Photography Figurative Paintings

"Splash 22" Oil Painting 31.5" x 31.5" inch by Sasha Sokolova SPLASH This series is about those sunny summer days in my dacha (country house) in a small village outside of Moscow, c...

"Splash 5" Oil Painting 31.5" x 53" inch by Sasha Sokolova SPLASH This series is about those sunny summer days in my dacha (country house) in a small v...

Nails and thread on wood in plexiglass. One-of-a-kind original artwork. In his latest body of work, the Dutch artist Nemo Jantzen is combining skills obtained in earlier years of hi...

Nails and thread on wood in plexiglass. One-of-a-kind original artwork. In his latest body of work, the Dutch artist Nemo Jantzen is combining skills obtained in earlier years of hi...

Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of Art and Design, whose artwork can be found in private and corporate colle...

Contemporary pop art painting by Texas / Mexico-based artist Tyler Casey. The work features an abstract painting of the "King of Pop," Michael Jackson agai...

"With thoughts about…" Oil Painting 39" x 31" inch by c Year: 2009 Size framed: 44" x 36" inch

Ġoxwa began painting at a very young age in her native land of Malta and eventually enrolled at the Saint Martin School of Art in London. Years later, she moved to Boston and atte...

‘Between Us’ is an Impressionist Figurative painting by Robert Gemmell Hutchison R.S.A. It is highly evocative of the Scottish Coast, a hopeful and optimistic oil painting. Hutchinson was born in Edinburgh in 1855 the first son of a brass-founder. After first training as a seal-engraver he was encouraged to pursue oil painting and trained under James Campbell Noble at the Trustees Academy on Picardy Place. He set up his own studio at 1 India Buildings (at the top of Victoria Street...

FABIAN DE LA ROSA Filipino, 1869 - 1937 FILIPINO FARM WORKERS IN HORSE CARRIAGE signed & dated "F. de la Rosa, 1894" (lower left) oil on canvas 42-3/4 x 2...

Nails and thread on wood in plexi-glass. One-of-a-kind original artwork. In his latest body of work, the Dutch artist Nemo Jantzen is combining skills obtained in earlier years of h...

Daniel Sprick's (US based) "Dreaming Venus" is an original, handmade oil painting that depicts a nude feminine model laying on her side in the fetal posi...

Mixed Media. Pop Art. Humorous. In white frame. Play off First Class on Plane. Girl featured. Vibrant colors. Also available as a commission on c...

Certainly one of Bert Long’s more humorous artworks, "A Good Witch" exemplifies affection for sincerity, despite obvious levity. Bert L. Long Jr., was self...

"Red I" is an original oil painting on canvas by the artist Clovis Pareiko. Beauty and aesthetic have always been a major concern for me. I focus my energy on it because I believe t...

This is a poignant piece from Sax Berlin, an almost iconic working of pre-Renaissance religious painting. His woman is classically posed and portrays her emotions perfectly in the ca...

Frame 41 x 35 inches Reza begun studying art seriously at age 15 and was studying at the institute of art in Iran where he graduated with highest honors. He also studied privately ...

Female figure, Oaxacan dog vase, teardop, flower; acrylic ink, flashe and pastel on 300g Arches hot press paper; custom wooden frame, shallow shadow box frame. Terracotta, sienna, pi...

“Steve Jobs (Text from 'Think Differently' campaign, 2021” is a unique acrylic on canvas by David Hollier. Hollier masterfully paints image using the t...

Framed Size: 25.5 x 23 inches Joseph Gyselinckx was born in 1817. He was a genre painter in Antwerp. The artist was a student of F. de Brakeleer. He had two paintings included in ...

