Eduardo Arranz-Bravo

La Camacunta, Oil Painting on Canvas by Eduardo Arranz-Bravo

1966

Disconnect John Hardy, American (1923–2014) Date: 1998 Oil on Wood, signed Size: 24 x 18 in. (60.96 x 45.72 cm)

Edge John Hardy, American (1923–2014) Date: 1997 Oil on Wood, signed Size: 24 x 18 in. (60.96 x 45.72 cm)

Orpheus and Eurydice Erle Loran, American (1905–1999) Date: 1949 Oil on Masonite, signed and dated lower left Size: 24 x 36 inches

Blessing John Hardy, American (1923–2014) Date: 1997 Oil on Wood, signed Size: 24 x 18 in. (60.96 x 45.72 cm)

Colorful oil on canvas painting Nude in the studio by the famous French artist Jean Jules Louis Cavailles. very nice colors.

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64". A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...

This painting is likely to be from the late 18th or early 19th century, and is likely inspired by Antonio Correggio's "Virtue of Vice" circa 1531. Frame dimensions: 30 x 49 inches. This painting has been in a private California collection for over 40 years. It was acquired from a high end antique...

This extraordinary Italian gouache and oil on canvas brings two of the most popular characters from Greek mythology vividly the life - the nymph and the satyr. Both creatures are famed for their carefree natures and lascivious temperaments, and tales abound of satyrs pursing nubile nymphs in order to rape or seduce them, usually with little success. One such narrative humorously unfolds in the present piece, which depicts an indignant satyr captured by three nymphs with a golden net. The relationship between these two mythological creatures was a popular one for artists throughout the 18th and 19th centuries, though its origins stretch back to antiquity. Both satyrs and nymphs...