Pennsylvania - Paintings

Full of energy and vivid color, this atmospheric and charming scene of a small-town carnival, complete with a barker, boys with balloons, a blue tent in the foreground and a sign announcing the "500 LB Lady," was painted by E. Wilder Lincoln in the 1930s or 40s. Painters and sculptors were fascinated with circuses and carnivals...

A vibrant landscape that blends the lines of genre work with the impressionist landscape, it captures a pair of woman caught in the middle of a conversation while a young child is exploring the path barefoot. The traditional dress is reminiscent of a century prior and is evocative of a rural Italian landscape, though the stretchers on the reverse of the painting are simply titled "Lake Shore" with no recorded indication of the placement of the scene. The brilliant cobalt blue of the lake is visible to the far right of the nearly square composition while the trees stretch like spires through the horizon and beyond the scope of the canvas, proportionally dwarfing even the cliffs in the distance behind the women. It is a composition familiar to Grant, with his preference for framing subjects with towering local trees, utilizing a relatively square canvas and including just a hint of water. In this particular example, the interplay of light and shadow in the scene is positively brilliant with Grant's palette switching from high-chroma to low-saturation within the span of a single brushstroke. The scene is signed in the lower right in his typical script, "Frederic M. Grant" and is housed in a good quality period correct carved giltwood frame. ARTIST Born in Sibley, Iowa on October 6th of 1886, Frederic Milton Grant studied at the North Dakota State University before heading to the Art Institute of Chicago. There he trained under John Vanderpool, Alphonse Mucha, Frederick Freer...

Quick Dip, two women bathing by a pond - Oil on wood, signed lower right - Framed dimensions: 25.75 in x 21.75 in.

"peach orchard in the valley", farm houses scene with road and horses - Oil on Canvas , signed lower middle - Framed dimensions: 41 in x 30.5 in.

"Kalkberg", mountain covered in snow - Oil on canvas, signed lower right - Unframed.  

Lady with a fan and two men - Sold as pair - Oil on wood, signed lower right – Unframed.   

This brilliant Surrealist composition, with the stylization and exaggerated plant forms of Art Deco, was painted by Jan Matulka in 1944. Both Surrealism and "Moderne" decorative arts thrived in the 1940s, and here the artist draws from both styles. Matulka was born in Prague and came to America as a young man, and trained here and in Paris, where he became exposed to Cubism. He exhibited in New York, created illustrations for New Masses which advanced the interest of American workers...

Rich with color and a Maxfield Parrish-like wry humor, this original gouache painting was executed by a student with the initials JK for an annual vaudeville and dance event put on for the older students of the Pennsylvania Academy of the Fine Arts in Philadelphia. The fool is shown in profile, with his hat ringed with bells and his hair cut in a Prince Valiant...

Brilliantly painted in rich hues of cerulean, purple, deep pink and burnt siena, this abstracted view of a dockside scene was painted by John De Forest ...

Dom Dominic Mingolla Enamel on Copper Painting Girl with Dog in Field 12 x 9. Item features enamel on copper painting, artist signature to botto...

Dom Dominic Mingolla enamel on copper small painting. Possibly depicting the Cathedral of Notre Dame (?), 6 x 8. item features enamel on copper painting, artist signature to bottom r...

Mr Karp's online biography states "Aaron Karp is a practicing artist of more than 40 years. Originally from New York, he has lived in Albuquerque, New Mexico, since 1979 where he wor...

Heather Ujiie Erotic Tree of Life- Two Half-Deer Figures, 2014 Watercolor on paper 22 x 11 in

Dom Dominic Mingolla Enamel on Copper Painting Clown in Hat Portrait 12 x 9. Item features enamel on copper painting, artist signature to bot...

"Untitled" 1999, Watercolor Figure by American Artist Martin Sumers. Wear is consistent with age and use. See photos for details. 12.25" W x 14.25" H Martin Sumers (1922–2012) was ...

Large 19th Century European School in the distance. Men are also riding on horses in this beautiful piece. 41" x 53"

Husk. A biro, watercolor, gouache painting. Sight size: cm 5 in. x 19 in. Frame size: cm 11 in. x 25 in. Jeremy Hush - a long time punk and heavy metal scene illustrator l...

Original acrylic portrait painting on recovered antique ceiling tin by European artist Mladen Novak. Tin panel may have a few chips in the paint h...

This gouache, by Witold Gordon, is one of a series commissioned by Conde Nast which were published in Vanity Fair magazine in July 1934 under the banner “New York Shops You Never See...

This gouache by Witold Gordon, is one of a series commissioned by Conde Nast which were published in Vanity Fair magazine in July 1934 under the banner “New York Shops You Never See”...

Edward McHugh The Bad Touch, 2020-21 Acrylic, ink, thread, polyester resin on double-refined fiberboard 3 x 56.5 x 45.5 in

Hand painted early 19th century miniature under glass. Finely painted details on this lovely lady. In a brass oval frame, with floral embroidery surround. Painting measures 2.5 in x...

Edward McHugh Come On Join The Party, 2020-21 Acrylic, ink, thread, polyester resin on dibond 48 x 60 in

This gouache by Witold Gordon, is one of a series commissioned by Conde Nast which were published in Vanity Fair magazine in July 1934 under the banner “New York Shops You Never See”...

