Jarrett McCusker Paintings

“Jamaican Girl with Curls, c. 1935” by Will Howe Foote (American, 1874-1965) An exceptional example of early 20th-century American Impressionism executed with sensitivity, grace, an...

An important landscape work by renowned American impressionist Emil Carlsen (1853-1932). This work depicts the Windham, Connecticut home of Carlsen’s closest friend and fellow artis...

An exceptional, large portrait of a female model in a French art studio, attributed to Edwin Eldridge (American, 1854-1926). This wonderful painting dates to the last quarter of the...

“Untitled, 1982” by Jandyra Waters (Brazilian, 1921-2025) A fantastic example of Waters’ mature geometric abstraction. Anchored by a commanding central trapezoid that reads as a cor...

“Untitled, 1946” by Louis K. Stone (1902-1984). A strong and charming example of mid-century American modernism by one of the most important artists working in New Hope, PA. This wa...

An exceptional, large, early work by American artist Dorothy Eisner (1906-1984). This painting was recently exhibited at Gracie Mansion in 2019 as part of “She Persists” - a show de...

“Crossroads, c. 1940” by Sol Wilson (Polish-American, 1896-1974). This expressive painting by Wilson depicts a moody village crossroads rendered with his signature textured brushwor...

An exceptionally rare and large painting by renowned American fashion designer and 80s icon Stephen Sprouse (1953-2004). This excellent composition by Sprouse includes interplaying ...

This work is an excellent example of Christensen’s “scrape” paintings. Here Christensen builds up thick layers of paint, which he attacks with a squeeg...

“Portrait of a Lady in White, c. 1905-10” by Joseph Oppenheimer (1876-1966). An exceptional portrait by Oppenheimer of a spirited young woman turned in half-profile. This work exemp...

An exceptional, early work by important Connecticut-based artist Clifford Mitchell, Jr. (1925-2005). This fantastic abstract expressionist compositi...

This wonderful 17th-century French School vanitas painting is a meditation on mortality and the transience of earthly pleasures. The composition centers on a finely rendered human sk...

“The Big City, 1948” by Anna Elkan Meltzer (American, 1896-1974) One of Meltzer’s finest works, this painting encapsulates the organized chaos of Grand Central Terminal in NYC in th...

An exceptional example of Hartman’s early post-impressionist works. This lovely work depicts several female bathers alongside various birds in an enchanting landscape. In the lower ...

An exceptional post-impressionist view of Florence, Italy by Carl Schmitz-Pleis (1877-1943). In the spring of 1910 Schmitz-Pleis and fellow friend/artist Walter Hugo Ophey travelled...

“Portrait of a North African Man, 1872” by August Holmberg (1851-1911) This striking oil painting by the German painter, August Holmberg, depicts a richly detailed and intimate port...

A fantastic example of George Armfield’s renowned portraits of dogs. This work depicts a Manchester Terrier excitedly standing outside a rabbit hole on the edge of a forest. The ter...

“Circus Yard” by Paul Starrett Sample (American, 1896-1974). A vibrant circus scene by the noted American regionalist, Paul Starrett Sample. This work captures the lively bustle beh...

An exceptional work by George Waller Parker (1888-1957) of a home in the South Carolina Lowcountry. Perhaps the best example of Parker’s work to be offered in recent decades, this w...

A lovely scene of the canals in Annecy, France by renowned American artist Emma Fordyce MacRae (1887-1974). This work highlights the geometric nature of the historic architecture al...

“A Mulatto Girl, 1879” by Walter Scott Boyd (British, c. 1860-c. 1950) The identity of this young girl is presently unknown; however, the title of the work reveals some information ...

A fantastic WPA-era painting of a Georgia moonshiner by famed Italian-American artist Athos Menaboni (1895-1990). This work depicts an older man sporting a brown hat, brown jacket, ...

A wonderful portrait of a Phallene Papillon attributed to renowned British sporting artist James Barenger (1780-1831). Painted on an large scale, this work depicts the cheerful pup ...

“A Lady in Black, 1894” by Paul-Marie Lapierre Renouard (1854-1940) This exceptional pastel portrait of an elegant woman in black is among the artist’s finest works. A close examina...

“Six Figures, c. 1965-70” by Sakti Burman (b. 1935). A wonderful example of Burman’s distinctive fusion of Indian folkloric imagery with European surrealist and fantastical sensibil...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

“Guitar Player in Recife, Brazil, 1886” by Ferdinand Piereck (1844-1925) An extremely rare 19th century painting of a Brazilian guitarist by Austrian-Brazilian artist Ferdinand Pier...

