Oil Landscape Paintings

Beach with Three Figures - The painting was created in 2020 by celebrated American realist artist Willard Dixon, who has captured the undeniable beauty of the west for the past 35 ye...

Peregrine Heathcote’s paintings conjure a world of intoxicating glamour and intrigue, slipping across the boundaries of time to fuse iconic pre-war design with modern conceptions of ...

An exceptional impressionistic depiction of an afternoon at Cafe Paris in France by Mario Passoni, on a spring day with the busy activities of people walking and others seated at th...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting has everything; A really interesting landscape with land, river, sea and mountains, interesting figures and cattle and a wonderful sky with fading light. The details and the capturing of the light make this a really fantastic Dutch Old Master country house Grand Tour oil painting. Irresistible. Provenance. Dorset estate. Condition. Oil on canvas, 42 inches by 20 inches and in good condition. Frame. Housed in an English carved giltwood frame, 50 inches by 28 inches framed and in good condition. Adriaen van Diest (1655-1704) was born in the Hague in the Netherlands. Like his father and his brother, he pursued a career as a marine painter, that is, a painter of seascapes and sailing ships. In 1673, attracted by the thriving English market for portraits and marine paintings, he joined the exodus of Dutch artists leaving to work in England. It is thought that his master was Willem van de Velde the Younger...

Oh the stories that this coastal scene at the last light of the day could tell! The sky is nearly flashing as the sun light diminishes sending pools of sparkles on the water's surface. The crew and guests on the schooners, smaller sailboats and dinghy become absorbed in the culmination of their day's journey and the journeys of the passengers in the other remaining boats as they navigate their boats with safe passage to their home dock destination. Rising star fine artist Paul Beebe...

OIL PAINTING SIGNED OLD FINE MASTER PAINTER 19th Century BRITISH SCHOOL Fine Original Antique 19th Century British OLD MASTER OIL PAINTING GOLD GILT FRAME NEW COLLECTION Of RARE ...

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Auction values Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed.

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed. Signed.

Early Triptych Abstract Trees Forest Landscape Painting by British Urban Artist, Angela Wakefield. This rare early work is from an intense body of abstract work that formed the very ...

