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"The Meadow" Charlotte Buell Coman, Female Artist, Tonalist, American Landscape
By Charlotte Buell Coman
Located in New York, NY
Charlotte Buell Coman The Meadow Signed lower left; titled on the reverse Watercolor on paper 6 1/4 x 7 inches Provenance Monica Stevens, Springfield, Virginia Charlotte Buell Com...
Category

Early 1900s Tonalist Figurative Drawings and Watercolors

Materials

Paper, Watercolor

"New Hampshire Winter" Georgina Klitgaard, Female WPA, Northeastern Landscape
By Georgina Klitgaard
Located in New York, NY
Georgina Klitgaard New Hampshire Winter Signed lower right Oil on canvas 38 x 28 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign arti...
Category

Early 20th Century American Modern Figurative Paintings

Materials

Canvas, Oil

"Woodstock Landscape" Albert Heckman, WPA, American Modernist, New York
By Albert Heckman
Located in New York, NY
Albert Heckman Woodstock Landscape Oil on board 12 x 16 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art...
Category

1940s American Modern Figurative Paintings

Materials

Oil, Board

"Woodstock Landscape" Albert Heckman, WPA, Modernist, Farm, Barn, Rural Scene
By Albert Heckman
Located in New York, NY
Albert Heckman Woodstock Landscape Oil on board 12 x 16 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art...
Category

1940s American Modern Figurative Paintings

Materials

Oil, Board

"Woodstock Landscape" Albert Heckman, Modernist, Rich Green Vegetation, WPA
By Albert Heckman
Located in New York, NY
Albert Heckman Woodstock Landscape Oil on board 8 x 10 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art ...
Category

1940s American Modern Figurative Paintings

Materials

Oil, Board

"Woodstock Landscape" Albert Heckman, American Modernist, Atmospheric Valley
By Albert Heckman
Located in New York, NY
Albert Heckman Woodstock Landscape Oil on board 10 x 8 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art ...
Category

1940s American Modern Figurative Paintings

Materials

Oil, Board

"Woodstock Landscape" Albert Heckman, American Modernist Bright Landscape
By Albert Heckman
Located in New York, NY
Albert Heckman Woodstock Landscape Oil on board 12 x 16 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art...
Category

1940s American Modern Landscape Paintings

Materials

Oil, Board

"Woodstock Landscape" Albert Heckman, Modernist, Bright Landscape
By Albert Heckman
Located in New York, NY
Albert Heckman Woodstock Landscape Oil on board 8 1/2 x 10 1/2 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at ...
Category

1940s American Modern Figurative Paintings

Materials

Oil, Board

"Dahlias and Lustre" Mary Elizabeth Price, Floral Composition, Warm Colors
By Mary Elizabeth Price
Located in New York, NY
Mary Elizabeth Price Dahlias and Lustre, circa 1925 Signed within a cartouche lower right, titled verso Oil and gold leaf on Masonite Oval 16 1/4 x 22 inches Provenance The artist F...
Category

1920s American Modern Figurative Paintings

Materials

Gold Leaf

"Pear" Henry Schnakenberg, Realist Fruit Still Life, WPA Artist, Modernism
Located in New York, NY
Henry Schnakenberg Pear, circa 1925 Signed lower right Oil on board 12 x 14 inches Provenance The artist Kraushaar Galleries, New York Private Collection Cecelia Lord, Summerland, California Henry Ernest Schnakenberg...
Category