“Untitled” by N.S. Harsha (Indian, b. 1969) This delicate watercolor by N.S. Harsha, one of the leading contemporary artists from India, is a masterclass in visual subtlety and conc...

“Boats Resting, Nantucket, 1940” by Emily L. Hoffmeier (American, 1888-1952) A lovely depiction of a serene harbor scene by the important Nantucket painter and founding member of th...

“Children in the Snow” by Willem van den Berg (Dutch, 1886-1970) An exceptional example of van den Berg’s beloved portrayals of children playing in the snow. Rendered with an earthy...

“Impressionist Landscape, c. 1915-1920” by Francis Stillwell Dixon (American, 1879-1967). One of Dixon’s finest canvases, depicting a tranquil forest scene bathed in soft, dappled l...

“The Champ, 1942” by Theodore Fried (1902-1980) This important portrait by Hungarian-American artist Theodore Fried depicts the legendary boxer Joe Louis aka “The Brown Bomber” and ...

“Jamaican Girl by the Palm Tree, c. 1930” by Will Howe Foote (American, 1874-1965) A fantastic portrait of a young Jamaican woman set against a vibrant palm frond, painted by the re...

“Hon. George King, 1788” by John Russell (1745-1806) Regarded as Britain’s foremost pastellist, John Russell is well known for his portraits of the wealthy middle class. In particul...

“North African Man, c. 1916-21” by Caleb Arnold Slade (American, 1882-1961) Inspired by Slade’s travels in Algeria and Tunisia, this remarkable portrait depicts a young man standing...

This striking gouache captures Williams’s lifelong fascination with the natural world, filtered through his expressive modernist sensibility. The bird emerges from a hazy gray field,...

With a studied hand, Sloan captures the human theater of a snow-covered Central Park filled with bundled-up New Yorkers, sledding, walking, chatting, and caring for children. The exp...

A serene and exquisitely composed work that captures the quiet poetry of a sunlit bedroom in the early hours of daybreak. A descendant of the renowned Wyeth artistic dynasty, McCoy h...

A wonderful realistic portrait of the Penobscot, a mid-19th century coastal sidewheel steamer, rendered in Cameron’s hallmark marine portrait style - technically meticulous, historically informed, and visually serene. Executed with crisp linework and a soft, luminous palette, the ship is shown in profile navigating calm Atlantic waters under both steam and sail, her red paddle box emblazoned boldly with her name. Commissioned in 1843 by Menemon Sanford’s Steamship Line and constructed in New York, the Penobscot was a near twin to her sister ship, the Kennebec, but became especially prized for her seaworthiness. Measuring 228 feet in length with a 48-foot beam and twin 14-foot paddlewheels, she carried schooner rigging fore and aft, providing the added stability necessary for coastal and offshore passages. Initially assigned to the Maine coastal excursion routes, she would later be reassigned to the elite New York–Philadelphia line and eventually sold and renamed Norfolk for pre-Civil War service along the southern coast. This work is oil on canvas and is signed in the lower right. It is housed in its original black frame and retains the artist’s description of the ship on the reverse. Size: 22 inches tall by 44 inches wide (painting) 26 inches tall by 48 inches wide by 1 inch deep (frame) Provenance: Private collection; Acquired from the above About the artist: A Delaware artist, Scott Cameron paints the simple elegance of the America’s Cup races, serene coastal marsh scenes, timeless landscape vistas and historic steamboats in a style reminiscent of the era in which they reigned. An admirer of Andrew Wyeth and the Brandywine School of painters, Scott has combined the detail and quiet stillness of that School in his landscapes with the Luminist School’s sense of light glowing from within. A soft gentle atmosphere seems to fall over each scene adding to the peacefulness of the setting, and a sense of a time gone by. His America’s Cup scenes capture the action at a moment in time, allowing the beauty of the wind-filled sails to become the central design element of each painting. Scott Cameron has exhibited his oil paintings in numerous national and regional shows from the Mystic Seaport Museum to solo and group shows in some of the foremost galleries throughout the Northeast and Mid-Atlantic states. Favorite painting locations are the waterways and coastal inlets of Martha’s Vineyard and Maryland’s Eastern Shore and the gentle rolling landscapes of rural Pennsylvania, Delaware and Maryland. Meticulous research is behind every historic steamboat and America’s Cup painting...

