Paintings

A central motif in mauve emerges from a maze of overlapping, brilliantly colored -- teal, sun yellow, black and white -- shapes and patterns in this bold canvas by Sylvain Louis-Seiz...

In an article published in Le Figaro (Paris, March 19, 1964), Raymond Cogniat comments on Czóbel’s unique artistic style. He writes: “...Czóbel, who arrived Paris in the first years...

Medium: Oil on Board Signature: Signed Lower Left Sight Size 34.50" x 28.00;" Framed 39.50" x 32.50" Eyes of Love: Bachelor Party, Pictorial Review, October 1921

Medium: Oil on Canvas (on Board) Signature: Signed Lower Left Literature: Reese, Lowell Otus, The Little Injun, Collier's Weekly, November 4, 1916, p. 13, illustrated. Schoonover,...

An oil on canvas painting by contemporary artist Leonid Lamm. "State Power" is an abstracted work executed in greens, yellows and reds and depicts an abstracted, mask like face abov...

"Anna Piaggi" Manuel Santelices 12 in. H x 9 in. W Unframed The worlds of fashion, society and pop culture are explored through the illustrations of Manu...

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Painting Signature: Signed Lower Right Contact for dimensions.

Subject: Depicts a room full of angry traders surrounding a man about to be hung. 'Card Game Gone Wrong' Signed Lower Right: Anton Fischer 11 Story illustration, Cosmopolitan, ca. ...

Acrylic on canvas with whispers of glitter coated with heavy resin.

John Schieffer's thoughts on his work: I often paint shiny objects like glass, metal, and water. I am kind of like a crow collecting sparkling things. T...

Medium: Oil on Paper Signature: Signed Lower Right

Oil on board Board size: 10 x 20 inches Framed size: 17.75 x 27.75 inches Signed lower right Further signed and inscribed verso

Estate stamp verso: Beni E Kosh Collection #436 Frame: 22-1/4 x 16-1/2 x 1-5/8"

Angela Fraleigh Through the half-drowned stars, 2015 oil, ink, and synthetic resin on canvas 66 x 90 x 2 in (167.6 x 228.6 x 5.1 cm) Angela Fraleigh (born 1976, Beaufort, SC) earned...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

Paul Emile Perboyre 1826-1914 French Le Marechal Ney passant ses Troupes en Revue (The Marshall Ney reviewing his Troops) Oil on panel Signed lower righ...

Medium: Oil on Board Signature: Signed Lower Left Cosmopolitan Magazine, 1940

Signature: Signed Lower Left

Signature: Farmer Smoking his Pipe Medium: India and colored inks "Dorne never got around to producing his volume of instruction for the Famous Artists Schools, but a lot of that ma...

Dark passages of black, and umber frame a painterly dove grey strip at center of this cubist inspired tondo by Otto Rogers. Rogers (1935-2019) taught a...

Fransioli was born in Seattle, Washington, and received a degree in architecture from the University of Pennsylvania in 1930. He worked with John Russell Pope on plans for the exhibition galleries at the National Gallery of Art in Washington, D.C., which he pinpointed as the beginning of his interest in painting. World War II interrupted a promising career in architecture. Fransioli served in the Pacific Theatre from 1943 until 1946, and was among the first American soldiers to survey Hiroshima after the atomic bomb’s detonation in August 1945. He returned to civilian life and took up painting, basing himself in Boston, but working up and down the eastern seaboard. Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, their forms squarely defined by stark light and long shadows. Saturated color permeates every corner of his canvases, from vibrant oranges and greens to smoky terra cottas and granites. Even the trees that line Fransioli’s streets, parks, and squares are sharp and angular, exactly like those in an architect’s elevation rendering. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for parked cars and an occasional black cat scurrying across the pavement. People make rare appearances in Fransioli’s compositions, and never does the entropy of a crowd overwhelm their prevailing sense of order and precision. People are implied in a Fransioli painting, but their physical presence would detract from the scene’s bleak and surreal beauty. Magic Realism neatly characterizes Fransioli’s artistic viewpoint. The term was first broadly applied to contemporary American art in the 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. As exhibition curator Dorothy Miller noted in her foreword to the catalogue, Magic Realism was a “widespread but not yet generally recognized trend in contemporary American art…. It is limited, in the main, to pictures of sharp focus and precise representation, whether the subject has been observed in the outer world—realism, or contrived by the imagination—magic realism.” In his introductory essay, Lincoln Kirstein took the concept a step further: “Magic realists try to convince us that extraordinary things are possible simply by painting them as if they existed.” This is Fransioli, in a nutshell. His cityscapes exist in time and space, but certainly not in the manner in which he portrays them. Fransioli—and other Magic Realists of his time—was also the heir to Precisionism, spawned from Cubism and Futurism after the Great War and popularized in the 1920s and early 1930s. While Fransioli may not have aspired to celebrate the Machine Age, heavy industry, and skyscrapers in the same manner as Charles Sheeler, his compositions tap into the same rigid gridwork of the urban landscape that was first codified by the Precisionists. During the 1950s, Fransioli was represented by the progressive Margaret Brown...

