Jerome Myers Paintings & Artwork for Sale | Jerome Myers Art Value Price Guide

Jul. 30, 2026
Jerome Myers, American 1867-1940, Concert in Central Park, Oil on Canvas
Est: $3,000 - $5,000
Jerome Myers American, 1867-1940 Concert in Central Park Oil on Canvas Appears to be unsigned.
Nye & Company
Jul. 30, 2026
Jerome Myers, 1867-1940, Medieval Costumes, Oil on Canvas
Est: $3,000 - $5,000
Jerome Myers 1867-1940 Medieval Costumes Oil on Canvas Appears to be unsigned. Cut down and relined. Provenance: From the artist's estate through Kraushaar Galleries to a private collection that is now an estate. Nye & Company, 3/8/2023, lot 324
Nye & Company
Jul. 30, 2026
Jerome Myers, American 1867-1940, City Scene, Watercolor and Gouache on Paper
Est: $800 - $1,200
Jerome Myers American, 1867-1940 City Scene Watercolor and Gouache on Paper Initialed l.r. and dated. Provenance: Rago Arts and Auction Center, 4/16/2020, lot 132
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, East Side Corner, Oil on Board
Est: $3,000 - $5,000
Jerome Myers American, 1867-1940 East Side Corner Oil on Board Signed l.r. and dated 1934, titled, dated and signed on back, collection of GD Thompson label on back. Provenance: Nadeau's Auction Gallery, Inc., 1/1/2020, lot 600
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, In the Old Quarter, Oil on Canvas
Est: $4,000 - $6,000
Jerome Myers American, 1867-1940 In the Old Quarter Oil on Canvas Signed l.l. Provenance: Christie's, New York, September 23, 1992, lot 264B Kraushaar Galleries, New York. Private collection, New York Property from a Distinguished New York Estate Heritage Auctions, 11/4/2022, lot 67131 Exhibitions: Nassau County Museum of Art, Roslyn Harbor, New York, "The World of Theodore Roosevelt," November 17, 2002-February 16, 2003.
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, Carmel Scene, Oil on Canvas
Est: $500 - $800
Jerome Myers American, 1867-1940 Carmel Scene Oil on Canvas Appears to be unsigned. Cut down and relined. Provenance: From the artist's estate through Kraushaar Galleries to a private collection that is now an estate. Nye & Company, 3/8/2023, lot 323
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, Carmel Picnic, Oil on Canvas
Est: $800 - $1,200
Jerome Myers American, 1867-1940 Carmel Picnic Oil on Canvas Signed l.l. Provenance: Doyle New York, 4/10/2024, lot 78
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, Children in the Park, Oil on Canvas
Est: $2,000 - $4,000
Jerome Myers American, 1867-1940 Children in the Park Oil on Canvas Signed l.r. Provenance: Sotheby's New York, Arcade, September 25, 1992, lot 290 Property from a Distinguished New York Estate Heritage Auctions, June 16, 2023, lot 32057
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, Street Shrine, Oil on Canvas
Est: $2,000 - $4,000
Jerome Myers American, 1867-1940 Street Shrine Oil on Canvas Signed l.r. Provenance: Alfredo Valente Gallery, New York, New York Sotheby's New York, Arcade, September 25, 1992, lot 289 Property from a Distinguished New York Estate Heritage Auctions, June 16, 2023, lot 32055
Nye & Company
Jul. 29, 2026
Jerome Myers, American 1867-1940, Children Playing, Oil on Board
Est: $2,000 - $4,000
Jerome Myers American, 1867-1940 Children Playing Oil on Board Signed l.r. Provenance: Sotheby's New York, Arcade, January24, 1989, lot 235 Christie's New York, Rockefeller Center, September 28, 1989, lot 362 Property from a Distinguished New York Estate Heritage Auctions, Jun. 16, 2023, lot 32058
Nye & Company
Jul. 29, 2026
Jerome Myers, 1867-1940, Market Scene, Oil on Board
Est: $3,000 - $5,000
Jerome Myers 1867-1940 Market Scene Oil on Board Signed l.r. Provenance: Swann Galleries, 6/30/2021, lot 156
Nye & Company
Jun. 07, 2026
JEROME MYERS (AMERICAN, 1867 - 1940)
Est: $400 - $600
"Women with Babies"; c. 1920s; Graphite on Paper; 6.75" x 5"; Signed on Verso; Framed (under glass); Note: "Kraushaar Galleries, Inc. - New York, NY" label on verso. Inscribed on verso "Signed - Jerome Myers / BD"
James Cox Gallery
Apr. 30, 2026
Jerome Myers, 1867-1940, Self Portrait, Graphite and Chalk on Paper
Est: $800 - $1,200
Jerome Myers 1867-1940 Self Portrait Graphite and Chalk on Paper Signed l.r. Bears label verso from Kraushaar Gallery, New York.
