Huib Van Vugt (1923-2008)

Mid Century Modern Impasto Oil Painting - Venice St. Mark's Basilica at Sunset

Circa 1950

Hawaiian Symbolism Figurative & Landscape Oil painting of Mauna Uhane (Mountain Spirit) Symbolic and surreal landscape with a figure of spirit ascen...

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

18th Century European School Figurative and Landscape Painting of Soldiers at Rest Evocative Dutch School painting of soldiers resting at end of day in old ruins, signed J. Kamp (D...

"Van Gogh Again" Original Oil on Canvas by Beat Poet Lawrence Ferlinghetti Large scale painting titled, (Disasters in the Sun) or "Van Gogh Again" by Bay area beat poet and abstract expressionist artist Lawrence Ferlinghetti (American, 1919-2021). Strong and bold brush work with areas of heavy impasto paint in white, mustard with black birds in a streaked sky. Signed lower left with the artists monogram "F '92", and on verso Ferlinghetti '92 titled "Van Gogh Again" (Disasters in the Sun) Image 40"H x 53.5" Framed, 41.75"H x 54.25"W x 1.75" Lawrence Ferlinghetti was born in New York of an Italian-Portuguese-Sephardic immigrant family in 1919. He graduated in 1941 from the School of Journalism at the University of North Carolina, Chapel Hill (where he worked on the literary magazine founded by Thomas Wolfe). During the Second World War he spent four years on U.S. Navy ships and commanded a U.S. Navy subchaser at the Normandy invasion, saw Nagasaki six weeks after the A-bomb, and after the War earned an M.A. at Columbia University and a doctorate in literature at the University of Paris. He began drawing from the model at the Academie Julien in Paris in 1948 and continued in the open studios of the San Francisco Art Institute in the 1950's, 70's and 80's. In 1953 he rented a large loft at 9 Mission Street, San Francisco, just vacated by Hassel Smith. Originally identifying with the New York painters of his generation, namely Franz Kline and Willem DeKooning, he pursued what he now considers a "farcical attempt" to paint in an Abstract Expressionist style. Having reached an impasse, he stopped painting and did not pick up a brush again until the mid-1970's when he returned to figurative painting, sometimes very close to abstraction, and often combining the lyrical and the political. Since then Ferlinghetti has had many one-man exhibitions in this country and abroad. His most important solo show in Europe was at the Palace of Exhibitions in Rome (1996). In the catalogue for that show, the famous Italian art critic, Achille Bonito Oliva, characterized Ferlinghetti as "godfather of the [Italian] trans-avant garde." Lately he has been associated with European Fluxus art, with shows in Verona and Florence curated by Francesco Conz. Solo exhibitions in the United States include the shows at the Butler Institute of American Art, the Anita Shapolsky Gallery in New York, the Molly Barnes Gallery in Santa Monica, Dominican University in San Rafael, William Turner Gallery in Venice California, Kleinert James Gallery in Woodstock New York, and the George Krevsky Gallery in San Francisco. SOLO EXHIBITIONS (selected) 2003 Ferlinghetti: Art, Marin Theater Company, Marin, CA 2002 lit.paint, George Krevsky Gallery, San Francisco, CA 2002 lit.paint, Kleinert/James Art Center, Woodstock, NY 2001 Foyer degli Artisti, Florence, Italy 2001 William Turner Gallery, Venice, CA 2000 Archivio Francesco Conz Gallery, Verona, Italy 2000 "Love in the Days of Rage", George Krevsky Gallery, San Francisco 1999 "The Painter's Dream", Shorenstein Company, San Francisco 1999 "New Paintings", Molly Barnes Gallery, Santa Monica, CA 1999 "Lawrence Ferlinghetti: The Painter", San Marco Gallery, San Rafael 1998 "Pure Art Vs. Agit -Prop", George Krevsky Gallery, San Francisco 1998 Paterson Museum, Paterson, New Jersey 1997 Anita Shapolsky Gallery, New York 1996 Palazzo delle Esposizioni, Rome, Italy 1996 Museo Italo Americano, San Francisco 1995 University of Maryland Art Gallery, MD 1995 University of Charleston, West Virginia 1994 Civic Center Gallery, Mountain View, CA 1993 The Butler Institute of American Art, Youngstown, Ohio 1992 Instituto Italiano di Cultura, San Francisco 1992 San Jose State University, San Jose, CA 1991 Peter Lembcke Gallery, San Francisco 1991 Kennedy Gallery, San Francisco 1990 Special Collections, University Library, UC Santa Cruz GROUP EXHIBITIONS (selected) 2001 "Play Ball!", George Krevsky Gallery, San Francisco 1999 "Diamonds & Dust: The Art of Baseball", George Krevsky Gallery, San Francisco 1999 "By the Sea", George Krevsky Gallery, San Francisco 1999 "Writerly Art...

Symbolic and surreal landscape with a Makaula or seer and a woman seeking to know her future by Marguerite Louis Blasingame (American; 1906-1947), circa 1940-45. Marguerite and her h...

Symbolic and surreal landscape with three women in a mystical garden setting walking toward a plaque "The dream and the dreamer are one" by Marguerite Louis Blasingame (American; 190...

An oil painting featuring a typical western USA mountains. The oil painting is based on a photographic base using photo graphic paper laid on the canvas. Ayline Olukman is a multim...

This is a unique painting. It is an oil painting on 22 carat gold leaf gilded on a canvas. CS Art comprises of two artists, one French, the other Norwegian. Th...

This work is a unique piece. It is an oil painting on linen canvas gilded with 24 carat gold leaf. CS Art comprises of two artists, one French, the other Norwe...

This is a unique painting. It is an oil painting on 22 carat gold leaf gilded on a canvas. CS Art comprises of two artists, one French, the other Norwegian. Th...

This is a unique painting. It is an oil painting on 22 carat gold leaf gilded on a canvas. CS Art comprises of two artists, one French, the other Norwegian. Th...

This painting on canvas 16 x 20 inches began as an atmospheric abstract landscape painting. A face appeared and I decided to allow it to live in the canvas rectangle. She is quite ha...