Art by Medium: Oil

6050 Italian white on white composition in a silver leaf frame

Large vintage oil painting on canvas depicting a traditional English fox hunting scene with riders on horseback accompanied by a pack of hunting hounds moving across an autumn countr...

Signed lower right, 'C. J. Dickman' for Charles John Dickman (American, 1863-1943), titled lower right 'Etaples' and dated 1899. Born in Germany, Dickman came to the United States ...

Title: Vintage Cavalier King Charles Spaniel Dog Portrait Oil Painting Artist: Dorothy Johnson Medium: Oil on canvas laid to boar...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Carl Johansson (1863–1944) Sweden Lavaklippstrand, Tenerife (Lava Coast, Tenerife), 1894 signed lower left “Carl Johansson” oil on canvas, executed in grisaille unframed 27.5 × 49.5 cm (10.8 × 19.5 in) framed 39 × 61 cm (15.4 × 24 in) Literature: För Svenska Hem. Illustrerad Familjetidskrift, first year, 1895–1896, issue 26, pp. 416–417, reproduced across the centre spread. The contemporary caption reads: “Bild från Tenerife: Lavaklippstrand. Efter en oljemålning för ‘För Sv. Hem’ af Carl Johansson.” Condition report: Please contact the gallery for a detailed condition report. Essay: Painted during Carl Johansson’s journey to Tenerife in 1894, Lavaklippstrand presents the volcanic Atlantic coastline as an austere study of rock, water and light. Jagged formations of dark lava dominate the foreground and middle distance, breaking the surface of the sea in an irregular progression towards the horizon. Behind them, the coast dissolves gradually into mist, while the almost colourless sky occupies the upper half of the composition. The painting is unusually restrained for a landscape executed during a period when Johansson had recently encountered the brighter palette of modern French painting. Here, instead, he deliberately reduces the scene to a near monochrome range of blacks, greys, browns and white. Johansson was born in Härnösand in 1863 and studied at the Royal Swedish Academy of Fine Arts in Stockholm between 1882 and 1885, where his teachers included Edvard Perséus and the landscape painter Per Daniel Holm. He belonged to the generation of Swedish artists that increasingly looked beyond academic landscape conventions during the 1880s and 1890s. A period in France in 1891 and 1892 brought him into closer contact with contemporary French landscape painting...

Presented with formal clarity, this abundant bouquet occupies the centre of a warm brown field and rises from a low, rounded vessel placed on a narrow ledge. Full pink, coral, cream,...

A panoramic seascape depicting dark, mossy rocks surrounded by swirling, foamy waves. White seagulls perch on the rugged cliffs and glide through the air. Rendered with rich impasto ...

Abraham Cooper 1787 – 1868 Monogrammed and dated 1824 Portrait of the Racehorse 'Don John' Provenance: Label on the reverse Galerie Art and Antiques Dr Christa Cackett Switzerland ...

European Café Interior Scene, Blue Tonal Figurative Oil Painting, Contemporary Spanish Urban Painting Artist: Julio García Iglesias Title: Café Interior Date: 1986 Medium: Oil on c...

"The Corn Field" by Alfred Bennet (British, 1861-1916) This beautifully executed oil on canvas painting titled "The Corn Field", signed and dated 1886 by British artist Alfred Benne...

➡️ French school Riverside Landscape with Reeds oil paintingl⬅️ ⏩It is unsigned, anonymous⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Si...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simple and hassle-free. Glass and Lemons by Irina Trushkova is a luminous original oil on canvas, showcasing exquisite realism and still-life painting through a sophisticated study of light, texture and everyday objects. A graceful glass carafe filled with water and delicate lemon slices becomes the centrepiece, beautifully reflecting the surrounding light. Nearby, whole lemons sit in a small bowl, while a lemon wedge and antique knife rest...

Dick Beer was born in London in 1893 as Richard Beer, the youngest of five sons of the Swedish painter John Beer. After the death of both parents in 1906 and 1907, he came to Sweden ...

L’Équilibre des Voix Sophie Dumont L’Équilibre des Voix, 2026 Oil on canvas 100 x 100 cm (39.4 x 39.4 in) Framed: 107 x 107 cm (42.1 x 42.1 in) Signed by the artist Black or natural...

