American Realist Art

Nature has always been Tara Esperanza’s muse and source of endless fascination and inspiration. From an early age, her love for the environment shaped her way of seeing the world. As...

This original, handmade oil on panel painting, Washington Park (2009), is by the late Ken Valastro (1954–2014). Measuring 8 x 10 inches (20.32 x 25.40 cm) and framed to approximately...

Self Portrait at 43

An American Still Life of an Apple, Pear and Grapes Oil on canvas on board Signed illegibly circa late 1800s 9 3/4 x 5 7/8 (16 x 12 3/4 frame) inches This is an example of late 19...

Beautiful original watercolor and gouache on archival paper by the famous American marine artist, Gordon Grant. The artwork depicts two rugged lobstermen bringing their catch ashore...

"Steps", a highly realistic late 20th century watercolor landscape of a staircase in front of a wooden barn by Verne R. Horton (American, 1941-2020), 1986. Horton's background as a technical artist and draftsman is apparent in the fine details of this piece, such as the crisply rendered planks of wood that comprise the barn, the individual pieces of metal that form the railing, and each block of cement that make up the staircase. Horton's meticulous rendering of shadows enhances the sense of realism. Signed and dated "Verne R. Horton '86" lower right. Signed and titled "Steps" on verso. Displayed in a new off-white mat and rustic wood frame with plexiglass. Image size: 13.75"H x 9.75"W. Born February 1, 1941 in Los Angeles, CA, Verne R. Horton went to Los Angeles State College where he earned a degree in pre-architecture. As a young man Verne joined the US Navy, in 1960 and served as a draftsman until 1965. After leaving the Navy, he ended up as a technical artist for North American Aviation. His charge: illustrating publicity pictures for the Apollo space program. After working on the Apollo program for three and a half years, he was lured into the corporate world as a regional manager for New York Life Insurance. Horton said he did virtually no artwork in the 17 years he worked for the insurance company. He ended up earning another degree in insurance and finance from American College in Bryn Mawr, Penn., in 1978. He moved within the company 14 times in 17 years, living in Los Angeles, Hawaii, Arizona and San Francisco. "Then I had an awareness that I had always wanted to be an artist," he said. "It seemed that if I were going to do it, I needed to just do it." He quit his job and became a fine artist. Horton's paintings and sculptures are truly those of a professional. He specializes in 1800s to 1930s Western Americana, but his love is steam era railroad art. "You must have historical accuracy. The worst thing is to have somebody come by and say, 'That's not right," Horton said. "You can't get involved in the history of the railroad without getting to know a community." It was his insistence on historical accuracy and love of railroads that brought him to Carson City...

Charming, delicious still life with ripe fruits of strawberries. I just want to reach out and take a red fragrant berry. I specially applied the technique of painting, putting a deli...

Carmel by the Sea - Beach, California Coastline 1927 Oil on Linen Seascape oil painting of the Carmel coastline by Charles Henry Harmon (American, 1859-1936). Vibrant blue Pacific w...

"Nude Lying On A Couch, Art Nouveau Signed "Allan Gilbert" Charles Allan Gilbert (September 3, 1873 - April 20, 1929), better known as C. Allan Gilbert, was a prominent American illu...

"Devil's Backbone" by Diego Glazer is an original painting depicting rock formations bathed in warm light. About the Artist: For as long as I can remember, I have been on a quest t...

Fourth Pose from the Night: William Dunas Dance suite by Alex Katz. The piece is framed in an exquisite hand-carved white gold leaf museum frame. Artist: Alex Katz, American (192...

Original Christmas Mailing Time vintage poster: Artist: Bogorad. Original World War I (2) U. S. Army and Navy Postal Service. Linen backed in B co...

Elizabeth Barlow’s contemporary still lifes are singular in their ability to capture beauty as a quiet, enduring presence. Her brilliant floral oil paintings are instantly recognizab...

This modern still life diptych by Gio Bellagio is inspired by ancient Greek ceramic vessels. The pots are adorned with minimalist patterns reminiscent of Greek geometry, emphasising...

