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All reproductions are Limited Editions
Tail Walking 12 x 16 (1955) A fisherman’s dream in the Florida Keys. Tail Walking hung at a State dinner for President Eisenhower and Sr. Juscelino Kubitschek de Olivera, the President Elect of Brazil in Quarters “L,” U.S. Navy Base, Key West, Florida, December 1955. Original: NFS (C) Giclee: 12 x16 $175 |
Day Sails I 8 x 10 (1961) In 1961, Van found photos of interesting sailboats in a 1952 Rudder Magazine and with her imagination, put them to sea in the waters off the Florida Keys, two by day and two by moonlight. Day Sails I is a 24-foot Raven. A phenomenally fast day sailer in her day, she defeated larger and more costly craft, leaving course records in her wake. Original: NFS (C) Giclee: 8 x 10 $95 + $6.95 S&H Lithograph; Matted, framed: $60 + $8.95 S&H Unframed: $40 + S&H |
 Day Sails II 8 x 10 (1961) In 1961, Van found photos of interesting sailboats in a 1952 Rudder Magazine and with her imagination, put them to sea in the waters off the Florida Keys, two by day and two by moonlight. Day Sails II is a Bahamas Schooner with a light morning westerly on her stern, guiding her into the rising sun. Original: NFS (C) Giclee: 8 x 10 $95 + $6.95 S&H Lithograph; Matted, framed: $60 + $8.95 S&H: Unframed: $40 + S&H |
 Moonlight Sails I 8 x 10 (1961) In 1961, Van found photos of interesting sailboats in a 1952 Rudder Magazine and with her imagination, put them to sea in the waters off the Florida Keys, two by day and two by moonlight. Moonlight Sails I is the yawl Temptation. She was put on a port tack and heeled as she caught the evening breezes. Original: NFS (C) Giclee: 8 x 10 $95 + $6.95 S&H Lithograph; Matted, framed: $60 + $8.95 S&H Unframed: $40 + S&H |
 Moonlight Sails II 8 x 10 (1961) In 1961, Van found photos of interesting sailboats in a 1952 Rudder Magazine and with her imagination, put them to sea in the waters off the Florida Keys, two by day and two by moonlight. Moonlight Sails II shows unmatched joy of being on a bright moon sail, speeding with no need as the spinnaker pops like an oceanic afterburner. Original: NFS (C) Giclee: 8 x 10 $95 + $6.95 S&H Lithograph; Matted, framed: $60 + $8.95 S&H Unframed: $40 + S&H |
 Comber Painted between 1952 and 1954, this is not a Key West beach, where the water gently laps the shoreline. This type of wave is reminiscent from visits to the beach in North Miami, few at that because of Van’s fear of water. The color of Florida Keys water is unmistakable in this scene. Original: NFS Giclee 12 x 18 $200 |
| The Heavens Are Telling 32 x 48 (1956) Serenity and peace among an active ocean. Van’s deeply spiritual background is evidenced in this masterpiece of simplicity, as well as her use of color. Original $48,000 (C) Giclee: 16x24 $300 |
 The Last Day 20 x 26 (1963) In 1963, the Cuban missile Crisis was in full swing. Troops were in Key West along with the CIA. (A spook lived next door, with his horn rimmed glasses and high top black tennis shoes; a Hawaiian shirt worn outside to cover his weapon.) The Doomsday Clock was approaching midnight. The negative image of a mushroom shaped cloud is behind a storm tossed sea with gulls acting as “Doves of Peace.” Original: NFS (T) Giclee: 20 x 26 $350 |
 Sea Buoy 18 x 24 A numbered string of buoys mark the channel to the sea. In Key West, there are only three. Original: $22,000 (T) Giclee: 18 x24 $350 |
 Boca Chica Beach 16 x 21 Not a beach as we think of it, more a habitat with its own beauty. Van painted this between 1952 and 1954. Original: $18,000 (T) Giclee: 16 x 21 $275 |
 Sea Diver 16 x 24 (1965) The M/V Sea Diver was designed by Edwin A. Link, inventor of the Link Trainer for pilots. Its original use was for underwater archeology, until Link became interested in keeping Man-in-the-Sea. This painting commemorates the 432 foot dive made by Jon Lindbergh and Robert Stenuit in 1964 where they remained on the ocean bottom for twenty-four hours. The U.S. Navy’s Sea Lab was 35 feet deep at that time. Note the aloe plant on the flying bridge. Original: NFS (C) Giclee: 16 x 24 $300 |
 September 32 x 42 (1956) This idyllic scene, a study in grays painted in residence at the Hemingway Home, is representative of the artist’s pleasing geometry of balanced composition as well as sense of color. September is a V. Noble classic. Original: $70,000 (C) Giclee: 16 x 21 $375 |
