Recognized Dealers Interior Paintings

"Architectural Fantasies" is a 40" x 30" gouache on paper, abstract painting of geometric shapes and forms, giving the illusion of a three dimensional, architectural structure. Born...

"Red, Orange, Green with Plant" is a still life painting by Philadelphia born Expressionist painter Bernard Harmon from 1970. The 30.5" x 39" oil on board features a table top still ...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Allison Gildersleeve, born in Connecticut in 1970, earned her B.A. from the College of William and Mary and her M.F.A. from Bard College. Gildersleeve lives and works in Brooklyn, Ne...

Unknown Artist (probably American, nineteenth century) Tavern Scene Oil on canvas, 15 x 12 inches Framed: 21 x 18 inches (approx.)

"Knee Sock Girl" is an oil on board portrait painting by Philadelphia born Expressionist painter Bernard Harmon of a woman, seemingly lost in contemplation....

"Red Still Life" is an interior still life by Philadelphia born Expressionist painter Bernard Harmon. The 28.25" x 24.25" oil on board painting is framed in a new black wood frame. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American...

Letitia Bonnet Hart (American, 1867-1953) Victorian Ladies Oil on canvas, 21 x 16 1/4 inches FRAMED: 28 x 23 inches (approx.) Signed at lower right: "Letitia B. Hart" Label on stretcher: "Marbella Gallery, New York" Daughter of the Hudson River School painter James McDougal Hart, Letitia was born into an extended family of accomplished artists. After preliminary study with her father and mother, she attended the Brooklyn Academy of Design and the National Academy of Design. She began exhibiting at the age of eighteen, and continued to exhibit in Brooklyn, Philadelphia, Massachusetts, Louisiana Purchase Exhibition, and the 1893 World’s Columbian Exposition...

Illustration for "The Man For the Hour: The Devoted and Heroic Patriotism of Colonel John Laurens" by James Barnes for McClure's Magazine, published December 1899. The full caption reads: "At the same time he extended toward King Louis...

World War I scene Story illustration for “Will You Tell Her I’m All Right?” by Catherine Van Dyke for The Ladies Home Journal, published March 1918, illustrated page 11. The full c...

"Grey Still Life" is a tabletop still life by Philadelphia born Expressionist painter Bernard Harmon. The 24.25" x 28.25" oil on board painting is framed in a new black wood frame. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American...

"Hemispheres" is a 20" x 13.5" oil on paper abstract painting of geometric shapes and forms, giving the illusion of a three dimensional, architectural structure. The painting is sign...

Medium: Watercolor on Canvas Signature: Signed Lower Left Sight Size 11.75" x 14.00," Framed 25.50" x 27.00" Framed under glass.

"Snap Peas" is an interior portrait of a young woman working at her kitchen table, painted by Philadelphia born Expressionist painter Bernard Harmon. The 24" x 36" oil on board painting from 1955 is signed "Harmon" in the lower left and it is framed in a new black wood frame. Figurative expressionism in the style of Alice Neel. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists 1800 - 1969" at the Museum of the Philadelphia Civic Center in 1969. He was considered a Renaissance man by friends and colleagues for his interests not only in art but music and theater as well. He was familiar and friends with many other African American artists such as Doc Thrash, Selma Burke, Paul Keene...

"Pattern Skirt" is an oil on board interior portrait of a young woman sitting, painted by Philadelphia born Expressionist artist Bernard Harmon. The painting is 39 1/2" x 36" in size...

"Young Man" is an oil on canvas portrait painting by Philadelphia born Expressionist painter Bernard Harmon. The painting is 26" x 36" in size, signed on the lower right. Figurative ...

'Pagoda' features immense detail and nuances between shadings of light and dark, sunlight and shadows. The majority of the colors in his works highlight a darker shade, which focuses...

Medium: Oil on Canvas Signature: Signed Upper Left Sight Size 36.50" x 26.50;" Framed 43.00" x 33.00"

The Progressive Farmer magazine cover, January 1958 This dynamic scene of a mid-century New Year's Eve party captures the excitement across generations. While adults eagerly anticipate midnight, children watch from the staircase, and an older couple in the background enjoys a quiet moment together at the buffet table. Sarnoff's use of diagonals brings the scene to life, and the inclusion of noisemakers evokes the festive atmosphere. Created as a cover for the January 1958 issue of The Progressive Farmer, this is a prime example of Sarnoff's vibrant style. Approximate Date: 1958 Medium: Oil on Board Signature: Signed Lower Right Size: 25.00" x 22.00" Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art Museum, Brookings, South Dakota May 5, 2015 - September 13, 2015 Norman Rockwell Museum...

A painting by Santiago Carbonell. "Untitled" is an interior, realism painting, oil on canvas executed in a warm palette of browns, beiges, and black...

Oil on panel Panel size: 6 x 8 inches Framed size: 10.25 x 12.25 inches Signed and date '1860' lower right

Signature: Signed Lower Right "Stevan Dohanos" Framed dimensions are 27.00" x 31.00." Interior scene with a family cooking. Original advertisement for American Optical published in ...

Medium: Oil on Canvas Signature: Signed Lower Left

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Multidisciplinary artist. Twenty years of artistic experience in the Fine Arts. Eight years of practice as a University professor of Fine Arts. Broad knowledge of design software: Ad...

