Victor Coleman Anderson Art

Aldro Thompson Hibbard (1886 - 1972) Autumn in New England Oil on canvasboard 18 x 25 inches Signed lower right; estate stamped on the reverse Born in Falmouth, Massachusetts, Aldro Hibbard was an Impressionist landscape painter much concerned with light and shadow. He was one of the founders of the Rockport Art Colony, and the Rockport Art Association now occupies his former studio. Hibbard grew up in Dorchester and Boston and spent much time in the summers in Boston and Cape Cod. He showed early artistic talent, an interest he shared with a life-long love of baseball, which led to his becoming a professional baseball player. For his art training, he graduated from the Massachusetts Normal School and studied at the Boston Museum School with Edmund Tarbell...

David Grossman's (US based) "Evening View to the South West" is an original, handmade oil painting that depicts a wide open plain of the West with fields of...

Outstanding Oil on board a snow-covered Canadian landscape of the Haliburton Highlands near Ontario. Andrew B Phin is a painter, who is listed as a 20th-century Canadian painter of ...

C.W. Mundy's "Above the Falls, Yellowstone River" is an original, handmade oil painting that depicts the tumultuous green and blue water swirling with grey rocks in the background. About the Artist: Charles Warren Mundy b. 1945, Indianapolis, IN. Master Signature Member, Oil Painters of America Master Status, American Impressionist Society Fellow, American Society of Marine Artists Signature Artist Member, California Art Club Inaugural Artist In Residence, Indianapolis Children’s Museum Professional Affiliations Fellow, American Society of Marine Artists, 2015 Signature Artist Member, California Art Club, 2012 Master Status, American Impressionist Society , 2007 Signature Member, American Society of Marine Artists, 2005 Master Signature Member, Oil Painters of America, 2002 Signature Member of the Oil Painters of America, 1993 Indiana Plein Air Painters Association Hoosier Salon Indiana Heritage Arts Indiana Artists...

Gabriel Casarrubios Martín (1953) - Fishermen - Oil on panel Oil size 22x27 cm. Frameless. Gabriel Casarrubios Martín (1953) The Toledo artist trained in Fine Arts in Madrid, at th...

Thane Gorek's (US based) "Shimmering Realism" is an original, handmade oil painting that depicts a forest of white Aspen trees engulfed in their bright gre...

Oil measures 30x30 cm. Frame measures 52x52 cm. He was born in 1951. Under the direction of the teacher Pedro Bermejo, he began his artistic career, quickly standing out and observing in his works an unusual mastery of drawing. A highly mature painter who has known how to stop time in all his works. His themes are preferably costumbrist, although in his work it is usual to see 18th century themes, with horse carriages, hats, umbrellas and still lifes. Observing his work reminds us, due to the theme, of Maestro Palmero...

Mark Daily's (US based) "Winter's Last Moments" is an oil painting that depicts the impressionistic rendering of a city street lined with colorful advertisements, signs and storefron...

C.W. Mundy's "Shoshone Canyon, West of Cody" is an original, handmade oil painting that depicts the rocky terrain and foliage in an impressionistic landscape. About the Artist: C.W. Mundy, an American impressionist, was born in 1945 and raised in Indianapolis, Indiana. He graduated with a B.F.A. from Ball State University, in Indiana, in 1969 and then shortly thereafter traveled to California, where he painted, played music, and worked on his M.F.A. at Long Beach State. In 1978, he returned home to Indiana, worked as a sports illustrator for a decade, then in the early 1990s took on the challenge of painting in a more impressionistic style, going out of doors and painting en plein air, from life. This painting style led Mundy to a series of European plein air painting trips, beginning with a trip to France in 1995 and continuing through the present. In 2007, Mundy achieved master status in The American Impressionist Society and in 2003 he was invited to master signature membership in the Oil Painters of America. He is also a signature member of the American Society of Marine Artists. His work is in select public collections including the Art Museum of Grater Lafayette in Lafayette, Indiana; the National Art Museum of Sport in Indianapolis, Indiana, and the Indiana Basketball Hall of Fame in New Castle Indiana...

Thane Gorek's (US based) "Lengthening Shadows" is an original, handmade oil painting that depicts a forest of white Aspen trees engulfed in their bright gr...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Nathan Hoffman Central Park, Sherry Netherland Hotel, and Plaza Hotel, 1970 Signed, dated, titled on the reverse Oil on artists board 10 x 16 inches B...