1920s Realist Still-life Paintings

Materials

Oil, Board

"Chrysanthemums" Anne Ramsdell Congdon, Pink Impressionist Flowers Still Life
Located in New York, NY
Anne Ramsdell Congdon Chrysanthemums, 1900 Signed and dated lower right Watercolor on paper 26 x 19 inch Provenance Matthew O'Connell, Gloucester, Massachusetts Anne Ramsdell Congdon studied art at a young age in Worcester. Originally a watercolorist, she attended the Académie de Lécluse in Paris in 1891, and later with Rhoda Holmes Nichols (1854–1938), an assistant to William Merritt Chase (1849-1916), at a summer extension to Chase’s Shinnecock School of Art in Oguinquit, Maine. She also studied with Boston and Oguinquit marine painter and etcher Charles H. Woodbury (1864–1940), who taught his students to “paint in verbs, not nouns,” thus advocating the quick stroke of a brush. She was active in Nashua as a watercolorist until she married a New Hampshire surgeon and Nantucket native, Dr. Charles E. Congdon, in 1902. She reportedly suspended her art career to maintain an antiques shop in Nashua, her birthplace, while raising two sons. By the mid-1920s, she was attending the summer classes in oil painting with Frank Swift Chase (1886-1958) on Nantucket, and she rapidly became a plein air painter in the bold style of her new mentor. The Boston Herald observed, “Her work is direct, facile, and without mannerisms.” She painted a series of waterfront paintings...
Category

Early 1900s American Impressionist Still-life Drawings and Watercolors

Materials

Paper, Watercolor

"Antique Toys" Priscilla Roberts, Still Life, Realistic, Doll, Magical Realist
Located in New York, NY
Priscilla Roberts Antique Toys Signed lower left; identified through gallery label affixed to backing Oil on board 20 x 24 inches Provenance Grand Centra...
Category

1940s American Modern Figurative Paintings

Materials

Oil, Board

"Portrait of Mary Pringle" Margaret Carpenter, 19th Century British Portrait
Located in New York, NY
Attributed to Margaret Carpenter Portrait of Mary Pringle Oil on canvas 48 x 38 inches Unsigned Margaret Carpenter was a painter of portraits and figure subjects. She was born Marga...
Category

Mid-19th Century Impressionist Figurative Paintings

Materials

Canvas, Oil

"Echo" Oscar Lenz, Lyrical Early American Allegorical Female Nude Sculpture
Located in New York, NY
Oscar Lenz Echo, 1904 Signed and dated on base: Oscar L Lenz 1904 Bronze 70 1/4 x 25 x 25 1/4 inches Oscar Lenz was an American sculptor born at Providence, Rhode Island. He receiv...
Category

Early 1900s Academic Nude Sculptures

Materials

Bronze

"Untitled" Donald Judd, Black and White, Stripes, Minimalist, Abstract Art
By Donald Judd
Located in New York, NY
Donald Judd Untitled, 1980 Signed "Judd" in pencil lower right margin and numbered Aquatint on etching paper Image 24 1/4 x 29 1/4 inches Sheet 29 1/8 x 34 inches Edition 29/150 Pro...
Category

1980s Minimalist Abstract Prints

Materials

Paper, Etching, Aquatint

"Beach at Santa Monica, California" George Chann, Chinese American, Modernist
By George Chann
Located in New York, NY
George Chann Beach at Santa Monica, California, circa 1942-46 Signed lower right Oil on canvas 12 x 16 inches Provenance Private Collection, Rhode Island Edgar Berebi, Barrington, R...
Category

1940s American Modern Figurative Paintings

Materials

Canvas, Oil

"Reclining Figure" Louise Nevelson, Modernist, Human Form, Abstracted Body
By Louise Nevelson
Located in New York, NY
Louise Nevelson Reclining Figure, circa 1943 Tattistone 8 inches high x 21 inches wide x 9 inches deep With base 10 inches high x 21 3/4 inches wide x 9 1/2 inches deep Provenance T...
Category

1940s American Modern Abstract Sculptures

Materials

Cast Stone

"Green Landscape" Arthur Hoeber, American Impressionist, Early 20th Century
By Arthur Hoeber
Located in New York, NY
Arthur Hoeber Green Landscape, circa 1910 Signed lower right Oil on canvas 25 x 30 inches Provenance Sal Sciarrino, New Jersey Born in New Jersey in 1854, Arthur Hoeber had a natu...
Category

