1949
Botany Bay
By Harold von Schmidt
Located in Fort Washington, PA
Magazine illustration published in part 2 of 6 of "Botany Bay," published inThe Saturday Evening Post, October 4, 1941. Medium: Oil on Canvas Dimensions: ...
Canvas, Oil
Sugarfoot
By Harold von Schmidt
Located in Fort Washington, PA
Medium: Oil on Canvas Signature: Signed and Dated '1941' Upper Right This illustration was published for the interior story "Sugarfoot" by Clarence Budington Kelland in the Saturday Evening Post, February 7th, 1942. Signed and dated '1941' upper right Harold von Schmidt grew up in the West a generation after Remington...
Canvas, Oil
Couple Under a Tree
By Gayle Porter Hoskins
Located in Fort Washington, PA
Medium: Oil on Canvas Dimensions: 30.00" x 20.00" Signature: Signed Lower Right
Canvas, Oil
Peggy O'Neil, Redbook Magazine Interior Illustration, 1932
By Mead Schaeffer
Located in Fort Washington, PA
Illustration for “Women America Remembers: Peggy O’Neil” by Arthur D. Howden Smith for The Red Book Magazine, published March 1930, illustrated pages 20-21. This painting by Mead Schaeffer depicts a romantic encounter between Peggy O'Neil and her first husband, John Timberlake. The accompanying caption reads: "It was inevitable that Peggy should fall in love—and she did, with John Timberlake, who had little besides his face to recommend him." It was created in 1930 for the third installment of The Red Book Magazine’s “Women America Remembers” series, which features stories of women famous for “personality, beauty, wit or audacity, or because of the tragedy left in their train.” Margaret ("Peggy") O'Neil Eaton remains a figure of historical intrigue, primarily for her central role in the "Petticoat Affair," a significant political scandal during Andrew Jackson's presidency. The circumstances surrounding Peggy’s marriage to John Eaton, occurring shortly after the death of her first husband, John Timberlake, and her family’s background as tavern-keepers, coupled with her perceived impudent personality, subjected her to intense social scrutiny in Washington D.C. Upon John Eaton's appointment as Secretary of War, Peggy faced social ostracism led by Floride Calhoun, wife of Vice President John Calhoun...
Canvas, Oil
""I Had Tried Several Times to Meet Dawn Woman" Story Illustration
By Frank Schoonover
Located in Fort Washington, PA
Story illustration for "Beaver Woman's Vision" by James Willard Schultz, published in The American Boy, July 1935, pg. 5 The White Buffalo Robe, Schutz, pg. 30 Literature: Schoono...
Canvas, Oil
Shady Tree, McCall's Illustration
By Frank Bensing
Located in Fort Washington, PA
Date: 1937 Dimensions: 29.50" x 44.00" Signature: Signed Lower Left 1937 McCalls Magazine A commercial artist with a longtime association with General Electric, Frank C. Bensing di...
Paint
Mid-day, Zuni Village
By Frank Reed Whiteside
Located in Missouri, MO
Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...
Canvas, Oil
"In Old Santa Fe" Original Oil Painting by Martin Weekly
Located in Coeur d'Alene, ID
Oil on canvas; 24" x 36". Beginning in 1970 Martin devoted himself full time to his painting while living in a home and studio he built for himself in El Dorado Hills, California. Th...
Paint
Female American Impressionist New Mexico Southwest Santa Fe Painting COLORFUL
By Susan Ricker Knox
Located in New York, NY
Susan Ricker Knox 1874-1959 was a famous Female American Impressionist painter. She studied at the Drexel Institute in Philadelphia with Howard Pyle and the Cooper Union Art School ...
Oil
"VALLEY OF THE MONUMENTS" NAVAJO ARIZONA / UTAH HERDERS
By Marjorie Reed
Located in San Antonio, TX
Marjorie Reed a.k.a. Harvey Day (1915-1996) California, Arizona Artist Size: 18 x 24 Frame: 23.25 x 29.25 Medium: Oil on Canvas "Valley of the Monuments" Marjorie Reed Biography Biography Marjorie Reed a.k.a. Harvey Day (1915-1996) Born in Springfield, Illinois and raised in Los Angeles, Marjorie Reed gained a reputation for paintings of western scenes, particularly Butterfield Overland Stagecoaches and other scenes of cowboys, horses and figures associated with the Overland Mail Route. Sometimes she signed her paintings with men's names including Harvey Day and Fred Day. At age three, she began art lessons from her father, Walter Stephen Reed, a commercial artist, whom she later assisted in the designing of Christmas cards and with illustrations for the Mickey Mouse Beverage Company, affiliated with Walt Disney. In fact, she was so accomplished that shortly after, she was hired by Walt Disney Studios to do animation. But she did not like the regimentation of that work. In the mid-1930s, she studied at the Chouinard Art School and took lessons from Jack Wilkinson Smith, a renowned landscape painter who was a key artist in establishing the Biltmore Salon in Los Angeles. Knowing her love of the outdoors and horses, he encouraged her to roam the countryside. She became a friend of Captain William Banning who had been a stagecoach driver for his father Phineas Banning. She learned the romantic story of the Butterfield Overland Mail Stage, which, from 1857 to 1858, ran from San Francisco to the Yuma crossing on the Colorado River. In her Model-T Ford with her Alaskan Husky dog, she, based in Los Angeles from the late 1930s to late 1940s, traveled the stage-coach route and sketched for the paintings of her project to learn about and sketch various points along the route. Her travels included Palm Springs, which she visited many times after her first stop in 1937, and she also spent time in Julian, a California mountain town. Her "Butterfield Stage" series, about the 1858 Butterfield Overland Stage from St. Louis to San Francisco were completed in 1957 after years of travel and research, and a book titled The Colorful Overland Stage was published with twenty of her color reproductions and text by Richard Pourade. In 1967, she finished a second set of Overland Stage illustrations focused on Arizona. A third set was then devoted to New Mexico and Texas and a fourth set to Oklahoma, Arkansas and Missouri. In her later years, she and her fourth husband, Cecil Creese, a miner, became residents of Tombstone, Arizona in 1963 after living in northern California on the Placer River. According to her daughter, Judy Morris, Marjorie Reed died in 1997, living in the desert near the Butterfield Stage Station in California. Exhibition venues included the Biltmore Salon and Ebell Salon in Los Angeles, the Heard Museum in Phoenix, the Desert Inn Gallery in Palm Springs, and the Palm Desert Art...
