All Items : Fine Art : Paintings : Oil : N. America : American : Pre 2000 item #1320373 (stock #2686)
Georges Colin, American
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1980 item #1310444 (stock #2682)
John Willenbecher, Macungie, PA, B.1936,active in New York City, Labyrinth 17.BII.72. Acrylic on masonite. Titled LL, signed LR. Bearing Sachs Gallery label en verso. Dated 1972. Arched top 48" x 36". His paintings sell for up to $5250. Studied: Brown Univ. (B.A., 1958); New York Univ. Inst. Fine Arts, 1958-61. Exhibited: Mixed Media & Pop Art, Albright-Knox Art Gal., Buffalo, 1963; Paintings & Constructions of the 60s, RISD, Providence, 1964; WMAA, 1964-66; Kunst-Lucht-Kunst, Stedelijk Mus., Eindhoven, Holland, 1966; Painting & Sculpture Today, Indianapolis Mus. Art, 1970. Collections: Whitney Museum of Modern Art, NY, Brooklyn Museum, Smithsonian American Art Museum, WMAA; Albright-Knox Art Gallery, Buffalo, NY; James A. Michener Found. Coll., Univ. Texas, Austin; Aldrich Mus. Contemp. Art, Ridgefield, CT; Solomon R. Guggenheim Museum, New York, Chicago Art Institute. Sources: WW73; David Bourdon (author), Out There with Willenbecher," Art Int., 9/20/1968. Teaching: lectures on painting, Philadelphia . College Art, 1972-73."
Eliot Candee Clark, American, 1883-1980. This stunning pastel is 5.5"H by 11.5"W, pencil signed LL. Frame 13" by 19. Excellent condition. Born in NYC on March 27, 1883. Eliot was the son of artist Walter Clark. After studying briefly at the ASL under Potthast and Twachtman, he taught there during 1912-22. While based in NYC, he made painting trips to the West during the 1920s and 1930s. Small oils of Yosemite are extant. Member: Salmagundi Club; NA; NAC. Exh: NAD, 1912, 1922 (prizes); Biltmore Hotel (LA), 1928. In: NAD; Fort Worth Art Center; Maryland Inst. (Baltimore); MM; Woodrow Wilson House (Washington, DC); Baltimore Museum; San Antonio Museum; Dayton Art Inst. n.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1306733 (stock #2678)
Henry Ward Ranger, American (1858 - 1916, active/lived in New York, Connecticut. Henry Ranger is known for landscape painting-forest interiors. He was a leading artist of the Tonalist movement, was responsible for the establishment of the art colony at Old Lyme, Connecticut. Raised in Geneseo and Syracuse, New York, he studied art in France, where he was influenced by the Barbizon School and a group of Dutch painters called "The Hague." Ranger exhibited at the Paris Salon and the Paris Exposition, and had a one-man show at Knoedler's in New York in 1892. He became a successful lecturer and painter, exhibiting at the Brooklyn Art Association, the National Academy, the Art Institute of Chicago, Pennsylvania Academy of Fine Arts, the Corcoran Gallery, and several expositions. In the 1890s began painting in Old Lyme. Captivated by the area's beauty, he established the American Barbizon School there, which attracted many artists. While he sketched out-of-doors, Ranger finished his works in the studio in the traditional academic manner. Soon after Hassam's arrival, Ranger left Old Lyme to start a new colony at Noank, near Mystic on the Connecticut coast. Ranger died in 1916 without family and bequeathed his estate to the National Academy of Design to establish a fund for the acquisition of works by American artists. His own works are represented in many American museums.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1990 item #1298327 (stock #2674)
Andrew Spence, born 1947, is active/lives in New York, California. Andrew Spence is known for abstract and non-objective painting. From his first exhibition in Los Angeles in the mid-1970s, Andrew Spence has pursued a hard-edge abstraction with work that is densely textured, richly colored and often with irregularly shaped canvas. Spence, who lives in New York City, was born and raised in Philadelphia, and took undergraduate study at the University of Oklahoma and at the Tyler School of Art in Philadelphia. Then he earned an MFA at the University of California at Santa Barbara. In addition to his fine art career, he has been a teacher with employment at Bennington College. Similar paintings sell for up to $6000.00. He is listed in AskART.com, The Artists Bluebook 34,000 North American Artists to March 2005, Davenport's Art Reference: The Gold Edition, Who's Who in American Art, 2004 2003 - 2004 (25th Edition), Falk, Peter Hastings (Editor) Who Was Who in American Art, 1564-1975, 3 volumes, Who's Who in American Art-1993-1994 20th Edition, 1987 Rifkin, Ned (organizer) 40th Biennial Exhibition Contemporary American Painting,(Exhibition catalog), Who's Who in American Art-1986 1986, 1982,Stewart, Albert, New New York (Exhibition catalog)
