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Tom Works On A Painting At The Duveneck Art Show

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Available Artwork

Helen, 12" x 16", oil on masonite, August 20th, 2005, $1200

Rabbithash Kentucky II, 16" 12", oil on board, August 2005, $1200

Flemingsburg Kentucky, 6" 12", oil on board, July 4th, 2005, $1200

Emerald Isle, North Carolina, 16" 12", oil on board, June 2005, $1200

Sugar Loaf Mountain, Rio de Janeiro, 16" 12", oil on board, August 2005, $1200

Esquire Theatre, Ludlow Avenue, Cincinnati, Ohio, 20" x 16", oil on board, fall 2003, $800

This work was painted from life on a warm fall day, the last warm day of the year. Tom used a pallet knife to apply the oil paint on a 1/2" piece of plywood. Tom was studying compositions with large color areas of similar color.

The Great Tomas Pushcart, $7,000

Sculptura, $1,200

Flying Bicycle, $2,400

Morgan, $15,000 comparable , May 30, 2002, 24" x 30", Oil on canvas

Every portrait is special to the client, one painted and the artist. It’s the artist’s job to make the portrait desirable to all three.

Tom spent a year working on Morgan’s portrait. Tom spent the better part of the summer of 2001 collecting images and doing studies for the portrait by visiting for about an hour a couple of days a week. He took photos, sketched and worked on the full size drawing of the portrait on the canvas it was to be painted on.

The pencil line drawing of the painting on the canvas in pencil was approved. He gave copies of the drawing to the commissioner and the subject so they could get used to the drawing and offer advice. Just before painting he removed most of the pencil on the canvas so it would not interfere with the oil paint.

English Village, 10" x 8",  oil on canvas, 2001, $400

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.

Portsmouth Harbor, 16" x 12", oil on canvas, 2001, $2,400

Painted from life on the second floor of a large riverfront mall complex. It was windy that day and Tom had to hold onto his canvas as he worked. He tucked his easel into a nook to keep the rain off.

HSM Victory, 16" x 12", oil on canvas, 2001, $600

Painted from life at the maritime museum. Tom put the ship at sea using the coastline he could see from his vantage. This was Nelson's flagship. He was working for a traditional ship at sea painting. The actual ship was on blocks in a drained pit part of the massive shipyard. The area is still a active Navy base. Tom purchased a brochure about the museum from the shop right behind him and used the waves from some of the images to put the ship at sea.

Sculptura, 5" x 7", watercolor on paper, 2000, $75

Mount Adams, Cincinnati, Ohio, 18" 36", oil on Canvas, winter 2000, $2400


Circles, $600, May 13 1999, Watercolor on paper 20" x 24"
Tom’s second robot had to be bigger. It needed larger pieces and the little windup artist could only paint for a few inches until it needed to be wound up again. That is when I adapted a remote controlled car into another type of windup painter. The new motorized version was quite a bit heavier and used a automatic loading brush. The process yielded a good operating machine along the lines of the previous windup artist.
Read the full story and see the video at:
 

China Man, 10" x 8", oil on canvas, 2001, $300

Colors: bright green, bright blue, bright violet, blood red accent

This is the fourth version. The original was painted from life in the Quanzhou Zoo. Tom and his wife frantically searched for a scene to paint on their only day in old Canton. The streets around the hotel were all too crowded but nothing attracted Tom. They decided to go to the local zoo but even there nothing caught Tom's eye. Finally he was running out of time and started work looking at a field of red callas being tilled by a caretaker. The area around the callas contained the bird cages of the zoo. Tom had learned that many of the early settlers of the area lived in caves and some of these aviaries looked like caves. While he worked at a fever pitch Tom would hear all sorts of strange animal sounds along with Chinese Opera piped over the loud speakers. Tom and his wife stayed too long and were locked into the bird sanctuary. They had to climb over the fence and rush to the gates to avoid being locked inside the closing zoo. Link to the complete Asian Story by going to: http://tomlohre.com/asia.htm. Prints are also available.

