Recognized Dealers Paintings

Oil on board Signed within painting (on bucket): AFT Provenance Private collection Why We Love It Tait’s animal paintings were hailed for their masterful realism. Moreover, he capt...

A line of white cloud rises at the foot of swirling silver calligraphy in this luminous canvas by Alice Teichert. Resembling an abstracted tornado against a crimson sky, the dynamic ...

Christopher Terry's paintings explore the tension between the everyday and the mystical. His subjects are primarily inspired by objects and artifacts that lack a strong ego and avoid...

Grace is an oil on Masonite painting, 32 x 25" panel size, signed ‘HOFMANN’ lower right and framed in a custom, closed-corner, baroque-style frame. Douglas Hofmann’s works have been...

Johann Berthelsen began his career as a professional singer. Graduating from the Chicago Musical College in 1905, Berthelsen toured the United States and Canada, performing in operas...

The career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began his art studies with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...

A painting by Carl Morris. “Untitled” is an abstract expressionist painting, acrylic on canvas in reds and browns by American artist Carl Morris. The artwork is signed in the lower r...

Medium: Oil on Canvas Signature: Signed Lower Right Literature: Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Norman Rockwell Museum...

"Ritmos Abstratos" invites us to explore the visual universe of the artist Juan Carlos Amador, who, through his unique perspective, translates the pulsations of space and the invisi...

Story illustration for “The Kenworthy Case” by Rex Beach, published in Cosmopolitan, May 1936, pages 48-49. The full caption reads: "While Rosa and Doctor Lutyens quarreled violentl...

The Outing Magazine commissioned Parrish to provide a cover illustration for their 1899 Last Rose of Summer edition (published December 1899). In the poster, Maxfield used his own face and figure to portray a youth in Grecian costume examining a rose he holds in his hand. The figure is shown sitting below one of the massive oaks on the artist’s property, flanked by two plaster lions the artist had moulded in his studio. The depiction harks back to the 1805 poem by the Irish poet, Thomas Moore: ‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rose-bud is nigh, To reflect back her blushes Or give sigh for sigh! I’ll not leave thee, thou lone one...

Phenomena Winter Harth by Paul Jenkins (1923-2012) Oil and sand on canvas 66 x 122 cm (26 x 48 inches) Signed, titled and dated on the reverse, Paul Jenkins "Phenomena Winter Harth" ...

Impressionist artist Purdy often paints figures in tranquil settings that include windows and flowers. The colors of yellow, soft blues and whites here convey a sunny setting. He oft...

Oil on canvas Canvas size: 21.5 x 25.5 inches Framed size: 31 x 36 inches

A constellation of white orbs interspersed with calligraphic glyphs dances and spins on a dark ground in this canvas by Alice Teichert. Layers of translucent acrylic create infinite ...

Signed and dated lower right: Burlin 1914 Provenance Private collection Born in New York City, Paul Berlin was a Social Realist for most of his career, i...

Advertisement for the Interwoven Stocking Company, New Brunswick, NJ.

Medium: Oil on Canvasboard Signature: Signed 'Jacob Rosenberg' This piece was commissioned for the movie "Roberta" (1935), directed by William A. Seiter. Painting is by Jacob Rosenb...

Story illustration for “Appearance and Reality” by W. Somerset Maugham, published in Cosmopolitan, November 1934, pages 22-23. Described as "A masterfully witty story of manners and...

Christopher Terry's paintings explore the tension between the everyday and the mystical. His subjects are primarily inspired by objects and artifacts that lack a strong ego and avoid...

Leon RIchet Bejeweled woman within a Barbizon Landscape 1872 Oil on panel 24 x 18 inches (61 x 45.7 cm) Framed: 36 x 30 inches (91.4 x 76.2 cm) Signed: Léon Richet 72 Leon RIchet wa...

Provenance Bonhams Skinner - Malborough, March 8, 1991, lot 226; Private collection, Pennsylvania, until 2022 A painter especially known for street and waterfront scenes of Boston, ...

Oil on canvas Canvas size: 19.75 x 15.75 inches Framed size: 25.75 x 22 inches Signed lower left

Medium: Oil on Canvas Siganture: Signed Lower Right Sight Size 31.75" x 24.75;" Framed 36.00" x 28.00"

Medium: Oil on Canvas Laid on Board Signature: Unsigned The Saturday Evening Post, November 16, 1912 cover Study (Thanksgiving Edition)

Oil, Gesso, & Recycled Plastic on Canvas 70 x 36 in (178 x 91 cm) (Due to the abstract nature of this piece, it can be displayed vertically or horizontally at the discretion of...

Acrylic on canvas 30 x 34 inches This painting was part of a collection for DIVINA NATURA, a sound and light installation at the Field Museum of Natural History in Chicago, focus...

Signed with initials M.P. (lower right); inscribed Article III. "Irrigation" water let in on a field of alfalfa (in the lower margin) Written on back "February of 1902. Hot Springs,...

Father Rushing Home with an Armload of Gifts, The Saturday Evening Post Cover, December 4, 1909. A charming original cover for The Saturday Evening Post, published December 4, 1909,...

Agustín Fernández (La Habana, Cuba, 1928) Agustin Fernandez was born in Havana, Cuba, 1928 and died in New York City on June 2, 2006. Fernandez is recognized as an outstanding artis...