Presenting a just completed original oil painting by Azerbaijani artist Fidan Kim. Into the Light, depicts a man rediating his own light, while the women above floating over his umbrella would all like to bask in his light. Only one canb join him as his true love, and she bears the read heart. Directions, is an original oil on canvas, signed, 2021 with an image dimension of 48 x 24 inches, just completed by the artist, the painting is currently unframed. Please contact the gallery for additional information, pricing and availability. About Artist Fidan Kim: Fidan Kim was born in Baku, Azerbaijan on the 21th of August 1997. 2014-2018 – BA FINE ARTS AZERBAIJAN STATE ACADEMY OF FINE ARTS 2018-2020 – MA FINE ARTS AZERBAIJAN STATE ACADEMY OF FINE ARTS August 2009 – “Young Talents Exploring Visual Arts” summer art courses at the Edinborough Art College August 2010 – “Art al Sole” summer art courses in Italy August 2011 - “Art al Sole” summer art courses in Italy October 2013 – a solo exhibition “The last day of the childhood” November 2014 – a solo exhibition “”Paradoxes” March 2015 – participation at a master class given by a renowned artist, Professor Inge H. Schmidt from the Berlin University of the Arts, Germany organized by ADRA June 2015 – VI International Art Festival June 2016 – an art exhibition “Futurismo Ora” at the “Lamborghini” salon October 2016 – participation at the Shopping festival Carrousel du Louvre Art in Paris December 2016 – art courses at the Georgian State Academy of Art within the exchange program Art) February 2017 – Gave art classes at Yarat contemporary art space April 2017 – an art exhibition “Live Life” in Moscow May 2017 – an art exhibition at the Embassy of Turkey in Azerbaijan May 2017 – an art exhibition Live Life organized in Geogria by Idea community June 2017 – Master Class given by Fidan Kim at Yarat Contemporary Art Centre Member of the Union of Artists May 2018 – solo exhibition in Shanghai Cooperation Organization in Beijing, China November 2018 – Participation in Shanghai art...

This precious work that is dedicated to Long’s first wife, Connie, who passed away from cancer, is an acrylic painting on canvas encapsulated in a custom, hand-made, plaster frame - characteristic of many classic Long works... Bert L. Long Jr., was self-taught artist, was born in 1940 in Texas, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a successful master chef, Long decided to devote himself entirely to art in the late 1970’s. He began to explore folk art and assemblage to create a unique body of work, attracting the attention of Jim Harithas, then Director of the Contemporary Arts Museum Houston, and artists John Alexander, Salvatore Scarpitta and James Surls. His life spanned an era of radical change in the American social climate, the influence of which can be seen clearly in his work. Long’s paintings and sculptures incorporate a high level of skill and sophisticated knowledge of art history, along with complex philosophical and social issues.  Long describes the philosophy behind his work as "a quest to help people diagnose their inner self," believing his art to be "the vehicle to help facilitate the process." “As artists we have the obligation to provide the world with art which communicates as truth. I believe that art has the power to heal our souls of their afflictions. I try to create art which helps to diagnose the prevalent conditions within our societies, hopefully providing an insightfulness which will help us all become brothers and sisters united in equality and compassion”                                       - Bert L. Long, Jr. The late Peter Marzio, former Director of the Museum of Fine Arts, Houston, said of Bert Long during the major retrospective of Long’s work at the museum: “Bert Long does not avert his gaze from that which is painful, but as [his artworks] testify, he also brings a spirit of joy and redemption to his art. We can all learn from this great artist.” Over Long’s 33-year career as a painter, sculptor, and photographer, he had several solo exhibitions at respected museums and was awarded many significant awards including the National Endowment for the Arts Grant in 1987 and the prestigious international Prix de Rome fellowship in 1990. Other notable awards of Long’s include the Texas Accountants and Lawyers for the Arts Artist of the Year Award in 2009, the Adolph and Esther Gottlieb Foundation Emergency Assistance Grant in 1997, the Houston Art League Texas Artist of the Year in 1990, the NEA Visual Artists Fellowship Grant, 1987 and the Bemis Foundation Residency in 1998. His work can be seen in over 100 private and public collections worldwide, including the Metropolitan Museum of Art, New York, the Dallas Museum of Art, the Houston Museum of Fine Art, the Blanton Museum of Art, Austin, the El Paso Museum of Art, and the Instituto de Bachillerato in Spain. With a recent solo exhibition at the Houston Museum of African American Culture and an exhibition overseas which is pending featuring his work, plus interest from several national museums, Bert L. Long Jr. continues to be recognized as an important African American artist throughout Texas, nationally and internationally. Bert L. Long, Jr. "Dear" 1989 Acrylic on Canvas with Painted Plaster Frame...

“Buddha” is a unique acrylic on canvas by David Hollier. Hollier masterfully paints image using the text from Metta Karuna Prayer as his medium. This piece is signed and comes ready...

Site Size: 20 x 15 inches Framed Size: 28.5 x 24 inches Donald Spaulding's artistic talents were recognized early. Encouraged by his high school teachers to pursue formal art traini...