Oil
Vintage Colorado Ghost Town Oil Painting by Harold Skene, Western Landscape
By Harold Vincent Skene
Located in Denver, CO
“Ghost Town” by Harold Skene (1883–1978) is a compelling vintage oil painting that evokes the quiet drama of Colorado’s mining past. This atmospheric Western landscape depicts a lone prospector and his pack mule standing among the weathered remnants of an abandoned mountain town. Set in late summer or early autumn, the scene is painted in a rich, earthy palette of golden yellows, sage greens, dusty pinks, and soft blues, capturing the stillness and solitude of the high desert West. Painted in oil on board, the work is signed by the artist at the lower right and titled and dated on the verso, underscoring its authenticity and historical value. Skene’s careful attention to structure and perspective reflects his architectural training, while his expressive handling of landscape conveys the emotional weight of a once-thriving community now reclaimed by nature. The painting measures 24 x 30 inches (image size) and is presented in a classic mahogany frame with overall dimensions of 30 x 35.5 x 2.75 inches, offering strong visual presence and immediate display appeal. A graduate of Harvard’s School of Architecture, Harold Skene studied at the Denver Art Academy and the Broadmoor Art Academy, and served as an assistant to noted Western artist Allen Tupper True...
Oil
"Encounter" Indian & bear. Santa Fe Utah Colorado, Wyoming, Montana 1930s. Large
By Frank Hoffman
Located in San Antonio, TX
Frank Hoffman (1888-1958) New Mexico, Illinois Artist Image Size: 27 x 41 Frame Size: 37 x 50 Medium: Oil Circa 1930s - 1940s "The Encounter" Indian & Bear Frank Hoffman (1888-1958) Growing up in New Orleans where his father raced horses, Frank Hoffman developed a great love for these animals, which was reflected in his paintings. He worked as an illustrator for the "Chicago American" newspaper, which gave him an opportunity to draw many subjects from opera to prize fights, and eventually he became head of the department. During that time, he took formal art training from J. Wellington Reynolds, a portrait painter. In 1916, having been rejected for military service because of poor eyesight, he went West and lived with cowboys and Indian tribes and served as public relations director for Glacier National Park. Eventually he settled on a ranch near Taos, New Mexico, and became part of that art colony and studied with Leon Gaspard, who encouraged him to use color freely. Advertisers including General Motors, General Electric, and the Great Northern Railway hired him because they loved his bold, broad brush work and striking colors. He also did magazine illustrations, specializing in western subjects. Because of the spaciousness of his ranch that he called Hobby Horse Rancho, he kept live models of cow ponies, thoroughbred horses, longhorn steers, several breeds of dogs, eagles, a bear and burros. From 1940 Brown & Bigelow Publishing Company of St. Paul, Minnesota had him under exclusive contract, and during the next 14 years, he produced 150 paintings for that company. Source: Walt Reed, The Illustrator in America, 1860-2000 Known as a traditional Western illustrator, painter and sculptor, Frank Hoffman was born in Chicago, Illinois. He grew up around his father's New Orleans, Louisiana, racing stables. Through a family friend, Hoffman was hired to make sketches for the Chicago American, later becoming head of the art department. While working for the paper, he had five years of formal art training in private lessons from J. Wellington Reynolds, a portrait painter. In 1916, Hoffman went West to paint, living with the Indian tribes and the cowboys. During that time, he also worked as public relations director for Glacier National Park, where he met noted artist John Singer Sargent. In 1920, Hoffman joined the young art colony in Taos, New Mexico. He studied with Leon Gaspard, learning the use of color. Although focusing on his fine art, Hoffman also painted for corporate advertising campaigns and illustrated Western subjects for the leading national magazines in the 1920's. Hoffman became the best-known New Mexico illustrator of the time. As his success grew, he bought his own Hobby Horse Rancho, where he raised quarter horses and kept as live models the longhorns, dogs, eagles, burros, and even a bear that he had begun to sculpt in the 1930's. Later, beginning with 1940, Hoffman was under exclusive contract to Brown and...
Oil