Nye & Company
Feb. 17, 2026
J. Myers, Fading Light
Est: $100 - $10,000
Jerome Myers, NA (American, 1867-1940), oil on canvas, signed "Jerome Myers" lower left. Frame size: 25 1/4" high, 21 1/4" wide. Image sight: 19 3/8" high, 15 1/4" wide. Craquelure. Provenance: Bernard Dannenberg Galleries, NYC; Shannon's Fine Art Auctioneers, 2014.
Schwenke Auctioneers
Jan. 29, 2026
Jerome Myers, The Three Mothers.
Est: $1,000 - $1,500
Jerome Myers (1867-1940) The Three Mothers. Oil on canvas. Signed in oil at lower left, recto. Signed in ink, verso. Inscribed, "The Thee [sic] Mothers," on stretcher.
Swann Auction Galleries
Jan. 27, 2026
JEROME MYERS (1867-1940). Carousel. oil on canvas25 x 30 in. (63.5 x 76.2 c
Est: $10,000 - $15,000
JEROME MYERS (1867-1940). Carousel. oil on canvas25 x 30 in. (63.5 x 76.2 cm.).
Christie's
Nov. 24, 2025
Jerome Myers, 1867-1940, Mrs. Rindskopf, Pastel and Pencil on Board
Est: $50 - $500
Jerome Myers 1867-1940 Mrs. Rindskopf Pastel and Pencil on Board Signed l.l, inscribed right center. Provenance: Heritage Auctions, Dallas, TX, May 11, 2023, lot 27147
Nye & Company
Nov. 07, 2025
Jerome Myers (American, 1867-1940), "Sketch of Women Walking," 1900, Sheet- H.- 5 3/4 in., W.- 4 1/8 in., Framed- H.- 15 in., W.- 11 3/8 in.
Est: $400 - $800
Jerome Myers (American, 1867-1940), "Sketch of Women Walking," 1900, pencil and crayon drawing on paper, signed and dated lower left, artist biography and provenance information affixed en verso, presented in a carved giltwood frame with brass artist's plaque,
Crescent City Auction Gallery
Oct. 12, 2025
JEROME MYERS (AMERICAN, 1867-1940).
Est: $500 - $700
'The Sans Souci'. 1898. Cray-pas on paper. Signed and dated lower left. Provenance: Kraushaar Galleries, NYC; Gloria Kaplan, Manhattan and Purchase NY; Her sale, Stair Galleries, Hudson, NY, March 10, 2012. (lot 408). Property of a Manhattan, NYC collection. Dimensions: Sight size: 7.50" h x 9.75" w. Frame: 14" h x 16.50" w.
