FOLK ART, SELF-TAUGHT, OUTSIDER, & OTHER ARTISTS & CRAFTERS
FOLK ART, SELF-TAUGHT, OUTSIDER, & OTHER ARTISTS & CRAFTERS
Aaron Joseph, LLC | Tallahassee, FL 32310
Date(s) :  6/12/2021 - 6/26/2021
Buyer Premium :  20% Buyer's Premium


Live Webcast Auction
Live and Online - Saturday, June 26, 2021 at 4:00 PM ET
FOLK ART, SELF-TAUGHT ART, OUTSIDER ARTIST - TALLAHASSEE, FL Highwaymen, Mary L. Proctor, and More Live and Online - Saturday, June 26, 2021 at 4:00 PM ET
284 Bob Beatty, 'FLORIDA'S HIGHWAYMEN", Book
Bob Beatty, 'FLORIDA'S HIGHWAYMEN, Legendary Landscapes", Book. The ISBN for this book is 0-9772344-2-8. This discusses the history of The Highwaymen, and utilizes images of their work as well as first and second-hand accounts of their lives. Measures approximately 11 1/4 inches wide x 8 1/2 inches tall. Cover paper is slightly warped. From the Collection of Dianne Tymeson.
285 Gary Monroe, "Al Black's Concrete Dreams", Book
Gary Monroe, "THE HIGHWAYMEN MURALS, Al Black's Concrete Dreams", Hand Signed Book. The title for this book reads, "THE HIGHWAYMEN MURALS, Al Black's Concrete Dreams". The ISBN is 978-0-8130-3359-4. It is a hardcover book with a note on the first page, "Al Black 9-1-11, to Bruce and Dianne". Measures approximately 10 1/4 inches wide x 8 1/4 inches tall. Cover paper is dented at edges. From the Collection of Dianne Tymeson.
286 R.L. Lewis Family Collection, 2012 Calendar
Hand Signed. Reads, "Paintings of Nostalgic Florida & Parts of the South, 2012 Calender, Volume IX". Piece includes 13 copies of R.L. Lewis' work throughout the calender. A note on the front reads, "Bruce & Dianne". The artist's signature is includes, as well as the date, "9-17-11". Measures approximately 10 7/8 inches wide x 8 3/8 inches tall. Piece is in good condition. From the Collection of Dianne Tymeson.
287 MARY A. CARROLL Highwaymen, Signed Oil on Canvas
MARY A.. CARROLL Highwaymen, 1940-2019, Untitled, Path to White House Through Trees, Hand Signed Oil on Canvas. This folk art piece utilizes a vivid palette to depict a winding path in the foreground, leading to a white house in the distance. The house is placed in an area cleared from trees, highlighted with an orange hue. Trees on either side of the composition create an asymmetrical balance. A blue sky, filled with clouds above the trees, creates contrast. Further evoking this contrast are the black birds flying above the trees, distinct from the white birds among the grass and trees. The bottom of the piece is signed "M.A.CARROLL", and the piece is dated, "2007". The backside of the canvas includes a personal note, signed by Mary A. Carroll and dated, "1-21-2012". The note reads, "God Bless 'U' Bruce + Dianne!". M.A.Carroll was part of the Florida Highwaymen, and she was the only woman in the loose-knit group of 26 artists. The Highwaymen was founded by Alfred Hair in the late 1950’s in Fort Pierce, Florida, as a group of self-taught Black artists, who created works based on Florida landscapes in signature fast-painting. Their work was affordably sold, around $25-$35 per piece. Hair developed a system of producing and selling pieces along the highways and roadways of Florida’s Atlantic coast. Though the works are inspired by Florida landscapes, the highwaymen painted from imagined scenes, rather than plein air, in order to produce paintings faster. The highwaymen took the enterprise as a means of economic survival during the Jim Crow era, which is why they chose the landscape subject. Florida landscapes were palatable to the clientele looking to buy art to decorate homes and offices. This was encouraged by Alfred Hair’s mentor, A.E. “Bean” Backus. Though some highwaymen worked on their art in tandem with other careers, some were able to become full-time artists. Being part of the Highwaymen artist group allowed economic independence during segregation and shut-out from art galleries. Mary Ann Carroll became aware of the highwaymen when she asked Harold Newton, who was considered the group’s leading artist, how to paint after inquiring about the hand-painted flames on his car. Mary Ann Carroll was a single mother raising seven children, and saw this career and a way to provide for her family. She would fast-paint without preliminary sketches. She traveled outside of her home city of Fort Pierce, as far as Jacksonville, to sell her work. She remained cautious, especially when she had to travel with her children at times. She traveled to sell her work until 1997. In 2011, Michelle Obama invited her to the First Lady’s Luncheon. Piece includes personal framed photographs of the piece, a clipped text about the Highwaymen, and those who M. A. Carroll gave the piece to. Canvas measures approximately 16 inches wide x 12 inches tall. With frame, measures approximately 21 inches wide x 17 inches tall. This piece has some visible bleeding at the left and right sides, which is mostly covered with the frame. The piece has no backing board.The frame has some scraping and surface dirt. From the Collection of Dianne Tymeson.
288 ROBERT L LEWIS, HIGHWAYMEN, Giclee on Canvas
ROBERT L LEWIS, 1941-Present, "Morning Harvest" Numbered 34/500, Hand Signed Giclee on Canvas. This folk art piece depicts a scene in the foreground of agricultural workers picking fruit. The left side of the piece is darker, depicting wetland in green and blue hues. The sky above the workers contrasts this with pink and yellow hue clouds covering the blue sky. Trees provide a sense of scale and location. The back of the canvas is signed, “Robert L Lewis”, and reads, “‘Morning Harvest’ 2007, -34/500-”. Robert L Lewis is a part of the loose-knit group of 26 artists known as The Highwaymen. The Highwaymen were founded by Alfred Hair in the late 1950’s in Fort Pierce, Florida, as a group of self-taught Black artists, who created works based on Florida landscapes in signature fast-painting. Their work was affordably sold, around $25-$35 per piece. Hair developed a system of producing and selling pieces along the highways and roadways of Florida’s Atlantic coast. Though the works are inspired by Florida landscapes, the highwaymen painted from imagined scenes, rather than plein air, in order to produce paintings faster. The highwaymen took the enterprise as a means of economic survival during the Jim Crow era, which is why they chose the landscape subject. Florida landscapes were palatable to the clientele looking to buy art to decorate homes and offices. This was encouraged by Alfred Hair’s mentor, A.E. “Bean” Backus. Though some highwaymen worked on their art in tandem with other careers, some were able to become full-time artists. Being part of the Highwaymen artist group allowed economic independence during segregation and shut-out from art galleries. Robert L Lewis is considered one of the most active of the collective. He became aware of the Highwaymen in 1958, when he was a high school student. His art teacher, Alberta Leisure, brought him a newspaper article about Harold Newton - who was considered the leading artist of The Highwaymen. Robert L Lewis would go on to Edward Waters College in Jacksonville, Florida, Syracuse University in New York, and Florida A&M in Tallahassee, where he earned his bachelor’s degree in art education. He began to sell his work in 1967 and often works with organizations which aim to preserve Florida’s landscapes. He also has long-standing relationships with the Florida Cattlemen’s Association and the Citrus industry. While he did not paint with the group members, knew the Newton brothers, painted on Upson board, and shares many commonalities in work. This also includes personal photographs of R.L. Lewis. Canvas measures approximately 20 inches wide x 16 inches tall. With frame, measures approximately 23 inches wide x 19 1/4 inches tall. This piece has a light amount of impasto. The frame for the piece has some scraping. From the Collection of Dianne Tymeson.
289 AL Black Highwaymen, Signed Acrylic on Board
AL Black Highwaymen 1947-Present, Untitled, Pink Sunset Over Lake, Hand Signed Acrylic on Upson Board. This folk art piece depicts a pink sky in the top half, with the sun partially covered by clouds on the top right. Lush greenery is below this, with a palm tree leaning into the center of the piece, becoming the focal point. The left side of the piece has more open space, reflecting the light color palette of pink, yellow, and blue hues. This contrasts with the dark green tones on the right side and on a portion of the left. The bottom right of the piece is signed, “A. Black”. A. Black is a member of the loose-knit group of artists known as The Highwaymen. The Highwaymen were founded by Alfred Hair in the late 1950’s in Fort Pierce, Florida, as a group of self-taught Black artists, who created works based on Florida landscapes in signature fast-painting. Their work was affordably sold, around $25-$35 per piece. Hair developed a system of producing and selling pieces along the highways and roadways of Florida’s Atlantic coast. Though the works are inspired by Florida landscapes, the highwaymen painted from imagined scenes, rather than plein air, in order to produce paintings faster. The highwaymen took the enterprise as a means of economic survival during the Jim Crow era, which is why they chose the landscape subject. Florida landscapes were palatable to the clientele looking to buy art to decorate homes and offices. This was encouraged by Alfred Hair’s mentor, A.E. “Bean” Backus. Though some highwaymen worked on their art in tandem with other careers, some were able to become full-time artists. Being part of the Highwaymen artist group allowed economic independence during segregation and shut-out from art galleries. A. Black was known for being the best salesman of The Highwaymen. He developed the nickname, “Blood”, referring to “Young Blood”. He learned tactfulness growing up, due to his understanding that Black people may be lynched for not speaking “correctly” to White people. As he began working at 13, he earned the trust of his superiors due to his work ethic and leadership qualities. In the early 1960’s he drove a migrant bus to Fort Pierce. There, he earned a job with the Fort Pierce Typewriter Company. In Fort Pierce, he met Alfred Hair, who founded The Highwaymen. Alfred Hair hired A. Black as a salesman. He learned about art when pieces would get damaged in transport, due to wet paint. In response, he learned how to mix colors and mimic brushstrokes. After this, he created work of his own. Further in life, he developed a drug addiction and was sentenced to 12 years of prison in 1997. When he transferred to the Tomoka Correctional Institute of Daytona Beach, where he would paint murals and create landscapes on canvas boards, which he would sell and give to his ex-wife to market. He was released early in 2006. Today, he is back in Fort Pierce and paints. His work is recognizable by the three birds he depicts, representing the Holy Trinity. This also includes personal photographs with All Black and friends, dated September 1, 2011. Board measures approximately 20 inches wide x 16 inches tall. With frame, measures approximately 25 inches wide x 21 inches tall. This piece has a light amount of impasto. The backside shows an area of bleeding. The frame has some accretion and handwriting, reading, "16 - Cepillado". From the Collection of Dianne Tymeson.
290 Alfred Hair, Highwaymen, Digital Print on Canvas