1910s American Impressionist Figurative Paintings

Materials

Canvas, Oil

"Winter Wildfowling" Frank Weston Benson, Hunting Scene, Outdoors, Marshes
By Frank Weston Benson
Located in New York, NY
Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...
Category

1920s Academic Animal Prints

Materials

Paper, Etching

"Washington Square" Olive Rush, American Impressionist New York Landscape
By Olive Rush
Located in New York, NY
Olive Rush Washington Square, 1913 Signed lower right Oil on canvas 32 x 24 inches Exhibited Indianapolis, John Herron Art Institute, circa 1914. Art Institute of Chicago, 1914. Literature The Fairmount News, Fairmount, Indiana, November 26, 1914, p. 4. Olive Rush studied at Earlham College, the art school associated with the Corcoran Gallery of Art and at the Art Students League before becoming an illustrator in New York. She was well known for her portraits and paintings of children and women, many of which were featured in magazines such as Woman's Home Companion and St. Nicholas. In 1904 she moved to Wilmington, Delaware, to study with Howard Pyle, and she stayed until 1910. She spent the next year in Europe studying British and French painters, and finished her art education at the Boston Museum School in 1912. In 1913 Rush returned to Europe with her friend, the watercolorist Alice Schille...
Category

1910s American Impressionist Landscape Paintings

Materials

Canvas, Oil

"Woman Resting Beneath a Tree" Henry Mosler, American Portrait in Landscape
By Henry Mosler
Located in New York, NY
Henry Mosler Woman Resting Beneath a Tree, circa 1900 Signed upper right: Henry Mosler Oil on canvas 12 1/2 x 10 inches Mosler was born in Tropplowitz, Silesia, Prussia (present-da...
Category

Early 1900s Realist Figurative Paintings

Materials

Canvas, Oil

"Gloucester Rocks, Ten Pound Island" Agnes Richmond, American Impressionism
Located in New York, NY
Agnes Richmond Gloucester Rocks, Ten Pound Island, circa 1914-15 Estate stamp on verso Oil on canvas 20 x 24 inches Provenance Estate of the artist Kno...
Category

1910s American Impressionist Figurative Paintings

Materials

Canvas, Oil

"Stepping Out" Margarett W. McKean Sargent, Female Figure, Emerging Forms
Located in New York, NY
Margarett W. McKean Sargent Stepping Out, 1916 Signed and dated on base Bronze 14 x 6 x 8 inches Provenance Private Collection, Hingham, Massachusetts Walker-Cunningham Fine Art, St. Louis, Missouri, 2007 Exhibited New York, Hawthorne Fine Art...
Category

Early 1900s Ashcan School Figurative Sculptures

Materials

Bronze

"Woman with Violets" Margaret Longstreith Baugh, Early Female American Artist
Located in New York, NY
Margaret Longstreith Baugh Woman with Violets, circa 1901 Signed lower right Oil on canvas 26 3/4 x 13 3/4 inches Provenance Walker-Cunningham Fine Art, St. Louis, Missouri, 2007 Pr...
Category

Early 1900s Academic Figurative Paintings

Materials

Canvas, Oil

"Laughing Waters" Grace Hill Turnbull, Modernist, Flowing, Dynamic Waterfall
By Grace Hill Turnbull
Located in New York, NY
Grace Hill Turnbull Laughing Waters, 1925 Signed lower right, titled on verso Oil on canvas 26 x 37 inches Provenance The artist Catonsville Community College, Catonsville, Maryland...
Category

1920s American Modern Figurative Paintings

Materials

Canvas, Oil

"Hidden Boulders" Grace Hill Turnbull, American Female Modernist, Waterfall
By Grace Hill Turnbull
Located in New York, NY
Grace Hill Turnbull Laughing Waters, 1925 Signed lower right, titled on verso Oil on canvas 26 x 37 inches Provenance The artist Catonsville Community College, Catonsville, Maryland...
Category