Clarke Auction Gallery
Sep. 11, 2025
Jerome Myers, 1867-1940, Mrs. Rindskopf, Pastel and Pencil on Board
Est: $250 - $350
Jerome Myers 1867-1940 Mrs. Rindskopf Pastel and Pencil on Board Signed l.l, inscribed right center. Provenance: Heritage Auctions, Dallas, TX, May 11, 2023, lot 27147
Nye & Company
Sep. 11, 2025
Jerome Myers, 1867-1940, Madonna Worship, Oil on Board
Est: $1,000 - $2,000
Jerome Myers 1867-1940 Madonna Worship Oil on Board Signed l.r., bears inscription verso "Madonna Worship, Jerome Myers, signed by Ethyl Myers". Provenance: Heritage Auctions, Dallas, Jun 16, 2023, lot 32056
Nye & Company
Jul. 30, 2025
Jerome Myers, New York (1867 - 1940), Virginia Sketching / Studio Gate / Mott St., NY, 3 etchings, 10 1/2"H x 12"W(largest paper)
Est: $50 - $100
Jerome Myers New York, (1867 - 1940) Virginia Sketching / Studio Gate / Mott St., NY 3 etchings Pencil signed lower. Studio Gate: edition 13/50, exhibited Chapellier Gallery, NY. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jul. 30, 2025
Jerome Myers, New York (1867 - 1940), Mission Tent / Notre Dame Service / Intermission / At the Theater, 3 pencil drawings and an etching, 11 1/2"H x 12 3/4"W(largest paper)
Est: $50 - $100
Jerome Myers New York, (1867 - 1940) Mission Tent / Notre Dame Service / Intermission / At the Theater 3 pencil drawings and an etching Signed lower. Mission Tent: exhibited Kraushaar Galleries, NY. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jul. 30, 2025
Jerome Myers, New York (1867 - 1940), The Little Family / Mother & Child / Spring (Springtime) / Mother and Child Resting #1 /, 4 etchings, 17"H x 13"W(largest paper)
Est: $50 - $100
Jerome Myers New York, (1867 - 1940) The Little Family / Mother & Child / Spring (Springtime) / Mother and Child Resting #1 / 4 etchings Pencil signed lower. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jul. 30, 2025
Jerome Myers, New York (1867 - 1940), Virginia Modeling / Children in Mulberry Street / 4 Christmas greetings, 1920s, 6 etchings, 10 1/4"H x 12 1/4"W(paper), 14 1/4"H x 19 1/4"W(mat) - largest
Est: $50 - $100
Jerome Myers New York, (1867 - 1940) Virginia Modeling / Children in Mulberry Street / 4 Christmas greetings, 1920s 6 etchings Pencil signed lower. Virginia Modeling: edition 22/50. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jul. 02, 2025
Jerome Myers, New York (1867 - 1940), Paris Street Scene, 1914 / St. George Stuyvesant Sq. NY, 1930, 2 etchings, 14 1/4"H x 9 3/4"W(paper), 20"H x 16 1/4"W(mat) - largest
Est: $100 - $200
Jerome Myers New York, (1867 - 1940) Paris Street Scene, 1914 / St. George Stuyvesant Sq. NY, 1930 2 etchings Pencil signed lower. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jul. 02, 2025
Jerome Myers, New York (1867 - 1940), figural group / The Cronies / Old Cronies, 2 etchings and a pencil drawing, 7 1/4"H x 9 1/2"W(paper), 14 1/4"H x 19 1/4"W(mat) - one
Est: $100 - $200
Jerome Myers New York, (1867 - 1940) figural group / The Cronies / Old Cronies 2 etchings and a pencil drawing Pencil signed lower. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jul. 02, 2025
Jerome Myers, New York (1867 - 1940), Men on Bench / Delivery Service (2), 3 etchings, 11 1/2"H x 9 1/4"W(paper), 19 1/4"H x 14 1/4"W(mat) - largest
Est: $100 - $200
Jerome Myers New York, (1867 - 1940) Men on Bench / Delivery Service (2) 3 etchings Pencil signed lower. Biography from the Archives of askART: Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ash Can School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895 Myers found a position in the New York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There he shared a room with Solon Borglum and noted the "pathetic ruins of American students who had lingered too long." Myers realized the trip was not really that helpful, and returned to America: "I asked myself what Paris could give, and the answer was 'Nothing.'" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." (The Globe and Commercial Advertiser, September 28, 1922). He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January - a month before the famous exhibition of Robert Henri's group "The Eight." In many respects the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan and William Glackens. Although Myers was a friend of Henri, he was not part of the group. Henri regarded Myers's art as too sentimental, according to William Innes Homer (Robert Henri and His Circle). Milton W. Brown challenged that view when he wrote, "Even though he may have clothed [the East Side milieu] in romance, Myers, in recognizing the life of the poor as a fit subject for art, was acting as a realist." One might add that much of the imagery of Glackens differs little from the impressionists' cheerful scenes of people at leisure. Sloan thought it was more a question of Myers being roughly the same age of Henri and thus could not have been a "disciple." Myers did, however, participate in the Exhibition of Independent Artists in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become American Association of Painters and Sculptors (AAPS) - the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing. I say to myself, 'It is the warmth of human contact.' New Yorkers no longer live in the open." Myers continued to exhibit and win prizes: five at the National Academy of Design. His works are to be found in major American museums. Sources: Myers is the author of Artist in Manhattan (New York: American Artists Group, Inc., 1940). See also: Du Bois, Guy Pène. "Jerome Myers," Art and Progress 5 (January 1914): 88-94; Phillips, Duncan. "Jerome Myers," American Magazine of Art 8 (October 1917): 481-484; Wickey, Harry. Jerome Myers Memorial Exhibition. Exh. cat. New York: The Whitney Museum of American Art, 1941; Brown, Milton W. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955, pp. 26-28; Jerome Myers, An Artist in Manhattan 1867-1940. Exh. cat. With essays by Harry Wickey and Bruce St. John. Delaware Art Center, 13 January - 19 February 1967; Holcomb, Grant. Jerome Myers. Exh. cat. New York: Kraushaar Galleries, 13 April - 2 May 1970; Idem, "The Forgotten Legacy of Jerome Myers (1867-1940): Painter of New York's Lower East Side," American Art Journal 9 (May 1977): 78-91. Written by Michael Preston Worley, Ph.D.