Original vintage poster: The U.S. Marines Want You. This military vintage poster is archival linen-backed and in fine condition, ready to frame. There is no date, artist, or printer'...

Original. FIGHT OR BUY BONDS. THIRD LIBERTY LOAN. Linen backed. Lithograph. World War 1 authentic vintage poster. ARTIST: Howard Chandler Christy. Linen-backed, larger size format for this poster. Ready to frame. Despite minor edge wear touch-up from linen backing, this poster presents very well and is in above-average condition. You can be confident in the quality of this piece. One of the most famous and powerful WW1 propaganda images, this flag-waving Ms. Liberty (aka Columbia) poster is unusual in that it urged both recruitment and bond sales. The US had just entered the war when this poster appeared and it is one of the earliest examples of myriad illustrations that were used to motivate both troops and the American public. It's designer, Howard Chandler Christy, was at the height of his fame. He earned his spurs as a wartime artist when he accompanied US troops to Cuba in 1898, an experience that stood him in good stead when he was called on to create his famed series of patriotic WW1 posters...

This modern still life diptych by Gio Bellagio is inspired by ancient Greek ceramic vessels. The pots are adorned with minimalist patterns reminiscent of Greek geometry, emphasising...

A beautiful and delicate 19th century image of late autumn in New England. Boston: Estes & Lauriat Editons, 1888. Etching on cream laid paper, 6 x 11 inches (150 x 278 mm), full ma...

James Allen, 'The Connectors', 1934, etching, edition not stated, Ryan 66. Signed in pencil. A superb, richly-inked impression, on handmade, cream laid paper, with margins (1/2 to 1...

American School, Portrait of a Woman, Oil on Canvas, 19th century, unsigned, inscribed "J Harrison / 1836" to verso, giltwood frame. Image: 23"H x 19.25" W;...

Elizabeth Zanzinger's (US based) "Foragers" is an oil painting that depicts two nude females traversing a tree trunk in the wilderness. Elizabeth Zanzinger is an award-winning paint...

This artwork titled "Opryland (The Guitar Player)" 1995, is a bronze sculpture by noted American artist Mark Hopkins, b.1965. It is signed, titled, dated and numbered 30/2500 on the ...

"Sabanilla" by Diego Glazer is an original oil painting depicting an arid landscape. Artist Statement: The Sabanilla gorge, painted on location near my hometown of Quertaro, Mexico...

Anton Schutz, 'White House', etching, edition not stated, c. 1928. Signed in pencil. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 8 7/8 x 11 7/8 inches; sheet size 11 1/4 x 15 3/8 inches. ABOUT THE ARTIST Etcher, painter, and architect Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...

Anton Schutz, 'Spirit of Buffalo', etching, edition not stated, c. 1927. Signed in pencil. Annotated 'Spirit of Buffalo 522', in another hand, in the bottom right margin. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 8 7/8 x 11 7/8 inches; sheet size 12 1/4 x 15 7/8 inches. ABOUT THE ARTIST Etcher, painter, and architect, Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...

Karl Fortess Beach Landscape Signed lower left Oil on canvas 8 x 10 inches Karl Fortess was born in Belgium, moving United States and studying at the Art Institute of Chicago, the ...

Etching on cream wove paper, 4 1/2 x 7 inches (114 x 177 mm), wide margins, signed in pencil in the lower right. Laid down to non-archival board with the mat affixed, obscuring the verso and the sheet edges. The visible portion of the sheet is clean with minor toning around the mat window opening. The signature is unobscured and clear. Best known as the original illustrator of Enid Blyton...

Luigi Lucioni: 1900-1988. Very well listed American Painter and etcher. He has Auction results as high as $4600 for an etching. This adding is most likely a barn in Vermont.. It meas...

Sunflower by Susan Meeks was painted in 2024 as part of her floral collection. Sunflower is framed. and free shipping is offered at checkout. The common sunflower (Helianthus an...

William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...

Signed lower right Unframed dimensions: 30 x 52 inches Framed dimensions: 39 x 61 inches Paul G. Oxborough studied at Minneapolis College of Art and Design and Atelier Lesueur, a 4...