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1280746 (stock #2671)
George Raab, Sheboygan, Wisconsin, 1866-1943. Raab began studies under Richard Lorenz at the Wisconsin School of Design. Raab was studying in Europe between 1891 and 1898, when his name did not appear in the Milwaukee city directories. He was, in fact, at the Weimar Art School under the Norwegian-born painter Carl Frithjof Smith (1859-1917) and reportedly in the Académie Colarossi in Paris, receiving instruction from Gustave Courtois. The combination of Courtois’ academic technique, the Munich style, American tonalism, and developments of French impressionism, as well as Art Nouveau, influenced Raab. An undated still-life features cloisonnisme techniques of Gauguin or Emile Bernard. Raab is closely identified with impressionism. Raab toured Italy in 1897, when Symbolism was prominent. As in France, there was a wealth of aesthetic activity. Raab was part of a period of intense cultural experimentation. Most likely, Raab would have visited the great museums to study old masters, whose destruction the Italian futurists would soon be urging.In Wisconsin in 1899, Raab became one of the founding members of the Society of Milwaukee Artists (1900). The group held exhibitions in the Milwaukee starting in 1901. Raab taught at the Milwaukee Art Students League and at the Wisconsin School of Art, and was named curator of the Layton Art Gallery in 1902. He became director of the Art Institute and Art School in Springfield, Illinois but soon left to direct the Decatur (Illinois) Art Institute. Raab later he became director of the School of Fine Arts at Millikin University, also in Decatur. He returned to Milwaukee in 1937. Besides painting, Raab executed outstanding block prints and sculptural reliefs. In the 1930s, Raab reflected Wisconsin regionalism. This versatile artist was an important educator and he was influential within his own local area. He died in Milwaukee on 24 September 1943.Pulication include: Lidtke, Thomas and Peter C. Merrill. George Raab: Prominence in 19th Century Regional Art. Traveling exh. cat. West Bend, WI: West Bend Art Museum, 1994; Merrill, Peter C. German-American Artists in Early Milwaukee: A Biographical Dictionary. Madison, WI: Friends of the Max Kade Institute, 1997, pp. 101-104.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 2000 item #1280741 (stock #2670)
Warren Brandt was born in Greensboro, North Carolina on February 26, 1918-2002 He studied at Pratt Institute from 1935 to 1938, Washington University, with Philip Guston and Max Beckmann and the Art Students League with Yasuo Kuniyoshi. He was head of the Art Department of Salem College from 1949 to 1950. He taught at Pratt Institute from 1950 to 1952 and was an instructor at Guilford College in Greensboro, North Carolina in 1952. He was named chairman of the Art Department of the University of Mississippi from 1957 to 1959, taught at Southern Illinois University from 1959 to 1961; School of Visual Art, New York City from 1962 through 1963 and Director of the New York Studio School in 1967. He became a Member Academician of the National Academy of venerable tradition of studio still life. His roots are in Matisse and Bonnard - simply curvaceous line, precious gobs of paint and elaborate studio set-ups. His is an earthy celebration of the abundance of things. What is so ingratiating about Brandt's work is how much he loves it, loves paint, loves his cluttered studio. Publications include: Gerrit Henry in Art in America, March 1987, Who's Who in American Art, R.R. Bowker 1993-94, Dictionary of Contemporary American Artists, edited by Paul Cummings. He has a very extensive exhibition record and is in many museums and collections including: The Metropolitan Museum of Art, New York The Hirshhorn Museum and Sculpture Garden, Washington, D.C., The National Collection of Fine Arts, Washington, D.C, Museum of Art, Carnegie Institute, Pittsburgh, PA, The Museum of Fine Arts, Santa Fe, NM, The Rochester Museum, Rochester, NY, The Lannan Foundation, Los Angeles, CA, Washington Museum of Modern Art, Washington, D.C., The James Michener Foundation, Austin, TX, The Chrysler Museum, Norfolk, VA, The Parrish Art Museum, Southampton, NY, Springfield Museum of Art, Springfield, MO, RCA American Communications, Inc., Princeton, NJ, Paul, Weiss, Rifkind, Wharton and Garrison, New York, H.J. Heintz Corporation, Pittsburgh, PA, Chase Manhattan Bank of North America, New York, Smithsonian American Art Museum, Washington DC, Metropolitan Museum of Art, NY, Museum of New Mexico
