- John Morris (b. 1858) - Sunday Afternoon
John Morris (b. 1858) - Sunday Afternoon Ballybunion, signed, oil on board, 58 x 58cm More Information Good condition
- Dennis Baker (1951-.) Australia, Sunday
Dennis Baker (1951-.) Australia, Sunday afternoon Ferry Venice, charcoal and oil on canvas, approx 90 cm x 120cm
- Dennis Baker (1951-.) Australia, Sunday
Dennis Baker (1951-.) Australia, Sunday afternoon, Hotel boat passing palazzo Forlarim Venice, signed dated lower right, approx 73 cm x 109cm 2005
- CECIL BELL (1906-1970) 'SUNDAY AFTERNOON'Framed
CECIL BELL (1906-1970) 'SUNDAY AFTERNOON'Framed oil on canvas board painting, "Sunday Afternoon," signed lower right Cecil C. Bell (Cecil Crosley "Spike" Bell, Washington, New York, 1906-1970), titled and dated 1959 verso, sight: approx 15.5"h, 19.5"w, overall: approx 25"h, 29"w, 9.75lbs
- RED SKELTON "SUNDAY AFTERNOON" LIMITED
RED SKELTON "SUNDAY AFTERNOON" LIMITED EDITION PAINTING...Red Skelton "Sunday Afternoon" Limited Edition Painting. 1987. An authorized reproduction on canvas, being number 3425 of an edition of 5000. Original vintage wooden frame, linen matting, brass title plaque. 23 x 18 _". Fine. Previous seller's (RR Auction) COA.
- SAMUEL THAL, ADOLPH DEHN & KENNETH REEVE
SAMUEL THAL, ADOLPH DEHN & KENNETH REEVE SIGNED PRINTS1. Samuel Thal (1903-1964) Sunday Afternoon pencil signed etching signed in pencil below the image lower right and with original AAA label. ##}2. Adolf Arthur Dehn (1895-1968) Lake Country, pencil signed lithograph with original AAA label.3. Kenneth Jeanneret Reeve (1910-2012) Winter Nocturne, aquatint etching signed in pencil lower right and titled lower left.Sunday Afternoon image measures 9 x 12, sheet is 14.5 x 17, and frame is 14.5 x 17.5 inches. Lake Country image is 9 x 13.25, sheet is 12.5 x 16, and frame is 17 x 21 inches. Winter Nocturne image is 4.75 x 7.75, sheet is 6.75 x 10, and frame is 15 x 18 inches.Very good condition as shown here outside the frame and mat, noting that the Sam Thal etching is laid down to cardstock.
- REGINALD LESLIE GROOMS, AMERICAN (1900-1989),
REGINALD LESLIE GROOMS, AMERICAN (1900-1989), MAN IN A STRAW SKIMMER HAT WITH BEVERAGE, OIL ON BOARD, 24"H X 22"W (FRAME), 17 1/2"H X 15 1/2"W (SIGHT)Reginald Leslie Grooms, American, (1900-1989) man in a straw skimmer hat with beverage, oil on board signed lower left. Provenance: From a private collector in Zionsville / Indianapolis. The following is a brief biography written for the Cincinnati Art Club newsletter called The Dragonfly in June 1973: The article is by Gene Hinckley, Historian of the Cincinnati Art Club: FOCUS ON THE ARTIST - REGINALD GROOMS Reginald Grooms is an artist and an educator who has had considerable influence on a number of artists in this community. There is scarcely an exhibiting artist in the area who has not come under his teaching or guidance at least some time during his career. The mental challenge of Reggie's encyclopedic mind in the area of fine arts is appreciated by both the artist and the layman, as evidenced by the crowd in attendance at the Art Forum meetings that he conducts each month at the Art Club. Reginald Leslie Grooms was born in 1900 on Freeman Ave. in Cincinnati. At the age of two his family moved to Elmwood Place. His father was a well known wood engraver who had prepared the engravings for illustrations by Henry Farny for McGuffey's Eclectic Reader. At the age of four Reggie began painting in watercolor. His father use to work with him every Sunday afternoon. At the age of eight he began to paint in oils. All of his paintings were from his imagination. He received only one hour per week of art training while in public school. In 1917, he started studying art full time at the Cincinnati Art Academy. During the 5 years that he attended that school he studied drawing, painting, composition and design under John E. Weis, James R. Hopkins, Herman Wessel, Bessie Hoover Wessel, and William Hentschell. While at the Art Academy he received both the Louise Ingalls and the Fannie Harrison Scholarships. In 1923, Reggie went to Europe to study painting at the Academie Julian