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The Second Group of Art Hanging at Med+

just north of Montgomery Inn on the left

9549 Montgomery Rd.Ste 100, Cincinnati, OH 45242, (513) 489-3737

Open M-F 8am-8pm, Sat.-Sun. 10am-6pm

Delta Queen Landing at Cincinnati  

Oil on canvas, 40" x 30", June 11th, 1997, NFS, Comparable $10,000 
Available in framed photo prints  
        This painting is the companion of Tom's earlier, same size work of South Street Seaport. His sister and her husband commissioned the two of them six years ago. Tom delivered the first painting in the Spring of 1992 and now is glad to deliver the second. It took so long because of the massive detail in the work and the resolve not to deliver a inferior work. It was Tom's intention to rival all other work in these two paintings. The first work was of the restored seaport in New York City near Wall Street. It had about thirty people on board the schooner "Pioneer" and about the same number on the wharf. In this "Delta Queen" painting there were substantially more people.  
        The paintings shows the steamboat Delta Queen just finished docking at Cincinnati Landing. To the left of the Queen is the permanently moored showboat Majestic. In the distance you can see the traditional river front of Covington, Kentucky with its famous suspension bridge built by John Robeling and finished in 1860. Just behind the bridge is the modern office tower and contemporary Covington Landing.  

Ludlow Garage, 12" x 16", Oil on board, 2006, $300

Tokyo Canal, 16" x 12", Oil on canvas, 1997, $300

Slater Road, Morrisville NC
$1,200, February 9 1999, Oil on canvas, 16" x 12", $600

From the story of the painting:
Jesse Marsh grew up here. He is up in ages now and still has a very handsome distinguished look about him, blond hair what is left not turn gray with blue eyes. One of his eyes has a drip in it like an infection. His size was huge bulk with soft large hands that turn in many directions. I met him while I was painting a smoke house that was the only thing left from a farmhouse that set near the road. "There's a well right there also where the satellite dish is now,” he said. The road used to turn off and snake over to where the Sheraton is now. You can clearly see where the road turned off. Right there was a number of barns and out buildings. "All this land is good farm land.” Jesse said.


Gentry Tobacco Warehouse, Lexington, Kentucky, 10" x 8", Oil on canvas, July 5 1998, $400

Painted over four years. Tom's wife spends a day every summer in Lexington, Kentucky at a professional meeting and during that time, Tom spent his time researching the tobacco auction business for a possible painting. His patron had had in their family a large tobacco warehouse, which they had sold. He wanted to at least have a painting of it.


Zero Main Street, Nantucket, 20" x 16", Oil on canvas, August 20 1987, $500

One of two paintings Tom did while on vacation in Nantucket. In the past he had painted this same scene over and over again but he had sold all of them. This one he did for himself. It is one of the four different views he painted of the famous fountain. The view is of a large building that used to be a counting house for the ships that came into port but today houses shops below and offices above. During the summer, they hang a large model of a whaling ship above the door.


Main Street, Nantucket, 20" x 16", Oil on canvas, August 20 1987, $900

One of the finest examples of Tom's Nantucket paintings. After doing this painting, he decided to do a duplicate one that was even larger. For one reason or another, he failed to sell it. Tom thinks it was because of the death colors used in the work.


Hong Kong Harbor,10" x 8", oil on canvas, fall 1996, $300

Painted from life during a trip to the Orient After taking a slow boat to china and the bullet train back. Tom's wife assisted him in setting up his easel outside the art museum and painting this view of Hong Kong proper. Normally all the boats in the painting can be seen traveling to and fro accept the junk. Mostly seen are the ferryboats and floating cranes that unload all the cargo in the harbor. Above is a building in the form of a Shinto Shrine at Victoria Peak.

English Village, 10" x 8",  oil on canvas, 2001, $200

Painted from life in a small village right up on the cliffs above Portsmouth, England. My host and I had a Shepard pie dinner that night down the street. Across the street is the local store. Around the corner is a phone booth I made a few calls back home from. I spent the better part of the day working. I painted the two girls by the faucet as representative of two painters getting knowledge.

Nantucket's Pacific House, 20" x 16", Oil on canvas, 1994, $500

Painted during a vacation trip to Nantucket. In previous years, Tom would paint on the street everyday. Now, while on a sailing trip he has to return to his learning roots. He would paint five different scenes of the famous fountain. This view was one of them. The other five were Zero Main Street, Pacific National Bank & The Looms. Today there are no large trees for they got too old and died.

Public Market Seattle, 16" x 20", Oil on canvas, 1996, $500

Harrisburg, Pennsylvania, 24" x 20", Oil on canvas, September 1992, $900

Irving Berlin's Home, NYC, 10" x8", Oil on canvas, October 1996, $900

This work painted from life in the upper east side of New York City. The home is now the home of the Ducy of Luxembourg. Tom was staying in a hotel nearby while his wife attended a professional meeting and made use of the splendid opportunity to work in the fancy Sutton Place neighborhood. The home was previously owned by Irving Berlin for many years. Tom knows John Wallowitch, a composer like Berlin, who lives just down the street. Every Christmas Eve John and his friends would sing Christmas carols outside his home. Sometimes Irving would come to the window. While working on the painting for several days Tom felt quite safe in the ritzy, glitzy neighborhood. A proverbially who’s who of American and European wealthy would walk by and it was one of the few places where Tom felt he could leave his paint stand for a few minutes to go down the street to get a sandwich.  

Several people expressed a lot of interest in the painting while he worked on it as the leaves fell from the Ginkgo trees that grow plentiful in the city. It is said that the Ginkgo tree is a prehistoric tree that was capable of surviving volcanic eruptions and the massive pollutants that come with such eruptions so is perfectly suited for growing in the polluted city. Tom had painted many such paintings on the street but worked especially hard on this one because he was slowly moving out of the apartment he lived at for twenty years in Greenwich Village and was moving to Cincinnati, Ohio, where his wife worked and his hometown.  

The composition of the painting is a variation of Tom’s tunnel view down city streets. In this view the street ends as the cliff begins dropping down a hundred or so feet to the East River. The color is indicative of Tom’s strong light and dark manner where the two light fluxes are juxtaposed against each other. The dark shadow areas are full of variation as well as the light areas but when a photo is taken of the painting the two areas cannot be reproduced correctly. Either the light or the dark area has to be focused on for the light flux difference is so great, very much like human vision.  

Tom used his yellow light and blue shadow manner. Changing the color of the light and dark areas to lean towards a stronger color gives piazza to the paintings.

Piedmont Park, 10" x 8", Oil on canvas, May 1998, $600

 

 

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