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1960 item #1276679 (stock #2665)
MArsh Avery, 1932-, American, Maine. Potrait of Woman in Green, Oil on canvasboard, 17" by 13", signed Marsh Avery LL. Verso Bearing an Esther Stuttman Gallery, 13 E 75th St , NY, 21 Inventory number #1549F Dated 1954. This biography from the Archives of AskART: Following is an exhibition review by Karen Schafer, Gazette.Net, Maryland. September 9, 2008.Painter March Avery may be the daughter of one of America's most respected artists, the late Milton Avery, but he never gave her a single art lesson. She learned early it was best to stay clear of her dad's famous but fussy artist friends. When tough nuts like Mark Rothko, Adolf Gottlieb, Barnett Newman and Marsden Hartley came a calling at Avery's Greenwich Village apartment, she kept mostly out of sight.Asked if she received a morsel of advice or encouragement from some of the 20th century's most important contemporary artists, Avery bursts out laughing. "Artists don't like to talk about anything but their own art – and not just those artists either," she insists. "All artists are egotistical."Even her father resisted offering critiques, let alone any sort of endorsement. In fact, Milton Avery is notorious for saying "Why talk when I can paint." Whenever Avery showed her dad a painting, his only response was "Paint another one."Such tough-love parenting must have worked since the New York City-based artist has been painting for half a century. Her work will be on view at Marin Price Art Gallery in Chevy Chase from Saturday through Thursday, Oct. 9, 2008. March Avery avoided the influences, like world events and abstract expressionism embraced by many artists in the 1930s and ‘40s. Instead, she always adhered to her father's methods: reducing elements to their essential forms, eliminating many details, and instead developed flattened shapes and strong colors.Even today, Avery is most influenced by her father, who died at age 85 in 1965. Without much parental supervision, perhaps she gravitated to his style by osmosis.Perhaps this is why Avery believes her father did want her to become an artist. The artistic life is difficult and demands sacrifices, especially since Milton Avery's success came late in his life.The fledging painter never took a single studio or art history class. Instead, Avery hoped she might discover the definition of "truth and beauty" by studying philosophy at Barnard College. Youthful idealism didn't stop the headstrong artist from returning to her roots."I knew no one but artists, so I knew that is all I would ever be," she says. Clearly dad ruled, and her mom, an illustrator, supported the family for years. The artist remembers her mother "subjugated" by her dad and didn't really come into her own artistically until he died.Taking care of your man may be in the genes. After graduating from college, Avery married her college boyfriend and supported him for many years until he earned a doctorate in English. Once he had a diploma and a steady job, she quit her city job forever; to this day, she is trying to make up for lost time.Working alone, listening to classical music, nearly every day in her Bleecker Street studio, she observes, "I can't just start painting without an actual inspiration." Today she looks at an image of a turkey and wonders if it might be a part of her next painting. Her father may not have wanted to admit it, but he probably would be proud.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 2000 item #1250448 (stock #2662)
Carolyn Syrluga Howlett, Berwyn, Illinois, 1914-2005. Abstract, oil on canvas, 24" by 30",in excellant condition, artists label verso, exhibited in the Art Institute of Chicago. She is listed in Who Was Who in American Art, 1564-1975
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1980 item #1247100 (stock #2658)
Harry Tedlie, 1898-1983,Born 1898 in Philadelphia, Pennsylvania worked and then died in Woodstock, New York 1983. Known For painting of abstract geometric forms. Gouache on paper is 8.5" by 11". It is signed Tedlie LR and is in good condition.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1920 item #1197668 (stock #2628)
Carl O. Holm, Mass, 1885-1918. Oil on Canvas, 25"h by 23"w in a beautiful gold leaf frame 31"h by 29.5"w. It is signed lower right and dated 1916 and condition is excellent with no old repairs. Provenance: Private Midwestern Collection, Carl Holm was a brilliant artist who studied in Copenhagen and France. A painter of very fine impressionist landscapes and figures, he studied at Zahrtmann's School of Fine Art, Copenhagen and began exhibiting in 1908 at the age of twenty three. He moved to Boston, Massachusetts in 1912 and died during the influenza epidemic of 1918. Because of this his paintings are very rare. This is probably one of his finest pieces.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1197667 (stock #2626)