Portrait of a Jack Russell Terrier by John Emms (1843-1912) signed lower left oil painting on board, framed painting: 7.5 x 6.25 inches framed: 8.5 x 7.25 inches condition: overall v...

The painting evokes a sense of peace, a dissolution of form and light. The viewer seems to be looking at the surface of a quiet pond, reflecting the sky, trees, and clouds. Water lil...

Elegant Female Portrait with Red Ceramic Jar and Blue Mediterranean Shawl Artist: Federico Molina Albero Title: Female Portrait with Red Ceramic Jar Technique: Oil on canvas Support...

Figures Dining in a Paris Bistro French Modernist 20th Century Painting Laure Noetzlin-Azam (French, 1929–2024), pupil of André Lhote Canvas: 6.5 x 10.75 inches Medium: Oil on canvas...

Coastal Harbour Scene with Fishing Boats at Sea by William Thornley (British, 1857–1935) oil on canvas, framed, signed lower left corner Framed: 11 x 17 inches Canvas: 10 x 16 inche...

This charming late 17th-century Flemish painting was once a fan before being laid on canvas, extended and cherished. It's filled with tiny episodes of courtship, leisure and fashiona...

Frederick Kitson Cowley (British, 1878–1943) Nantucket Beach Dated 1929 Oil on card Signed and dated on the reverse A charming and atmospheric beach scene by the British painter Fre...

Roy Henry Brown Trees and Rocks Mountain side image sight size 10 x 13 and 16.75 x 19.75 framed as is pictured in original frame as purchased. signed LR. A landscape mountain hill...

Muriel Chazalon (b. 1957) – Fin de journée (End of Day) Oil on canvas, 2023, 31½ × 47¼ in. (80 × 120 cm) signed on the back Fin de journée is a large-scale landscape painting by Mur...

Wintry Pool oil on canvas 12 x 16 image size Signed LR when viewing the painting and again verso, on back. Image measures 12 x 16 The painting is in good condition in a period gilded...

Morning Drama oil/panel image 8 x 10 unframed, 14.5 x 16.5 framed signed LL Morning Drama is an oil painting on panel by award winning contemporary artist Michael Budden that showca...

Details: Title: Vivid Art Deco Slides Medium: Acrylic Paint on canvas Size: 180x120x3.5cm (70.9 x 47.2 x 1.5 inches) Year: 2026 * Certificate of authenticity provided. * Painting ...

Two Trees oil/board, image is 11.13 x 15.13 unframed, 15 x 19 framed Signed LL. Could benefit from a cleaning. In as untouched purchased condition. Brief Biography from ASKART ...

Xavi Carbonell, Large Scale Contemporary Spanish Mixed Media Painting Bold, energetic, and visually arresting, this large scale work by Spanish contemporary artist Xavi Carbonell (b....

The Embarkation of the Queen of Sheeba British School, early 19th century, apparently unsigned though the previous owner insisted it was. after the earlier painting by Claude Lorrai...

The Harvest Workers French Post-Impressionist, signed and dated 1977 oil on canvas, unframed canvas: 20 x 25.5 inches Provenance: private collection, South of France Condition: very ...

Portrait of a Gentleman in Blue Frock English School, 18th Century Oil on canvas, framed Frame: 34 × 28 inches Canvas: 27 × 21 inches Provenance: private collection, UK Condition: T...

Impressionist Oil Painting of Paris with Figures & Shops by American Artist, Caroline C Burnett (1877-1950) Art measures 16 x 12 inches Frame m...

This important oil painting on canvas, although it is not signed as is almost always the case with this artist's paintings, is attributed to the great Genoese painter Luciano Borzone...

Circle of Jean Baptiste Vanmour (French, 1671–1737) Portraits of a Moorish Prince and Princess c. 1700 Pair of oil paintings on canvas, unsigned framed in carved gilt wood frames D...

A wonderful composition of one of Slonem's most iconic subjects, Butterflies. This piece depicts multicolor delicate butterflies in ascension placed in a wonderful brilliant golden l...

Spanish School, early 20th century Portrait of Fernando Álvarez de Toledo, the 3rd Duke of Alba (1507-1582). after the 16th century painting by Anthonis Mors oil on panel, framed f...

