Oil Paintings, American and European, by King Art
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Catalogue: Fine Art: Paintings: Oil: N. America: American (135)

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Portrait of a Woman in Green: Marsh Avery

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1960   item# 1276679 (stock# 2665)

Portrait of a Woman in Green: Marsh Avery
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King Art
414-276-6779


"$6000. " 

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.


Abstract Composition: Carolyn Syrluga Howlett

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 2000   item# 1250448 (stock# 2662)

Abstract Composition: Carolyn Syrluga Howlett
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King Art
414-276-6779


Sold 

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


Geometric Composition: Harry Tedlie

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1980   item# 1247100 (stock# 2658)

Geometric Composition: Harry Tedlie
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King Art
414-276-6779


"$1200.00" 

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.


Impressionist Landscape: Carl Holm

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1920   item# 1197668 (stock# 2628)

Impressionist Landscape: Carl Holm
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King Art
414-276-6779


"Price on Request" 

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.


Modernist Landscape: Arnold Friedman

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1940   item# 1197667 (stock# 2626)

Modernist Landscape: Arnold Friedman
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King Art
414-276-6779


"Price on Request" 

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.


Bridge in Venice: Richard Hayley Lever

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1980   item# 1188470 (stock# 2618)


King Art
414-276-6779


Price on Request 

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.


Urban Landscape & Houses: Aloise Lecoque

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1970   item# 1180473 (stock# 2595)

Urban Landscape & Houses: Aloise Lecoque
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King Art
414-276-6779


SOLD 

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.


Abstract Painting: John Grillo

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1960   item# 1175205 (stock# 2593)

Abstract Painting: John Grillo
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King Art
414-276-6779


SOLD 

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"


Impressionist Lady in Landscape: James Carroll Beckwith

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1940   item# 1171364 (stock# 2592)

Impressionist Lady in Landscape: James Carroll Beckwith
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King Art
414-276-6779


Price on Request 

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.


"TEMPTATION": John George Brown

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1910   item# 1166570 (stock# 2582)

"TEMPTATION": John George Brown
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King Art
414-276-6779


SOLD 

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

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