Alfred Hair Highwaymen, 1941-1970, Untitled, Poinciana tree by a White Houses, Digital Print on Canvas. This folk art piece depicts a Poinciana tree as the focal point, with bold red hues contrasting against the light blue sky. In the foreground, a path winds down to a white house in the distance, where another Poinciana tree is behind. The bottom of the piece utilizes green tones to depict trees and grass with bold brushstrokes. A body of water is visible on the right side. The back of the piece reads, “To: Bruce + Diana with Love. From: Doretha Hair. Widow of Alfred Hair”. Alfred Hair is known for the expressionistic quality of his work and use of various tools, such as palette knives. The Highwaymen were founded by Alfred Hair in the late 1950’s in Fort Pierce, Florida, as a group of self-taught Black artists, who created works based on Florida landscapes in signature fast-painting. Their work was affordably sold, around $25-$35 per piece. Hair developed a system of producing and selling pieces along the highways and roadways of Florida’s Atlantic coast. Though the works are inspired by Florida landscapes, the highwaymen painted from imagined scenes, rather than plein air, in order to produce paintings faster. The highwaymen took the enterprise as a means of economic survival during the Jim Crow era, which is why they chose the landscape subject. Florida landscapes were palatable to the clientele looking to buy art to decorate homes and offices. This was encouraged by Alfred Hair’s mentor, A.E. “Bean” Backus. Though some highwaymen worked on their art in tandem with other careers, some were able to become full-time artists. Being part of the Highwaymen artist group allowed economic independence during segregation and shut-out from art galleries. After graduating from high school in 1961, he began college at Lincoln Park Junior College, but dropped out during his first semester to pursue art. Before he left the school, he presented the college president, Leroy C. Floyd, with one of his paintings. He did the same his senior year at Lincoln Park Academy. Zanobia Jefferson, his art teacher at Lincoln Park Academy, taught Alfred Hair privately when she recognized his talent. She introduced him to Bean Backus, who knew his uncle as they both served on the biracial committee of the City of Fort Pierce, which made the plan to integrate the school system. He later married Doretha Smith after a long-term relationship, and she supported his artist career. Alfred Hair created an assembly line style system for creating work, which produced more work quickly. His brother-in-law, Carnell Smith, and Doretha Smith, helped to create, along with family members and friends. In 1962, Doretha went to Florida A&M University to become a teacher. Two years later, Alfred Hair moved to Tallahassee as well, though they moved back to Fort Pierce later that year. Alfred died in 1970 at age 29, after he was shot twice at Eddie’s Bar in Fort Pierce. This also includes personal photographs of Highwaymen R.L. Lewis. Measures approximately 12 inches wide x 12 inches tall. This piece has few, small scrapes on the left corners. The piece has a light amount of surface dirt. From the Collection of Dianne Tymeson.
291 M. Proctor, "I REFUSE TO" Acrylic on Metal Chair
Mary L. Proctor, 1960-Present, "I REFUSE TO LET HATE LIVE IN MY GARDEN" Acrylic on Metal Chair. This Folk-Art piece is painted with a green background and yellow floral design. The back support of the chair, facing forward, reads, “I REFUSE TO LET HATE LiVE iN MY GARDEN”. The seat includes a figure of a Black woman in a red dress with black dot and white heart design. Beside her, text reads, LOVE HELPS THiS GARDEN GROW”. On the bottom right corner, the artist includes her signature and the datem 2021. The legs of the chair read, “PEACE”, “JOY”, “HOPE”, and “GRACE”. The underside of the chair reads, “THiS A VIRCO CHAiR 1960 I MARY SAT iN CHAiRS WHEN I WAS 5, SO PROUD TO PAiNT THESE CHAIRS”. The middle of the front legs read, “I BORN JUNE 11TH, 1960”. The middle of the back legs reads, “MARY FAMOUS”. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 19 ichees deep x 27 inches tall x 15 inches wide. Piece has impasto. Piece has few visible scrapes and accretion. Metal of chair has some rust.
292 Mary L. Proctor, "EVERY BODY LOVES", Multimedia
Mary L. Proctor, 1960-Present, "EVERY BODY LOVES A FLOWER", Multimedia. This multi-media Folk Art piece utilizes wood cut-outs, a ready-made bucket, paint, and metal. The piece reads, “EVERY BODY LOVES A FLOWER”. The frontside reads, “HOPE”, “GRACE”, and “MERCY”. The bucket reads, “THEY ARE SPECiAL”. Here, she includes her signature and the date, 2021. The backside reads, “This is A wonderful cut out By A famous ARTist”. She includes her signature here as well. She repeats the title of the piece below. One this house-shape cut-out, four figures of women in pink, yellow, green, and blue wear dotted dresses and hats, looking down with their hands in front. The house and bucket are both painted in broad brushstrokes with green, white, and yellow hues. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 19 1/2 inches tall x 8 inches wide x 4 1/2 inches deep. Piece has some accretion at top, a sticker on the bottom of the bucket, and impasto. The wood indicates areas of absorption. The backside shows some bleeding.
293 M. Proctor, "THiS LittLE LiGHT OF", Multimedia
Mary L. Proctor, 1960-Present, "THiS LittLE LiGHT OF MiNE", Multimedia. This multi-media Folk art piece utilizes a wood cut out to create a figure of a Black woman who wears an outfit comprised of physical paint brushes, painted yellow, white, and black. She holds a sign reading, “THiS LittLE LiGHT OF MiNE LET iT SHiNE WHERE I GO”. She includes her signature here. The backside reads, “THis is A Cut out By A famous ARtist”. She includes her signature below and repeats, “Let it Shine”. She dates the piece, 2021. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 24 inches tall x 12 3/8 inches wide x 1 1/2 inches deep. Wood has some visible absorption. Piece has significant impasto. Bleeding is visible on backside.
294 Mary L. Proctor, "AMAZING GRACE", Multimedia
Mary L. Proctor, 1960-Present, "AMAZING GRACE", Multimedia. This multi-media Folk art piece utilizes a wood cut-out figure of a Black woman, painted and designed with mosaic for her clothing. The multi-color, reflective mosaic pieces have paint splatters of blue, white, and yellow. The adhesiva creates impasto, as well as the paint. She holds a sign, reading, “AMAZING GRACE, I WAS BLiND NOW, I SEE I WAS LOST NOW, I’M FOUND”. She includes her signature and the date, 2021. The backside reads, “This is A Famous ARtist”. She includes her signature and “20201”.The backside includes linework, likely to indicate the figure for the cut-out. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 22 5/8 inches long x 14 3/8 inches wide x 5/8 inch deep. Wood has visible absorption. Piece has significant impasto and backside shows some bleeding.
295 Mary L. Proctor, "LOVE A SWEET", Multimedia
Mary L. Proctor, 1960-Present, "LOVE A SWEET COLD WATERMELON", Multimedia. This multi-media Folk Art piece utilizes wood cut-out to create a sign with various shapes of sliced watermelon. The pattern of yellow dots on green is repeated on the plank board, as it is depicted on the watermelon cut-outs. The color palette emphasizes the contrasting red, which highlights the words, “LOVE” and “SWEET”. The front reads, “LOVE A SWEET COLD WATERMELON”. The artist includes her signature beside this. The backside reads, “This is A Beautiful Piece of my Favorite FRuit A sweet ,elon cut-out”. She includes her signature and the date, 2021, here. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 24 inches wide x 5 1/2 inches tall x 1 3/4 inches deep. Piece has some bleeding on backside.
296 M. Proctor, "PLANT A LittLE HOPE", Multimedia
Mary L. Proctor, 1960-Present, "PLANT A LittLE HOPE IN MY GARDEN", Multimedia. This multi-media Folk Art piece utilizes wood cut-out to create a figure of a White woman wearing an orange and red outfit, with a floral design, holding a ready-made aluminum can. The sign above her in white reads, “PLANT A LittLE HOPE IN MY GARDEN”. The artist includes her signature here. The can reads in black on a green background, “LOVE MAKES THE GARDEN GROW”, with a red heart above the phrase. The backside reads, “THis is A Cut out By A Famous ARtist Mary L. Proctor And A FSU Fam Thank 2021”. The backside includes linework, likely used to outline the figure for cutting. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 21 1/2 inches tall x 8 inches wide x 2 3/4 inches deep. Piece has bleeding on backside.
297 M. Proctor, "IN ORDER TO SUCCEED", Multimedia
Mary L. Proctor, 1960-Present, "IN ORDER TO SUCCEED YOU MUST BELIEVE YOU CAN", Multimedia. This multi-media Folk Art piece utilizes a wood cut-out to depict a Black woman in an orange and red floral outfit holding a green soup can. A white sign above her reads, “IN ORDER TO SUCCEED YOU MUST BELIEVE YOU CAN”. The artist’s signature is included below. The aluminum can reads, “LOVE MAKES MY GARDEN GROW”. A red heart is painted above this phrase, and the word “LOVE” is painted red to match. The bottom of the can reads, “soup can”. The backside reads, “This is A Cut out And Creation By A Famous ARtist Mary L. Proctor Famu My Home Town college 2021”. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 23 7/8 inches long x 8 1/2 inches wide x 2 1/2 inches deep. Piece has bleeding on backside.
298 Mary L. Proctor, "FLAMINGO LOVE", Multimedia
Mary L. Proctor, 1960_Present, "FLAMINGO LOVE BE OF GOOD COURAGE", Multimedia. This multi-media Folk Art piece utilizes a wood cut-out to depict a flamingo figure, decorated with black and white dots, as well as lines to indicate wings. The cut-out is applied to a wooden board, with a metal can attached at the bottom. The top, in black and red, reads, “FLAMINGO LOVE BE OF GOOD COURAGE”. The artist includes her signature here, as well as the date, 2020. The bucket at the bottom is painted green with yellow flowers and red hearts. It reads, “PLANT A LittLE HOPE FLOWER iN THiS GARDEN”. Her signature is included here as well. The bottom of the bucket reads, “FAMOUS ARTIST”. The backside reads, “This is A CReation By A Famous ARTist The Flamingo A Beautiful Bird Can Hang A Piece of flower in It”. The artist includes her signature here and the date, 2021. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 37 1/2 inches tall x 5 3/8 inches wide x 7 inches deep. Piece has some surface dirt. Bleeding is evident on the backside. Some impasto is visible.
299 M. Proctor, "OH GLORiOUS BUttERFLY", Multimedia
Mary L. Proctor, 1960-Present, "OH GLORiOUS BUttERFLY", Multimedia. This multi-media piece of folk-art utilizes a metal cut-out of a butterfly in center, attached with nails to the board support. The butter flying is painted green with floral design in white and deep green, with salmon, black, and yellow paint splatters. The board is painted with a yellow base and features a white and pink floral design with black paint splatters. Text reads, “OH GLORiOUS BUttERFLY SHiNE AROUND ME SO BRIGHT FOLD THY WINS AROUND US BE OUR GUIDEING LIGHT BOTH DAY AND NiGHT.” The artist includes her signature on the lower right side and the date, 2021.The backside reads, “This is A CReation By A Famous ARTisT I Love To See A Beautiful Butterfly”. The artist includes her signature and date, 2021, here as well. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 23 3/4 inches wide x 23 1/2 inches tall x 1 3/4 inches deep. Wood indicates some absorption. Piece has bleeding on backside and surface dirt.
300 Mary L. Proctor, "PUPPiES NEED LOVE", Multimedia
Mary L. Proctor, 1960-Present, "PUPPiES NEED LOVE AND CARE"", Multimedia. This multi-media Folk Art piece utilizes acrylic paint on wood cut-outs. The support board is house-shaped, with the background depicting a sky and field. Black and red text on the white top reads, “PUPPiES NEED LOVE AND CARE”. The artist includes her signature. Cut-outs attached with nails depict a woman in a pink dotted dress with her arms outstretched toward a brown dog with white spots. The backside of the piece reads, “This is A CReation By A FAmous ARtist who love puppies”. She includes her signature and the date, 2021. The bottom text reads, “Take Care”. Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside, as to follow further directions. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America. Piece measures approximately 10 1/8 inches wide x 13 inches tall x 1 5/8 inches deep. Piece has slight accretion and bleeding on the backside.
301 Mary L. Proctor, "TO LOVE IS TO DANCE", Multimedia

