Unknown

Portrait of a Horseman, Southern Gentleman, American Portrait Prominent Mustache

c. 1850s-1870s

An ordinary scene of a woman walking down a sidewalk in the rain is elevated to a little gem of a painting. American life is captured in this Clyde Singer painting, Puddle Jumper (...

A dynamic narrative painting titled A Surprise Dinner Guest (or An Unexpected Guest), showing the moment an outdoorsman sees the bear approaching his snowy campsite. Presented in a...

Illustration by Grattan Condon for the February 8, 1930 Saturday Evening Post story entitled "Wide-Open Throttle" by A.W. Somerville, which appeared on page 56. The tension between ...

Clyde Singer was a master at capturing the moments, small and significant in everyday American life. This painting, "Calder Sculpture in Lincoln Center", is a glimpse of an ordinar...

Clyde Singer captures the moment when two friends open a letter with shocking news. A master of capturing the small and significant moments of everyday life, Singer realistically po...

Business is slow! The Village Vendor, painted by Clyde Singer, captures the boredom and expectation waiting for the next sale. This likely New York City scene shows the bustle of ...

"Unemployed" WPA American Scene Social Realism Mid 20th Century Modern William Gropper (1898 - 1977) Unemployed 20 x 16 inches Oil on canvas, 1937 Signed lower right Provenance: Estate of the artist Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

A marvelous and affecting depiction of "Elsa" the artist's wife at the kitchen table with an object not yet decided in her hand. It could be a coffee cup, a glass or a letter that t...

A beautiful and rare antique American portrait of a young woman in a stunning period frame, likely original to the piece. Unsigned but beaut...

An original antique American painting by Samuel Knight Wright, depicting the fairytale character of "Little Red Riding Hood" on her way to gr...