Arnold Friedman, 1874-1945, New York City. Modernist painter known for Abstract Views, Figures and Still Life. Oil on canvas, 20"H by 24"w, signed lightly LL. It is in a period frame. Provenance: Purchased from the artist by Rosenberg Gallery, Direct descent through family to present owner. Friedman is considered an extremely gifted and original American Modern painter by scholars and art historians today. He did not study art until 1905, with Robert Henri at the Art Students League in New York City. He supported himself by working in the post-office.Eleven paintings by Arnold Friedman were shown in New York City in 2002 at the Berry-Hill Galleries in the exhibition, High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection. Friedman's paintings appeared in two exhibitions in New York City in 2003, a one-man show at the Barbara Mathes Gallery, and a survey, American Art: 1750 to the Present, at the Richard York Gallery. A comprehensive 1986 exhibition of approximately one hundred eleven paintings and some watercolors and drawings was held at the Salander-O-Reilly Galleries in New York City. The show, Arnold Friedman (1874-1946): An Exhibition: Paintings, Drawings and Watercolors, gave rise to an extensive catalogue with an essay by critic Hilton Kramer.Arnold Friedman participated, from February 14-16, 1936, in the First Congress of American Artists against War and Fascism, in New York City. An extant publication records the essays of painters Stuart Davis and Peter Blume, photographer Margaret Bourke-White, sculptor Paul Manship and critic Lewis Mumford, among others, as well as the artists who attended, including painters Max Weber, David Alfaro Siqueiros, Jose Clemente Orozco, Harry Sternberg, Arnold Blanch and John Groth.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1980 item #1188470 (stock #2618)
Richard Hayley Lever, 1875-1958. Born in Adelaide, Australia, Hayley Lever was known for his town-shore landscapes and still-life painting in a style that combined impressionism with vivid colors and strong lines of realism---post impressionism. In his use of color, he was deeply influenced by Vincent Van Gogh. He freely explored numerous styles based on impressionism but was never locked into any particular style. He showed early art talent and traveled to England in 1893. He studied art in London and then painted at an artists' colony in Cornwall on the seacoast of St. Ives where he began his seacoast paintings. He received much attention in Europe for these works. In 1908, he did a series of paintings called "Van Gogh's Hospital, Holland" expressing the profound influence he felt of that artist. Lever came to America in 1911, encouraged by American artist Ernest Lawson whom he knew in France, and was soon counted among the most widely exhibited artists in New York City. Many of his scenes were of Manhattan. He had a summer studio in Gloucester, Massachusetts and from 1919 to 1931 taught at the Art Students League in New York City. He also became Director of the Studio Art Club in Mount Vernon, New York. Lever imparted to his students the following message: "Art is the re-creation of mood in line, form and color. If I were confined to my own back yard for the rest of my life, I'd still have more pictures in my mind than I would have time to paint. Art is nothing but having a good time" (Comenos Fine Art). He died in Mount Vernon, New York in 1958, having suffered ill health the last few years of his life. He received many awards and critical acclaim and his works were purchased by major American museums, such as New York's Metropolitan Museum of Art and Washington's Phillips Collection and Corcoran Museum.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1970 item #1180473 (stock #2595)
Alois Lecoque: Prague, France, California, Illinois, 1891-1981. Urban Landscape with houses is oil on canvas, 22" by 24" in a beautiful period Newcomb Macklin frame. He was known for his beautifully colored post-impressionist post impressionist landscape, still life and figure paintings His work ranged from still life to harbor life to the city views of Prague. He painted magnificent buildings and waterfronts in Paris. Lecoque's works are on display in the collections of the Museum of Art Moderne, Prague, Museum of Old Montmartre, Paris, Art Collection of the City of Los Angeles and in many other museums. Author of the book, Renoir My Friend, he has artwork hung in the White House. His work is still widely available throughout the world today. His last home was in southern California and he traveled to hold showings of his art work up until his death.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1960 item #1175205 (stock #2593)