Mary L. Proctor, 1960-Present

"TO LOVE IS TO DANCE TO DANCE iS TO LOVE"

Multimedia with Wood, Vinyl, Paper, Wire, Hooks, and Oil.

This Folk Art multimedia piece depicts a red house with a white roof. Two woodcuts are attached to the board, depicting two figure holding hearts. A woman is on the left and a man is on the right. They are both Black, with black hair, red lips, and attire composed of vinyl painted black, with white dots and strips of music sheets. The look to each other, handing red hearts to one another. The title is written in black and red paint on the roof, and the building is decorated with black lines. Paper strips reading, "DANCE", "SUGAR PLUM", and "NEW YORK" are included above the figures. Mary L. Proctor's signature is included on the bottom right. The back includes writing in marker, reading "This is A Creation By A FAMOUS FOLK ARTiST Mary L. Proctor since 95. I'm so Thankful For music, I often Think what iF We DiD'nt Have music. What would The WoRld Do without it, LOVE my music man, By Mary L. Proctor 2021, Thank Tyrone, Hubby." Mary Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside in the following of further direction. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America.

Measures approximately 24.2 x 24 x 1.6 inches. Areas of impasto are evident, as well as light surface dirt in crevices. The back of this piece has sticker remnants and some surface dirt. Areas of impasto are evident.

Comes with Certificate of Authenticity from AARON JOSEPH.
302 Mary L. Proctor, "Peace Be Still", Multimedia

Mary L. Proctor, 1960-Present

Peace Be Still"

Multimedia with Wood, Oil, Nails, Hooks, and Wire.

