Lester J. Ambrose

God Bless Our Home, Social Realist Scene, Figurative Americana Interior Scene

1930 s

A wonderful example of Roseland’s beloved genre scenes from the turn of the 20th century. This painting depicts an elderly man seated at a cluttered table, gently interacting with a ...

Oil on canvas STATEMENT by AUDREY ANASTASI: Considering myself primarily a feminist artist, painting other women, most of my work focuses on the human face, figures, animals and natu...

"Two Sisters" is a contemporary realist painting of two young women sitting at a bar. One sister looks a bit reserved, her hair down, clasping her hands in...

Signed "Levin" on lower right corner "Message" shows two people in an office with a bird in between them, flying in from the window. There is something uncanny about this image. Per...

Paul G. Oxborough's mastery as a painter has been firmly established over a decades-long career. His ability to render light in a room has been compared to the work of Velázquez; the...

"Self Wearing Bag" is a striking oil painting that explores themes of identity, burden, and possession. The hyperrealistic rendering of a worn leather bag, gripped tightly by a parti...

"High School Dance" WPA Mid-20th Century Modern American Scene Social Realism Heusing (20th Century) "High School Dance" 27 x 32 inches Oil on canvas Signed and dated '47 Lower Righ...

"Old Shoemaker" Ashcan 20th Century Modernism 1924 California WPA Realism Worker. Signed “Otis Oldfield” lower left. 14 x 12 inches. Exhibited: Galerie des Beaux Arts, San Francisco, CA, 1925 Provenance: Estate of the Artist Born in Sacramento, CA on July 3, 1890, Otis Oldfield left high school at age 16 to work in a local print shop. In 1909 he arrived in San Francisco and enrolled at the Best Art School. After working for two years as a bellhop at the Argonaut Hotel and as a hat check boy at the Cliff House, he had saved enough money for further studies in Paris. In 1911 he sailed for France and enrolled at Académie Julian. Caught up in the activities of wartime Paris, he was an apprentice for a book...

In the depths of the Great Depression, American women sought escape from their worries. For 25¢,“Hearst’s International Cosmopolitan” magazine delivered. The magazine published ficti...

In the latter half of the nineteenth century and into the first decade of the twentieth, New York City art aficionados could count on finding recent work of Seymour Joseph Guy hanging on the walls of the city’s major galleries. Primarily a genre artist, but also a portraitist, between 1859 and 1908 Guy showed more than seventy works at the National Academy of Design. From 1871 to 1903 he contributed over seventy times to exhibitions at the Century Club. From 1864 to 1887, he sent about forty pictures to the Brooklyn Art Association. A good number of these works were already privately owned; they served as advertisements for other pictures that were available for sale. Some pictures were shown multiple times in the same or different venues. Guy was as easy to find as his canvases were omnipresent. Though he lived at first in Brooklyn with his family and then in New Jersey, from 1863 to his death in 1910 he maintained a studio at the Artist’s Studio Building at 55 West 10th Street, a location that was, for much of that period, the center of the New York City art world. Guy’s path to a successful career as an artist was by no means smooth or even likely. Born in Greenwich, England, he was orphaned at the age of nine. His early interest in art was discouraged by his legal guardian, who wanted a more settled trade for the young man. Only after the guardian also died was Guy free to pursue his intention of becoming an artist. The details of Guy’s early training in art are unclear. His first teacher is believed to have been Thomas Buttersworth...