An elegantly dressed woman sits gazing out of a window with a book on her lap. A fine example of the type of contemplative genre scenes for which Birney was well-known. William Verp...

Multidisciplinary artist. Twenty years of artistic experience in the Fine Arts. Eight years of practice as a University professor of Fine Arts. Broad knowledge of design software: Ad...

An innate and atypical landscape artist, Eric Pérez is an intellectual who paints. He knows and loves Mexican and world history, from which he derives his contemporary context. His p...

Medium: Gouache on Board Dimensions: 30.00" x 22.00" Signature: Signed Lower Right

An innate and atypical landscape artist, Eric Pérez is an intellectual who paints. He knows and loves Mexican and world history, from which he derives his contemporary context. His p...

Oil on panel Panel size: 7 x 5 inches Signed and date '1859' lower left

Medium: Oil on Masonite Signature: Signed Lower Right, with Title and Registration Marks in Chalk "Tom pleaded, 'Does one misstep have to ruin our marriage?'" Cover illustration for...

Patrick Hughes (b.1939) Walls have ears 2020 oil on board construction 66.5 x 80.5 x 16 cm Price: £66,000 GBP (inc. 20% UK VAT) Provenance: Direct from the artist's studio Notes: ...

Signed Lower Right illustration for Cosmopolitan magazine, published May 1928, with inventory stamp and notes on verso.

Medium: Oil on Canvas with an Element of Collage Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, February 27th, 1954. The Post described, “...

Medium: Acrylic on Board Signature: Signed Lower Right

Medium: Oil on Board Signature: Signed Lower Right

Bruce McLean Twig Arrangement in front of Garden Arrangement - Yellow, beige wall 2021 Oil, acrylic, charcoal and aluminium collage on canvas 120 x 100 cms (47 1/4 x 39 3/8 ins) BM17727

Back Cover illustration for the April 8, 1950 Easter edition of The War Cry, a magazine published by the Salvation Army This heartwarming image graced the back cover of the 1950 Eas...

Oil on canvas Canvas size: 24 x 30 inches Signed lower left

Oil on canvas Canvas size: 20 x 30 inches Framed size: 30 x 39.5 inches Signed lower left

Signature: Signed Lower Left

John Moore was born in St. Louis, MO in 1941. He received a BFA from Washington University in St. Louis (1966) and an MFA from Yale University (1968). Over a career spanning forty ye...

Oil on canvas Canvas size: 8.75 x 6.5 inches Framed size: 13.5 x 11.5 inches Signed and dated '1869' lower right

Medium: Oil on Canvas, Mounted Dimensions: 22.70" x 17.70" Signature: Signed Lower Right Advertisement, image of girl baking biscuits as boy and mother look on. An early 20th-cent...

Medium: Oil on Canvas Dimensions: 24.00" x 31.00" Signature: Signed Lower Right This painting of a baby taking it's first steps was done as a calendar for the Osbourne Calendar Company and has the Osbourne tag affixed to the back. Harold Matthews Brett grew up in Brookline, MA and studied at the School of the Museum of Fine Arts in Boston under Philip Hall and Frank Benson. Later he moved to New York to study at the Arts Students League with Walter Appleton Clark...

Oil on canvas Canvas size: 24 x 18.25 inches Framed size: 31.75 x 25.75 inches Signed lower right

Medium: Mixed Media on Board Signature: Signed Lower Center "Dancing the minuet before a camera and the hundred people behind it isn't the same as just dancing because you like the ...

Medium: Oil on Sculpted Composition Dimensions: 17.50" x 13.50" Signature: Signed Lower Left A Jerusalem Gate at night

A painting by contemporary Scottish sculptor, painter and performance artist Bruce McLean.

Oil on canvas Canvas size: 16 x 13 inches Framed size: 18.5 x 22 inches Signed lower right

Signature: Lower Left Medium: Oil on Board Dimensions: 28.50" x 23.00" A Loving Embrace, this illustration was used as a Paperback Cover.

Approximate Date: 1957 Medium: Oil on Board Signature: Signed Lower Left Size: 18.70" x 27.00" Story illustration for The Master Move by George Loveridge, published in Good Housekeeping, November 1957. An excerpt from the story reads: “In the evening Mowbray dined at a mahogany table designed to seat ten persons. To his left, in an intricate, gilded frame, hung an oil portrait of his father — a man with a majestic, full gray beard and the same beaked nose that his son had, but with milder eyes (p. 237)…Every Sunday, Mowbray and the boy had dinner together, the two of them at the long, broad, polished table under the eyes of Peter Mowbray. Mowbray often had to fly hundreds of miles to be on time for Sunday dinner with his son, but he did not once fail to be there.” (p. 239-240) A Native American finding a Raggedy Ann doll...

Alec Montroy paints opera singers performing in a dimly lit restaurant, while patrons look on from tables and waiters hurry past in his oil painting, “Grand Opera at Grand Old Asti’s.”

Signature: Signed and Dated Lower Left Vignette for an unknown publication, with Scientific Engraving Company labels on verso

Oil on canvas Canvas size: 12 x 9 inches Framed size: 19 x 15.75 inches Signed upper left

Original gatefold art for the Atomic Blonde movie soundtrack album Medium: Acrylic on Board Signature: Signed Lower Right

Oil on panel Panel size: 11.75 x 18 inches Signed lower right

Medium: Oil on Canvas Mounted to Board Signature: Signed Lower Left "H. Hintermeister"