 

Ryle High School
$300, April 24 1999, Oil on canvas, 10" x 8"
This painting was done from life from the Ameristop across the street. Tom had brought his sister there to participate in the Special Olympics. He painted a carload of boys taunting a short fat kid with a gun because of the recent shootings in Columbine High School in Littleton, Colorado where two boys shot 13 people.
 

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

Price View
$750, February 7 1999, Oil on canvas 10" x 8"
Painted from the garage of the Price Home. Situated off a single lane road, the Price home overlooks a pastoral view of the Carolina Piedmont. Rolling hay fields are line with pine and scrub oak. A lone tall old tree rises up from the landscape and dares to keep alive for a hundred years. In the foreground, Rex the neighborhood dog who adopted the prices watches over the scene.



Flying Pigs
$600, February 3 1999, Watercolor on paper 23" x 16"
My first robot that actually painted did not come until 1999 when I adapted a windup motor I got in a mechanical junk store in China Town NYC about 7 years earlier. I always wanted to do just this with the motor but it was not until I applied for a grant that I needed a real piece of art. The little machine dragged a brush across a piece of paper slowly and with visual pain. Occasionally it would pick the brush up and it made the most amazing abstract works.  The whole aspect of these machines is to give them the power to think for themselves and do what they feel is best.
Read the whole story and see the video at:
 

Henry Williams
$450, August 19 1998, Watercolor on paper, 5" x 7"
A sketch that started the oil portrait of Henry Williams that hangs in the Over-the-Rhine senior center. In 1998 he proposed to the City of Cincinnati a portrait of Henry Williams to hang in the Over-the- Rhine Senior Center and the City gave him moneys to pay for materials. Tom gave several informal talks to the patrons of the Over-the-Rhine senior center as he completed the portrait. At each talk Tom brought the unfinished painting and painting materials. He would go from table to table engaging patrons waiting for lunch and speak of the portraits process.
For the full story of the oil painting that came from this sketch go to:
 

Gentry Tobacco Warehouse, Lexington, Kentucky
$1,200, July 5 1998, Oil on canvas, 10" x 8"
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.
  

Pike Street Market, Seattle
$950, May 24 1998, Oil on canvas, 20" x 16"
Tom met up with an artist relative who had the next several days off. He took Tom all over Seattle looking for a place to paint. He settled on a spot four blocks from his hotel. The market is a mix of the wealthy, tourist & transients. Over 200 fish, fruit, curiosity & touristy shops are the attraction. Taking place on a hillside to the sea, the corridors create a labyrinth of walkways and alleys. The performance is the throwing of the fish to the packer after a purchase has been made.
 

Evanswood Place
$750, July 1 1998, Oil on canvas, 30" x 24"
On a blazing hot day in July, Tom painted the paw paw patch that shares the land with a bird sanctuary, the lone expanse of land on the street Tom lives on. Every year one of the neighbors, hosts a Fourth of July picnic and a flyer is sent out. This year Tom offered to make the poster and painted the part of the street he loved the most. The sloping hill hosts several hundred-paw paw trees. Tom has harvested them for several years offering them to the neighbors who hereto for did not think they were eatable. This last year no paw paw tree bore fruit because of the drought.


Drum Point Light, Chesapeake Bay
$800, June 24 1997, Oil on canvas, 16" x 12"
The painting had a lot of sky and water with just a little more detail than the previous painting. The lighthouse named Drum Pt. was one of 49 in the Bay by 1900. Of the two thousand or so manned lighthouses in the US at the turn of the century. Drum point was rated 248th because of its elaborate Fresnel lens. Viewers of the painting called it the Thomas Pt. lighthouse because that lighthouse is still out in the Bay.
 

