Paintings

"How Come" is a Modern surrealist oil on canvas painting by Irving Norman in 1968. The artwork is 90 x 60 inches and 91 1/4 x 61 1/2 x 1 5/8 inches with the fram, weighing less than ...

Almo wonders about his identity, the countries he has lived in, his daily routine and how he creates himself. An outsider who has made the world his home, skin, and citizenship, and ...

Terrell James Insomnia's Green Ledge, 2022 Oil on canvas 66 x 66 in (167.6 x 167.6 cm)

Oil on canvas Canvas size: 32 x 45 inches Framed size: 35.5 x 50 inches Signed lower right

In “Campfire at Sunset,” George Inness captures a stunning sunset with a smoldering campfire set on a lakeside.

An Introspective 1930s Modern Portrait, "Acolyte" by Noted Chicago Artist, Francis Chapin (Am. 1899-1965). Dry watercolor on board. Artwork size: 15” x 12” (Framed size: 18 3/4” ...

"Sunlight and Shadow, The White House" is an Impressionist landscape by American painter Albert Van Nesse Greene. The painting is a 28" x 30.25" oil on canvas, framed, and signed in the lower left "A Van Nesse Greene" Provenance: Private Collection, Doylestown, Pennsylvania. Born in Jamaica, New York in 1887, Albert Van Nesse Greene (New York, Pennsylvania, 1887 - 1971) had a long and thorough art education. He studied at the Corcoran Gallery of Art, Washington, DC; The Art Students League, New York; the Pennsylvania Academy of the Fine Arts, Philadelphia; and in Paris at the Academie de la Grande Chaumiere. He lived in Chester County and painted many landscapes there, as well as in nearby Bucks County. His paintings were exhibited extensively in the United States and France. Examples of his work can be found in the collections of the Pennsylvania Academy of the Fine Arts and the National Gallery of Art among many others. He was a member of the Philadelphia Sketch...

Passages of dense black outlined with a whisper of teal are topped with charcoal grey that ends at exact center of this canvas tondo by Otto Rogers. Above this horizon line, the sky ...

Charles Pachter returns to the Canadian wilderness for this painting. The internationally recognized pop artist has chosen to celebrate the sumach, a tree that is native to North America. Pachter’s sumach frames an orange harvest moon which appears in the fall. Farmers often use the light of this full moon to harvest their crops late into the night. Pachter’s moon is small and distant and the thin line of a lake and mountain in the background give the painting a greater depth of perspective. A painter, printmaker, sculptor, designer and author Pachter is a graduate of University of Toronto...

"Untitled (Censor Painting Pink)" is a nude figurative acrylic on inkjet board painting by Richard Prince in 2009. The artwork is 35 1/2 x 30 inches and 37 1/2 x 32 x 1 1/2 inches wi...

A Colorful, Panoramic Mid-Century Modern View of the famed fishing village (and renowned surfing locale) of Nazaré, Portugal by Rudolph Pen. Painted in the 1960s, this vivid waterco...

The distinctive minimalist colourful paintings of Aron Hill are inspired by the modernist art movement. The colour field work of Aron Hill showcases their intuitive sense of colour...

The Beat Goes On is an oil on canvas painting, 31.5 x 23.75" canvas size, signed on the front ‘KOSTABI 2023’ lower left, and signed, titled and dated verso....

This contemporary painting by Fiona Ackerman references moonlight. The bold artistic vision of Vancouver painter Fiona Ackerman is often inspired by nature. This painting, entitled ...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

For these paintings, Wolf uses expanded metal as a brush and thus creates abstract paintings. The irretrievable moment is found here in the expressive painting process. Also, he adds...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% Paysage de Provence by Moïse Kisling (1891-1...

This contemporary abstract acrylic painting is by Fiona Ackerman. The signature artwork of Vancouver artist Fiona Ackerman has found an international audience. Her unique visionary ...