Medium: Oil on Paper Laid on Panel Signature: Signed Lower Right Initialed lower right: M.P. Signed on the reverse: Maxfield Parish Initialed and numbered by the artist's son on the reverse: M.P. Jr. / No. 68. When Maxfield Parrish painted the comical A Dark Futurist in 1923 for Life magazine, he had already established himself as America's leading book and magazine illustrator. His early artwork for children's classics like L. Frank Baum's Mother Goose in Prose (1897), Kenneth Grahame's Dream Days (1900), and Eugene Field's Poems of Childhood (1904) popularized his signature atmospheric settings, cobalt blue-and-gold palette, and dreamy figures inhabiting magical worlds. Likewise, his covers for Century, Collier's, Harper's Bazaar, Ladies' Home Journal, Life, and Scribner's Magazine were highly desirous and instantly recognizable, often more stylized than his book imagery; no other journal illustrator could match Parrish's winning combination of precise draftsmanship, strong graphic design, and amusing characters. According to David Apatoff, Art Critic, The Saturday Evening Post, "Parrish abandoned his customary heavy details and rainbow colors to present a bolder, more high-contrast design silhouetted against a stark white background - a treatment more suitable for a modern magazine cover vying for attention on a crowded newsstand. A Dark Futurist is silhouetted against a white field with no background or details to prop it up. The composition is carefully centered with only differences in the hands and the artist's necktie to break the symmetry. These are crucial to the success of the design. Just as important as Parrish's clean, high-contrast style in these pictures is the refreshing humor and sophistication in content, which is usually absent from Parrish's fairytale paintings. A Dark Futurist shows us a different kind of modernism. Parrish steps out of his timeless fairy tales to tweak one of the most incendiary artistic movements of his day. Futurism, with its militant manifesto and its outspoken artists, was all the rage in Europe. Parrish pokes them, showing a "dark" and anxious futurist with pursed lips and thick glasses, poised to paint but not exactly sure of, or optimistic about, what the 'future' will hold. This suggests that Parrish was alert to, and had opinions about, current events of the day - something one might never guess from his usual subject matter." In his early Collier's illustrations, Parrish also developed memorable themes that he would return to in his 1920s magazine work. One of his most popular characters was the "seer," or man with keen visual powers, most often depicted as an artist, but also appearing as a tourist, scientist, and philosopher. Parrish's seer was recognizable by particular physical attributes: round glasses, indicating his visual and analytical acuity, and an overcoat and/or hat signifying his role as observer of the outside world. A Man of Letters, sold last year at Heritage Auctions, was one of the first Life covers Parrish rolled out for Gibson, and he repeated the character of the artist-seer, emphasizing the comic spin, for two later editions: A Dark Futurist (Life, March 1, 1923) captures a Parrish-like artist in foggy round glasses and a long green coat...

Medium: Oil on Canvas Signature: Signed Lower Left Saturday Evening Post Cover, July 21, 1956 This Falter cover was owned by Sarah Johansen, daughter of John Falter. She is the you...

Antoine Blanchard "Boulevard de la Madeleine sous la Neige" Oil on Canvas Signed Canvas Size: 13 x 18 inches Framed Size: approx 18 x 23 inches Antoine Blanchard French (1910-1988)

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...

Framed Dimensions: 36.00" x 48.00" Signature: Signed Lower Right J.G Brown's "Monopolist" was listed in 1885's Spring Exhibit catalogue of M.A. It was displayed on a panel in The We...

“Reason Has Limits” Oil on Wood tiles glued to panel Noremac has been following rock bands in America and Europe for the past several years, photographing young music fans at rock c...

Presenting an exceptional original oil pastel by French artist Pierre DeMougins. "Tightrope" is an original oil pastel, signed, painted in 2004, with an image dimension of 25 x 19 i...

Tran Trong Vu paints a contemporary narrative on the changes that have taken place in his homeland of Vietnam. He paints on large transparent plastic sheets.

‘Dove on Black Water Pot’ is a large realist oil on canvas painting created by Vietnamese artist Tran Huy Hoan in 2012. Featuring a vivid palette made of a tonality of reds and black...

A rare, early original self portrait by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited throughout his...

Presenting a rare, early original oil painting, "Harrison on the Hill", by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited throughout his ...

One of the only commercial projects realized for a Hollywood film by American artist Ron Blumberg. In 1939, Blumberg painted actor John Caradine as, "Casey", in the John Ford film, "The Grapes of...