Tangier Island, Chesapeake Bay
$800, June 23 1997, Oil on canvas, 16" x 12"
Back on Tangier, I finished painting by 1 PM and we enjoyed a crab lunch in the cooler part of one of the many restaurants that vie for your attention lining the waterfront. Crab is served in three basic ways. As a round 3 inch by 1 inch fried cake, a soft-shelled crab fried and boiled hard shell. The fried soft shell has the appearance of eating a large bug whole. Fully satiated we set off for Solomons and Drum Pt Light Way Point #67.



Piedmont Park Gazebo II, Atlanta, Georgia
$600, May 9 1997, Oil on canvas, 10" x 8"
Tom spend a lot of time in Atlanta and got to know the city quite well. He has painted all over the region and of all the places; he likes this gazebo in Piedmont Park. In the past, he did a impressionistic canvas of it and always wanted to return. He did started two paintings each on different days. The traffic through that area of the park is quite thick and he was never without human subjects. Most Atlantians have fond memories of the gazebo.



Ancient Japanese Ship, Tokyo
$500, fall 1996, Oil on canvas, 16" x 12"
Painted from life and a postcard of an ancient ship. Tom spent several days in the home of his friend Yuso Hase. Tom had painted his portrait in NYC ten years prior. Now he was painting the canal outside his hosts’ bedroom window. All day long while he painted the weather, seem to want to do everything in one day. Sun, rain, wind, warmth & cold all followed each other as the day and the painting progressed.
 


Hong Kong Harbor
$900, fall 1996, oil on canvas, 10" x 8"
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.
 

Hong Kong
$1,200, fall 1996, Oil on canvas, 12" x 16"
Painted in the local Zoo just before return to China Combines the old with the new, which is very hard since nothing is older than ten years. The antique building in the foreground is the old hospital. Just down the hill to the right is the governor home. Tom could find those only two old buildings. The large skyscraper in the background is the bank of China. Just to the left is another bank building.
 

Village Delight, Greenwich Village
$1,200, spring 1996, Oil on canvas, 16" x 20"
Painted from life, one of the last paintings done before giving up his NYC apartment of twenty years. It was the time where showing in coffee shops was popular and this place was
a shoe in for Tom. He distributed coupons during the opening for $2 off
whatever his guests wanted. For the rest of the week he painted this view. The players are all characters and much in the way of a local neighborhood, happenings occurred.
 

Li Lac Chocolates I, New York City
$2,400, October 28 1995, Oil on canvas, 12" x 16"
Painted on the Street in New York City. Tom lived in the West Village for Twenty years. Besides painting many street scenes, he was a social portrait painter traveling the circuit from Nantucket, New York and Palm Beach. This painting is his best. The view is looking east on Christopher Street towards where his apartment was. A few blocks farther down the street is the Hudson River. The time was fall. The wind was not too bad as he sat in the gutter for many days painting. The chocolate shop is still open.
 

Christopher St. looking West, New York City
$1,200, fall 1995, Oil on canvas, 16" x 12"
You can see a tugboat going up river if you look way down the street. It is only a few blocks to the Hudson River and an easy walk to the cool breeze. During this painting session the wind was blowing terribly hard. Tom had to paint while he was holding onto the easel with his other hand. He later found out that if you must go around the corner there would be no wind at all.
 

Christopher St. Looking East, New York City
$1,200, fall 1995, Oil on canvas, 16" x 12"
This view shows Tom's old apartment building, the one he lived in for twenty years from 1978 to 1998. Only the delivery trucks and buses occupy the street. The local citizens have their automatic wheel chairs along with the
blind girl & Seeing Eye dog.
 

Surf Fishing, Nantucket
$2,400, fall 1995, Oil on canvas, 20" x 16"
Painted on location at the scallop shack in Nantucket. Tom had several days to study the dories and solicit the men to pose for him. The shack was a regular meeting ground for the local men. This painting was done in the fall but in the winter is when it gets hairy. The warden watches the bay and monitors the men out on the cold frozen water. If there is any trouble, he can get help out there quickly.