Discover a piece of history with our original WW1 antique military poster: Women Of America Work For Victory. This unique piece features a great kitchen de...

Guys on Shoreline under Brooklyn Bridge, 1989 - New York City Skyline Landscape by Michael Ormerod 'Guys on Shoreline under Brooklyn Bridge' is a black and white photographic print ...

Frank Godwin (1889-1959). Allegory of Defense Industry, 1919. Oil on canvas. Signed lower right. Image measures 20.75 x 26.25 inches. The canvas measures 24 x 36 inches in total. Ann...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled Early October, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth....

JOHN TAYLOR ARMS (1887 – 1953) LIGHT AND SHADE TAXCO, 1946 (F. 394: (#2 from the Mexican series.) Etching and aquatint signed and dated in pencil. Image 10 ½ x 13 5/8, sheet 14 1/...

Provenance Acquired by the gallery directly from the artist Painted en plein air in the San Gabriel Mountains near the artist's home in the early summer of 2013. Signed "T. Solliday...

James Robinson (1944-2015) Austin, Dallas, Houston Artist Image Size: 24 x 36 Frame Size: 32 x 44 Medium: Acrylic on Canvas Clearly signed lower left quadrant about an inch above the...

Rita Aarons, wife of photographer Slim Aarons, swimming in a pool festooned with floating baubles and a decorated Christmas tree, Hollywood, California, 1954. Two children play in th...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Contemporary figurative painter Andrew S. Conklin creates a co...

Mel Hunter, American (1927 - 2004) - Arabian, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), Descript...

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Seated Nude in Yellow Skirt Year: circa 1960 Medium: Oil on Canvas, signed lower left Size: 36 in. x 24 in....

The beauty of nature's rhythm is captured in this black and white landscape photograph of a forest of Aspen trees by American photographer and film maker, John Henry Johnson (America...

Original half sheet MISS ROBIN CRUSOE. With Amanda Blake, George Nader, Rosalind Hayes. As frenzied as voodoo Drums! As shocking as cannibal rituals! Very good condition, t...

'Moving Sky' is 48 x 53 inches. The unique work bridges realism with surrealism. The painting is unframed and is ready to hang and enjoy over a lifetime. Signed and dated by the ar...

Original Agricoltori Tafanoide Italian vintage poster. Linen-backed and in good condition with edge wear. Colors are still bright and vibrant. Museum linen backed. This is a good pi...

"Girl with Muff" is aa American figurative portrait oil on canvas painting by Robert Henri in 1912. The artwork is 57 1/4 x 38 1/4 inches and, with the frame, is 64 1/4 x 45 1/4 x 2 ...

EDWARD CURTIS (1868 - 1952) BEFORE THE WHTE MAN CAME - PALM CANYON, 1924 Photogravure. Printed title along with 1924 copyright line. Photogravure Suffolk Eng. Co., Cambridge Mass...

Mark Harrison's (UK based) "Chambers" is an oil painting that depicts an arid landscape with clouds and a small unassuming building. I have been interested in painting skies for a ...

A contemporary poetic-realist painting depicting two russian olives trees, a white picket fence and rows of a potato field in Wainscott, NY. The peach and pink horizon gradually shif...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled The Berry Picker, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wye...

The work belongs to the American School of trompe-l’œil painting, a genre that flourished in the 19th century, delighting viewers with illusions of reality. The composition presents ...

The drypoint created in 1920 is a working state, the fourth of eight. The eight states are listed in the Frank W. Benson catalogue raisonne by Adam Paff #184. There are two recorded impressions of this print making it a rare find. It is signed in pencil and inscribed "D-2." The Image size 4 3/8 x 5 13/16" (11.1 x 14.8 cm). The final printed edition of "Three Yellowlegs" was 150. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...

Late 19th century figurative painting of the battle of Trevilians Station and of the wounding of Colonel Sackett June 11, 1864. Oil on canvas in giltwood frame. Signed or notated ind...

ASHLEE SELBURG The Guardian Ink and pencil on paper 6 x 8 inches