 Golden Sunset 18 x 24 (1956) The sunset is celebrated on a daily basis in Key West with large gathering at Mallory Square. This custom began in the mid –1960’s. This V. Noble scene at the foot of Siminton Street is the first celebration of Key West’s famous sunsets. Original: $38,000 (C) Giclee: 18 x 24 $300 |
 Summer Saturday Noon 18 x 24 (1955) After the Sunset, night: then a new day begins. This is the same scene as Golden Sunset, with an entirely different mood. A classic V. Noble painting. Original: $35,000 (T) Giclee: 18 x 24 $300 Hand crafted Replica Frame $300 + $45 S&H |
 The Conch Boat 26 x 36 (1956) In the 1950’s, conchs were still plentiful in the Florida Keys. These conch fishermen made a living by providing conch for fritters and chowder and selling the shells to tourists. Original: $42,500 Giclee: 18 x 25 $300 |
 The Old Bridge to No Name Key 18 x 24 (7/4/49) Van’s first painting in the Keys at a July 4th picnic, dedicated to her son. It was painted while Thompson’s Shrimp Co. was having a fish fry and the crew of a Navy ship was celebrating the transfer of a disliked skipper. It is the only painting in this collection signed ‘Van.” All others were signed, “V. Noble.” Original: NFS (C) Giclee: 18 x 24 $300 |
 Boy on a Bridge 10 x 12 The old bridge to Thompson’s island provided the setting for this painting. Not a care in the world, except . . . are the fish biting? Original: $18,000 (T) Giclee: 10 x 12 $125 |
 Geiger Key 22x 28 (1956) Another beautiful scene of the Keys, this one reflects both external emptiness and inner beauty of the artist. Original: $18,000 (T) Giclee: 10 x 12 $125 |
 Botanical Gardens 32 x 42 (1950) This scene, painted at the old rock pit in the botanical gardens, is one of those where the mood changes as the viewer’s. It can remind one of a dark, Edgar Allen Poe scene, or become light and airy. Original: $22,500 (R) Giclee: 16 x 21 $300 |
 Curfew 20 x 24 After WWII, the youth of Key West became rather unruly, depositing dead barracuda on porches along with other pranks. A curfew was imposed requiring those under eighteen to be home by 9:00 PM. The Church bell in the graveyard would ring at nine and those caught outside after . . . Original: $35,000 (C) Giclee: 20 x 24 $325 |
 Oldest House 8 x 10 How it might have been at the turn of the last century, when the Oldest House in Key West enjoyed no special attention for being old. Original: $10,000 (C) Giclee: 8 x 10 $125 |
 Buenas Dias 20 x 24 (1956) The spire of Gene Otto’s house, now coincidentally, Artist’s House, is seen in the background. Buenas Dias reflects in a gentile fashion, both the courtesy and friendliness of the Conchs. This is a town where horns were used to say, “Hello,” and signals were unnecessary because everybody knew a specific car would be turning a corner to visit this friend or that. It is one of Van’s most representative paintings of her impression of Key West. Original: NFS (R) Giclee: 20 x 24 $425 10 x 12 $125 |
 Quarters “L” 24 x 28 (2/22/56) Ike and Harry Truman did not get along. Ike would be damned before he would stay in Harry’s “Little White House.” When Ike came to Key West, He appropriated Quarters L, temporarily removing Captain William R. Burns, USN. It was here he hosted Sr. Juscelino Kubitschek de Oliveria, the President Elect of Brazil where six of Van’s paintings hung for the dinner and remained throughout his stay. Original: NFS (T) Giclee: 24 x 28 $450 |
 Church of the Rock 8 X 12 Van helped build the stone wall around the garden. When her hands healed, she painted the Church, showing her handiwork. She also designed the bronze altar bowl for the church. When Van learned of the Minister’s affair with the organist and quit the church, she also quit this painting. It is the only one in this collection that is unsigned. Original: $10,000 (C) Giclee: 8 x 12 $100 |
 The Freak 16 x 16 (1956) The Freak represents Van’s sense of humor. It was painted the day Toppino and Sons were clearing the lot of the future Key West Hand Painted Fabrics building. The world famous Pier House was later built on that location. The fig tree and remnants of the old cistern wall are incorporated into the west wall of the spa at the Pier House. Original: NFS (T) Giclee: 16 x 16 $250 |