1920s American Modern Figurative Paintings

Materials

Canvas, Oil

"Pinks and Yellows" Luigi Lucioni, Green and Yellow, Still Life, Ancient Vase
By Luigi Lucioni
Located in New York, NY
Luigi Lucioni Pinks and Yellows, 1959 Signed and dated lower right Oil on canvas 13 x 16 inches Provenance Milch Galleries, New York Private Collection, Woodland Hills, California ...
Category

1950s Academic Figurative Paintings

Materials

Canvas, Oil

"Female Nude" Sou Kim (Heungsou Kim), Korean Modernist, Human Form, Intense Red
Located in New York, NY
Sou Kim (Heungsou Kim) Female Nude, 1959 Signed and dated lower left Oil on canvas 31 1/2 x 25 inches Provenance Galerie Herve Odermatt, Paris Phyllis and Stanley Goldberg, Palm Spr...
Category

1950s Modern Figurative Paintings

Materials

Canvas, Oil

"The Fish" Ida Ten Eyck O Keeffe, Trout, Black and White, Water, Animal Art
Located in New York, NY
Ida Ten Eyck O'Keeffe The Fish, 1935 Signed and dated in pencil lower right Monotype on paper Image 6 x 8 1/2 inches Exhibited Dallas Museum of Art, Ida O'Keeffe: Escaping Georgia's...
Category

1930s American Modern Animal Prints

Materials

Paper, Monotype

"Zofar" Boaz Vaadia, Human Body, Bronze and Stone, Anthropomorphic Sculpture
By Boaz Vaadia
Located in New York, NY
Boaz Vaadia Zofar, 1997 Bronze, bluestone, and boulder Overall 20 x 29 x 27 inches From the edition of 7 Provenance Elaine Baker Gallery, Boca Raton, Florida Boaz Vaadia is the in...
Category

1990s American Modern Figurative Sculptures

Materials

Stone, Bluestone, Bronze

"Change #3" Sean Scully, Abstract, Striped, Minimalist, Shades of Dark Colors
By Sean Scully
Located in New York, NY
Sean Scully Change #3, 1975 Signed, titled and dated Acrylic, tape/paper 12 x 22 inches Sheet: 22 1/2 x 31 inches Provenance Private Collection , New York Estate of the above, 2025 ...
Category

1970s Abstract Abstract Paintings

Materials

Paper, Tape, Acrylic

"The Red Silo" Winold Reiss, Modernist Landscape, Vibrant American Red Barn
By Winold Reiss
Located in New York, NY
Winold Reiss The Red Silo Signed lower left Watercolor on paper 20 x 29 inches Winold Reiss (1886-1953) was an artist and designer who emigrated to the United States from Germany i...
Category

1930s Modern Figurative Drawings and Watercolors

Materials

Paper, Watercolor

"Interior of Église Saint-Sulpice, Paris" James Roy Hopkins, Church Interior
Located in New York, NY
James Roy Hopkins Interior of Église Saint-Sulpice, Paris, 1908 Signed and dated lower left and inscribed "Paris" Oil on canvas 17 3/4 x 14 3/4 inche...
Category

Early 1900s American Impressionist Figurative Paintings

Materials

Canvas, Oil

"The Battle" Stephen Greene, American Abstract Artist, Mid-Century Abstract
By Stephen Greene
Located in New York, NY
Stephen Greene The Battle, 1964 Signed, titled and dated on the reverse Oil on canvas 54 1/4 x 39 1/4 inches Provenance Staempfli Gallery, New York Stephen Greene was born in New ...
Category

1960s Abstract Abstract Paintings

Materials

Canvas, Oil

"Female Nude" Louise Nevelson, Modernist, Elegant Flowing Forms, Sweeping Line
By Louise Nevelson
Located in New York, NY
Louise Nevelson Female Nude, circa 1935 Pencil on paper 9 15/16 x 13 7/16 inches Provenance The artist Estate of the artist Bobbie Greenfield Gallery, Santa Monica, California Priva...
Category