Signed Lower Left

Signed Lower Left. Contact for exact dimensions.

Untitled 9, 2019 by Francisco Larios Size: 50 cm H x 50 cm W x 1.5 cm D One of a kind * Francisco Larios works with painting, open concept drawing and 3D modeling software. In this ...

Medium: Acrylic on Board Signature: Unsigned

A leaf shape is poised within balanced passages of red, green and blue in this masterful acrylic by Otto Rogers. Painted in 2018, this vibrant yet contemplative composition is an exp...

A cluster of flowering lilypads are framed in pond grasses, irises and violets in this summer fresh still life by Ciba Karisik. Framed dimensions are 41.25 x 51.25 inches. Ciba Kari...

Untitled 13, 2019 by Francisco Larios Size: 30 cm H x 24 cim W x 1.5 cm D One of a kind. From Mexican Ryōan-ji Series Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that ...

Untitled 2, 2019 by Francisco Larios Size: 50 cm H x 50 cm W x 1.5 cm D One of a kind. From Mexican Ryōan-ji Series Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that ga...

Signed and Dated Lower Left EXHIBITED:'Annual Exhibition.' Philadelphia Society of Artists, Philadelphia, Pennsylvania. February, 1883. LITERATURE:HARPER'S WEEKLY, volume XXVII, no...

A leading abstract painter in his lifetime, Dan Christensen drew from a range of Modernist sources to produce colorful, luminous compositions that featured giant dots, whirling loops...

Signature: Signed Lower Left depicts the Old Palace Theater in Norwalk, Connecticut.

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 40.00" x 30.00", Framed 47.00" x 37.00" Cover of the Saturday Evening Post, April 1, 1933.

Layered shapes of a cobbled road, turquoise trees and sky verge on the abstract in this playful landscape by Jennifer Hornyak. Framed dimensions are 19 ...

Atoms and Pearls, #2237 by Natasha Zupan Photo Collage 43.3 in. H x 33.85 in. Framed One of a kind Signed lower right on recto by the artist Framed 2018 ____________________________...

Medium: Oil on Canvas Signature: Signed Lower Left

Signature: Signed Lower Right

Untitled 16, 2019 by Francisco Larios Lacquer, Acrylic, oil, and gold leaf on MDF Deep Image Size: 11.5 in. H x 9.5 in. W Frame Size: 14 in. H x 11.6 in. W x 1.5 in. D One of a kind ...

This simple graphic painting of a lawn chair beside a lake under a moonlit sky pays homage to the Canadian summer. Painter, printmaker, sculptor, designer, historian, and author Ch...

Jennifer Hornyak’s richly textured oil paintings are reminiscent in form and colour of the great Fauvist artists such as Matisse. This intriguing painting features a young woman hold...

A constellation of white orbs interspersed with calligraphic glyphs dances and spins on a dark ground in this canvas by Alice Teichert. Layers of translucent acrylic create infinite ...

Artwork subject matter features 3 men, the primary suspect is a man with his back to the viewer, holding a bag, two other men in the background with one pointing a gun. Signed Lower...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

Signature: Signed Lower Right "I claim this place of honor...” Story illustration: “The Black Hunter”, author: James O. Curwood, Cosmopolitan, November 1925;

Signature: Signed Lower Right Medium: Gouache on Paperboard The present work was published as the main illustration for a short story by Beryl Markham published in The Saturday Even...

Signed Lower Left Philadelphia at night.

A painting by Herb Alpert. "Chicago" is an acrylic paint and coffee on canvas, abstract painting, executed in black with coffee stains and drips. Signed verso, "'Chicago' Herb Alpert...

"The Wench is Dead" was published by Centipede Press.

While the brushstroke motif has been embraced by Roy Lichtenstein to James Nares, Martiny takes a singular approach. Each smear of paint is full of flecks of multiple colors, giving ...

Untitled 4, 2019 by Francisco Larios Size: 50 cm H x 50 cm W x 1.5 cm D One of a kind. From Mexican Ryōan-ji Series Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that g...

Stanley Boxer devoted nearly five decades to the development of an expressive, abstract practice, encompassing drawing, sculpture, and printmaking. “In the manufacture of my art, I u...

A majestic palm stands tall amidst a tangle of tropical plants in this ethereal landscape painting by Peter Hoffer. The palm is set against a turquoise s...

abstract watercolor and ink painting of intertwined tubular forms on archival paper, varnished.

Medium: Oil on Board Cover Illustration for the New York Times Best Seller, The Dinner Party written by Howard Fast, published by Dell Books

Templanza, 2019 by Rafael Barón Acrylic on Canvas with Gold Foil Size: 31.5 in. H x 31.5 in. W Frame: 33.5 in. H x 33.5 in W Signed by the artist Artist certificate One of a kind ___...

Medium: Oil on Canvas Signature: Signed Lower Left An oil on canvas en grisaille genre interior scene depicting a woman reading a letter with child and gentleman looking on.

Formas, 2019 by Alejandra Quintanilla Oil on paper Paper size: 22 in H x 30 in W A drawing is a brand, which becomes a picture and leaves remain...