Vertical Paintings

The artist painted this life sketch while studying at the Russian Academy of Painting, Sculpture and Architecture in 2000, in a single session in the Alla Prima style. In the evening...

Swedish Summer landscape with river and trees. Oil on canvas signed and dated “John Kindborg 89” lower right. The present painting, dated 1889, depicts a Swedish summer landscape wit...

5058 Full length oversized oil painting of an English Nobleman Set in a rapped canvas no frame needed Signed Robert Yarmola

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 45 x 35 inches condition: the work is in overall very sound and good con...

A pair of mid-century Impressionist beach landscapes depicting Rio de Janeiro , ca. 1960. Oil on canvas, each measures 12 x 16 inches; 15 x 19 inches framed. Signed indistinctly lo...

A magnificent demonstration of contemporary Russian impressionism, this original still life by Andrey Dmitriev is a true feast of texture and color. An overflowing, luxurious bouquet...

“Mixed Feelings” is a visual series that captures the emotional complexity of Black womanhood, strength, softness, pride, visibility, and invisibility. Each portrait in this series h...

When an artist works with more conventional still life subjects, they focus primarily on the formal properties of the painting, such as color relationships, form, proportions, and ot...

Katharina Hormel creates minimalistic landscape paintings featuring everyday scenes of life. Her art often portrays people engaged in their daily activities, such as taking a leisure...

Melinda has studied life and its movements, developing a remarkably keen artistic technique with her flowing expressionistic style. Growing up in the Midwest she was enamored with n...

A striking Machine Age Modern industrial scene oil painting of a New York shipyard crane by notable American artist, Lessing Whitford Williams (1894-1989). A colorful, dynamic examp...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Winter On Fifth Avenue, St Patrick's, Flags 24 x 18 unframed. and 30.25 x 24.5 framed signed LL Winter On Fifth Avenue, St Patrick's, Flags is an oil painting on linen by award winn...

Artist Comments
The Hotel Chelsea has stood on West 23rd Street since 1884, and its facade reflects its long history. Its deep red brick, ornate cast-iron balconies, and layers...

This work explores memory as a path shaped not only by events, but also by people, encounters, and inner transformation. It speaks about how, when we look back, we begin to see a com...

A summer evening, a gentle breeze, the singing of birds, and the anticipation of relief from the summer heat. How can one convey these sensations and transform them into colors? The ...

A striking Machine Age Modern oil painting of the historic Bronx Span, Triborough Bridge, New York City by notable American artist, Lessing Whitford Williams (1894-1989). Artwork ...

Artist: Slonem, Hunt Title: Brook II Date: 2026 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14.25" x 12.25" Signature: Signed by Artist on Verso Editi...

Title: Mid Century French Geometric Abstract Starburst in Brown Blue and White by Serge Guerin (b. 1916), French signed lower right “SG”, name stamped verso Acrylic and gouache on ar...

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

What struck me when I visited Los Angeles in April and May was the abundance of flowering trees and the incredible amount of exotic flowers! One of these discoveries for me are the p...

The Sheep Shearer by John Edwards (England, 1940 - 2020) signed oil on canvas, framed framed: 29 x 23.5 inches canvas : 23 x 18 inches Provenance: private collection, England Conditi...

"Yellow Lace", by Ken Elliott is an atmospheric abstract landscape painting that captures the delicate rhythm of a wooded scene bathed in light. Slender tree forms rise through layer...

2024 I – 2 is a unique textile (double weave, handwoven cotton stretched on frame) artwork by contemporary artist Christiane Maurer, dimensions are 112 × 53 cm (44.1 × 20.9 in). The...

Nestor Fruge (1916-2012). Pirate's Alley, French Quarter, New Orleans, ca. 1970. Watercolor on paper, 14.5 x 20.5 inches. Measuring 21.5 x 27.5 inches framed. Born in Bayou L...

Young Girl Interior Scene by Irina Hale (British 1932-2022) oil painting on board, unframed size: 10.5 x 8.25 inches provenance: private collection, Cotswolds condition: very good I...

"Bright Bouquet" is an original Contemporary Expressionist floral painting by French artist Natalya Mougenot, created in 2026 as part of her ongoing series dedicated to flowers. Executed with watercolors and acrylic paint pens on heavyweight professional acid-free paper, this A4 artwork (21 × 29.7 cm 8.27 × 11.69 inches) celebrates the emotional power of color through an expressive visual language inspired by nature. A vibrant bouquet of golden blossoms rises from a luminous pink pitcher...

Title: Mid Century French Abstract Expressionist Black Ink Gestural Painting Medium: Black ink/ gouache painting on paper, unframed French, circa 1950's Size: 25.75 inches x 19.75 (h...

Signed "Abiéniste" in the lower left corner. This poetic and visually striking oil painting presents a dreamlike landscape where two flamingos stand gracefully beside a still, refle...

Contemporary Fauvist-inspired floral still life, expressive acrylic painting on heavyweight professional acid-free paper (50 × 65 cm / 19.7 × 25.6 inches), radiant bouquet compositio...

Signed lower right 'John R. Nobriga' (American, 20th Century) and dated 1962. Additionally signed and dated verso and titled 'Dancers'. A colorful mid-century oil on paper showing ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a French Pink background with thick use of paint. I...