Greenwich Village A Primo Guide To Shopping Eating and Making Merry In True Bohemia
$14, Released May 5 1995, by Saint Martins Press, 27 paintings by the artist adorn the pages. Tom's good friends and neighbors wrote the book.
 

Carolina Piedmont
$2,400, fall 1994, Oil on canvas, 16" x 20"
Tom in the past had painted many landscape with a power tower in the middle of the composition. Here, on a trip to the Carolina Piedmont sat in his hotel room working on yet another painting of the power tower that stood outside his window. Recently married, his wife asked him not to paint the tower and this is the result, a clear view of the Carolina Piedmont with its sandy soil, eroding rolling hills and pine and oak scrub.



Oak Bluffs, Martha's Vineyard
$2,400, July 10 1994, Oil on canvas, 20" x 16"
Painted on location during a sailing vacation. Oak Bluffs is one of the few places where you can see both black & white people vacationing together. Tom set up his easel in view of the congregation tent. In the old days, people would come to worship. Today, people still come for the religious services. The homes surrounding the main commons are a combination of tent and home. In the painting, Tom painted Whoppie Goldberg and Melanie Griffith out of a picture in a magazine.



Zero Main Street, Nantucket
$2,400, July 2 1994, Oil on canvas, 20" x 16"
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.



Pacific Club, Nantucket
$2,400, July 1 1994, Oil on canvas, 20" x 16"
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.



Mount Denali, Alaska
$2,400, June 20 1994, Oil on canvas, 40" x 30"
Painted in Denali State Park after climbing up a 2000 foot mountain. You can see the only road that goes into the park below. Tom hiked up from the parking lot where private cars had to stop and after stopping every now and then looking for a good view stopped at the level you can see across the valley. In 45 mile, an hour winds where the bugs slapped his face and took refuge on the lee side of his face and as he continually slapped his face with a cloth hat and while continually holding onto his easel he painted this canvas. His lunch laying around and the ground squirrels running about discussing his work it was only after Tom was safe back at the hotel that he realized that a bear could have followed his scent and showed up to have a bite and a look see.



Mendenhall Glacier, Alaska
$1,800, June 18 1994, Oil on canvas, 40" x 30"
Outside of Ketchikan is the edge of the Saint Alegis Ice Flow. The size of Rhode Island the glacier leads to the vast ice field in the middle of the mountain range. A tranquil shelter belonging to the National Park Service offers this view of the glacier. Tom took the bus from town and hiked a mile up the road to spend the day painting. Helicopters and tourist passed by taking in the scene on one of the four rainless days in Juno.


Ketchikan, Alaska
$2,400, June 16 1994, Oil on canvas, 40" x 30"
Painted from life while on his honeymoon. Tom brought five large canvases with him making his total pack 90 pounds. Everyday there was a window to paint Tom would set out to spend the day painting. This view was the finest in Alaska. The day was also special for it was one of the rare clear rainless days in a town where it rained 360 days a year. In this painting, Tom was experimenting with a novel compositional method of having a sunlight streak run diagonally through the canvas.


Inside Passage II
$2,400, June 14 1994, Oil on canvas, 40" x 30"
Painted off the fantail of the ferry. Tom was using a novel approach to composition. The painting was done as an experiment in placing various local items on top of a landscape.  Looking closely you can see a sea plane in the water to the right, fins of the Orcas in the water on the left, salmon jumping on the hill sides on the right, a mountain man in the clouds on the right and a breaching hump back whale in the clouds on the left.


Inside Passage I
$2,400, June 12 1994, Oil on canvas, 40" x 30"
The first painting done on Tom's honeymoon on the fantail of the ferry boat as it left Seattle traveling up the inside passage to Alaska. The hills slowly rolled getting larger and larger as they reached the mountains. The whale and kayaks were added from travelogs.

Boat People III, 5-1/2" x 3-1/2", watercolor on paper, 1992, $50


Fountain Square III, Cincinnati
$900, May 4 1994, Oil on canvas, 20" x 24"
Painted from life during the Art on the Square Festival in downtown Cincinnati. Tom imagined this view from the place he was set up along the skywalk. He was using the patterns in the square and the glass of the buildings to create a flower arrangement out of the cityscape.