This Folk Art multimedia piece utilizes a wooden panel with a wood cut of a figure attached. The piece is painted blue and white hues on the front. The top features painted text, reading, "Peace Be Still". The attached figure depicts a white woman with her back facing the viewer. She has brown, shoulder length hair and wears a yellow, floor length dress with white dots. Her arms are raised up. The bottom is signed in black, "Mary Proctor 2021". The back of the piece features further writing in black paint, "PEACE BE STILL By Mary L. Proctor, 2021, FROM A FAMOUS FOLK ARTIST WHO CREATED THIS WONDERFUL Peace. This Wonderful Peace And Let you Know Peace Begin With us. Peace Live within oh yes we can WALK Through This in Peace, Mary L. Proctor 2021." Mary L. Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside in the following of further direction. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America.

Measures approximately 10.2 x 33.7 x 2 inches. This piece has areas on impasto and paint blisters on the front. The front has some accretions. The back has light surface dirt in the panel crevices.

Comes with Certificate of Authenticity from AARON JOSEPH.
303 Mary L. Proctor, "Peace Be Still", Multimedia

Mary L. Proctor, 1960-Present

"Peace Be Still", Multimedia with Wood, Oil, Nails, Hooks, and Wire.

This Folk Art multimedia piece utilizes a wooden panel with a wood cut of a figure attached. The piece is painted blue and white hues on the front. The top features painted text, reading, "Peace Be Still". The attached figure depicts a Black woman, with her back facing the viewer. She has black shoulder length hair and yellow, floor length dress with white dots. Her arms are raised up. The bottom includes Mary Proctor's signature. The back of the piece, in black paint, reads, "PEACE BE STILL, By Mary L. Proctor 2021, A Famous Folk Artist Since 95, This is A Needed Creation For us All, we need To Let Peace Be Still, But it Begin with US ALL And PRAY we walk Right Through This." She includes her signature, and writes "Peace." underneath. Mary L. Proctor was born in Lloyd, Florida. As a young adult, she opened and operated her business, “Noah’s Ark Flea Market”. This was run until her grandmother, aunt, and uncle died in a house fire in 1994. Mary turned to prayer and meditation in order to cope with the loss. She has explained that, during a fast, she received a prophetic message, directing her to paint a door. She did so and continued to paint more, until setting the doors outside in the following of further direction. New York curator and critic, Tricia Collins, purchased them for her gallery for $5,000. In 1996, she had a one-woman show of her doors at the Tricia Collins Grand Salon in New York and, in 1997 alone, was held in museum exhibitions such as Schomburg Center for Research in Black Culture of the New York Public Library, Zora Neale Hurston Museum of Fine Art, and the Museum of African American Art in Tampa, Florida. Since the launch of her career as an artist, she has been the subject of at least twelve one-woman museum exhibitions and has been included in more than forty group shows. This includes the Smithsonian Institution Anacostia Museum and Center for African American History and Culture in Washington DC, and the show, “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift”, at the Metropolitan Museum of Art in 2018. In 2015, she was voted Folk Artist of the Year by the Folk Art Society of America.

Measures approximately 34.3 x 10.9 x 2.5 inches. This piece has areas on impasto and paint blisters on the front. The front has some accretions. The back has light surface dirt in the panel crevices.