Not a Bouquet This work begins with flowers, but it is not about them. They are gathered into a transparent form, almost fixed, yet still holding something alive inside — something...

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...

French Modernist Charcoal Still Life with Bottles, Jug and Ceramic Bowl Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, unf...

Style and features of the painting • Direction: Pop Art / Modern expressive stillife. 。Color palette: The work is built on the contrast of rich, complementary colors - a bright blue round table...

A dramatic expressionist painting dedicated to the soul of me before cancer, who believed in a benevolent universe, who saw signs and followed them, who somehow thought she would liv...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

ALL FOURS 2025 Paris, France The painting shows four men on hands and knees in the foreground, their bodies merging in muted white and black tones against a plain ochre-brown backgr...

Henry Déziré (1878–1965) – Still Life with Strawberries and Flowers, signed circa 1930 Oil on canvas 80 × 65 cm Signed H. Déziré Circa 1930 Still life depicting a pierced bowl fill...

In most of the paintings, the artist uses an interior space as his subject, placing a table or similar object at its center. The use of symmetry and eye level often suggests an altar...

Woman in Cottage Interior French School, 19th century signed initials oil on wood panel, framed in period antique gilt frame framed: 15 x 12.5 inches panel: 9 x 6.75 inches Provenan...

This contemporary floral expressionist piece with a touch of impressionism was created by French artist Natalya Mougenot and belongs to her evocative series dedicated to the beauty o...

A wonderful example of fairy painting which became such a popular subject for Victorians and was most notably explored by John Anster Fitzgerald and Richard Dadd. The picture is a ra...

Rooted in introspection and emotional nuance, Xenia Gray’s figurative mixed media works capture the quiet tension between solitude and connection. Her paintings often depict the huma...

Portrait of the Lady with a Fan English School, second half 20th century after Diego Velazquez's (1599-1660) original painting oil painting on canvas, unframed canvas : 36 x 28 inche...

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: signed and dated 62' oil on board, unframed Size : 10.5 x 8.75 inches Provenance: private collection, France Condition: T...

“Beautiful Chaos” is an original 2026 painting by contemporary artist Serg Graff, bursting with color, humor, movement, and an extraordinary collection of imaginary characters. The ...

Moonlit Dahlia is a large gold-leaf painting created by Shizico Yi in early autumn, when dahlias reach their fullest bloom and the first turning leaves colour the garden. Painted on ...

Signed "Paul Buyssens" on the reverse of the painting. A poetic still life depicting a bouquet of sunflowers arranged in a simple ceramic vase. Painted in a warm and restrained pale...

Dimension with frame: 35 x 29,7 x 3,3 cm. A finely executed miniature devotional painting depicting the Madonna tenderly embracing the Christ Child. Executed in oil on copper and dating from the late 18th to early 19th century, the composition displays the intimate scale and luminous surface characteristic of copper paintings. The Virgin is shown wearing a deep blue mantle highlighted with delicate gilded details and crowned by a circle of stars, while the Christ Child rests affectionately in her arms. The work reflects the enduring influence of Baroque religious imagery and evokes the devotional paintings produced throughout the Spanish world during the colonial period, while remaining firmly rooted in the broader Continental European tradition. Its small scale, refined execution, and warm devotional character make it an appealing collector's piece. The painting is presented in an impressive carved and ebonized wooden frame that beautifully complements the richness of the composition. A charming example of late 18th-century religious art, combining devotional intimacy, Baroque sensibility, and the luminous qualities unique to oil on copper. madonna and child, virgin mary, christ child, oil on copper, copper painting, religious painting, devotional painting, catholic art, christian art, sacred art, baroque religious art, baroque devotional painting, continental european school, spanish colonial taste, spanish colonial influence, antique religious artwork, ecclesiastical art, crowned madonna, star crown madonna, virgin and child, christian iconography, late 18th century painting, circa 1800, antique oil on copper, miniature painting, devotional icon, old master style, european religious art, framed religious painting...

Bettina Mauel expresses vitality and sensuality in her abstract and figurative paintings. “I paint what I experience,” she articulates. “This includes landscapes, dancers and people ...

This piece celebrates the women who have upheld the spirit of unity in Nigeria, women whose influence not only blesses this nation but extends across Africa and into the diaspora. Du...

French Art Deco Fauvist portrait, oil on paper laid on canvas by Auguste Chabaud. The painting is signed bottom right and carries an atelier label, with date, to the rear of the canv...

Red Marine Flora is a vibrant marine-inspired abstract that celebrates the organic beauty of underwater plant life. Rich reds, corals, and earthy tones intertwine with cooler greens ...

Maria C Bernhardsson's original artworks are influenced by the architecture and geometry of houses. Born in Sweden, Bernhardsson travels the world photographing and sketching houses ...

This abstract acrylic landscape with a night theme is by Otto Rogers. Otto Rogers is considered to be one of Canada’s most important artists known for his singularly distinctive abs...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies, Butterflies and Birds. This piece depicts 7 gestural figures of Bunnies, 10 Butterflies, 7 Doves, 1 Cardinal...

August Frederick Biehle American, 1885–1979 Landscape in West Virginia, 1922 Gouache, litho crayon and graphite on paper Signed lower right 19 x 17.5 inches 29.5 x 23.5 inches, frame...