A striking and historically attentive portrait of the sidewheel steamer Kennebec, built in 1842. Rendered in crisp profile against a soft, painterly sky and calm Atlantic swells, Cameron’s portrait captures the stately elegance of early American steam navigation. The Kennebec, identified in bold red lettering on her paddle box, is shown under partial sail with twin smokestacks active - suggesting both the hybrid nature of early steam propulsion and the vessel’s readiness for sea. Flying period flags, including a U.S. ensign and company pennants, she presents as a proud representative of the Sanford Steamship Line, for whom she plied the route between Boston, Bangor, and the summer resorts of Maine. Her design, with a wood hull, 230-foot length, and distinctive “hogging truss,” speaks to mid-19th century innovation tailored to coastwise packets. Cameron’s style is reminiscent of 19th-century ship portraiture yet refined with contemporary technical precision. This is an excellent example of his work. This work is oil on canvas and is signed in the lower right. It is housed in its original black frame and retains the artist’s description of the ship on the reverse. Size: 22 inches tall by 44 inches wide (painting) 26 inches tall by 48 inches wide by 1 inch deep (frame) Provenance: Private collection; Acquired from the above About the artist: A Delaware artist, Scott Cameron paints the simple elegance of the America’s Cup races, serene coastal marsh scenes, timeless landscape vistas and historic steamboats in a style reminiscent of the era in which they reigned. An admirer of Andrew Wyeth and the Brandywine School of painters, Scott has combined the detail and quiet stillness of that School in his landscapes with the Luminist School’s sense of light glowing from within. A soft gentle atmosphere seems to fall over each scene adding to the peacefulness of the setting, and a sense of a time gone by. His America’s Cup scenes capture the action at a moment in time, allowing the beauty of the wind-filled sails to become the central design element of each painting. Scott Cameron has exhibited his oil paintings in numerous national and regional shows from the Mystic Seaport Museum to solo and group shows in some of the foremost galleries throughout the Northeast and Mid-Atlantic states. Favorite painting locations are the waterways and coastal inlets of Martha’s Vineyard and Maryland’s Eastern Shore and the gentle rolling landscapes of rural Pennsylvania, Delaware and Maryland. Meticulous research is behind every historic steamboat and America’s Cup painting...

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 ...

Known for his evocative, snow-covered landscapes, Koeniger brings this subject to life with his bold, confident brushwork and keen eye for natural light. The composition centers arou...

A wonderful view of a charming European town. This work captures the quiet intimacy of a cobbled lane, its golden stones leading the viewer toward a cluster of whitewashed and brick ...

A fantastic example of Marsh’s renowned depictions of ladies walking in downtown Manhattan. This richly worked ink and wash composition captures a sidewalk populated by stylish women...

This wonderful scene captures a young woman in a formal garden, her right arm cradling a basket of freshly gathered produce while her left hand holds an assortment of root vegetables...

Warm air seems to move through this scene as the eye wanders along a gentle swale dotted with granite boulders, low stone walls and scrubby autumn color. A ribbon of meadow pulls us ...

A vibrant Bermuda seascape depicting the rocky shoreline with turquoise waters breaking against sunlit boulders beneath a sweeping tree. Mears uses bold, textured brushstrokes and a ...

A beautiful coastal painting by Massachusetts artist Joseph H. Greenwood, known for his evocative New England landscapes. This work captures the quiet charm of the Dartmouth coast ne...

“Quebec City, 1853” by Edmund C. Coates (American, 1816-1871). A luminous 19th-century view of Quebec City by the American painter Edmund C. Coates, known for his detailed Hudson Ri...

About this work: “Untitled, c. 1958” by Kenneth Noland (American, 1924-2010) This early work by Kenneth Noland represents an important moment in his artistic evolution, bridging his...

“Evening, 1971” by Robert Dash (American, 1931-2013) In 1967, Dash purchased an old barn on a small field in Sagaponack, NY. Over the next several decades, he turned the feral groun...

“Eastern White Pines, c. 1910” by Charles Warren Eaton (American, 1857-1937). A wonderful example of Eaton’s renowned compositions of Eastern white pine trees in his mature style. A...

“St. Michael’s in Brooklyn, c. 1944” by Ernest Fiene (1894-1965) New York City served as an endless source of inspiration for Fiene, who often captured street scenes like this one i...

The most significant example of Cremona’s work to come to market in recent memory, this sweeping 1968 abstraction captures the haunting lyricism that defined his mature work. The com...