1930s American Modern Figurative Drawings and Watercolors

Materials

Paper, Pencil

"Hermann Hesse" Andy Warhol, Portrait of Author, Celebrity Portrait, Pop Art
By Andy Warhol
Located in New York, NY
Andy Warhol Hermann Hesse, circa 1984 Estate stamp "The Estate of Andy Warhol & The Andy Warhol Foundation for the Visual Arts #VF115.188" on the verso Graphite on paper 31 1/2 x 23 ...
Category

1980s Pop Art Figurative Drawings and Watercolors

Materials

Paper, Graphite

"Untitled" Diana Kurz, circa 1961-1962 New York Abstract Expressionist School
By Diana Kurz
Located in New York, NY
Diana Kurz Untitled, circa 1961 - 1962 Oil on canvas 72 x 58 inches Diana Kurz lives and works in the Soho neighborhood of New York City. She was born in Vienna, Austria and emigra...
Category

1960s Abstract Expressionist Abstract Paintings

Materials

Canvas, Oil

"Abstract Landscape" Karl Knaths, Surrealist, American Modernist Abstract Work
By Karl Knaths
Located in New York, NY
Karl Knaths Abstract Landscape, 1955 Signed lower right; signed and dated on the reverse Oil on canvas 27 x 41 inches Provenance Collection of Marika Herskovic, New Jersey Private C...
Category

1950s Abstract Abstract Paintings

Materials

Canvas, Oil

"Across the Wide, Tokyo" Alice Baber, 1964 Color-Field Work on Paper
By Alice Baber
Located in New York, NY
Alice Baber Across the Wide, Tokyo, 1964 Signed, titled, and dated on the reverse Watercolor and leaf collage on paperboard 10 1/2 x 9 1/2 inches Alice Baber once famously describe...
Category

1960s Color-Field Abstract Drawings and Watercolors

Materials

Paper, Watercolor, Board

"Gwine to Eat it All Myself" William Holbrook Beard, Bears, Animals, Genre Scene
Located in New York, NY
William Holbrook Beard Gwine to Eat it All Myself, 1894 Signed and dated lower left Oil on canvas 16 x 24 inches Provenance: Childs Gallery, Boston Cynthia Bowers, New York Estate of the above Exhibited: New York, National Academy of Design, 1895, no. 405 ($500). Literature: American Art Review, January - February, 1975, p. 36, illustrated. Abraham A. Davidson, The Eccentrics and Other American Visionary Painters, Boston, 1978, p. xvii. Born in Painesville, Ohio, William Beard...
Category

1890s Landscape Paintings

Materials

Canvas, Oil

"Late Afternoon, " J. Francis Murphy Tonalist Summer / Autumn Landscape
By John Francis Murphy
Located in New York, NY
John Francis Murphy (American, 1853 - 1921) Late Afternoon, 1895 Oil on canvas 14 x 19 inches Signed and dated lower right Housed in a reproduction fluted cove frame. Provenance: Kenneth Lux Gallery, Inc., New York BNY Mellon, New York Christie's New York, Living with Art, October 14, 2016, Lot 352 In his lifetime, John Francis Murphy (1853-1921) was known as “the American Corot.” He was renowned for his small, intimate views of nature, especially barren fields and farms, bare trees, and lonely marshland. More than a century later, the power of Murphy’s landscapes has not waned. One contemporary critic wrote, “It was Murphy’s unique accomplishment to achieve an absolute realism without a loss of that mystic, indefinable quality which transfigures realism.” John Francis Murphy was born at Oswego, NY in 1853 but his family moved to Chicago in 1868 where he worked painting theater sets. Murphy was basically a self-taught artist; his only formal training was a few weeks of instruction at the Chicago Academy of Design. In 1875, Murphy moved from Chicago to New York, eventually rooming with the painters Dennis Bunker...
Category

