Paintings

#Abstract #Water #Sea #blue #waves Water is a symbol of the fundamental principle of everything, it is the element from which everything on Earth was born. The painting is filled wi...

Within the organic chaos of this abstract painting "Radiant Kaleidoscope", geometric shapes emerge as structured anchors, providing a sense of order amid the fluidity of the composit...

Mid Century Dutch Windmill Original Oil in Dutch Impressionist Style Colorful French impressionist style oil painting by F. Simont (Dutch 19th/20t...

This vibrant diptych showcases the dynamic interplay between two acrylic paintings by Linda Clerget, each measuring 100 x 80 cm. "Desire for Summer" captures the essence of a sun-dr...

Anatoly Kost “Constructive” 1993 y. Canvas.Oil. Painting Flat: 70,5/70,5 cm Framed: 76,5/76,5 cm This picture is a transformation of music on canvas, so it is accompanied by: Visio...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

'Master of the parrot' (a painter active in Antwerp in the early 16th century, whose name refers to the parrot who always occurs in his paintings) - follower of Madonna on the throne with child (With the coat of arms of the client family in the upper part of the composition) Oil on the table 101 x 62 cm. - In frame 114 x 76 cm. The beautiful proposed work explains the typical iconographic characters of the painter called 'Master of the parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, it is a painter of the southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot who often appears in his works of him. In religious iconography the parrot has often been used as a Marian symbol, as it was widespread that its most common verse was "Ave", that is, the greeting of the Archangel Gabriele to Mary at the time of the Annunciation. Today the idea according to which the name 'master of the parrot' has not referred to a single painter, but rather a group that, based on the stylistic characters, carried out their training at the workshop of Pieter Coecke Van Aelst (Aalst (Aalst is widespread. 1502 - Brussels 1550), creating devotion paintings intended for a bourgeois client and concentrating their activity on a specific topic particularly requested by the contemporary market. By way of example we can mention the Virgin with the San Diego Museum of Art child where the figures, like our own, are in line, With the mannerist taste for the elegant body proportions that exceed reality, with elements such as tapered finger, wide face and thin nose. These characters also betray the influence of active artists in the region such as Joos Van Cleve...

Benjamin Weaver creates spatial tension through his use of contrasting colors arranged in a geometric framework. Imagery and color work both with and against each other to create mov...

Untitled #528 by Murray Duncan – Contemporary Mixed Media on Paper Size: 32" x 40" Unframed, signed on the back A striking exploration of form and movement, Untitled #527 by Murray ...

Patricia Zippin Tillamook Flight 6 of 12 1980s Mixed Media 30.5"x 22.5", unframed Signed in paint on bottom right and signed and titled on reverse in pen Patricia Jayne Zippin (1930...

Gaetan de Seguin paints figurative works, with an abstract character. The various colors highlight that not one person is the same, and his artworks celebrate this individuality in a...

A beautiful large mid 20th century oil on canvas abstract winter landscape by Swedish artist Gunnar Nordstrom. Excellent quality and condition composition with strong and vibrant i...

"I cannot make anyone understand what’s going on inside of me, I cannot even explain myself" Cicatrize is a powerful artwork that explores the beauty and resilience found in healing....

Signed lower right, 'Savo' for Joan Savo (American, 1918-1992) and dated 1960. Additionally signed, verso, on old label and titled, 'City Lights'. Accompanie...

This painting is part of a series that is influenced by trying to find simplicity and beauty in todays chaotic world. I start each painting with a feeling; be it hope, despair, happi...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Signed lower right, right-hand canvas, "William S. Burroughs" (American, 1914-1997), dated "1993" and titled "Exterminator II'. Signed on lower left, left-hand canvas, "Steven Lowe" (American, 1947-2007) and dated "93". Diptych size: 72 x 96 inches. Individual panel size: 72 x 48 Inches. Condition: Excellent A monumental Action Abstract comprising energetically interwoven swirls of parchment and ivory contrasted against a rich, dark-chestnut ground. This diptych is the largest recorded work by the artist. An icon of twentieth-century counter-culture, William Burroughs was the seminal, postmodern author of 'The Naked Lunch...

Artist/ School: Yvette Dubois Habasque (1929-2016) Title: Abstract Compostion Medium: original oil painting on board, signed and dated 2007 Size: board: 18 x 24 inche Condition: ...

Delicate strokes and natural hues shape Shiri Phillips' watercolor, ink, and colored pencil artworks, showcasing her exploration of minimalism and organic forms. Departing from her u...

"Unfolded Layers 1" by Lori Mirabelli is a bold and textured abstract painting that draws the viewer into a dynamic world of color and form. The composition is a vibrant interplay of...

Crowell's abstract paintings are in the challenging media of oil paint and cold wax. "Techniques I originated in my practice 20 years ago are now widely recognized and taught. My pro...

It was windy yesterday 100x100cm

Étienne Jeaurat (Vermenton 1699 - Versailles 1789) Game of children intent on harvesting grain (Allegory of Summer) Mid-18th century Oil on canvas 97 x 129 cm - Framed cm. 112 x 14...

Untitled 24045 (Abstract painting) Oil on canvas — Unframed. Martín Reyna is an Argentinian-born abstract painter living in Paris, France. His gestural abstract paintings delight th...

Walter Darby Bannard (born September 23, 1934 in New Haven, CT) "Natural Christmas (1972)" Alkyd Resin Magna Medium Aquatec Gel on Canvas Painting Walter Darby Barnard is a Profess...

"Moonrise Over Colorado Springs" is a striking 1950s abstract expressionist oil painting by renowned artist Charles Ragland Bunnell. Created in 1952, this captivating piece features ...

