 21.5 x 25.5 inches, framed A major painter of American scene subjects, Georg...

Clarence Holbrook Carter (American, 1904-2000) Medieval Heads, 1966 Acrylic on scintilla Signed and dated upper right 23.5 x 30 inches Clarence Holbrook...

Black Outline / White Butterflies, Metallic Gold, Light Pink Scored

Ferdinand Burgdorff (American, 1881-1975) Winter Water, c. 1930 Oil on masonite Signed lower left, titled verso 40 x 46 inches 43 x 49.25 inches, framed Written Verso: Along the Pac...

Jersey Shore III Casein on Masonite, 1967 Signed lower right (see photo) Initialed, dated and titled verso Provenance: Estate of the artist Virginia Dehn (the artist's widow) Dehn Quests Created on location on the Jersey Shore. The Jersey Shore was the main playground for thousand to escape the summer heat of New York. This small painting shows Dehn's mastery of patterning color to depict movement and recreation. Part of a suite of paintings done on this theme. Within a year of it's creation, Dehn dies from a heart attack. Casein on Masonite Condition: Excellent Image: 6 x 11" Frame: 9 3/8 x 14 1/2" Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Black Outline, White Butterflies, Gold Scored

Untitled (Abstraction) Mixed media on paper, 1980 Signed and dated 1980 lower right (see photo) Condition: Excellent, unframed Sheet size: 31 1/2 x 47 1/2 inches Provenance: Jan Cowl...

Clarence Holbrook Carter (American, 1904-2000) Air Chamber, 1965 Collage, graphite and gouache on paper Signed and dated upper left 30 x 22 inches Provenance: Descended through the family. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Multiples Bunnies on Light Diamond Dust

Green Birds on Branches / Yellow Scored

Amazon Parrot Birds on Orange with Scoring

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Meditation on African Sculpture, 1957 Oil on found wood panel Signed and dated lower left 20 x 15 inches Charles Elmer Harris...

Richard Andres American, 1927-2013 Untitled, c. 1980 acrylic and ink on paper mounted on canvas 30 x 34 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of th...

Theo Wilhelm Wolvecamp (Dutch, 1925 - 1992) Untitled Oil on canvas Signed and numbered 21 verso 15.75 x 19.75 inches Theo Wilhelm Wolvecamp was a Dutch artist and member of the COBRA group...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) At the Stable, 2000 Oil on canvas Signed and dated lower right 29 x 36 inches Joseph ...

Viktor Schreckengost (American, 1906-2008) Mayan Watercolor heightened with gouache over pencil on paper Signed lower right 39 x 29 inches 45.5 x 35.5 inches, framed Registered with The Viktor Schreckengost foundation, stock no. 6891 The son of a commercial potter in Sebring, Ohio, Viktor Schreckengost learned the craft of sculpting in clay from his father. In the mid-1920s, he enrolled at the Cleveland School of Art (now the Cleveland Institute of Art, or CIA) to study cartoon making, but after seeing an exhibition at the Cleveland Museum of Art he changed his focus to ceramics. Upon graduation in 1929, he studied ceramics in Vienna, Austria, where he began to build a reputation, not only for his art, but also as a jazz saxophonist. A year later, at the age of 25, he became the youngest faculty member at the CIA. In 1931, Schreckengost won the first of several awards for excellence in ceramics at the Cleveland Museum of Art, and his works were shown at the Metropolitan Museum of Art, the Art Institute of Chicago, the Panama-Pacific Exposition in San Francisco, and elsewhere. By the mid-1930s, Schreckengost had begun to pursue his interest in industrial design. For American Limoges...

Louis Bosa (American, 1905–1981) Two Wagons, Bucks County, PA, 1934 Oil on canvas Signed and dated lower right 20 x 24 inches 30 x 34 inches, framed Born in Codroipo, a small villag...

Mary Spain (American, 1934-1983) The Happy Couple Oil on canvas Signed middle right, signed and titled verso 22 x 26 inches Set in a realm of fantasy, Mary Spain’s work exhibits oddly distorted figures in a child-like manner with an underlying sense of absurdity. Through her toylike and primitive style, Spain created surrealistic dramas that puzzle and entrance the viewer. Born in Raleigh, North Carolina, Mary Spain studied art at Syracuse University and moved to Ohio in the 1960s to teach art at Chagrin Falls...

Clarence Holbrook Carter (American, 1904–2000) Over and Above: No. 6, 1963 Oil, sand & fish bones on canvas Signed and dated upper left 53 x 31 inches Clarence Holbrook Carter achie...

Torn Layered Papers Collage

Richard Andres American, 1927-2013 Untitled, c. 1980 acrylic and ink on paper mounted on canvas 12 x 10 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of th...

Clarence Holbrook Carter (American, 1904-2000) Torre di Tiberio, 1951 Oil on canvas Signed and dated lower left 21 x 18 inches 28.5 x 26.5 inches, framed Clarence Holbrook Carter ac...

Carl Frederick Gaertner (American, 1898-1952) Flower Garden, Cape Cod, c. 1940s Gouache on illustration board 17.5 x 29 inches 27 x 39 inches, as framed Carl Gaertner was one of the greatest painters to emerge from the Cleveland School...