Comes with Certificate of Authenticity from AARON JOSEPH.
304 K. Putman, "St. Mark's Wildlife Refuge", Mixed
Kathleen Putman, "St. Mark's Wildlife Refuge", Hand Signed Mixed Media on Canvas. This folk art piece is created with collage, as cut-out images contrast with the background blue hue. Seagulls are depicted in black and white on the bottom left, and butterflies fly above the birds - albeit one, which floats in the center of the birds. A lighthouse is depicted with a music sheet on the right, with another sheet of music creating a shadow in front of it. A butterfly hide in leaves, beside a white bird looking down at its reflection. The back of this piece reads, “St. Mark’s Wildlife Refuge”. It is signed, “2020 Kathleen Putman”. Measures approximately 12 inches wide x 12 inches tall. There is some lifting of the applied layers. The adhesive shows some blistering. From the Collection of Dianne Tymeson.
305 K. Putman, "Finding Your Tribe", Signed Mixed
Kathleen Putman, "Finding Your Tribe", Hand Signed Mixed Media on Canvas. This folk art piece utilizes collage to depict a scene of a single seagull on the lower right, floating on a body of water. Cut-outs of seagulls fly above it. More seagulls float on the left side, with a scale implying distance. The piece uses maps for the background, with text and pictures vagule visible under hues of pink, blue, and green. The piece is signed on the bottom right. The backside of the canvas reads, “Finding Your Tribe, Kathleen Putman, 2020”. Measures approximately 39 1/4 inches wide x 30 inches tall. The canvas stretcher has cracks and separation. A couple areas of the canvas show buckling. Slight separation on the applied layers is visible. From the Collection of Dianne Tymeson.
306 Tymeson, "Relentless Rage", Signed Oil on Canvas
This piece utilizes a dark palette of violet, green, and blue hues to depict a ship being carried by crashing waves. Above the rough sea is a clouded sky. The black and red ship is contrasted by the white hues of the sea. Canvas measures approximately 20 inches wide x 16 inches tall. Including frame, measures approximately 22 1/4 inches wide x 18 1/4 inches tall. This piece has a light amount of impasto. The frame has some surface dirt. The backing paper has lifting and repair. From the Collection of Dianne Tymeson.
307 D. Tymeson, Untitled, Hand Signed Oil on Canvas
D. Tymeson, Untitled, Violet Mountains Beyond Orange Trees, Hand Signed Oil on Canvas. This piece depicts a scene featuring trees with vivid autumn leaves. The foreground shows a river, which mimics the hues of the blue, clouded sky. Likely influenced by the Highwaymen AL Black’s metaphorical Holy Trinity, symbolized by birds, D. Tymeson depicts three birds flying on the right center of the piece. This is repeated in the distance, near the top left of the piece. Triangles are repeated in this composition, which is emphasized by the perspective of the mountains in the center. The piece is signed on the bottom right. Canvas measures approximately 20 inches wide x 16 inches tall. Including frame, measures approximately 21 inches wide x 17 inches tall. This piece has visible impasto. It has a slight amount of accretion. The backside of the piece shows some surface dirt and absorptions. From the Collection of Dianne Tymeson.
308 D. Tymeson, Untitled, Hand Signed Oil on Canvas
D. Tymeson, Untitled, Two Sailboats Approaching Lighthouse, Hand Signed Oil on Canvas. Rich blue and violet tones are contrasted by the bold red top of the lighthouse, which acts as the focal point of this piece. The lighthouse stands on rock-covered land, which the sea crashes against. One sailboat repeats the white and brown of the lighthouse and land, moving the viewer’s eye toward it. Yellow light emitted from the lighthouse directs a highlighted beam toward another sailboat in the distance. Six birds fly parallel to the lighthouse. As within other works by D. Tymeson, three birds fly in the sky above. This is likely influenced by Highwaymen Al Black’s use of birds as a metaphor for the Holy Trinity. This piece is signed on the bottom left of the piece. Canvas measures approximately 24 inches wide x 18 inches tall. Including frame, measures approximately 27 inches wide x 21 inches tall. This piece has visible impasto. The frame has some surface dirt. The stretcher has remnants of paper attached. The back of the canvas has absorptions and paint. Accretions are visible on the backside of the frame. From the Collection of Dianne Tymeson.
309 D. Tymeson, "Florida Wind Surfer", Oil on Canvas
Signed Oil on Canvas This piece depicts a scene featuring a figure parasailing on the right side. The solid red and yellow hues of the sail are repeated in gradient tones of the sky, which reflects in the sea. These hues are broken up by white clouds and foam created by crashing waves. The cloud in the center blocks a majority of the setting yellow sun. The time of day is also indicated by the encroaching dark violet hues, entering from the top let. The foreground shows the sea meeting the shore to the bottom left. The bottom right is hand signed by D. Tymeson. The backside includes the title, the signature, "Dianne Tymeson" and the year 1991. Canvas measures approximately 20 inches wide x 16 inches tall. Including frame, measures approximately 23 inches wide x 18 3/4 inches tall. This piece has impasto, primarily visible in the white hues. The canvas has a small dented area on the bottom center. The top right shows spots of accretion. The backing paper shows absorption, tearing, and repair by tape. From the Collection of Dianne Tymeson.
310 D. Tymeson, "Sailing Regatta", Oil on Canvas
Signed Oil on Canvas This piece depicts a sailboat regatta, featuring four sailboats in the distance of a seascape scene. Red and yellow sail hues are distinct from the teal sky and sea. As seen in D. Tymeson other works, three birds are depicted flying among the clouds. This is likely inspired by Highwaymen Al Black’s use of birds as a metaphor for the Holy Trinity. The triangular formation is repeated at the bottom of the composition, with one bird flying above three birds standing on the shore. Two birds stand close by one another, while another stands to the left. The bottom corners of the piece are balanced by tufts of grass peeking through the sand. The backside of the piece includes the title and artist signature. Canvas measures approximately 14 inches wide x 11 inches tall. Including frame, measures approximately 16.5 inches wide x 13.5 inches tall. This piece has a light amount of impasto. The frame has a chip and some of the applied twine has detached. The backing paper has some lifting. From the Collection of Dianne Tymeson.
311 Tymeson, "Molly & Fritz", Signed Oil on Canvas
D. Tymeson, "Molly & Fritz, dog & cat pets", Signed Oil on Canvas. This piece depicts an animal portrait, with a black, long-haired dog as the focal point in center. It looks down at a cat, with gray and white fur. The cat looks toward the viewer with green eyes. It is wrapped in violet cloth, which the dog rests upon. The background fades to blue and light pink hues. The piece is signed on the lower right, and it is dated 2002. Canvas measures approximately 15 3/4 inches tall x 19 3/4 inches wide. Including frame, measures approximately 22.5 inches wide x 18 3/4 inches tall. The piece has some impasto and a light amount of surface dirt. The support has an area of depression. The frame for this piece has slight surface dirt, spots of scraping and chipping, and areas of paint loss on the back. The backside of the support board shows some accretion. From the Collection of Dianne Tymeson.
312 D. Tymeson, "Birds of Paradise", Oil on Canvas
Hand Signed Oil on Canvas. This piece depicts Birds of Paradise flowers on two cut stems. The vivid orange hues contrast with the deep violet of the background. The rich green leaves also use deep red hues, creating further contrast. The piece is signed on the bottom and dated “10”. The backside of the piece has the title written and includes the artist signature as well. Canvas measures approximately 11 inches wide x 14 inches tall. Including frame, measures approximately 13.5 inches wide x 16.5 inches tall. This piece has a light amount of impasto and surface dirt. The frame has some surface dirt as well as few areas of chipping and accretion. The backing paper has some lifting. From the Collection of Dianne Tymeson.
313 D. Tymeson, "Snapped in Purple", Oil on Canvas
Signed Oil on Canvas. This primarily deep violet still life is contrasted by vibrant red and blue hues of flowers in a vase. Roses are depicted in various stages of blossoming, with light blue and purple flowers to the left. The bouquet is filled with rich green leaves and small white flowers, creating a bright arrangement. The viewer’s eye is led to the surface which the vase sits on. A wilted rose, leaves, and small white flowers have fallen. The piece is signed on the lower right and dated, “2006”. The backside of the piece includes the title and artist’s signature. Canvas measures approximately 11 inches wide x 14 inches tall. Including frame, measures approximately 13 inches wide x 16 inches tall. This piece has a light amount of impasto on few areas. It has small spots of accretion at the top right. There is lifting to the backing paper and some surface dirt. The backing paper has punctures. The frame has a light amount of surface dirt and scraping. From the Collection of Dianne Tymeson.
314 D. Tymeson, "Intriguing Mystery", Oil on Canvas
Signed Oil on Canvas. This majority of this scene depicts a vividly colored sky, with yellow and orange clouds as the focal point. Organically shaped space is left in the middle of the clouds, where an V-shaped flock of birds fly. A dissipating yellow cloud repeats the formation shape behind the birds. The bright clouds are boarded by deep violet and black clouds, which approach from the vanishing line in the foreground and from the sides of the canvas. The silhouette of a sparse palm tree stands on the lower right, above tall grass. The bottom right includes the artist's signature. The backside of the piece includes a note from the artist, beginning with the title and signature. The note reads, “One of God’s intriguing mysteries is a flock of Wild Geese flying in a V-shaped Formation. Canvas measures approximately 20 inches wide x 16 inches tall. Including frame, measures approximately 22 1/4 inches wide x 18 1/4 inches tall. This piece has few, small areas of impasto. Some surface dirt is evident on the bottom area, between the canvas and frame. The bottom left of the canvas is depressed. There is chipping on the top right corner of the frame. The backing paper shows some lifting. From the Collection of Dianne Tymeson.