This painting is part of a series titled Sublime Memories. It is inspired by the commonly unseen aspects of nature that I notice when in such an environment. I look for those element...

Heat, 2021, 78x54 cm

Ali Enache is an American abstract painter based in Los Angeles, California. A Washington D.C. native and a graduate of University of Wisconsin-Madison, Ali Enache worked as a design...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Bursting with energy and movement, Fragments of Light is a cel...

This vibrant landscape painting, "Summer Breeze Escape", by French artist Natalya Mougenot, showcases a dynamic interplay of bold brushstrokes and vivid colors, capturing a coastal scene with striking intensity. Part of her nature-focused series, the piece celebrates the artist’s deep love for the sea, beach, and the natural world. The sky is painted in dramatic strokes of red and blue, evoking a sense of tumultuous energy, while below, the sea shimmers in shades of blue and green, reflecting the atmosphere above. A rugged coastline, rendered in rich browns and greens, divides the scene, enhancing its natural beauty. Lively grasses in yellow, green, and red tones in the foreground create texture and movement, adding depth to the composition. Through contrasting colors and expressive brushwork, Mougenot powerfully captures the raw energy of nature, invoking a sense of awe and wonder. The artwork’s emotional intensity and masterful use of color invite viewers to immerse themselves in its vibrant world. Created in the artist’s Lyon...

Jodi Fuchs' mid-century modern inspired artworks showcase distinct fields of vibrant colors, often taking on organic and soft shapes. Her pieces emanate a s...

Abstract Blue Orange & Red Lake Sunset Landscape by Contemporary British Artist, Angela Wakefield. Art measures 36 x 30 inches Frame measures 41 x 35 inches This painting is a ra...

"Tropical Sunset" is a colorful example of Bryan Mark Taylor's modern approach to Impressionism. This beautiful oil on panel captures the mood and feel of the Cambodian scene. Pain...

Fredric Karoly (1898-1987). Etude, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Oil on canvas Weir Farm Series: Compline is a recent piece, a work honoring New England. It is a culmination of what I developed and experienced from those decades painting and trek...

Golfam Jozdani Saint Minecraft XXVII Mixed Media on Cardboard; Acrylic, Pencil, Colored Pencil Size: 9.44 x 14.17 inches (24 x 36 cm) Signed and dated by hand COA provided *Framing ...

Acrylic painting on canvas, 2021. Titled, dated and signed on the back. Framed. The artwork comes directly from the artist's studio. Dimensions: Height 32.99 in ( 83.8 cm ), Width 25.2 in ( 64 cm ), Depth 1.3 in ( 3,3 cm ) Claudia Fauth was born 1962 in Berlin. Lives and works as a singer, songwriter, visual and acoustic artist. Worked many years as an art dealer. Realizes extensive art projects around the world including the natural environment and make the unknown experienceable. She understands herself as a Quantum Philosopher. She is known for her abstract works, she often works with elements of sacred geometry. Her works are in public collections in Austria, Belgium, Canada, England, Germany, Italy, France, Japan, Mexico, Switzerland, Poland, Spain and the US. Selection of exhibitions: ° 2014 Von der Avantgarde zur Moderne, Berlin The Original Miami Beach Antique...

This superb Abstract Expressionist Scottish oil painting is by noted artist William Gear. It was painted in 1959 and is entitled Red Idol 2. This abstract com...

Signed lower right, 'Schoener' for Jason Schoener (American, 1919-1997) and painted circa 1970. Titled 'Kennebec Race' (labels, verso) Previously with M...

Susan Kiefer Admitting Porosity Oil on canvas Year: 2023 Size: 24x24x1.35in Signed and inscribed by hand COA provided Ref.: 924802-1675 An angular composition with a field of dark b...

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

Contemporary figurative painting with lots of details and movement. Beautiful statement piece for any art collection. Combining a lot of different colors in any interiors and settin...

This contemporary cubist painting is by the highly regarded Canadian artist Otto Rogers. A prominent Canadian artist celebrated for his own distinctive brand of contemporary artwork...

This lovely 18th century Old Master portrait oil painting is attributed to the circle of noted portrait artist Enoch Seeman. Seeman came from Poland to England as a youngster with hi...

Work on cardboard Gray wooden frame with glass pane 45 x 53 x 2.5 cm

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

A. Lion (French, c. 1900) A tryptic depicting the Annunciation flanked by two Saints Signed “A. LION” (to the left of Mary) Oil on board Framed dimensions 23. ½ x 37. ½ in. (60 x 95...

Body in the Field #1, 202 oil on canvas 19 ¹¹/₁₆ H x 15 ³/₄ W in. 50 H x 40 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism of the fragm...

John Heliker (American, 1909-2000) Still Life with Sugar Bowl Oil on canvas Signed lower right 39.75 x 39.75 inches 45.5 x 45.5 inches, framed Provenance: Private Collection Ypsilant...

Abstract by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 13 x 19.5 inches good condition provenance: from the artists estate, France Josin...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. This original abstract painting, Setting, stands as a beautif...

In her latest series, "The Weaver," Shizico explores forms, layers, and time onto canvases. Applying the format of diptychs and triptychs, she creates lyrical narratives, capturing t...

This abstract contemporary painting is by Fiona Ackerman. Fiona Ackerman has exhibited her paintings on an international stage. A prolific artist, Ackerman’s oeuvre features an impr...

Antique American oil painting by Elaine Crawley. Oil on canvas board. Signed. Framed. Measuring 21 by 25 inches overall and 20 by 24 painting alone.