Clarence Holbrook Carter (American, 1904-2000) Eye of the Desert, 1965 Collage, graphite and gouache on paper Signed and dated lower right 16 x 12 inches 25 x 21 inches, framed A mid-century figural abstract painting. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Green Birds / Blue

Barry McCuan (American, b. 1945) Tournesol Portrait Oil on canvas mounted on panel Signed lower right, signed, and titled verso 10.25 x 8.25 inches 13 x 11 inches, as framed Barry ...

Clarence Holbrook Carter (American, 1904-2000) Torso No. 3, 1967 Acrylic on paper Signed and dated lower right 13 x 9 inches 21 x 17 inches A mid-century figural abstract painting. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Julian Stanczak (American, 1928-2017) Double Focus II, 1963 acrylic on canvas signed and dated verso 33 x 40 inches Julian Stanczak (American, b. November 5, 1928) was an American ...

Richard Andres (American, 1927-2013) Blue Wall, c. 1959 oil on canvas signed and titled verso 42 x 60 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Gold Abstract Art, Gold Leaf Painting, Modern Art-The Space Between Pair ABOUT THIS PIECE: “The Space Between Pair” is a piece of letter art inspired by graffiti by Addison Jones featuring her unique text previously featured in her portrait art collection. Addison previously utilized text to create texture and depth in her portraits. After realizing the impact of her text, she decided to feature them singularly in a new collection titled ALL CAPS. This painting is all done using gold leaf and hand etching into it. “I am someone that needs structure to create. The fundamental structure of the paintings have always started with a portrait. Next, I would add text to created depth. through the response of my clients, I started noticing how impactful the text was on my pieces. This evolved into this graphic, raw, style of art. When thinking about the material I wanted something modern and organic to create a nice juxtaposition.” D I M E N S I O N S: H 36 in x W 24 in x D 1 in F R A M I N G : We offer a full framing service at an additional cost. Framing options: 1” / 1.5” black / white floating / not floating Custom framing options available for all sizes with increased price and lead time. S H I P P I N G: Unframed pieces will ship in 3-5 business days. Framed pieces have a 5-6 week lead time. ARTIST BIO : Addison Jones is a world class photographer and mixed media artist based out of the Midwest. Jones uses her street art and mixed media style to portray models from her own modern portrait photography. The result culminates in moody, sensual, and contemplative mixed media art focusing on the humanity of the subject. Each of her pieces are original works. Addison is known for layering her own photographs into complex street art and using the written word as a subtle texture feature. She utilizes silver and gold leaf, acrylics, and custom paints, including color changing, to add layers upon layers as she goes. In the end culminating in a piece that is viewed as a complex whole. She begins each piece with a photograph from her own portfolio, and then free flows through each element, drawing inspiration as she works. She often says that her style often leads to mistakes, that later become some of the best parts of the piece. She was once quoted, “Most of the time I am like “welp, don’t like the way that looks” and don’t care if I mess up, so then I do something and I like it and then I’m like ” I love this piece,“” as each piece shifts and changes throughout the process. COMMISSION THE ARTIST: Addison is a commissioned artist with experience all over the world. For commissioned pieces she will fly to shoot photography on location and then work with the client on a mixed media art finished product. *Pictured with the Lawrence Peabody High Back Chair...

Jersey Shore III Casein on Masonite, 1967 Signed lower right (see photo) Initialed, dated and titled verso Provenance: Estate of the artist Virginia Dehn (the artist's widow) Dehn Qu...

Clarence Holbrook Carter (American, 1904-2000) Seeing Egg, c. 1960s Acrylic on textured paper 30 x 22 inches 38.5 x 30.5 inches, framed A surrealist mid-century figural abstract pai...

Richard Andres American, 1927-2013 L. S. F., 1980 acrylic and ink on paper mounted on canvas signed lower right, dated and titled verso 48 x 65 inches 48.75 x 65.75 inches, framed R...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Horses Prepared to Perform and Circus Truck, Circus Series, 1991 Oil on canvas Signed an...

Birds Yellow

Spiral of Time II Mixed media with acrylic on paper, 1986 Signed lower right (see photo) Condition: Excellent Image size: 35 x 15 1/2 inches Provenance: Peter Marciniak, New Hampshir...

David Hostetler had his own jazz club attached to his art studio in Athens, OH. It was called Club Dave. His jazz club played almost every Friday in the winter season while he was in...

Clarence Holbrook Carter (American, 1904-2000) Over and Above Surprise (Serpent), 1967 Casein on board Signed lower right 7.75 x 5.5 inches Clarence Holbrook Carter achieved a lev...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Two Owls Oil on board 15 x 10.5 inches Joseph O'Sickey, born in...

Untitled Cubist Abstraction Signed and dated lower right Watercolor, charcoal and gouache on paper, 1922 Provenance: Estate of the Artist Schroeder, Romero & Sh...

Frank Nelson Wilcox (American, 1887-1964) Frosty Dawn, Upstate New York, c. 1916 Watercolor and gouache on board Signed lower right 21 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters". In 1906 Wilcox enrolled from the Cleveland School of Art...

RICHARD ANDRES American, 1927–2013 Untitled, c. 1950 oil on canvas signed lower left 10 x 7 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Clevelan...

William Sommer (American, 1867–1949) Spring Beauty Watercolor on paper Signed lower right 12.5 x 17 inches 18 x 22.75 inches, framed William Sommer is seen as a key person in bringi...

Paul Riba (American, 1912-1977) Driftwood and Fish Oil on panel Signed lower right 9.25 x 23.5 inches 14 x 28.25 inches, framed Paul Riba was a painter of Magic Realism. He explore...