The distinctive minimalist colourful paintings of Aron Hill are inspired by the modernist art movement. The colour field work of Aron Hill showcases their intuitive sense of colour...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

Hunt Slonem "Starry Night" Blue and Gold Butterflies Multiple butterflies gestured in blue and white on a metallic background in a vintage frame. Unframed: 26 x 21 inches Framed: 30...

A Captivating, Expressive Mid-Century Modern Landscape Painting with Standing Female Nude by Noted Chicago Artist, Rudolph T. Pen. This vibrant, colorful oil painting, depicting an a...

This marvelous, colorful and light filled work is a desirable work by the painter. It is in an impressionist style carved and leafed frame. Illustrated in the book by the artist "A...

"In the Wheatfield (Girl Standing in a Wheat Field)" is a painting by Winslow Homer. The painting is signed, lower left, "Homer 1873". The framed piece measures 29 3/4 x 21 5/8 x 2 7/8 in. During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip...

This colorful abstract painting was created by the Canadian artist David Sorensen. One of Canada’s finest contemporary artists, David Sorensen actually began his art career as a sculptor, a natural path from his education as an architect. When he began painting, Sorensen was fascinated by the interaction of light with its environment and was drawn to the work of color field painters as early as the 1950s. In his own work, he embraced abstraction as a form and in this series the concept of a central square from which lines of varying widths—both vertical and horizontal emanate. The color palette is bold and rich—cranberry red, deep blue, sienna, brown, and white. The brushstrokes are expressive and lend a natural movement to the painting. Sorensen admired and was influenced by the work of American abstract expressionists Jackson Pollock and Franz Kline. Auver is in France; famous as a place where Vincent Van Gogh...

This contemporary abstract painting was inspired by nature and features a moon. Vancouver-based artist Fiona Ackerman has often turned to the beauty of the natural world as a source...

signed "A. Lepère" at lower left

This pop art painting of a Canadian flag is by Charles Pachter. One of Canada’s much-loved and collected contemporary artists, Charles Pachter is renowned for his iconic pop art ima...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

A fantastic Mid-Century painting of a car driving through a mountain pass by artist & Photographer A. George Miller. Artwork size: 15" x 22". Framed size: 21" x 28". Handsomely...

Original cover for The Saturday Evening Post, published March 30, 1929. J.C. Leyendecker's holiday covers, particularly his iconic New Year's baby, were instrumental in driving The...

Listing includes framing, free shipping to continental US and a 14-day return policy. Kate Moss by Annie Kevans 20 x 16 inch paper 16 x 20 inch image Archival pigment print Edition 15 of 50 Signed and edition on the front of the print Frame is in fair condition and is included for free due the condition issues. The print itself is in excellent condition. If you would like the print sent unframed the cost is the same. Please let us know if you would prefer to have us ship the print unframed. Artist Biography - Kevans’ paintings reflect her interests in power, manipulation and the role of the individual in inherited belief systems. She looks at alternative histories and how they relate to current issues and creates what she describes as ‘anti-portraits’ that may or may not be based on real documentation. She believes that, as her work is concept driven, sometimes the actual similarity to the person depicted in the work is irrelevant. This can be seen in her 'Boys' series which is not about portraying dictators as they really looked as children but rather about the notion of the ‘innocent child’ which has influenced images of children in art...

Provenance Private collection, New Jersey; Thomas Colville Fine Art, Guilford, Connecticut; Private collection, Connecticut, until present John Koch’s portraits of New York high soc...

Two columns of horizontal rectangles in alternating colours of forest green and warm white frame a third, central column of warm white and sapphire blue rectangles in this 7.5 foot tall canvas...

Hunt Slonem "Toad Hall" Green Frogs on Guardian Textured Background Multiple frogs in green with branches on a matching background Unframed Hunt Slonem is a well-renowned American ...

The beauty of a single blossom is captured in this painting by Pat Service. The colour palette is soft, and fresh—creamy yellow, peach, and orange. Reminiscent of Andy Warhol, the Va...

This is a gorgeous David Sorensen painting; one of the desirable ‘Horizon’ series painted in the early 2000s. The palette is rich and warm. The gestural brushstrokes reveal subtle la...