An Introspective, Post-War Modern Southwestern Landscape Painting of an Adobe House in New Mexico by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A subtle tonal, archi...

Title: Gentleman in Interior (After Fernando Botero) Artist: Sanz (Spanish painter, active late 20th – early 21st century) Year: circa 2000 Medium: Oil on canvas Dimensions (unfr...

Artist: Alexander Shandor Title: The Turn of the River Medium: Oil on Canvas Year: 2023 Style: Impressionism Dimensions: 23.5" x 31.5" x 1" inch (60 x 80 x 2cm) Presentation: Unfram...

This impressive large-scale oil painting depicts a classic fox hunting scene, capturing riders, horses, and hounds in full pursuit across the countryside. Richly detailed and full of...

This Set of 3, gold leaf and oil, named Garden Story are a part of Le Bleu Series by award winning British artist Shizico Yi. She created the series plein air in the early summer ev...

Portrait of the Madonna in Prayer 17th Century Italian School oil on board, framed framed: 6.75 x 6 inches board: 5 x 4 inches Provenance: private collection, England Condition: ver...

Impressionist Oil Painting of Eiffel Tower Paris with Figures & Shops by American Artist, Caroline C Burnett (1877-1950) Art measures 16 x 12 i...

➡️ Landscape countryside forest⬅️ ⏩It is signed H Aucier⏪ ⭐Medium:⭐ Oil on wood panel / isorel ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐33x41cm /13x16.1 i...

Aurora over a Northern Lake, signed and dated “G Claeson 1916”, oil on canvas. This evocative landscape, executed in an expressionist manner, and on the same time almost modern, cap...

The Shambles in York City England Medieval Street Framed, Acrylic on Board, 2007 - a rare early work by leading British Contemporary Artist, Angela Wakefield. This colourful & en...

20th Century British Huntsmen & Hunt Beneath an Ancient Oak by E. Ball (British School, mid 20th century) Signed lower left. Framed: 20.5 × 26.5 inches Board: 18 × 23.5 inches Medium...

"Portrait of a Woman" by Yuriy Lyamin is a captivating artwork that beautifully explores the soft essence of the female form. Rather than focusing on strict realistic details, the ar...

Still Life Composition by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 18 x 21.5 inches Provenance: all the paintings we have by this ar...

This painting presents white roses as a quiet expression of tenderness and inner calm. The artist worked intuitively, allowing the image to emerge gradually through layers of oil pai...

Acquired by the gallery directly from the artist FRAMED: 11.75" x 13.75" x 1.5" UNFRAMED: 8" x 10" SIGNED: Lower Left Artist Statement "A plein-air painting done over the course ...

"Interior with Chair and Vanity" circa 1918 Ricardo Gomez-Gimeno (Spain/France 1892-1954) Oil on cardboard Signed 17 1/4 x 14 1/4 (22 1/2 x 19 1/2 frame) This painting and its mat...

Partition is an original oil on canvas by French contemporary artist Sophie Dumont. Known for her richly layered surfaces and architectural sense of composition, Dumont creates paint...

Vers l'Équilibre - Oil on canvas Unframed: 80 x 80 x 2 cm (31.50 x 31.50 x 0.79 in) Framed: 87 x 87 x 3.5 cm (34.25 x 34.25 x 1.38 in) Black or natural wood floater frame available S...

Justin Wheatley was born and raised in Clinton, Utah. He holds a Bachelor of Fine Arts from Utah State University with an emphasis in drawing and painting, and a Masters of Arts fro...

Portrait of a Nobleman, English School Oil Painting, Early 18th Century English School, early 18th century oil on canvas, unframed Canvas: 38.5 x 33 inches Provenance: private col...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique; this is not a print or other type of copy. Accompanied by a Certificate of Authenticity. (Issues b...

Stunning abstract expressionist painting, ca. 1955. Oil on Canvas, measuring 36 x 40 inches. Some natural cracking and paint loss due to heavy impasto technique. Unsigned. Art su...

This artwork depicts peonies in full bloom, their petals unfolding with a volcanic tenderness. The painting captures the moment when beauty becomes force, turning spring into a deton...