in Paris. He studied there for two years under Jules Pages, Henri Royer, and Paul Albert Laurens. While in Paris he exhibited in the Spring Salons of both 1924 and 1925 held at the Grande Palais (with 2 paintings accepted in each show). The New York Times reported that he was the youngest American exhibiting in those shows. Among the fewer than ten percent American students at the Academie Julian with Reggie were Ralph Mayer (author of the Handbook for Artists), and Grant Wood. After his second year in Paris, in 1925, Reggie was called back to Cincinnati to assume the position of instructor of landscape painting at the Cincinnati Art Academy Summer School. This was a position that he held for over 20 years. Also in 1925 he started as an instructor in painting and drawing at the University of Cincinnati School of Applied Arts. In 1945 he was made an Assistant Professor, in 1951 he became an Associate Professor and in 1955, he became the Albert P. Streitmann Professor of Art as well as the Chairman of the Fine Arts Department and the Chairman of the Arts Division. He held these chairmanship positions until 1965. In 1971 he retired from there after teaching for over 46 years. Since 1926 Reggie has taken a trip every year (except 2) to paint. These trips have ranged from several to Central America and the Caribbean in the early 30's to Europe (Spain, France, and Ireland) in later years, as well as Canada and numerous States in this country from California to New England, and the South. He's currently planning to return to Ireland, for the fifth time, this Fall. Reggie painted in oil until 1932, then he exhibited in egg tempera until 1957 when he started featuring watercolor painting and acrylic painting in his exhibits. Also in 1957 he started painting portraits in oil and in oleo-resin technique. He is still exhibiting in watercolor and is also actively involved in portrait painting. Reginald Grooms has had 33 one-man shows to date. Many were at the Closson Gallery here in Cincinnati; others were at Ball State Teachers College in Muncie, Ind., the University of Kansas Museum, the Charles Morgan Gallery in New York City, the Cincinnati Art Museum, and the Cincinnati Art Club. The largest one-man show that he had was a retrospective at the Alms Gallery at the University of Cincinnati in 1971. Some group shows that he has participated in were at: the Cincinnati Art Museum, the Butler Art Institute, the Pan American Fine Arts Exhibit (1935), both the New York and the San Francisco Worlds' Fairs of 1939, the Kearney Gallery in Milwaukee, the Chicago International Watercolor Exhibit (twice), Miami University, The Charleston, West Virginia Art Club, the Ohio Watercolor Society Traveling Show, the Pennsylvania Academy of Fine Arts, the Philadelphia Art Alliance (invitational), and the "Special Critics Choice" exhibit at the Cincinnati Art Museum. Reggie has juried a number of exhibits, including an All-West Virginia Show at Charleston, an All-Indiana Show at Indianapolis, and a Regional Exhibit at Huntington West Virginia. He is a member of the Scarab Club, the Cincinnati Professional Artists, the American Society for Aesthetics, the Cincinnati Chapter of the International Torch Club, the Ohio Watercolor Society, the Cincinnati McDowell Society, as well as the Cincinnati Art Club. He is listed in Who's Who in American Art, and is in the Blue Book of Leaders of the English Speaking World (published in London, 1970). Reggie is currently a member of the Board of Trustees of the Art Club, a position which he held previous to this term from 1926 continuously till 1958. He served as President of the Art Club from 1933-1935. Reginald Grooms died in 1989. oil on board Dimensions: 24"H x 22"W (frame), 17 1/2"H x 15 1/2"W (sight)
- Vintage Ruth Leaf colored etching, “Sunday
Vintage Ruth Leaf colored etching, “Sunday Afternoon,” numbered 13/25 and signed in margin Ruth Leaf. Image 19.5” x 15.75” Overall 28” x 24.5” Condition: paper wavy, slight mat burn visible CT Transfer Fee $10
- ELAINE DEKOONING, "SUNDAY AFTERNOON",
