The Truth About Comets, 1945, oil on canvas, 24 x 24 inches. Framed by Gill & Lagodich for the Crystal Bridges Museum of American Art. Custom-made replica of original Dorothea Tanning frame, circa 1940s, hand-painted polychrome on milled wood. Molding width 3 inches. “A self-taught painter welcomed into the respected circle of New York surrealists, Dorothea Tanning described her work as a history of her dreams. Here, the steps and arm rails, as if elevating to another world, disappear into barren tree branches. The two brightly dressed anthropomorphic figures appear unalarmed despite being displaced in this uninhabited, snowy landscape. The rightmost figure, positioned with her back to the viewer, is captivated by the natural, fleeting beauty of the comet tails.” — museum text

The Pottery Market at Nuremberg, oil on canvas, 1892, 23 x 28-1/8 in. Framed by Gill & Lagodich for the Virginia Museum of Fine Arts; c 1890s English Watts style frame; applied composition ornament, gilded oak cassetta; molding width: 4-3/8 in.

The Children of Martin Anton Heckscher: Johann Gustav Wilhelm Moritz (1797–1865), Carl Martin Adolph (1796–1850), and Leopold (born 1792), 1805, oil on canvas, 58 x 45 in. Framed by Gill & Lagodich for The Metropolitan Museum of Art. Custom-made replica mid-19th-century European painting frame, gilded applied ornament on wood. “Sons of the Hamburg banker Martin Anton Hecksher examine a plan of the Schnepfenthal school, founded in Gotha in 1787 and considered one of the most progressive in Germany. Tischbein was at the heart of German Romanticism’s rich intellectual culture, and he depicts the young students in a natural setting that was sympathetic to Enlightenment educational reforms that swept Europe and encouraged a new vision of childhood.” —museum label. Painting Gift of the family of August Heckscher II, in his memory, 2002

Extemporaneous, 1927, oil on metal, mounted on board, 16 x 14-1/2 in. Framed by Gill & Lagodich for the Art Institute of Chicago. Custom-made replica c. 1910 American molding frame, patinated gesso over milled wood; molding width: 2-5/8” “Helen Torr and her husband, the painter Arthur Dove, enjoyed a richly artistic and supportive marriage as they both experimented with modernist art-making techniques. Extemporaneous is one of the most unusual works of Torr’s career, and it is striking for its irregular play of narrow bands of silvery gray, which exuberantly thrust into the corners of the composition. When Torr made Extemporaneous,she and her husband lived aboard a sailboat, and some part of its structure might well have informed this work. Certain elements recall shaped metal fittings, complete with small round circles that are reminiscent of rivets or nails. But the artist deliberately abstracted any recognizable motifs, leaving an eloquent exploration of pure form and color.” —museum label.