Santa Fe - Interior Paintings

"Still Life with Pomegranates and Lemons, 1876" Ernest Blanc-Garin (1843-1916) 19 3/4 x 23 3/4 (29 1/2 x 33 1/2 frame) inches Ernest Blan...

"Interior with Bed, Table & Fireplace 1918" Ricardo Gomez-Gimeno (Spain/France 1892-1954) Oil on cardboard Signed and dated "1918" 17 1/4 x 14 1/4 (22 1/2 x 19 1/2 frame) This painting and its mate "Interior with Chair and Vanity...

Taos Adobe Eric Sloane (American, 1905-1985) Oil on board Signed front and back 6 1/2 x 13 (11 1/2 x 18 frame) inches Artist, author and folklorist, Eric Sloane, is best known for his paintings of New England farmscapes and his illustrated books of early Americana. As a visitor and eventual resident of New Mexico, he also is considered an important artist of the Southwest. Sloane was born Everard Jean Hinrichs to a prosperous family in New York City. As a youngster, he learned lettering and sign painting from his neighbor, Frederic Goudy, a noted type designer. In 1925 Hinrichs left home in a Model T Ford, and made his way across the country earning money as a sign painter. The next year he landed in Taos where he met members of the art colony, painted signs, as well as a few of his earliest pictures. Back in New York, Hinrichs continued his sign painting career. Among his clients were many of the early aviation pioneers at Roosevelt Field, Long Island who asked him to paint names and identifying marks on their aircraft. Wiley Post not only was a client, but also taught Hinrichs to fly, instilling a life-long love of the aesthetics and science of clouds and sky. Amelia Earhart is said to have purchased one of his first cloud paintings. In the mid-1930s Hinrichs studied at the Art Students League under John Sloan. As part of his transformation from sign painter to fine artist, he adopted the name “Sloane” in homage to his mentor, and the name Eric from the middle letters of “America.” Settling in New Milford, Connecticut, Sloane quickly became a highly skilled and phenomenally prolific painter of the rural landscapes and colonial architecture of New England. He painted in a detailed, realistic style with a slightly choppy brush technique that enhanced the rustic quality of his subject matter. Slone reportedly painted 15,000 pictures over his career, averaging almost one per day. In the early 1940s, Sloane’s interest in meteorology resulted in publication of several books on weather and clouds. In the 1950s he began his meticulous documentation of colonial architecture, tools, and folklore, resulting in a series of books that he both wrote and illustrated. The most famous of these include: A Reverence for Wood, Our Vanishing Landscape, A Museum of Early American Tools, American Barns and Covered Bridges, and Diary of an Early American Boy: Noah Blake – 1805. In all, Sloane produced 35 books, many of which are still in print. His vast collection of tools, which served as models for many illustrations, became the nucleus of the Sloane-Stanley Tool...

"Vue du Villefranche-sur-Mer" Raymond Thibesart (France, 1874-1968) Oil on Canvas Signed lower right 21 1/4 x 17 1/2 (26 3/4 x 23 frame) inches Thi...

"Still life of Flower Bouquet on Alabaster" circa 1820's Gouache on alabaster 6 1/2 x 4 1/2 (12 3/4 x 10 3/4 frame) inches Follower of Pierre Joseph Redouté 1759-1840, the artist brought all the finesse and care required for this work to seduce us and hold our attention at first glance, delicately painted in gouache on an alabaster plate, he added here and there a drop of water which adds freshness to the whole while showing us his virtuosity. A white rose, a parrot tulip and a few forget-me-nots to enhance the composition and the harmonious bouquet bursts with gaiety against a background of luminous alabaster. Unsigned, this gouache dates from the years 1820 - 1830, it is enhanced by a channel frame which has retained its original gilding. Redouté was an official court artist of Marie Antoinette, and continued painting through the French Revolution and Reign of Terror. He survived the turbulent political upheaval to gain international recognition for his precise renderings of plants, which remain as fresh in the early 21st century as when first painted. He combined great artistic skills with a pleasing, ingratiating personality which assisted him with his influential patrons. After Queen Marie-Antoinette, his patrons included both of Napoleon's wives -- Empress Joséphine and Marie Louise, Duchess of Parma—as well as Maria Amalia...

French Botanical Watercolor Study of Raspberry Bramble Watercolor, gouache on paper 18th century 9 1/4 x 7 inches Stamp and notations at bottom from Collection Rougier, Paris, inscri...

Still Life with Lemons American School, 19th century Oil on panel 9 x 24.5 inches This picture is a well-studied examination concepts such as...

British School Oil Painting on Canvas Signed "Southam" Dated 1907 After the original by Antoine Joseph Wiertz (1806 –1865) Oil on canvas 10.6 x 6.75...

"Still Life of Flowers in a Pale Blue Vase" Henry Schouten (Belgium, Indonesia, 1864-1927) Oil on canvas, signed lower right "Jos Klaus" 15 x 10 3/4 inc...

19th Century Floral Still Life (Flemish School, 19th century) Oil on canvas on panel Floral Still Life, Oil on Canvas on Panel 30 x 20 3/4 inches In still life paintings, also kno...

“2 Terriers Ratting in a Barn” Edward George Armfield (British, 1817-1896) Oil on canvas Signed l.l. 11 1/2 x 15 1/2 inches Edward George Armfield (British, 1817-1896) was a prolif...

Floral Still Life Ben-Zion (Ukraine, 1897-1987) Circa 1930's Oil on Canvas, signed l.r. 17 3/4 x 12 5/8 One of the founding artists of Abstract Expressionism, hailing from Ukraine, Ben-Zion Weinman arrived in the United States in 1920 after the end of World War l. In America, he became Ben-Zion "because to drag around two names was rather too difficult.” Ben-Zion was an accomplished, self-taught artist who worked in oils and watercolors. Additionally, Ben-Zion left behind a large body of ironwork. In 1935 he became a founding member of The Ten-a group of artists advancing the concepts of abstraction and expressionism who exhibited together until 1940-along with Mark Rothko, Adolph Gottlieb, and others. Critics immediately began taking notice with an article from the New York Sun...