 Whitehead and Olivia Streets 20 x 24 (1955) Walk out the front gate of the Hemingway House and turn right. This is what you would have seen in 1955. Cojo, the crippled barber was usually on his porch cutting hair rather than on the sidewalk. The old homes are now gone. During the demolition Van commented, “They are hauling away that beautiful black earth at $6.00 a yard, selling it for $20.00 a yard and replacing it with marl at $6.00 a yard. I have to get into construction!” Original: $30,000 (C) Giclee: 20 x24 $325 |
 Rainy Day 16 x 20 (1956) A celebration of rain in Key West. Possibly the most unique view of the Hemingway Home ever offered, by one who could have only lived there. Its creation presented a traffic problem because the rain stopped, and Van was not going to move her easel out of the front door until she finished. “Hollywood” rain (a hose) allowed the painting to be finished. Original: NFS Giclee: 16 x 20 $275 |
 Pool Party 32 x 42 (1956) A celebration of life that never occurred. Van’s rental of the property only included the main house and one stall in the coach house: The pool and guest house were off limits. There was a teen party in the main house where Art and Ann posed for the central characters. Parties are typical subjects of paintings as in Brugel’s Wedding Party and Surrat’s Picnic. Original: $25,000 (R) Giclee: 16 x 21 $275 |
 Barbara Jones 12 x 16 (1955) Barbara Jones, wife of Commander Roy Jones, was one of Van’s students. The old Banyan tree in the yard (lost in Hurricane Irene) was a typical subject of her students. It was also a great place to rest in the shade as Van’s son quickly learned after moving there. Original: $15,000 (C) Giclee: 12 x16 $150 |
 Sacred Journey 32 x 34 (1960) Courtesy: David Noble This Sacred Journey came about as a result of discussions with Fr. Bruce Laurenborg, pastor at Holy Innocents Episcopal Church on Flagler Street, and confused memories of Leo M. Frank; her surrogate “Holy Family.” It now hangs in Jensen Beach Community Church, Jensen Beach, Florida. Original: NFS Giclee: 32 x 34 $450 |
 Mirror View 18 x 20 (1957) Self Portraits are typical subjects of paintings. Although Van did not like the work of van Gogh, she used his celebrated technique of looking in a mirror to paint her own portrait. Although artists before and after van Gogh used this technique, he may be best known for it. Original: NFS Giclee: 18 x20 $300 |
 Ralph 16 x 20 (1957) This was Van’s second painting of her husband, the first without his glasses. It was designed to be a pair with her self portrait, with identical frames. Original: NFS Giclee: 16 x20 $275 |
 Woman Without a Soul 18 x 20 (1960) As a Southern Christian lady, Van would rather choke than say anything derogatory about a person . . . until after Ralph died. Her art was in many ways how she expressed her inner feelings. Although framed and signed, this painting was never exhibited. Until recently, its frame had no provision for hanging. Original: NFS Giclee: 18 x20 $300 |
 USS QUILLBACK 10 x 13 Van’s submarine “portraits” were famous, three hanging in the White house for Eisenhower’s first term. “On 27 February, 1953, QUILLBACK was re-commissioned and joined the Submarine Force, Atlantic Fleet as a streamlined “GUPPY” Submarine; “GUPPY” meaning Greater Underwater Propulsion Power. Equipped with the latest electronic and electrical equipment, QUILLBACK reported to Submarine Squadron FOUR at Key West Florida.” From the official web site of the QUILLBACK, http://www.angelfire.com/vt/quillback/ Original: NFS Lithograph: 10 x 13 (Framed) $60 Unframed: $40 + S&H |
 Surface Pursuit 10 x 13 (with hand painted border on print) This watercolor of the USS QUILLBACK presents an unfriendly view to her enemies, but a lovely view to us. “On 27 February, 1953, QUILLBACK was re-commissioned and joined the Submarine Force, Atlantic Fleet as a streamlined “GUPPY” Submarine; “GUPPY” meaning Greater Underwater Propulsion Power. Equipped with the latest electronic and electrical equipment, QUILLBACK reported to Submarine Squadron FOUR at Key West Florida.” (From the official web site of the QUILLBACK, http://www.angelfire.com/vt/quillback/ Original: NFS Lithograph: 10 x 13 (Framed) $60 Unframed: $40 + S&H |
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