Modern Luminist, Hudson River School landscape painting on canvas of the expansive view over the Hudson River as observed at the top of Olana, the historic home of Frederic Church "In the Afterglow" by Jane Bloodgood-Abrams, painted in 2021 Horizontal landscape painting, 48 x 60 x 1 inches unframed with white painted sides wired on reverse for easy hanging Artist's signature is located on lower left Acclaimed artist of the Hudson Valley, Jane Bloodgood, takes her painting to a new level with a new work entitled "In the Afterglow". Her interpretation of this very iconic view (observed from the top of Olana, the historic home of Frederic Church located near Hudson, NY) is set during the very quiet moments of a summer's evening when the sun has dipped beyond the mountains. The crystal blue sky illuminates with the sun's setting rays; a golden band of yellow haze otherwise known as "The Venus Belt" is an atmospheric phenomenon only visible shortly before sunrise or right before sunset. The water reflects the pink and purple glow that forms near the horizon; the dusty shadows of trees tower over the water's edge. We marvel at how simply Jane captures a complex phenomenon, evidence of her unparalleled ability to paint light and endow her work with luminosity. Yet this painting succeeds not only in its representation of the actual landscape and the awe produced by the experience, but also in its contemporary abstraction of atomsphere. The big, open blue sky is stacked with the colors of the sunset against the horizon, calling to mind a Rothko or the other great color field painters who achieve mood and depth from singular color. About the work: Painter Jane Bloodgood-Abrams has become one of the area’s most celebrated artists, gracing viewers with her compositions of sky, river, and earth. Being less concerned with documenting specific scenes, Bloodgood-Abrams is focused on capturing nature’s essence, “the deeply profound moments, where there is a connection to a vital energy.” Her process begins with being in nature, where she allows the emotional energy of the landscape to filter through her psyche. The memory is then translated onto canvas after being worked over a period of time with layers of paint that is applied, wiped away, and reworked. The result is a radiantly dramatic remembrance of Bloodgood-Abram’s encounter with “something beyond everyday life”. The artist’s final hope is for these images to evoke remembrances within the viewer's own personal relationship with nature. Artist Biography: Jane Bloodgood Abrams was born in Queens, New York. She received her Bachelor’s of Fine Arts from the College of Saint Rose in Albany, in 1985. Three years later, she earned a Master’s of Fine Arts at the State University of New York in New Paltz. Now she paints in the Hudson River Valley and the Berkshires. EDUCATION Master of Fine Arts Painting - (cum laude) State University of New York at New Paltz 1988 Bachelor of Studio Arts - (cum laude) College of Saint Rose, Albany 1985 SELECTED SOLO EXHIBITIONS: 2015 Carrie Haddad Gallery, Hudson, NY 2014 Mark Gruber Gallery, New Paltz, NY Carrie Haddad Gallery, Hudson, NY 2013 Christopher Clark Fine Art, San Francisco, CA The Harrison Gallery, Williamstown, MA 2012 Carrie Haddad Gallery, Hudson NY River Gallery, Chattanooga, TN The Storefront Gallery, Kingston, NY "Beyond the Real" 2011 The Harrison Gallery, Williamstown, MA Carrie Haddad Gallery, Hudson, NY Locust Grove State Historical Site, Poughkeepsie, NY 2010 Carrie Haddad Gallery, Hudson, NY 2009 Carrie Haddad Gallery, Hudson, NY 2008 DFN Gallery, New York, NY 2007 Meyer East Gallery, Santa Fe, NM The Harrison Gallery, Williamstown, MA Carrie Haddad Gallery, Hudson, NY 2006 Mendenhall-Sobieski Gallery, Los Angeles, CA DFN Gallery, New York, NY Carrie Haddad Gallery, Hudson, NY 2005 Carrie Haddad Gallery, Hudson, NY River Gallery, Chattanooga, TN 2004 Albert Shahinian Galleries, Poughkeepsie, NY Carrie Haddad Gallery, Hudson, NY 2003 Carrie Haddad Gallery, Hudson, NY Living Room Gallery, Kingston, NY River Gallery, Chattanooga, TN 2002 Carrie Haddad Gallery, Hudson, NY 2001 Carrie Haddad Gallery, Hudson, NY Artforms Gallery, Albany, NY 2000 Carrie Haddad Gallery, Hudson, NY Mark Gruber Gallery, "Romancing the Landscape" New Paltz, NY 1999 River Gallery, Chattanooga, TN 1998 Alan Sheppard Gallery, Piermont, NY "New Traditions" 1997 Coffey Gallery, Kingston, NY SELECTED JURIED AND INVITATIONAL MULTI-ARTIST EXHIBITIONS: 2016 Byrdcliffe’s Legacy: An ode to Nature and Place, Kleinert Art Center, Woodstock, NY Artists of the Mohawk-Hudson Region, Hyde Collection Museum, Glens Falls, NY ARTBAR Gallery, Kingston, NY 2015 The Laffer Gallery, Schuylerville, NY Jessica Hagen Fine Art, Newport, RI 2014 Jessica Hagen Fine Art, Newport, RI “Riverscapes,” The Harrison Gallery, Williamstown, MA "Far and Wide" Regional Juried Exhibition, Woodstock Art Association and Museum, Woodstock, NY 2013 Artists of the Mohawk-Hudson Region, Hyde Collection Museum, Glens Falls, NY Far and Wide" Regional Juried Exhibition, Woodstock Art Association and Museum, Woodstock, NY 2012 "Riverscapes," The Harrison Gallery, Williamstown, MA “The Great Hudson River Exhibition,” Mill Street...

This enchanting early 19th-century portrait of a young girl in a pastoral landscape, attributed to the esteemed English portraitist Margaret Carpenter, is a rare and captivating exam...

Carl Schirm was a German painter of landscapes. Between 1880-1881 he made, together with Eugen Bracht, a long journey to Egypt, Palestine and Syria, at the end of which emerged lands...

Coast of Bagamoyo is a unique oil on canvas painting by Spanish contemporary artist Calo Carratalá, dimensions are 200 × 300 cm (78.7 × 118.1 in). The artwork is signed and comes wi...