1890s Tonalist Landscape Paintings

Materials

Canvas, Oil

"Untitled" Elaine Lustig Cohen, Geometric Abstraction, Hard-edged, Modernist
By Elaine Lustig Cohen
Located in New York, NY
Elaine Lustig Cohen Untitled, circa 1979 Acrylic on canvas 36 x 36 inches Elaine Lustig Cohen was a New York–based, artist, graphic designer, archivist and rare book dealer. At the...
Category

1970s Abstract Geometric Abstract Paintings

Materials

Canvas, Acrylic

"Untitled" Elaine Lustig Cohen, Hard-edged, Geometric Abstraction, Modernist
By Elaine Lustig Cohen
Located in New York, NY
Elaine Lustig Cohen Untitled, circa 1979 Acrylic on canvas 36 x 36 inches Elaine Lustig Cohen was a New York–based, artist, graphic designer, archivist and rare book dealer. At the...
Category

1970s Abstract Geometric Abstract Paintings

Materials

Canvas, Acrylic

"Abstract Figure with Face" Louise Nevelson, American Female, Anthropomorphic
By Louise Nevelson
Located in New York, NY
Louise Nevelson Abstract Figure with Face, circa 1945 Incised "LN" on the reverse Tattistone 6 inches high x 14 inches wide x 5 1/4 inches deep Provenance The artist The artist's ni...
Category

1940s American Modern Abstract Sculptures

Materials

Cast Stone

"Piscatory" Abraham P. Hankins, Modernist Composition of Fish, Abstracted Nature
Located in New York, NY
Abraham P. Hankins Piscatory, 1941 Signed and dated lower center Tempera on panel 24 x 30 inches Provenance Private Collection, New York Alexandra Avlonitis, New York (acquired from...
Category

1940s American Modern Animal Paintings

Materials

Tempera, Panel

"Factory Boy with Locomotive" Paul Meltsner, 1930s Working WPA Portrait
By Paul Meltsner
Located in New York, NY
Paul Meltsner Factory Boy with Locomotive, circa 1935 Signed lower left Watercolor on paper 23 3/4 x 19 1/2 inches Paul Meltsner sold his first painting when he was eight years old...
Category

1930s Realist Figurative Drawings and Watercolors

Materials

Paper, Watercolor

"Summer Studio" Wolf Kahn, Vermont Landscape, Abstract Impressionist, Pastels
By Wolf Kahn
Located in New York, NY
Wolf Kahn Summer Studio, 2012 Signed lower center Pastel on paper 9 x 11 1/2 inches An important member of the second generation New York School, Wolf ...
Category

2010s Abstract Impressionist Landscape Paintings

Materials

Paper, Pastel

"Beach at Atlantic City, New Jersey" Amy Londoner, Ashcan School, Figurative
By Amy Londoner
Located in New York, NY
Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...
Category

1920s Ashcan School Figurative Paintings

Materials

Paper, Pastel

"Night Stroll" Amy Londoner, Ashcan School, Figurative Nocturne
By Amy Londoner
Located in New York, NY
Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...
Category

1910s Ashcan School Figurative Paintings

Materials

Paper, Pastel

"Which Way?" Martin Lewis, Atmospheric, Snowy 1930s Setting, Outdoor Scene
By Martin Lewis
Located in New York, NY
Martin Lewis Which Way?, 1932 Signed lower right Aquatint etching on pale blue paper Plate 10 1/4 x 15 3/4 inches Sheet 14 1/4 x 19 1/2 inches Edition of approximately 53 Provenance...
Category

1930s Realist Figurative Prints

Materials

Paper, Etching

"Sketch for the Spinner" Alexander Calder, Preliminary Drawing for Mobile
By Alexander Calder
Located in New York, NY
Alexander Calder Preliminary drawing for the Spinner, 1966 Signed lower right Felt tip pen on paper Overall 27 x 15 1/2 inches Individual sheets 8 x 10 1/2 inches Alexander Calder ...
Category