John Grillo, Calif, 1917- California. Oil on canvas, 40"h by 36"w, framed 45"h by 41", signed lower left. Provenance: Private Midwestern Collection, Bunte Auction, Illinois, Private Collection purchased from Artist. John Grillo was known as one of the most aggressive West Coast artists to pursue Abstract Expressionism and painted in gouache, watercolor and poster-based water paints as well as oil. In addition, he was also a sculptor, printmaker and art educator. Grillo was born in Lawrence, Massachusetts and studied at the Hartford Art School, 1935-1938; California School of Fine Arts, 1945-1947; with Hans Hoffman in New York and the Hans Hoffman School of Fine Arts, Provincetown, Massachusetts, 1948-1951. Grillo remained active in Provincetown, Massachusetts during much of his career. He received the Ford Foundation grant to work at Tamarind Lithography Workshop, Los Angeles, 1964 and the Ford Foundation artist-in-residence grant at Butler Institute of American Art, Youngstown, Ohio, 1964. He taught at the New School for Social Research, New York, 1964-1966 and the University of Massachusetts at Amherst, 1967-1991.Solo Exhibitions: Artist's Gallery, NYC, 1948; Tibor de Nagy Gallery, 1953; Bertha Schaefer Gallery, 1955, 1957, 1959; Howard Wise Gallery, 1961, 1962, 1963; University California, Berkeley 1962; and University of Massachusetts, 1988. Selected Group Exhibitions: The Oakland Museum, California. A Period of Exploration: San Francisco 1945-1950; 1973. Museums: Guggenheim, Metropolitan Museum of Art, LA County Museum, Whitney Museum of American Art and more. Sources include: Peter Falk, "Who Was Who in American Art" Gordon T. McClelland and Jay T Last, "California Watercolors"
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1171364 (stock #2592)
James Carroll Beckwith, 1852-1957, NY, Illinois, France. This oil on panel is exquisite, 35.5cm by 26.5 cm,(13 5/8" by 10.5") signed, and in good condition in a beautiful 4" gold leaf frame. Provenance: Private collection in the Midwest, Purchased from a Private Collection in Florida, Purchased at Thomas Moran Auction, Private California Collection. He was a landscape, portrait and genre painter whose style ranged from academic to impressionist. He is best known for portrait and genre subjects, was skilled in mural painting, and was highly respected as an art educator. He was enrolled at the Chicago Academy of Design. His good friend was Frederick Stuart Church, and they took instruction together under the tutelage of Conrad Diehl. In 1871,the family moved to New York City. There Beckwith enrolled in the antique class at the National Academy of Design under Lemuel Wilmarth. Among his fellow students were George Bellows, J. Alden Weir, Albert Pinkham Ryder, and Frederick Church In October, 1873, Beckwith sailed for England, and spent the next five years abroad, living primarily in Paris where he entered the studio of Emile Carolus-Duran. Of this period, he later wrote: "I think my real Art life began." Together with John Singer Sargent and Frank Fowler, he helped Duran in 1877 with the Luxembourg Palace ceiling decoration, The Apotheosis of Marie de Medici. With Sargent, Beckwith shared a studio in Paris, and they developed a lifelong friendship. In 1875, Beckwith met William Merritt Chase. Beckwith returned to New York in 1878, and he and William Merritt Chase were hired at the same time as instructors at the Art Students League. He exhibited annually at the National Academy of Design from 1877 until his death in 1917. For the 1893 Chicago World's Fair Exposition, he painted murals for the dome of the Manufactures and Liberal Arts Building. Beckwith received several awards including Honorable mention at the Paris Exposition of 1889 and Gold Medal at the Atlanta Exposition, 1895. He with his wife, Bertha, moved to Italy for two years, 1910 to 1912, where he did landscape sketches. Then he returned to New York City, but felt increasingly out of touch with the times because his conservative style of painting was not in accord with changing tastes and was not earning the money he had hoped. In 1917, just before his death, he was in California, visiting his friend, Thomas Moran, who was eighty years old. Of the career of James Carroll Beckwith, it was written: "In the minds of his fellow artists, the name of J. Carroll Beckwith stood for an unwavering commitment to the highest ideals of academic art. Throughout his career Beckwith remained true to his French training, first as a young portrait painter fresh from years of Parisian study, then as an influential teacher of careful, accurate drawing and finally as an uncompromising conservative bemoaning the state of early-twentieth-century art." His most sought after paintings are the Impressionist Scenes painted in France. His paintings sell for up to $400,000.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1910 item #1166570 (stock #2582)