The painting, large in size and with a notable decorative impact, comes from an important private collection, divided between Rome and Paris, and depicts a rural episode set in a lat...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

This commissioned oil painting, 1884, was painted by James McGinley for owners of a custom home in Gladstone, NJ on the adjacent lands to the United Sta...

This original, unframed oil on board requires a frame to hang. Created by Sandra Pratt in 2024, it measures 36 x 48 and captures a serene winter landscape in cool blues and pristine ...

Francesco Fontebasso (Venice 1709 - Venice 1769) Alexander the Great grants clemency to the Persians Oil on canvas 108 x 153 cm. In frame 120 x 164 cm. Fascinating for its interest...

Paul Wadsworth is one of the UK’s leading exponents of Expressionist paintings. His pieces are heavily worked with layers of richly applied paint, the result is paintings that sing w...

European Village in Winter Snow with Figures & Frozen Pond by 20th Century German Artist, Gunter Seekatz. This is a large painting measuring almost 4 fe...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 27 x 33 Frame Size: 35 x 41 Medium: Oil On Canvas Late 1940s-Early 1950s "Bluebonnet Time" Texas Hill Country Landscape Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican-American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910 near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions. While a few of his early works have a soft, tonalist quality, with subtle gradations of sunset colors, most were painted in a style that fits well within the currents of the late American Impressionist style, with solid drawing and a warm, chromatic palette. Like Robert Wood's works of the 1930s, the paintings Salinas produced as a young man were usually well composed and detailed views of the spring wildflowers in full bloom in the Texas countryside. In contrast to Wood's work, however, early Salinas compositions were usually pure landscapes without the pioneer farms or dilapidated fences that Wood often used to add visual interest to his wildflower scenes, and he also painted scenes of San Antonio itself as his mentor Jose Arpa had done. To residents of the Hill Country, Salinas was especially adept at accurately capturing the palette of the region and its unique atmosphere. In 1939 Salinas began working with Dewey Bradford (1896-1985), one of the great characters of Texas art. Bradford was a second-generation dealer whose family operated the Bradford Paint Company in Austin, where they sold art supplies, framed artwork, restored paintings and exhibited paintings by Texas artists. Salinas was struggling when he met Bradford, but the older man took the young artist under his wing and began to sell his work reliably, even though the prices that people would pay for a painting were still low due to the lingering effects of the Great Depression. Bradford was a born salesman with a gift for storytelling, and truth be told, a bit of embroidery. The relationship between Bradford and Salinas was often rocky, but it was to last the rest of the artist's life and give him a modest sense of loyalty and security, things which are all too rare in the art world. While Bradford could be critical of his work, Salinas knew that he had a dealer who encouraged him, believed in him and was not shy about singing his praises to anyone who entered Bradford's store on Guadalupe Street. During the early years of World War II Salinas met a pretty Mexican woman from Guadalajara named Maria Bonillas, who was working as a secretary for the Mexican National Railways office in San Antonio. While he was walking downtown with a painting of a bullfighter under his arm, he started a conversation with the young woman, and things progressed rapidly. The couple were married on February 15, 1942 and settled into life in bi-lingual San Antonio and they eventually purchased a tidy stone home on Buena Vista street that had a detached studio in back. By the time the United States entered World War II, Salinas was starting to make a decent living selling his art and beginning to garner recognition across Texas. However, in 1943, like millions of other young men, he was drafted into the service of his country. Fortunately, as an older Army draftee with special talents, after his training he was assigned to Fort Sam Houston, right in San Antonio, allowing him to remain at home while still completing his obligation to "Uncle Sam." Because of his artistic abilities, Salinas was asked to do paintings for the Army as well as a mural for the Officer's Club, which has been re-discovered in recent years. In his spare time he kept working on landscapes and when the war ended in 1945, he was not faced with the same rocky transition from military to civilian life as many veterans. That same year, Salinas became a father as he and Maria celebrated the birth of his only child, Christina Maria Salinas. Like most landscape artists of the era, Salinas was an avid Plein-air painter, and he took his easel and paint box with him on trips throughout Texas and into Mexico. He and his wife traveled deep into her native country, where the artist painted the majestic volcanic peaks of Iztaccihuatl (known as the "Sleeping Woman" because of its unique shape) and Popocatepetl (called the "smoking mountain" because the volcano is still active), south of Mexico City. Salinas also painted studies of rustic villages and their residents. While his most popular paintings were always the scenes of the Texas Bluebonnets and other wildflowers that bloom all over the Hill Country in the spring, he also painted scenes of the twisted Texas oak trees of central Texas, the more arid landscapes of the Texas panhandle and West Texas, and the historic Texas missions; he even sold rapidly executed scenes of bullfights and cockfights for Mexican-American collectors. By the late 1940s, the American economy was finally growing again and wealthier Texans began to collect Salinas paintings, purchasing them from galleries in San Antonio and Dallas and at Dewey Bradford's County Store Gallery in Austin. Salinas also sold work to the Atlanta dealer Dr. Carlton Palmer, who represented Robert W. Wood for many years. In 1948 Palmer sold two large Salinas paintings to the Citizen National Bank in Abilene, Texas. Because Austin was the state capitol, Bradford counted many of the state's elite among his patrons, and due to his interest in history and literature, he played a large role in the cultural history of central Texas. Bradford introduced a number of the major Texas political figures to Salinas' work, including Lyndon Baines Johnson (1908-1973), who was then in the House