315 D. Tymeson, Untitled, Hand Signed Oil on Canvas
D. Tymeson, Untitled, "Rafting Under Dark Sky", Hand Signed Oil on Canvas. This piece depicts a scene of nine figuring on a raft in the sea. Eight of the figures hold paddles, moving the raft as a wave approaches. A cliff and rocks are depicted to the left. Teal-green and blue-violet hues are repeated in the sky and ocean. Birds fly to the right side of the sky. Three white birds are distinct from the rest, which are depicted with black hues. This is likely influenced by Al Black of The Highwaymen, who uses birds as a metaphor for the Holy Trinity. This symbol has been seen in other works by D. Tymeson. The piece is signed on the bottom left and dated, “2014”. Canvas measures approximately 19 3/4 inches wide x 15 3/4 inches tall. Including frame, measures approximately 21 3/4 inches wide x 18 inches tall. This piece is not centered within the frame, thereby leaving space between the top of the canvas and the piece. The piece has some impasto. The frame has some scraping and surface dirt. The backside of the canvas board shows absorption. From the Collection of Dianne Tymeson.
316 D. Tymeson, "God's gold", Signed Oil on Canvas
This seascape piece is primarily yellow, with a setting sun to the left of center. Greenery borders both the left and right sides of the sun, all reflecting in the water. Few clouds are in the sky, adding in lighter green hues to the piece. The bottom left of the piece includes the artist’s signature. The backside of the piece includes the title and the artist’s signature as well. Canvas measures approximately 18 inches wide x 14 inches tall. Including frame, measures approximately 20 3/4 inches wide x 16 5/8 inches tall. This piece has a light amount of impasto, accretion, and surface dirt. The frame has some surface dirt and a tear on the backing paper. From the Collection of Dianne Tymeson.
317 D. Tymeson, Untitled, Hand Signed Oil on Canvas
D. Tymeson, Untitled, Figure By Docked Boat, Hand Signed Oil on Canvas. This piece depicts a figure in red board shorts at the lower left of the composition. He is covered with ropes and holds what seems to be a fish skeleton. He stands at the end of a mass of yellow sand, which a row boat is docked beside. Birds fly above him, in front of the clouded sky. Trees lime the background, beyond the sea. The piece includes a signature on the bottom right. Canvas measures approximately 14 inches wide x 11 inches tall. Including frame, measures approximately 16 1/4 inches wide x 13 3/4 inches tall. This piece has a light amount of impasto. A small amount of loss is visible at the top right of the piece. The frame has a light amount of surface dirt and and scraping. The backing board is dented at the bottom right. Some accretion is visible around the backing board, likely adhesive. From the Collection of Dianne Tymeson.
318 D. Tymeson, Untitled, Hand Signed Oil on Canvas
D. Tymeson, Untitled, Three Birds Floating, Hand Signed Oil on Canvas. This piece depicts a seascape with three birds floating beside a palm tree in the foreground. The palm tree arches over, extending to the top edge of the canvas. In the distance, greenery lines the shore and is reflected by the sea. Birds are seen flying above, in the clouded sky. The use of birds is likely inspired by Highwaymen Al Black. He uses birds in his own work to represent the Holy Trinity. This is a motif in D. Tymeson work as well. The artist’s signature is included at the bottom right of the piece. Canvas measures approximately 14 inches wide x 11 inches tall. Including frame, measures approximately 18.5 inches wide x 15.5 inches tall. This piece has a light amount of impasto. The frame has some scraping, accretion, and surface dirt. The backside of the canvas indicates absorption. From the Collection of Dianne Tymeson.
319 D. Tymeson, Unreadable, Hand Signed Oil on Canvas
D. Tymeson, Unreadable,Figure on Red Bench in Woods, Hand Signed Oil on Canvas. This piece depicts a seated figure among sparse, tall trees. The bright red of his cap and bench contrast with the green leaves. The sky beyond the trees moves in a gradient of sienna and light blue, until it is overtaken with green on the right side. The bottom right includes the artist’s signature. The backside of the canvas board includes a variation of the artist’s signature, as well as the title, and date, “1993”. Canvas measures approximately 23 inches wide x 17 3/4 inches tall. Including frame, measures approximately 27 1/2 inches wide x 21 1/4 inches tall. This piece has some bulging in multiple areas, as well as depression. The piece has visible impasto. The frame has some scraping and nails poking through the front. The backing paper has lifting and accretion. From the Collection of Dianne Tymeson.
320 D. Tymeson, "Impending Storm", Oil on Canvas
Hand Signed Oil on Canvas. This piece depicts a seascape scene of crashing waves under a dark sky of blue, yellow, and violet hues. Birds fly above the sea, with one standing on a rock in the bottom right corner of the foreground. Three birds are the most prominent of those flying. Depictions of a trio of birds is a motif in D. Tymeson’s art, likely inspired by Highwaymen Al Black. Al Black used birds in his work to represent the Holy Trinity. The signature on the piece seems to be obscured by the frame. The backside includes the title and artist signature. Canvas measures approximately 16 inches wide x 12 inches tall. Including frame, measures approximately 16 3/4 inches wide x 13 3/4 inches tall. This piece has a light amount of impasto. The frame is not fit to the canvas. The backing paper has lifting. From the Collection of Dianne Tymeson.
321 D. Tymeson, "Seven Cypress", Oil on Canvas
Hand Signed Oil on Canvas. This piece depicts a dirt road in the foreground, which beige and red houses stand behind. They are partially obscured with tall, thin trees and shrubs. At the left corner of the foreground are two lush trees. The sky above is a light blue with few clouds. The artist signature is at the bottom left. The backside includes the title and artist’s signature. Canvas measures approximately 14 inches wide x 11 inches tall. Including frame, measures approximately 15 3/8 inches wide x 12 1/4 inches tall. This piece has a light amount of impasto. Some absorption is visible. The frame has small scrapes. The backing paper has punctures, lifting, and taped repair. From the Collection of Dianne Tymeson.
322 D. Tymeson, "Fritz & Flowers", Oil on Canvas
Hand Signed Oil on Canvas. This piece depicts a gray and white cat laying on a table, looking toward the viewer with its green eyes. It rests beside a basket of pink, blue, violet, and white flowers. The gray and white of the cat’s fur contrasts with the magenta hue of the backdrop. The piece is signed on the lower right, “D. Tymeson, 2003”. The backside of the piece includes the title and signature as well. Canvas measures approximately 11 inches wide x 14 inches tall. Including frame, measures approximately 12 5/8 inches wide x 15 5/8 inches tall. This piece has a light amount of impasto. The backing paper has some lifting along the sides. From the Collection of Dianne Tymeson.
323 Tymeson, "The Catch", Hand Signed Oil on Canvas
This piece depicts a fishing rod and net lying on the shore. A bright yellow cooler is partially buried in the sand, with fish laying to the left. Above the greenery at the end of the shore, birds flying toward the scene. Behind them is a pastel sky of blue and pink hues. The piece is signed at the bottom right and dated, "'10". The backside includes the title and artist signature. Canvas measures approximately 16 inches wide x 12 inches tall. Including frame, measures approximately 18 3/4 inches wide x 14 5/8 inches tall. This piece has a light amount of impasto and an area of absorption. The frame has some scraping. The backing paper shows lifting on one edge. From the Collection of Dianne Tymeson.
324 Tymeson, "Adobe Village", Signed Oil on Canvas
Hand Signed Oil on Canvas This piece depicts an aerial view of adobe-style buildings. The center of the piece is filled primarily with the red rooftops of the beige buildings, with two crosses atop towers. The bottom left corner shows a grassy hillside with thin, sparse trees. Birds fly above the building, in the yellow and violet sky. The piece is signed at the bottom right and dated, “2004”. The backside of the piece includes the title and artist signature. Canvas measures approximately 20 inches wide x 16 1/4 inches tall. Including frame, measures approximately 24 3/4 inches wide x 20 3/4 inches tall. This piece a line indentation along the bottom 1/3 of the piece. The piece has a light amount of impasto. The frame has some surface dirt and a chip on the right side. The backing paper is not secured to the frame, only attached with adhesive. From the Collection of Dianne Tymeson.
325 D. Tymeson, Untitled, Hand Signed Oil on Canvas
D. Tymeson, Untitled, "Waves Crash with Storm Clouds", Hand Signed Oil on Canvas. This piece utilizes asymmetrical balance, with weight to the left side of the piece. Dark clouds roll in, encroaching on the light purple sky to the left. Ocean waves hit the land below the storm clouds. Three birds fly on the center right, in a triangular formation. The bird trio is a motif evident in other works by D. Tymeson. This is likely inspired by Highwaymen Al Black, who utilizes birds in his own work, as a metaphor for the Holy Trinity. This piece is signed on the bottom right. Canvas measures approximately 20 inches wide x 16 inches tall. Including frame, measures approximately 24 3/8 inches wide x 20 1/4 inches tall. The piece has a bulge on the right center of the piece. The piece has two small lines of partial loss. The frame has small scrapes and surface dirt. From the Collection of Dianne Tymeson.
326 D. Tymeson, "Lower Falls", Oil on Canvas