1960s Modern Abstract Drawings and Watercolors

Materials

Paper, Felt Pen

"New York Skyline" Adelaide Lawson Gaylor, Modernist Landscape, Female Artist
Located in New York, NY
Adelaide Lawson Gaylor New York Skyline, circa 1925 Oil on canvas 48 x 45 inches Modernist artist Adelaide Jaffrey Lawson Gaylor was born in New York City and studied at the Art St...
Category

1920s American Modern Figurative Paintings

Materials

Canvas, Oil

"Little Initiation" Kurt Seligmann, Surrealist Knights, Mythical Figures
By Kurt Seligmann
Located in New York, NY
Kurt Seligmann Little Initiation, 1955 Signed lower right and titled on the reverse Oil on wood panel 17 1/4 x 13 inches Provenance Private Collection, New York Born in Basel, Swi...
Category

1950s Surrealist Figurative Paintings

Materials

Oil, Panel

"The Deer Herd" Pablita Velarde, Pueblo Native American, South-Western Art
Located in New York, NY
Pablita Velarde The Deer Herd, circa 1965 Signed lower right Earth pigments on sand board 9 3/4 x 19 1/2 inches Provenance Private Collection, New Mexico Santa Fe Auction Private Co...
Category

1960s American Modern Animal Paintings

Materials

Board, Pigment

"Untitled" Minnie Evans, Mid-Century, Biomorphic Modernist Abstract Spirals
By Minnie Evans
Located in New York, NY
Minnie Evans Untitled, 1947 Signed and dated lower right Crayon and graphite on paper 8 1/8 x 5 1/2 inches Provenance Luise Ross Gallery, New York Privat...
Category

1940s American Modern Abstract Drawings and Watercolors

Materials

Paper, Crayon, Graphite

"Summer on the Delaware" Andrew Melrose, Hudson River School, American Landscape
By Andrew Melrose
Located in New York, NY
Andrew Melrose Summer on the Delaware, 1884 Signed and dated lower left; titled on the reverse Oil on canvas 25 x 30 inches Provenance Private Collection, Buffalo, New York Not mu...
Category

1880s Romantic Figurative Paintings

Materials

Canvas, Oil

"Untitled" Roy Newell, Mid-Century, Black Abstract Expressionist Composition
Located in New York, NY
Roy Newell Untitled, 1953 Signed and dated Roy Newell-1953 Oil on board 3 1/4 x 7 1/4 inches Provenance The Collection of Dr. and Mrs. Maximilian Le Witter Estate of the above Roy...
Category

1950s Abstract Expressionist Abstract Paintings

Materials

Oil, Board

"Summer Picnic by the River" Joshua Shaw, American Atmospheric Genre Painting
By Joshua Shaw
Located in New York, NY
Joshua Shaw Summer Picnic by the River, circa 1840 Signed lower right Oil on canvas 15 1/2 x 13 1/2 inches Born in Bellingborough, Lincolnshire, England, Joshua Shaw became known f...
Category

1840s Academic Figurative Paintings

Materials

Canvas, Oil

"View on Long Island" James Henry Cafferty, Hudson River School Summer Landscape
Located in New York, NY
James Henry Cafferty Landscape and Figures (New Jersey or Long Island), 1845 Signed lower right Oil on canvas 21 x 17 1/4 inches Provenance The artist John L. Schoolcraft, Albany, N...
Category

1840s Academic Figurative Paintings

Materials

Canvas, Oil

"View of Manhattan and the Woolworth Building" Joseph Pennell, New York Scene
By Joseph Pennell
Located in New York, NY
Joseph Pennell View of Manhattan and the Woolworth Building, East River, circa 1915 Signed lower right Watercolor with white bodycolor on paper 10 x 12 3/4 inches Provenance Arader ...
Category

1910s Ashcan School Figurative Drawings and Watercolors

Materials

Paper, Watercolor

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