of Representatives and on his way to winning a controversial election that vaulted him in the United States Senate. Johnson became an enthusiastic collector, as did his political mentor, the legendary House Speaker Sam Rayburn (1882-1961). Johnson decorated his Washington offices with Salinas paintings and he brought a number of them home to his vast LBJ Ranch, near Johnson City, Texas. In spite of his important patrons, Salinas went through a fallow and difficult period in the late 1950s. He had a volatile temperament, which made relationships difficult, and it took great patience for his wife to help him manage his career. As Salinas entered middle age his work began to sell steadily, but except for tourists who purchased his paintings in San Antonio, he was known primarily only to Texas art collectors. All that changed in 1961 with the election of John F. Kennedy (1917-1963) to the Presidency of the United States and his running mate Lyndon Johnson to the Vice Presidency. Johnson was an expansive, larger-than-life character and his status as a long, tall Texan in a cowboy hat was a large part of his imposing political image. During his storied career in the House of Representatives and the United States Senate, Johnson and Lady Bird Johnson (1912-2007) spent their time in Washington in a modest house on the edge of Rock Creek Park, but this home would not do for a Vice President. So, in 1961, the Johnsons purchased a French chateau-styled home in the Spring Valley section of the Capitol. Obtained from the famed socialite and ambassador Perle Mesta (1889-1975), the house came with a fine collection of French furniture and tapestries, and the designer Genevieve Hendricks was hired to meld the French look with objects from the Johnsons' overseas travels and paintings of the flora and fauna of their native Texas. Featured prominently in the foyer were the paintings of Porfirio Salinas. Because of the Johnsons' patronage, his work was mentioned in Time Magazine and other national publications. Lady Bird Johnson loved her landscapes of the Texas Hill Country and told reporters that, "I want to see them when ever I open the door, to remind me where I come from." After President Kennedy's death thrust Lyndon Johnson into the Presidency, he brought his Salinas paintings into the historic halls of the White House, further enhaning the Texas painter's national reputation. At the time of the President Kennedy's assassination, Salinas had completed a scene of a horse drinking titled "Rocky Creek" that was to have been presented to Kennedy during his ill-fated visit to Dallas. Instead, in an effort to memorialize the fallen President, Salinas painted a symbolic work of a lone horse depicted against foreboding clouds. During his tenure in the White House, President Johnson presented a Salinas landscape as a state gift to the President of Mexico, Gustavo Diaz Ordaz (1911-1979). During the 1960s, Salinas paintings sold briskly and, thanks to Presidential patronage, for escalating prices. In an interview with a writer from the New York Times, President Johnson enthused about the work of "his favorite artist" and said that, "his work reminds me of the country around the ranch." Salinas was invited to the LBJ Ranch frequently during the Johnson administration and his paintings were hung throughout the ranch, in the President's offices and even in the private quarters of the White House. The connection to President Johnson was a great boon to sales of Salinas paintings, and in 1964, when the demand was at its height, Texas Governor John Connelly (1917-1993) was told that all Salinas'work was sold and that he would have to wait for a painting. In 1960, a half century after his birth, Salinas was honored by his home town of Bastrop, a celebration that touched the modest artist. In 1962 Salinas was given a solo exhibition at the Witte Museum in San Antonio that featured more than twenty of his works. By the early 1960s, sales of reproductions of the artist's landscapes by the New York Graphic Society and other publishers grew rapidly, enlarging his audience throughout the United States. In 1967, Dewey Bradford helped to organize the production of a book of Texas stories titled "Bluebonnets and Cactus" (Austin: Pemberton Press: 1967), which was profusely illustrated with paintings by Salinas. His works were still popular when Salinas died after a brief illness in April of 1973, just a few months after former President Johnson's passing. He was memorialized in the City of Austin by Porfirio Salinas Day, which honored him for having "done much to bring the culture of Mexico and Texas together with his paintings." Bastrop, Texas, the city of the artist's birth, has been holding a Salinas Art Exhibition annually since 1981. He painted hundreds of scenes of the wildflowers, including the various varieties of Blue Lupin, the state flower, as well as other flowering flora. These show the influence of his artistic mentors Robert W. Wood and Jose Arpa Y Perea. Salinas also painted a number of scenes of Prickly Pear Cactus that show the influence of the English painter Dawson Dawson-Watson (1864-1939), who painted many such works during his tenure in Texas. He painted the more arid Texas landscape infrequently and these works are very rare today and sought after by collectors from the Texas Panhandle and West Texas. Salinas also painted many river landscapes along the Guadalupe, Rio Frio, the San Antonio and the Rio Grande. On trips to his wife's homeland of Mexico, he painted a number of scenes of the volcanic peaks as well as scenes of peasant villages and villagers. Figurative paintings are rare among Salinas' works and these scenes of bullfights, fandangos and cock fights are probably the least sought after of his paintings. There are also a small number of modest marines, painted on trips to the Texas and California coast. Salinas paintings are highly prized by collectors of early Texas art, with the paintings of wildflowers in greatest demand. Works by Porfirio Salinas can be found in a number of public collections, including the Panhandle Plains Historical Museum in Canyon, Texas; the Texas State Capitol; the Texas Governor's Mansion; the Lyndon Baines Johnson Ranch; the Sam Rayburn Library and Museum in Bonham, Texas; Amarillo High School; the Witte Museum in San Antonio; the historic Joan and Price Daniel House in San Antonio; the Stark Museum in Orange, Texas; the R.W. Norton Art Gallery in Shreveport, Louisiana; the Sangre de Cristo Arts Center in Pueblo, Colorado; Texas A & M University and the Modern Art Museum of Fort Worth. Salinas has been featured in a number of reference works as well as anthologies devoted to American Western Art...