Fishing Amongst the Reeds by Sidney Richard Percy British, 1821-1886 Oil on canvas Canvas size: 10 x 17 inches Framed size: 13.5 x 20.5 inches Signed lower right

Grandma Moses paints a pastoral winter scene featuring snowy fields, livestock, lines of wooden fencing and ominous clouds above in her oil painting, “December.”

Untitled 3 (ABlackJECTION 3), 2012 Oil on canvas 78.74 H x 39.37 W in. 200 H x 100 W cm The notion of “abjection”, which at the beginnings referred to the idea of spirit degradat...

Hunt Slonem "Sky Light" Blue Oval Bunny A single rabbit gestured in black on a light blue background in a vintage frame Unframed: 12 x 10 inches Framed: 17.5 x 15.5 inches *Painting...

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

By the time Maxfield Parrish painted his Italian Villa series in 1903, he was already acknowledged as one of America’s most successful artists. Edith Wharton was commissioned to writ...

A ca. 1935 painting of a boxing match in Mexico by artist Francis Chapin. Image size: 12" x 28". Framed size: 15 1/2" x 31 1/2". Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington & Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). Chapin’s contemporaries among Chicago’s artists included such luminaries as Ivan Le Lorraine Albright...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...

In a gorgeous deep blue, Pat Service has captured the essence of a single bloom. Reminiscent of Andy Warhol, the Vancouver artist’s flowers are pared down to the essentials--simple s...

"Grey Red" is an oil painting on aluminum by Sean Scully. It is signed verso, " Gray Red, Sean Scully 1 12". The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience. Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.” Provenance: Timothy Taylor...

A Fabulous 1960s Mid-Century Modern Painting of an Embracing Couple, Lovers, by noted Chicago Artist, Rudolph Pen. A wonderful example of the artist's uniquely expressive, abstract...

Signed and dated, lower right, Joseph de la Cruz f.t / Año de 88. Provenance: Private Collection, Santo Stefano d’Aveto (Genoa), ca. 1960–2022. This monumental canvas is a rare, signed example of one of the most popular subjects of Spanish Colonial, and particularly Mexican, painting: the Virgin of...

Valley House Gallery presented our first exhibition for Houston artist Otis Huband in the summer of 2014. Born in 1933 and reared in Virginia, Huband began his formal art education a...

The “Composition with Tools” series engages observers with quirky and playful truisms, gently leading them toward deeper reflections. Jose Ricardo Contreras...

Kramer’s modern and graphic paintings express lyrical, geometric abstraction via a harmonic interplay of syncopated shapes of various sizes and colors. This work includes primary and...

Hunt Slonem "Amazons & Pionus" Green Birds Green, blue and red parrots on a white background, scored. Unframed Hunt Slonem is a well-renowned American artist known for his neo-expre...

This modern geometric painting by Burton Kramer was inspired by music. Modernist Burton Kramer has an international reputation as a masterful graphic designer and artist. His painti...

A large, dynamic Mid-Century Modern summer landscape painting with standing female bathers by noted Chicago artist, Rudolph Pen. A wonderful example of the artist's uniquely express...

Nicola Magrin was born in Milan in 1978. In 2004 he graduated from the Accademia di Belle Arti di Brera in Milan with a thesis on Miquel Barceló. In 2008 he was selected for a three...

This colorful abstract acrylic painting is by Canadian artist Milly Ristvedt. Inspired by modernist mentors, in the 1970s Milly Ristvedt used simple formats on raw canvas to displa...

Charles Towne (1763-1840) London : A distant view of the city from the south with a herdsman and cattle in the foreground Oil on canvas laid on panel Canvas Size - 14 1/2 x 19 in Fra...

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...

The colours of summer by the lake are celebrated in this pastoral painting by Pat Service. The Canadian artist is known for her landscapes—this minimalist piece illustrates a classic lake and beach view—the deep blues of the cloud filled sky and lake, green fields, a red cabin...