A very interesting and unusual Lancaster Bridge Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist board and comes complete with what appears to be an original artist decorated/painted frame. The painting is signed on the front by the artist. Overall frame Size approximately 42″ wide x 2″ deep x 30″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

The painting is quaint, as written on the back Edward Mack Hawkins the artist was motoring from NYC to Upstate during the World War, Near Windset on a country road he saw this meager...

Heather Ujiie Erotic Tree of Life- Siren 2, 2014 Watercolor on paper 14 x 11 in unframed

Brilliantly conceived and executed, in vivid shades of pink, pale blue, slate green and black, this pair of Mid Century paintings bring life, humor and color to scenes of circus life...

Trompe L'oeil game painting on board. Birds, guns and a bugle. Italian artist and dated 1910.

This elegant and lovely depiction of a shepherd with his staff, clearly influenced by classic Greek painting and pottery, was made by François-Louis Schmied, one of France's two lead...

Merton Simpson Oil on Board. He has used a bit different style and colors to create this magnificent piece of art. Merton Daniel Simpson (September 20, 1928, March 9, 2013) was an Am...

God's Gift Watercolor 1915. Beautiful and Emotional Masterpiece signed by E. Lochlilar

This captivating oil on canvas, titled Hydroid IV, showcases Marko Spalatin’s mastery in geometric abstraction. Bold and precise, the composition draws the viewer into a rhythmic pla...

"Untitled" 1999, Watercolor Figure by American Artist Martin Sumers. Wear is consistent with age and use. See photos for details. 12.25"" W x 14.25"" H Martin Sumers (1922–2012) w...

A large oil on masonite painting depicting a city view painting featuring a clock tower. Unsigned. Frame: 52.5" x 40"

Merton Simpson Multi-Media 27" x 24". Merton Daniel Simpson (September 20, 1928, March 9, 2013) was an American abstract expressionist painter and African and tribal art collector an...

Autumn Field Oil on Canvas Painting by Richardson. Beautiful and vibrant fall colors used in this. 42" x 54"

This gouache, by Witold Gordon, is one of a series commissioned by Conde Nast which were published in Vanity Fair magazine in July 1934 under the banner “New York Shops You Never See...

A year after André Margat received a gold medal for his lacquerwork at the Exposition Universelle of 1937, the artist painted this beautiful and expressiv...

Bold and striking, this depiction of Charon rowing departed souls to the afterlife was painted by Richard Schwarzkopf, renowned for his paintings and illustrations in what has been called the German Expressionist Art...

Jean Chaleye (FRENCH , 1878-1960) Red Bikini - Oil on Board , signed lower left - Lady in red bikini sitting by the lakeside looking out towards water.

Fresh and light, this lovely Impressionist painting of a spreading apple tree laden with blossoms, reigning over a field brilliant in tones of spring green and gold, was painted by Edward Siebert in the early 20th century. Born in the District of Columbia...

Jean Chaleye (French, b. 1878 - d. 1960) "Nude In Nature" - Oil on board, signed lower right - Abstract nude woman standing surrounded by bushes.

This gouache, by Witold Gordon, is one of a series commissioned by Conde Nast which were published in Vanity Fair magazine in July 1934 under the banner “New York Shops You Never See...

Vividly painted in tones of carmen, ivory and sapphire, and depicting a turbaned woman with fashionably short hair and bedecked with strands of diamonds, sapphires and rubies, this p...

Vivid and striking, this Classic Art Deco watercolor of an exotic female figure in harem pants and geometric-patterned blouse, balancing a bird of paradise on...

This beautiful pairing of mirror and painting, framed in dark green and old gold, comes from a historic estate in the Philadelphia area. The upper painting depicts a bustling Italia...

This striking painting presents a fantastical leopard in a shade of periwinkle superimposed over a brilliant backdrop of stylized palm fronds in a vivid shade of green. The colors ar...

This is a large-scale watercolor portrait on paper, painted by Till Freiwald. Freiwald’s images depict everyday people of various ethnicities in closely-cropped head-on portraits. ...

This is a large-scale watercolor portrait on paper, painted by Till Freiwald. Freiwald’s images depict everyday people of various ethnicities in closely-cropped head-on portraits. ...

Oil on canvas of two boxes of strawberries on a table one spilling out.

Oil on board with interesting study on reverse side.

Heather Ujiie Erotic Tree of Life- Siren 1, 2014 Watercolor on paper 14 x 14 in

Marilyn Kirsch Body of Water, 2012 Oil on canvas 56 x 60 in Kirsch’s paintings are non-representational. There may seem to be identifiable subjects wit...

This piece was initiated for a plein air event in early fall. The weather is the story with high winds, rain, thunder and lighting which finally chased me to cover. I had to return i...

The Massey Plantation at the White Horse. A great landmark collection of buildings, walls, their relationships to each other are a result of centuries of building naturally in the la...

An exceptional composition of Manayunk, the considerable depth of this landscape both shifts the viewer eye throughout the composition while showing the transition of rural Manayunk ...

One of the best tools a painter can have is a pick up truck. Several days I worked from my portable “studio” in the late Spring in the early evening to capture this family of deer as...

A reflection on longevity. Standing since the founding of Pennsylvania this giant has stood witness to our founding fathers and their descendants. Humphrey Marshall once owned the land.

A day at the beach, bathers crowded together. The humans are facing the sea. The gull with his back to the sea finds human activity more interesting.