Hand Signed Oil on Canvas This piece depicts a waterfall as the focal point in the foreground, with trees surrounding it. The piece uses hazy brushwork to depict the scene. The piece is signed on the bottom left. Piece measures approximately 23 3/4 inches wide x 17 3/4 inches tall. Including frame, measures approximately 31 3/4 x 25 3/4 inches tall. Piece has an area of depression, visible impasto, and frame is not fit to piece. The frame indicates some accretion. From the Collection of Dianne Tymeson.
327 F. Yarley, "Father Ben", Signed Oil on Canvas
Hand Signed Oil on Canvas This piece depicts a portrait of an older man. He looks to the right and sits with his hands in front of him. He is dressed in a white robe and a green tippet, with a red collar showing through. The bottom left is signed, "F. YARLEY". This piece includes a note attached to the backing paper, which provides information on the piece. "REV. HEBER C. BENJAMIN, 'FATHER BEN', CHRIST CHURCH 1961-1971, STARTED MISSIONS AT: RUSKIN - ST. JOHN THE DIVINE, PALMETTO - ST. MARY'S, BAYSHORE - ST. GEORGE'S". The figure depicted is the grandfather of Bruce Tymeson. Canvas measures approximately 24 inches wide x 29 3/4 inches tall. Including frame, measures approximately 26 1/4 inches wide x 32 1/4 inches tall. This piece has evident age-cracks. The bottom shows a spot of accretion. There are few, small spots of loss. The piece has a light amount of impasto. The backing paper has been torn and repaired with tape. There is some buckling at the top right of the piece. From the Collection of Dianne Tymeson.
328 Kelsey, Untitled, Hand Signed Oil on Canvas
Kelsey, Untitled, Sunlight Through Window Hitting Vase of Flowers, Hand Signed Oil on Canvas. This piece utilizes impressionistic brush work to depict a still life of a flower vase upon a table. The red, yellow, and white flowers act as the focal point against the dark background. Fallen petals lie in front of the vase, on the cloth covered table. Behind the flowers is a landscape painting. A beam of sunlight hits the scene from the left. The bottom includes the artist’s signature and date, “10/08”. Canvas measures approximately 19 3/4 inches wide x 15 3/4 inches tall. This piece has heavy impasto at top center. The backside of the canvas indicates absorption. From the Collection of Dianne Tymeson.
329 Thompson, Untitled, Snow Covered Branches, Print
This outdoor winter scene depicts a lake in the center, bordered on each side by snow covered branches. In effect, the piece is composed of white, blue, and gray, with significant contrast. Piece measures approximately 7 1/2 inches wide x 9 5/8 inches tall. Including frame, measures approximately 11 7/8 inches wide x 13 3/8 inches tall. The glass of the frame has surface dirt and the frame has some scrapes. There is no backing paper and it appears to have been torn off. From the Collection of Dianne Tymeson.
330 E. White, Untitled, Docked Rowboat, Oil on Board
This piece uses impressionist brushwork to depict a scene of a docked rowboat. A variety of cool tone hues are utilized for the last ? of the piece, while the building at the left uses red and orange hues. This red in reflection acts as the focal point, directing the viewer toward the boat at the right. Piece measures approximately 10 inches wide x 7 1/2 inches tall. Including frame, measures approximately 15 inches wide x 12 1/4 inches tall. The backside of the frame is slightly loose at the bottom left. The wood of the frame indicates absorption. A sticker on the backside reads, "$35". From the Collection of Dianne Tymeson.
331 FAIRBROTHER, River and Mountains, Oil
S. FAIRBROTHER, Untitled, River and Mountains, Oil on Canvas. This landscape scene depicts a tree on the left, and mountains to the right. The foreground shows a field leading to a river. The deep green tree uses orange hues, contrasting it from the light blue sky. The hues are repeated in a mountain in the distance, but part of a mountain on the right utilizes rich brown hues. This brings balance to both the left and right of the piece. The bottom left is hand signed by the artist. Piece measures approximately 10 inches wide x 8 inches tall. Including frame, measures approximately 17 5/8 inches wide x 15 5/8 inches tall. This piece has surface dirt, as well as the frame. From the Collection of Dianne Tymeson.
332 Kelsey, Couple Strolling, Signed Oil on Canvas
Kelsey, Untitled, 1925-2014, Couple Strolling, Signed Oil on Canvas This piece depicts a couple strolling along a gated path, depicted with impressionist brushwork. The piece includes information about the artist, Alan F. Kelsey. Alan F. Kelsey immigrated from London to Buffalo, New York with his wife in 1957. Four years later, he became a U.S. Citizen. While working as a lumber salesman in the 1980’s, he created and painted toy soldiers as an alternative to painting canvases. Following his wife’s suggestion of taking these to a church crafts show, he was able to sell his work for full retail price. This encouraged him to further create and make each piece unique. This distinguishes his work from large manufacturers, as he pours metal into molds and casts each part separately. Alan F. Kelsey also taught oil and acrylic painting in Buffalo, NY. Piece measures approximately 13 3/4 inches wide x 10 3/4 inches tall. Including frame, measures approximately 17 1/4 inches wide x 14 1/4 inches tall. Piece has slight impasto and the frame has a light amount of bleeding.' From the Collection of Dianne Tymeson.
333 Martha Rose Cliatt, Autumn Trees, Oil on Board
This piece depicts trees with yellow and red leaves around a winding river. The bottom of the piece is signed, "Matha Rose Cliatt". Piece measures approximately 15 1/2 x 19 1/2. Frame measures approximately 16 5/8 inches wide x 20 5/8 inches tall. Piece has spots of absorption surface dirt, and further evidence of absorption on the backside. From the Collection of Dianne Tymeson.
334 Helen Webb, Beachgoers by House, Watercolor
This watercolor piece depicts three beachgoers on the shore, with one moving toward the crashing waves of the ocean. Three birds fly above. A house in the distances is partially obscured by trees. The piece mainly utilizes a cool tone color palette. The piece is hand signed on the bottom left. The backside includes a label for Helen Webb. Below her name, it reads "ANNA MARIA ISLAND", with the address, "204 76th Street, HOLMES BEACH, FLA. 33510, 813/778-6559". Piece measures approximately 9 1/2 inches wide x 6 1/2 inches tall. Including frame, measures approximately 15 1/2 inches wide x 12 1/2 inches tall. The piece has spots indicating absorption and some surface dirt. The backing paper indicates tearing and absorption as well. From the Collection of Dianne Tymeson.
335 Untitled, Sailboat Carried by Wave, Oil on Canvas
Unknown, Attributed to D. Tymeson, Untitled, Sailboat Carried by Wave, Oil on Canvas. This piece depicts a boat sailboat at the bottom center as it is carried by waves. The piece primarily uses a seafoam green hue, depicting a dim sky. The sailboat moves towards a royal blue hue. Birds fly above the sailboat. Canvas measures approximately 20 inches wide x 15 3/4 inches tall. This piece has impasto toward the bottom of the image. The backside shows surface dirt on the stretcher and absorption on the canvas. From the Collection of Dianne Tymeson.
336 Untitled, Basket on Round Table, Oil on Canvas
This piece depicts a single-handle, round basket upon a round table. The white table cloth matches the white curtain to the left of the piece, which frames a window. The background of the piece is a dark brown, with a partially obscured yellow square in the distance. Canvas measures approximately 19 3/4 inches wide x 16 inches tall. This piece has little impasto. The corners show some loss. The backside of the canvas shows some accretion and absorption. From the Collection of Dianne Tymeson.
337 Untitled, Bright Flowers in Darkness, Oil on Canva
This piece depicts an arrangement of vivid orange, yellow, red, and violet flowers in a vase. Some flowers have fallen onto the cloth covered table. A piece of color field artwork hand behind the flowers, at the back of the room. A window with sheer white curtains is to the left of the room. Canvas measures approximately 19 3/4 inches wide x 15 3/4 inches tall. This piece has a scrape at the top right corner. The backside of the piece indicates absorption. The right side has a dent along the stretcher. From the Collection of Dianne Tymeson.
338 Untitled, Portrait of Regal Figures, Oil on Canvas
Two regal figures are depicted in this piece, with a man in military regalia standing, looking toward the viewer. The woman sits in front of him, with her side profile toward the viewer. She wears a crown, veil, and ornate jewelry. The background is a gradient brown. Canvas measures approximately 15 3/4 inches wide x 19 3/4 inches tall. This piece has few, slight scrapes. The backside of the canvas indicates absorption. From the Collection of Dianne Tymeson.
339 Untitled, Pulling Water From Well, Oil on Canvas
This outdoor scene depicts two figures at a well. The male behind the well pulls a bucket of water to the surface, while the woman in front looks toward the two bulls and calf on the right. One bull drinks from a trough. A tree and two rocks in the foreground are depicted in detail, while the rest of the scene blurs, keeping focus on the center. Canvas measures approximately 20 inches wide x 12 inches tall. Including frame, measures approximately 23 5/8 inches long x 15 5/8 inches tall. This piece indicates loss, age cracks, a depression in center, a scrape, surface dirt, and absorption. From the Collection of Dianne Tymeson.
340 Untitled, Portrait of a Man in Polo, Oil on Board
This portrait depicts a man dressed in a yellow polo shirt looking to the lower left. The background is composed of pink, red, and yellow hues.The light reflects onto his face with yellow and green hues, emphasizing green in his eyes. The broad, neat brushwork is similar to hatching in the shadows. Piece measures approximately 11 1/2 inches wide x 14 inches tall. Including frame, measures approximately 13 5/8 inches wide x 16 1/8 inches tall. Piece has thin age cracks, lines of scraping and loss, and accretion. The frame and piece have some surface dirt. The backside is missing backing paper, which has been torn off. The frame indicates scraping. From the Collection of Dianne Tymeson.
341 Two Deer Among Trees, Silhouettes