Fountain Square II, Cincinnati
$900, May 3 1994, Oil on canvas, 20" x 24"
The square is surrounded by drab buildings so Tom took a bold step to eliminate them and represent them only as drab stripe of gray set into a partly cloudy day. The swirls of the brick pattern in the square were enhanced to facilitate the composition.


Fountain Square I
$900, May 2 1994, Oil on canvas, 24" x 20"
The first of three paintings done during the Art Festival on the Square, a multi leveled event that took place all over downtown Cincinnati. Tom was painting on the Thursday before the event from a vantage point where he really could not see the fountain but having had painted it many times used the opportunity to make a painting like a bouquet of flowers.

Seaport Study I, 6" x 4-1/4", watercolor on paper, 1994, $150

Seaport Study II, 5-1/2" x 4", ink on velum, 1994, $75

Seaport Study III, 5-1/2" x 4", watercolor on paper, 1994, $150


Seaport Impression, New York City
$4,500, October 14 1993, Oil on canvas, 40" x 30"
Painted as a study for a same size finely detailed work. Done with a palette knife the paint was removed remixed, reapplied until the color was correct. Some say that this work is even better than the final version.


Impression of the Delta Queen
$4,500, October 10 1993, Oil on canvas, 40" x 30"

Colors: light orange yellow, violet blue, warm gray, blood red accent. Painted as a study for a same size oil painting, the final work was extremely detailed and took a year to complete. This impressionist study was done with a pallet knife. The color was removed and remixed until the over-all color was correct. Link to the final painting by going to: http://tomlohre.com/river&.htm.
The painting 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 riverfront 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.


Winslow Homer Copy
$900, June 1 1992, Watercolor on paper, 22" x 19"
One of Tom's friends was telling him about a neat print he had of Winslow Homers. Tom said that it would be much better to have a real painted copy. Tom painted two of them and the experience started him on the road to watercolor. After several years, he started to have a reasonable idea of the necessary talents needed to be an excellent watercolorist.

Harrisburg I, 6" x 4-1/2", watercolor on paper, 1992, $125

Harrisburg II, 6" x 4-1/2", watercolor on paper, 1992, $50


Bennington College, Vermont
$450, summer 1992, Oil on canvas, 10" x 8"
Painted from life while visiting friends in the area. This is the college where the black clothes got their start. The mostly women college would celebrate English by writing poems and even today it is a hot bed of poetry. This view shows the wide and large common ground in front of the main hall sitting on top of the hill. On the left and right are the dorms.

Child in Boat, pencil on paper, 4-1/2" x 5-3/4", 1990, $75



Reedy Bridge I, Greenville South Carolina
$600, November 26 1991, Oil on canvas 10" x 8"
Painted after Tom's stay in Greenville, South Carolina. This is what he considers the most beautiful scene in Greenville. A small but eloquent steam winds its way through town and ends up falling over a sizable drop.


Reedy Bridge II, Greenville South Carolina
$600, November 1 1990, Oil on canvas 10" x 8"
Tom painted these two works for a show to be held in Greenville, South Carolina. He had been away for quite awhile and this was a way for him to recover the fine times experienced there.

Indian Legend II, 6" x 4-1/2", watercolor on paper, 1990, $100

Indian Legend I, 6" x 4-1/2", watercolor on paper, 1990, $100


Seminole Indian "Chicki" Hut IV
$300, March 4 1992, Oil on canvas, 16" x 12"
A series of several of this scene were done during Tom's 92' stay in Palm Beach. He spent quite awhile looking for the quintessential Florida scene and came upon this authentic Seminole Indian Chicki Hut used as an out door bar at a marina restaurant. His manner of the time was to paint the canvas with white under paint and apply color on top.


