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Brian Phillips - Framed 20th Century Pastel, Anglers at the City Docks

20th Century

An energetic street study by the artist Pauline Plummer (b.1933). Signed and dated to the lower right. Further signed and titled verso. Well presented behind glass in a slim wooden f...

A realistic contemporary pastel composition by John Paley, depicting a fisherman outer on the water collecting his catch from baited nets. The man looks curious in his expression as ...

A characterful mid century pastel study the waterline of a riverside city. There are boats moored at a small river beach in the foreground and an industrial skyline is set against fl...

A large nautical scene of retired fishing trawlers rusting in a city dockland. Unsigned. Well-presented in a reeded wood frame. On paper.

John Chetcuti "Fishermen" Original Watercolor c.1950 Watercolor dimensions 11" wide x 7" high The frame measures 18.25" wide x 14.5" high Signed in the lower right corner Good vi...

In this New England wharf scene, Morris Blackburn composes a familiar assemblage of boats, dock, and weathered, wooden buildings against a crisp blue morning sky with light clouds....

The idyllic atmosphere of this local dock scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Dock Scene)” is typical of a small town dock scene from Michigan where Culver lived or from places as far away as Maine, but what makes it important is its easy familiarity: water, gulls or terns, slanting wood shanties, scruffy dirt patches and course grasses. It is not idealized, but does set the tone of fresh air, the scream of birds and the sun on water. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

Art Sz: 14 1/2"H x 21 1/2"W Frame Sz: 22 1/4"H x 28 1/2"W Signed Lower Left In French Mat