(2) Unknown, Untitled, Deer Among Trees, Silhouette These silhouette pieces depict an image of deer gathered, grazing in the woods. One fawn sprints toward the left. Curved lines at the top indicate clowers, contrasting from the intricate silhouettes of the trees. Pieces measure approximately 4 3/4 inches wide x 4 3/4 inches tall. Including frame, measures approximately 5 5/8 inches wide x 5 5/8 inches tall. Both piece have surface dirt on the frame and scraping. The backsides indicate absorption. From the Collection of Dianne Tymeson.
342 Christmas Quilted Art, Multimedia
Unknown, Untitled, Christmas Quilted Art, Multimedia This hanging quilt depicts a house with a christmas tree on either side. Various fabrics are used to depict a reindeer, a bear, a person in air, a moon and a star. The bottom right of the backside reads, "MERRY X-MAS, LOVE, DESIREE + JOHNNY". Piece measures approximately 29 1/8 inches wide x 25 inches tall. Piece has few fade marks and discoloration. From the Collection of Dianne Tymeson.
343 Handmade Floral Quilt and Pillowcase
Dianne Tymeson These pieces have a cream color and floral design, with plaid accents. A note included reads, "HEIRLOOM HANDMADE BED SPREAD & PILLOW COVER, Made as a gift to the previous owner whose husband built this cabin". Dianne Tymeson also has created works in oil and embroidery. She is known for scenes of nature and Christian symbolism. The tag on the pillow cover reads, "original Artwork CHERI BLUM, licensed by Wild Apple Licensing" Quilt measures approximately 82 1/2 x 82 1/2 inches. Pillow cover measures approximately 23 inches long x 30 inches wide. Piece has some discoloration, indicating absorption. From the Collection of Dianne Tymeson.
344 Unknown, Untitled, Embroidered Clock, Multimedia
Unknown, Untitled, Embroidered Clock, Multimedia with Embroidery, Ratan, and Artificial Leaves. This embroidered clock depicts animals and insects around each colorful number. This piece is attributed to Dianne Tymeson, who has worked in the medium of oil as well. She focuses on scenes of nature and Christian symbolism in her artwork. Piece measures approximately 18.5 in diameter. Piece indicates some absorption and has slight surface dirt. From the Collection of Dianne Tymeson.
345 Dianne, Flowers Growing, Framed Embroidery
This piece depicts various flowers of yellow, white, and violet hues on two green tones against a brown background. The piece uses primarily tight, straight stitches with variety in flower centers to create circles. The piece is signed in stitching at the bottom right, “Dianne, ‘78”. This likely refers to Dianne Tymeson. Dianne Tymeson has created pieces in both embroidery and oil. She focuses on natural scenes and Christian symbolism. Piece measures approximately 10 1/2 inches wide x 21 1/2 inches tall. Including frame, measures approximately 12 inches wide x 22 7/8 inches tall. Piece has light surface dirt. Backing paper indicates absorption and tearing. From the Collection of Dianne Tymeson.
346 Dianne, Tree with Wildlife, Framed Embroidery
This folk art embroidered piece utilizes a variety of stitch patterns to depict a tree with wildlife. Animals perch on the branches lead to large pastel green leaves and flowers. The bottom of the piece is signed in stitching, “dianne ‘90”. This likely refers to Dianne Tymeson. Dianne Tymeson has created pieces in both embroidery and oil. She focuses on natural scenes and Christian symbolism. The backside of the piece includes a frame factory label, dated 3/17/90. Piece measures approximately 15 1/2 inches wide x 19 1/2 inches tall. Including frame, measures approximately 17 3/ 8 inches wide x 21 1/4 inches tall. Piece has few small, light stains. The backing paper has punctures and tearing. From the Collection of Dianne Tymeson.
347 E.C., Leopards Stalking Prey, Needlepoint
This needlepoint piece depicts two leopards at the right, with one perched on a tree and the other standing on a mountain, beside the other cat. The look toward the lower left, in the distance. Animals drink from a body of water. The piece is depicted with organic shapes of solid colors, with heavier detail on the leopards. The bottom left is signed in stitching, “E.C.”. Piece measures approximately 20 inches wide x 24 inches tall. The piece is warped in the middle. The support indicates absorption. From the Collection of Dianne Tymeson.
348 Raggedy Ann & Andy, Needlepoint
This needlepoint piece depicts the characters, Raggedy Ann & Andy. They peek out from behind a tree, looking and waving at the viewer. Piece measures approximately 7 1/2 inches wide x 7 1/2 inches tall. Including frame, measures approximately 10 1/8 inches tall x 10 1/8 inches wide. Piece has some surface dirt. Frame has small scrapes.Backing paper shows tearing. From the Collection of Dianne Tymeson.
349 After Rockwell, "Football Hero", Needlepoint
After Norman Rockwell, 1894- 1978, "Football Hero", Needlepoint. This needlepoint after Norman Rockwell’s, “Football Hero”, depicts a woman patching a jersey onto a football player. Unlike the original white and red, this piece utilizes gray and purple for the uniforms. Norman Rockwell is a prolific American realist artist. In his early life, he studied at The New York School of Art and later, The National Academy of Design. He would go on to illustrate for Life, Literary Digest, and Country Gentlemen. He created 322 covers over 47 years for The Saturday Evening Post, which he began at age 22. He is known for his 1943 Four Freedoms paintings, which were inspired by President Franklin Roosevelt’s address to Congress. These were reproduced in four consecutive issues of The Saturday Evening Post. A touring exhibition showed the piece and raised $130 million in war bonds. Later in his life, Norman Rockwell received the 1977 Presidential Medal of Freedom. He is the official state artist of the Commonwealth of Massachusetts. Piece measures approximately 13 inches wide x 15 inches tall. Including frame, measures approximately 15 1/2 inches wide x 17 3/4 inches tall. Frame has surface dirt and scraping. Backing paper shows absorption and tearing. From the Collection of Dianne Tymeson.
350 After Rockwell, "Sick Puppy", Needlepoint
After Norman Rockwell, 1894- 1978, "Sick Puppy, Saturday Evening Post", Needlepoint. This piece after Norman Rockwell is created in needlepoint, utilizing mainly brown, red, and black. The title at the top reads, “The Saturday Evening Post”. The bottom reads, “Norman Rockwell”. The boy is depicted preparing medicine for the dog in the crate. Norman Rockwell is a prolific American realist artist. In his early life, he studied at The New York School of Art and later, The National Academy of Design. He would go on to illustrate for Life, Literary Digest, and Country Gentlemen. He created 322 covers over 47 years for The Saturday Evening Post, which he began at age 22. He is known for his 1943 Four Freedoms paintings, which were inspired by President Franklin Roosevelt’s address to Congress. These were reproduced in four consecutive issues of The Saturday Evening Post. A touring exhibition showed the piece and raised $130 million in war bonds. Later in his life, Norman Rockwell received the 1977 Presidential Medal of Freedom. He is the official state artist of the Commonwealth of Massachusetts. Piece measures approximately 11 1/4 inches wide x 14 inches tall. Including frame, measures approximately 14 3/4 inches wide x 17 3/4 inches tall. This piece has a depression in the center and light staining a the top. The frame shows scraping. The backing board is cardboard adhered with painter's tape. Punctures are evident. From the Collection of Dianne Tymeson.
351 After Rockwell, "Pardon Me", Needlepoint
After Norman Rockwell, 1894-1978, "Pardon Me, The Saturday Evening Post", Needlepoint. This piece after Norman Rockwell is created in needlepoint. It depicts a young girl and boy, as she takes off her shoe. The boy is gesturing as if to ask a question while the girl looks up toward him. A couple in the background watch the interaction. The title reads, “THE SATURDAY EVENING POST”. The bottom reads, “Norman Rockwell”. Norman Rockwell is a prolific American realist artist. In his early life, he studied at The New York School of Art and later, The National Academy of Design. He would go on to illustrate for Life, Literary Digest, and Country Gentlemen. He created 322 covers over 47 years for The Saturday Evening Post, which he began at age 22. He is known for his 1943 Four Freedoms paintings, which were inspired by President Franklin Roosevelt’s address to Congress. These were reproduced in four consecutive issues of The Saturday Evening Post. A touring exhibition showed the piece and raised $130 million in war bonds. Later in his life, Norman Rockwell received the 1977 Presidential Medal of Freedom. He is the official state artist of the Commonwealth of Massachusetts. Piece measures approximately 11 inches wide x 14 inches tall. The thread for this piece has some discoloration. The backside has tape remnants. From the Collection of Dianne Tymeson.
352 "100th Anniversary of Baseball", Needlepoint
After Norman Rockwell, 1894-1978, "100th Anniversary of Baseball", Needlepoint. This piece after Norman Rockwell is created in Needlepoint. A pitcher winds up up in front of a man, who holds a cigar in his mouth. The red and white rocks of the pitcher contrast with the green background. The title reads, “The Saturday Evening Post”. The bottom reads, “Norman Rockwell”. Norman Rockwell is a prolific American realist artist. In his early life, he studied at The New York School of Art and later, The National Academy of Design. He would go on to illustrate for Life, Literary Digest, and Country Gentlemen. He created 322 covers over 47 years for The Saturday Evening Post, which he began at age 22. He is known for his 1943 Four Freedoms paintings, which were inspired by President Franklin Roosevelt’s address to Congress. These were reproduced in four consecutive issues of The Saturday Evening Post. A touring exhibition showed the piece and raised $130 million in war bonds. Later in his life, Norman Rockwell received the 1977 Presidential Medal of Freedom. He is the official state artist of the Commonwealth of Massachusetts. Piece measures approximately 10 3/4 inches wide x 14 3/4 inches tall. The canvas is not securely attached to the backing board, and is loose at the sides. The backside has a piece of tape remnant and indicates abrasion. From the Collection of Dianne Tymeson.
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