Triton
$300, January 1989, Oil on canvas, 10" x 8"
This was Tom's last space painting done at the Jet Propulsion Laboratory. He had been a member of the press at several of Voyager II's encounter with the outer planets and Neptune was its last planet.
 

Neptune
$300, January 1989, Oil on canvas, 10" x 8"
Neptune and its only moon Triton were painted from photographs sent back from Voyager II. Tom has painted many space scenes
 

Union Street Nantucket
$500, June 1 1988, Oil on canvas, 10" x 8", Painted from life on a V-neck T-shirt when Miami Vice was popular. Once the gallery owner saw Tom wearing it, it did not matter if it was gold plated it was not the thing to wear at a Nantucket art opening.


Mt. Adams, Cincinnati
$750, January 1 1988, Silk-screen on paper, 36" x 24"
Created using several rubber stamps of different screen stamped on acetate plates. Regular offset colors were printed, yellow, magenta and blue. A line drawing was included with each plate printing black. The overall effect was like the view Tom had come to know and love. A cold hillside in the dead of winter offered the best painting conditions for the best view in Cincinnati, Mt. Adams.


Southern Most House, Key West
$750, December 20 1988, Silk-screen on paper, 36" 24"
Printed using the colors in a big paint shed at a screen printing plant that gave Tom carte blanch. The southern most house is a guesthouse in Key West. It's style and color is unique to the area. Tom grew with black litho crayons directly onto light sensitized screens to produce the five colors for the print.


Sloppy Joe's, Key West
$750, winter 1988, Silk-screen, 36" x 24"
Tom's first silkscreen print after not having used the technique for twenty years. Tom did many silkscreen posters for high school and college events. With three, fill colors and a strong black line drawing. His father thought it was the first work he had seen of his son's that indicated that he had talent.

Brook Shields, oil on canvas, 8" x 10", 1988, $300

Colors: red tan, deep pink, dark brown

Painted as an experiment in the theories of Leonardo Da Vinci, using the face as a taking off point for two canvases, this one has Ms. Brook without makeup, the second was the same face with the linear indications of the principals of beauty laid down by Da Vinci.


Seventh Ave. & Christopher Street
$2,400, September 6, 1987, Oil on canvas 24" x 20"
The greatest impressionist painting Tom did in New York City. The bright sun lit colors are contrasted with dark blue violet shadows. The painting is done in a heavy impasto manner.
 

Main Street, Nantucket
$2,400, August 20 1987, Oil on canvas 20" x 16"
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.


Main Street, Nantucket
$4,000, August 1 1987 Oil on canvas 24"X 20" summer 1987, After hundreds of painting of Main Street Nantucket Tom loved his 16" x 20" Main Street view so much he did a larger version. The view crystallizes Nantucket in his mind.


Chemical Bank, Greenwich Village
$650, May 1 1987, Oil on canvas, 16" x 12"
One of the finest examples of Tom's impressionistic work. The scene is a normal dirty dusty view from mid Manhattan but the use of color makes it become more than it is. Tom lived on the street where the painting was done. He set up his easel in front of the famous Village Cigars and worked there for several days. As you might imagine, there were hordes of people moving around him and some felt that they were put out.
 

 

Licking River, 16" x 12", oil on canvas, 1987, $1,200

Colors: Light violet blue, light yellow green, deep olive green, purple accent

Painted from life, this painting represents the best of Tom's impressionist manner which reached a peak in 1987. In a predictable way Tom’s feverish attack on learning landscape painting by producing a canvas everyday, working outdoors on location for two years paid off with 1987 being the peak of his impressionist manner. Why it peaked and why he could not get back to this manner has puzzled Tom ever since. His colors were driven by each other more than attention paid to what the actual color was. It’s Tom’s belief that nature is a good point to take off from but common sense is more important in creating meaningful and exciting work. Painted from life about twenty miles up the Licking River from the Ohio River. After taking a swim and having some lunch, Tom set up his easel and went to work on what he considers his finest example of his impressionist manner


Tailgate Party, Wellington
$550, winter 1988, Silk-screen, 36" x 24"
Produced by drawing with an opaque grease pencil on sensitized silk-screen. He used the quick silkscreen manner in a painting like way. Image taken from a oil painting that Tom did on location during the polo races at Wellington, West Palm Beach. After serving the luncheon to the quests of the James Hunt Barker Gallery, Tom painted the view.