Provenance Private collection; Christie's, Fine American Paintings, Drawings, and Sculpture, New York, March 9, 2007, lot 120 A fine example of Jonas Lie's mature artistic style, Wi...

"Untitled" is an oil on canvas painting made by Ray Parker in 1965. The piece is signed verso, "R. Parker, 30 x 24, 1965". The art size is 30 1/8 x 23 1/4 inches. The framed size is ...

Pachter has often used the tent as a symbol of the country, of military history, and the journey implied by the use of the tent, and of course, the primary symbolism of the pyramid. ...

Artist and collector Hunt Slonem is best known for huge Neo-Expressionist oil paintings of tropical birds based on his personal aviary. His lavishly colored canvases are populated wi...

This contemporary landscape painting of a tree was created by a Canadian artist. Lauded for his ethereal and romantic landscapes, Peter Hoffer has created a unique body of work that...

Taos Series Mixed media on handmade paper Signed and dated by the artist lower right Archival framing with Conversation Glass Frame size: 29 3/4 x 34 inches Image size: 19 1/2 x 19 1/2 inches Provenance: Peter Marciniak, New Hampshire Distinguished Midwest Private Collection Regarding the artist: Select Exhibition: 1991 Franz Bader Gallery, Washington, D.C. (solo) 1980 Guggenheim Museum, New York, NY 1974 Bertha Schaefer Gallery; New York, NY (solo) 1972 Childe Hassam Purchase Show, National Institute of the Arts and Letters 1971 "The Turkish Bath of Ingres,” Louvre Museum, Paris, France 1971 Guest Artist, Tamarind Institute; Albuquerque, NM 1970 “American Drawings of the Sixties,” New School Art Center; New York, NY 1966 Dorsky Gallery, New York, NY (solo) 1962 Dwan Gallery...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in black and white by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, "J...

Watercolor on paper laid on board: An exceptional watercolor in terms of quality and presentation. During this earlier period of Day's career he exhibited extensively and was inspir...

Study for the cover of the November 15, 1912 issue of Vogue magazine A figural work depicting lovers figures, the recumbent male costumed as a masked Harlequin clown, the female sea...

Medium: Oil on Canvas Signature: Signed lower right: JC Leyendecker Living Mannequin sold at the U.S. War Bond at the United States Treasury-Saturday E...

In the tradition of Modigliani, Maurer's depictions of women are expressive and lively. America had very few modernists who painted in this manner but Maurer is famous for exactly t...

"Not Speaking" is a painting by Philadelphia born Expressionist painter Bernard Harmon. The 36" x 40" oil on board portrait of a mother and her son is painted in a vibrant color pale...

A painting by Nathan Oliveira. "Nude Stepping from the Carpet" is a contemporary painting, oil on canvas in a palette of reds, greens, and beiges by Bay Area figurative artist Nathan Oliveira. The artwork is signed in the lower right, "N Oliveira 62". During the early years, Oliveira’s lone figures often suggest an existential angst similar to that of Giacometti, but there is also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...

Signed lower right: H. GASSER; on verso: “Gloucester Vista” / HENRY GASSER / N.A.

A dynamic, Mid-Century Modern horse race painting by noted Chicago artist, Rudolph Pen. Artwork size: 27" x 23"; Framed size: 27 1/2" x 23 1/2". Signed "Pen" lower right. Provenan...

This colorful lithographic poster was printed in 1982 at the Atelier Mourlot in Paris was printed for an exhibition of Atelier Mourlot prints in Tokyo at Seibu Department Stores, 198...

Signed lower right: W Bradford

Monogrammed lower left: ATBRICHER

"White Pidgeon - La Paloma Blanca" by Philadelphia born modernist and surrealist painter Leon Kelly, is a large scale Modernist Abstract painting. The 40" x 54" oil on canvas is sign...

Denied Warhol Marlon Brando Silkscreen Painting on raw linen by Charles Lutz Silkscreen and acrylic on raw linen with artist's Denied stamp of the...

Christopher Terry's paintings explore the tension between the everyday and the mystical. His subjects are primarily inspired by objects and artifacts that lack a strong ego and avoid...

"Figures, Boats, and House - Cape May Point, NJ" is a Pennsylvania Beach Scene by American Impressionist painter Albert Van Nesse Greene. The ...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

Signed by Artist in Lower Right The Saturday Evening Post, April 14, 1928, cover illustration Literature: Arthur Leighton Guptill, Norman Rockwell, Illustrator, New York, 1970, p....

Oil, Gesso, Recycled Plastic on Canvas 70 x 36 in (178 x 91 cm) (Due to the abstract nature of this piece, it can be displayed vertically or horizontally at the discretio...

Medium: Watercolor, Ink and Appliqués on Board Signature: Signed Lower Right Sight Size 16.00" x 12.00", Framed 26.00" x 22.00" Glorifying The American Girl...

The present work was reproduced as an illustration for Bruce Barton's story "The Boy Who Established a Nation," published in the February 1929 issue of Good Housekeeping. Part of an ...

Christopher Terry's paintings explore the tension between the everyday and the mystical. His subjects are primarily inspired by objects and artifacts that lack a strong ego and avoid...

"Tabletop Still Life" by Philadelphia born modernist and surrealist painter Leon Kelly, is a framed painting of a set dinner table with food, flowers, and wine. The 36" x 44" oil on ...

abstract oil painting with gold acrylic on edge