JOHN GEORGE BROWN (1831-1913) John George Brown's sentimentalized portrayals of street urchins, reproduced by the thousands, made him the richest and most celebrated genre painter in turn-of-the-century America. Born in Durham, England in 1831, Brown studied art in England and Scotland before coming to America in 1853. He was a glassblower in Brooklyn, and a student at the National Academy of Design in New York City. He opened a studio there in 1860, when his painting "His First Cigar" launched his national reputation. Brown exploited his considerable talent to supply the Victorian taste for his specialty-adept (copyrighted) pictures of young white shoeshiners, vendors and servants. From the 1860s on, his reputation as "the boot-black Raphael" never flagged. Toward the end of his life, his yearly income averaged $40,000. Originals sold for $500 to $700. Royalties from just one lithograph, distributed with packaged tea, totaled $25,000.Though he claimed the successful formula of "contemporary truth" for his pictures, none gave doting collectors or wealthy patrons cause for social alarm. He falsified his subjects, who were in reality minority immigrants whose lives were often wretched struggles for survival. Brown's street juveniles are invariably cheerful, spunky tykes-never sick, sad, emaciated, hungry or noticeably foreign. Their ragged clothing is picturesque, their grime cosmetic. They are undeniably appealing. Even the most uneven of Brown's popularized works show painterly skill and sound training. Brown realized he was pressured by his buying public into subjects and techniques below his true ability; the pictures he painted for pleasure, using his full range of artistry, are straightforward and distinguished. Most are of country scenes and outdoor pastimes, with none of the contrived look of his commercialized "trademark" paintings. Brown's "View of the Palisades" (1867, private collection) is a delightful and unaccustomed departure from his genre work. Showing boats on a calm, open bend of the Hudson, it is broadly painted, expansive in feeling, with crisp detail and care in every brushstroke.Brown died in 1913 in New York City. MEMBERSHIPS National Academy of Design American Water Color Society PUBLIC COLLECTIONS Corcoran Art Gallery, Washington, D.C. Metropolitan Museum of Art, New York City Museum of Fine Arts, Boston Peabody institute of the City of Baltimore G.W.V. Smith Art Gallery, Springfield, Massachusetts
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1837 VR item #1166568 (stock #2586)
Charles Bird King,1785-1862, Washington, District of Columbia. Born in Newport, Rhode Island, Charles Bird King became famous for his portraits of distinguished Native Americans. He studied with Samuel King, colonial painter, and then at age 15, ran away to New York City where he worked in the studio of Edward Savage. From 1805 to 1812, he lived in London, studying with Benjamin West and sharing a studio with Thomas Sully. In 1816, he settled in Washington D.C., becoming the city's first significant resident artist. He did portraits of politicians and then spent 16 years on a commission to paint members of a five-tribe Indian delegation, which came to the city in 1821. The results became the basis of the National Indian Portrait Gallery. The originals burned, but lithography copies remain. He did an occasional still life, some of them in trompe l'oeil style including The Vanity of an Artist's Dream, which shows dusty, dilapidated books, stale food, and debris from an artist's studio. Another work, Still Life Game, has dark tones and melancholy mood and highly realistic rendering. His painting have sold at auctions for up to $1.300,000 and his paintings are in many important museums including National Portrait Gallery, National Gallery of Art, Smithsonian American Art Museum, Museum of Fine Arts, Boston, Fogg Art Museum: Harvard University Art Museums, Corcoran Gallery of Art.