Fancy Grocery Store, Greenwich Village
$900, winter 1987, Oil on canvas, 16" x 12"
Painted from life across the street in a liquor store. All day the salesmen would come in and try to sell wine to the merchants. As soon as they got past the threshold the merchant would say, "Oh, no not you. We haven't sold the vine you brought last time!" Everything hinged against the label. If the wine the salesman had had a label that looked good then it was considered.
 

Mead Paper Plant, Atlanta
$400, January 1 1987, Oil on canvas 16" x 12"
Painted from the view outside Tom's friend and fellow painter Rick Houdesheldt. Tom would stop in Atlanta on his way down to Palm Beach and always painted something. This time it was a view of a workman getting off work with his son greeting him. You can see the young boy holding up his dad's lunch box as they walk to the car where his wife is waiting. This painting ever had much appeal to people. Tom did it during his great impressionist period where everything seemed to come up roses.

Still Life, 20" x 16", oil on canvas, 1984, $2,400

Colors: deep yellow green, orange, dark yellow, pink accents

Painted as a study of Fantin Latour the popular flower painter from Paris at the turn of the century. Tom was actively searching for a flower manner and painted many flowers arrangements in the Fantin manner.


Nantucket Cliff Girl
$900, July 1 1986 Oil on canvas 20" x 16"
Painted in the studio during Tom's second season on the island. Tom would search through art books looking for a scene that he could replace the elements with Nantucket scenes. Then after assembling the drawing in the studio, he would go into the field. This view is high upon the Northern cliffs of the island. You look down upon the beach club where you can rent wind surfers and sunfish. The Jetties extend northward to make a break for the channel to the main harbor.


Greek Statue Dressed In Drag
$1,800, May 1 1985, Oil on canvas 16" x 20"
Painted in the studio in New York City. Tom had for the last couple of years, been painting famous statues into strange and different scenes. His mission was to discover the exchanged form to see if it held up in a very different surrounding. The dress he chooses for the statue was not unlike what you might see if you walk out of his apartment. Living on Christopher Street availed many such signs because it was the gay street in the City.


Mt Saint Helens, Eruption I, From Tum Tum Mountain, Washington
$2,400, May 18 1980, Noon, Watercolor on paper, 12" x 9",
On Sunday after a night of partying because Sunday was a free day Tom slowly woke up around eight in the morning. Looking outside the sky was cloudy. It was not suppose to be cloudy and after a little thinking, everybody realized that the mountain had exploded. Everybody piled into the car and made out for Tum Tum Mountain about 27 miles to the South of the exploding Mount Saint Helens. From that point Tom worked the rest of the day painting four watercolors as fast as he could.

Clare E. Beatty, oil on canvas, 36" x 24", 1979, $2,700

Parrot, 18.5" x 40", oil on board, 1979, $1,200

Colors: Emerald blue, gray blue, red earth, olive green

This very early work was painted from life in a pet shop on Bleecker Street in Greenwich Village, New York City. Tom work for several days in the pet shop in very tight quarters. The painting is done on an old door made out of 1/4" plywood harkening back to the days when Tom could not afford canvas and stretchers.

Mike Fink Sunset, oil on canvas, 32" x 24", 1977, $2,700

Colors: deep yellow, dark olive green, gray violet, blood red accent

Painted from a postcard, Tom worked on the Mike Fink while in high school. His job was to paint, fix holes in the hull and take out the trash. After college he painted Mike Fink and sold it to the owner, Captain Beatty. Later Tom traded for the painting from his heirs.

 

 

 

 

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