Ripley Auctions
Jun. 12, 2025
Jerome Myers, 1867-1940, Coney Island, Color Pastels and Pencil on Paper
Est: $800 - $1,200
Jerome Myers 1867-1940 Coney Island Color Pastels and Pencil on Paper Signed l.l. and dated 1923. Provenance: Swann Galleries, Sept 17, 2020, lot 80
Nye & Company
Jun. 12, 2025
Jerome Myers, 1867-1940, Children in Park with Tree, Oil and Ink on Board
Est: $500 - $700
Jerome Myers 1867-1940 Children in Park with Tree Oil and Ink on Board Signed l.l. Bears label from Kraushaar Galleries.
Nye & Company
Jun. 12, 2025
Jerome Myers, 1867-1940, Mrs. Rindskopf, Pastel and Pencil on Board
Est: $500 - $700
Jerome Myers 1867-1940 Mrs. Rindskopf Pastel and Pencil on Board Signed l.l, inscribed right center. Provenance: Heritage Auctions, Dallas, TX, May 11, 2023, lot 27147
Nye & Company
Jun. 12, 2025
Jerome Myers, 1867-1940, Madonna Worship, Oil on Board
Est: $2,000 - $4,000
Jerome Myers 1867-1940 Madonna Worship Oil on Board Signed l.r., bears inscription verso "Madonna Worship, Jerome Myers, signed by Ethyl Myers". Provenance: Heritage Auctions, Dallas, Jun 16, 2023, lot 32056
Nye & Company
Jun. 12, 2025
Jerome Myers, 1867-1940, Children at a Pier, Watercolor on Paper
Est: $1,000 - $2,000
Jerome Myers 1867-1940 Children at a Pier Watercolor on Paper Signed l.l. Provenance: Doyle Auctioneers and Appraisers, New York, Sept 28, 2021, lot 1113
Nye & Company
May. 24, 2025
Jerome MYERS: "New York: On Henry Street Near Jackson Street".
Est: $600 - $800
Jerome MYERS (American, 1867-1940): "New York: On Henry Street Near Jackson Street". Monotyped soft-ground etching in brown ink on thin laid Japan paper, 1917. Seemingly a unique impression. Signed in pencil. Also annotated and dated in pencil in the bottom sheet edge. Plate size: 9 7/8 x 8 inches.
Armstrong Fine Art
Mar. 27, 2025
Jerome Myers, signed etching, c. 1920
Est: $100 - $150
Jerome Myers (American, 1867-1940), "Virginia Modeling", etching with colors, pencil signed "Jerome Myers imp", possibly an artist's proof outside of the edition of 50, 11"h x 8.25"w (sheet), 19.25"h x 14.25"w (board)
Millea Bros Ltd
Mar. 09, 2025
Jerome Myers (1867-1940) In the Park
Est: $100 - $150
Etching, signed lower right. 7 7/8" x 5 3/4" sight, matted and framed.
Peterborough Auctions
Mar. 06, 2025
JEROME MYERS (1867 - 1940) Listening in the Park.
Est: $1,000 - $1,500
JEROME MYERS (1867 - 1940) Listening in the Park. Charcoal on tan wove paper. 180x205 mm; 7x8¼ inches. Signed in charcoal and pencil, lower right. Titled in pencil, verso. Provenance Kraushaar Galleries, New York (label). Collection of Gerald Ferguson, Halifax, Nova Scotia. Thence by descent to current owner, New York.