ELAINE DEKOONING, "SUNDAY AFTERNOON", LITHOGRAPH Elaine deKooning (American 1918-1989), "Sunday Afternoon", lithograph, depicting an abstract animal scene, editioned to lower left 113/175, titled to lower center, signed to lower right, gold metal frame. Provenance: : From the Estate of James Lipton, writer and host of Inside the Actor?s Studio. Approximate measurements: actual h. 18. 375", w. 22"; frame h. 19. 5", w. 23", d. 1"
- ISAAC MAIMON, ISRAEL (B.1951), SUNDAY
ISAAC MAIMON, ISRAEL (B.1951), SUNDAY AFTERNOON, 1988-89, SERIGRAPH IN COLOR ON ARCHES PAPER, 32"H X 45 1/2"W (IMAGE), 43"H X 54 1/2"W (FRAME)Isaac Maimon, Israel, (b.1951) Sunday Afternoon, 1988-89, serigraph in color on Arches paper numbered 6/125 lower left and signed lower right. serigraph in color on Arches paper Dimensions: 32"H x 45 1/2"W (image), 43"H x 54 1/2"W (frame)
- “APPEARANCE OF FORT SUMTER ON SUNDAY
“APPEARANCE OF FORT SUMTER ON SUNDAY AFTERNOONAUGUST 23RD, 1863" PRINT AFTER DRAWING BY W. T. CRANE, AS SEEN FROM THE “BEACON HOUSE" ON MORRIS ISLAND. HD. QR. DEPT OF THE SOUTH, AUGUST 23RD, 1863, 1 PM. CRANE WAS A SPECIALIST ARTIST, COMMISSIONED BY QUINCY A. GILMORE FOR FRANK LESLIE’S ILLUSTRATED NEWSPAPER. GILMORE WAS A UNION GENERAL. PART OF A SERIES, “THE SEQUENTIAL DRAWINGS OF FORT SUMTER", AND IS THE LAST IN THE SERIES. CREASING, SMALL SPOT TOWARDS THE MID-RIGHT. OTHERWISE GOOD. 13 1/2" X 9 3/4"
- EARL CUNNINGHAM (ME/FL, 1893-1977) "Sunday
EARL CUNNINGHAM (ME/FL, 1893-1977) "Sunday Afternoon", oil on masonite, signed lower left, circa 1960, titled and dated on label verso, a second label verso from the January 1987 Exhibition at the Southern Arts Federation. Housed in artist made pine frame, OS: 171/2" x 32 1/2", SS: 10 1/2" x 25 1/2". Painting is in fine condition, a few small dings to frame.
- WILLIAM BARRON (AMERICAN, CONTEMPORARY)
WILLIAM BARRON (AMERICAN, CONTEMPORARY) 45" x 70" "Sunday Afternoon Drive", 1984. Oil on canvas, signed and dated lower right corner, in wood frame, overall 47" x 72".
- KURT MALTZ (GERMANY, 1879-1930) Sunday
KURT MALTZ (GERMANY, 1879-1930) Sunday Afternoon Promenade in a small German Town, signed lower right and dated '24, the people in the costume of the 19th c. Unframed, 18 1/2" x 22 1/2", cleaned, repaired puncture.
- SAM THAL (1903-1964) PENCIL SIGNED ETCHINGSamuel
SAM THAL (1903-1964) PENCIL SIGNED ETCHINGSamuel Thal (Massachusetts, 1903-1964)Sunday Afternoon (1945)The drypoint etching from an edition of 250 prints published by Associated American Artists is signed by the artist in pencil below the image lower right. The original AAA label is present verso.Image measures 8.5 x 11.75 with a framed size of 14.75 x 17.75 inches.Apparently the condition is very good, very clean, intact, no visible stain, damage, repair, punctures or tears. This work has not been examined outside the frame. There are two fine points of foxing along the lower edge of the image.
- Oak icebox converted to a copper-lined
Oak icebox converted to a copper-lined sink, circa 1900. On any given Sunday afternoon, Ed Stoudt could be seen opening oysters on this sink at the restaurant.
36.25"h x 27.75"w x 21"d
Condition: Poor.
- SANCHEZ, Emilio, (American/Cuban, 1921-1999):
SANCHEZ, Emilio, (American/Cuban, 1921-1999): ''Sunday Afternoon'', Lithograph, sight size 16'' x 13'', pencil signed lower right, titled in the margin and numbered 101 of 200, contemporary frame, 24'' x 20''.
- CHRISTOPHER PRATT R.C.A. SUNDAY AFTERNOON
CHRISTOPHER PRATT R.C.A. SUNDAY AFTERNOON Medium: colour serigraph signed titled dated June 1972 and numbered 3/30 in the margin 17" (height) 42.5cm (height) 29" (width) 72.5cm (width)
- Edmund Blampied WHITE HORSE THE TUMBLE
Edmund Blampied WHITE HORSE THE TUMBLE SUNDAY AFTERNOON THE STABLE Drypoints (4)
Estimate:$800-$1,200
- GROUP OF THREE ASSORTED FRAMED DECORATIVE
GROUP OF THREE ASSORTED FRAMED DECORATIVE PRINTS. Nighthawks: giclee on canvas after Edward Hopper (33'' x 57'' frame). Sunday Afternoon at Belle Isle Park/Detroit Grand Prix: offset lithograph after Georges Seurat (25.50'' x 41''). The Singing Butler: offset lithograph after Jack Vettriano (26'' x 31'' frame) Condition: No Specific Condition Recorded - Sold As Is