Swann Auction Galleries
Feb. 11, 2025
Jerome Myers (American 1867-1940), Study of Figures, Graphite on Paper, Frame: 13 1/2 x 15 1/4 in. (34.3 x 38.7 cm.)
Est: $200 - $400
Jerome Myers (American 1867-1940), Study of Figures, Graphite on Paper,
Weschler's
Jan. 30, 2025
JEROME MYERS (1867 - 1940) Ice Line.
Est: $600 - $800
JEROME MYERS (1867 - 1940) Ice Line. Charcoal and pastel on gray wove paper. 413x508 mm; 16¼x20 inches. Signed by the artist's widow, Ethel May Klink Myers, in charcoal lower right. Provenance Estate of the artist [Kraushaar Galleries, New York] Private collection
Swann Auction Galleries
Dec. 20, 2024
Watercolor, Jerome Myers
Est: $400 - $600
Jerome Myers (American, 1867-1940), "Eastside Street Scene," 1907, watercolor on paper, signed and dated lower left, gallery label (Robert Schoelkopf, New York, NY) affixed verso, sight: 6"h x 4.25"w, overall (with frame): 12.25"h x 10.25"w
Clars Auctions
Dec. 04, 2024
Jerome Myers, 1867-1940, Night Scene-Hamilton Fish Park, Oil on Board
Est: $1,000 - $2,000
Jerome Myers 1867-1940 Night Scene-Hamilton Fish Park Oil on Board Signed l.r, bears plaque on frame, titled verso.
Nye & Company
Dec. 04, 2024
Snow in Madison Square Park, Mixed Media on Board
Est: $400 - $600
Snow in Madison Square Park Mixed Media on Board Bears signature l.l. "Jerome Myers" and dated '23.
Nye & Company
Nov. 21, 2024
Watercolor, Jerome Myers
Est: $800 - $1,200
Jerome Myers (American, 1867-1940), "Eastside Street Scene," 1907, watercolor on paper, signed and dated lower left, gallery label (Robert Schoelkopf, New York, NY) affixed verso, sight: 6"h x 4.25"w, overall (with frame): 12.25"h x 10.25"w
Clars Auctions
Nov. 19, 2024
Jerome Myers (1867-1940) Schoolyard Games 22 1/2 x 16 3/8 in. (57.2 x 41.6 cm.)
Est: $5,000 - $7,000
Jerome Myers (1867-1940) Schoolyard Games signed 'JEROME MYERS N.A.' (lower left) oil on canvas 22 1/2 x 16 3/8 in. (57.2 x 41.6 cm.)
Bonhams
Aug. 24, 2024
Jerome Myers Watercolor "Portrait of Young Girl with Harvest Bowl of Truffles and Two Attentive Pigs"
Est: $500 - $700
Jerome Myers (New York 1867-1940) Watercolor "Portrait of Young Girl with Harvest Bowl of Truffles and Two Attentive Pigs", signed lower left Jerome Myers, triple matted and framed 11 in. x 8.25 in. Framed 24.5 in. x 20.5 in.
Rafael Osona Auctions
Jul. 20, 2024
Jerome MYERS: "Head of an Artist"
Est: $150 - $200
Jerome MYERS (American, 1867-1940): "Head of an Artist". Etching on wove paper, 1928. Signed and dated in pencil. Plate size: 9 3/4 x 6 5/8 inches. Provenance: F. Denks, Inc., Art Gallery, New York (with their label).
Armstrong Fine Art
Apr. 10, 2024
Jerome Myers
Est: $800 - $1,200
American, 1867-1940 Carmel Picnic Signed Jerome Myers (ll) Oil on canvas 12 x 9 1/2 inches (Frame 16 1/2 x 14 1/4 inches) Glue relined; craquelure; scattered inpainting throughout used to reduce the appearance of craquelure.
DOYLE Auctioneers & Appraisers
Dec. 12, 2023
Jerome Myers
Est: $1,000 - $2,000
American 1867-1940 The Bread Line Signed Jerome Myers (lr) Oil on paper mounted to canvas 8 15/8 x 11 5/8 inches (21.9 x 29.5 cm) Unframed. Provenance: Brock and Co., Concord MA The sheet is toned and has been laid to canvas; small crease in the upper right corner. The paper has been varnished. There are a few scattered touches of inpainting to the darker pigments in the central figure and in the basket of the girl to the right.
DOYLE Auctioneers & Appraisers