Up for sale is a large original oil painting on canvas depicting a sailing ship breaking through the waves leaving a white trace behind, signed by Listed Artist Hewett R. JACKSON ...

Sylvia Rutkoff (1919-2011) Sr5-1 c.1960s “Crossed Arms” Acrylic on Masonite 36x42 period frame Unsigned Collection acquired from family estate

"Hot Air Balloon Flight" is a painting by Spanish artist Natalia Roman. This series of abstract geometric paintings by Natalia Roman draws its inspiration from the sleek grids and cu...

Transport yourself to the heart of Paris during the enchanting 1940s with this exquisite original painting by the renowned artist Moura Chabor (1905 - 199...

"Morning Reflection" is an oil painting on canvas by Dennis Sheehan, depicting a marshy landscape with the soft colorful glow of the approaching sunrise. The artist's use of soft bru...

Robert Harrison (Born 1949) San Antonio Artist Image Size: 36 x 48 Frame Size: 44 x 56 Medium: Oil on Canvas Dated 2007 "Summers Gold" Texas Hill Country. Exhibited Lady Bird Johnson...

Stormy sea is an original modern artwork realized by Artist of Northern Europe School of the mid-19th Century. Mixed colored oil on canvas. Includes frame.

Late 17th-century Bolognese painter Circle of Carlo Cignani (Bologna 1628 - Forlì 1719) Noli me tangere ‘’Apparition of Christ to Mary Magdalene‘’ oil on canvas 120 x 92 cm framed ...

Hiroshi Sato's "Store Lot" (2024) is an original oil on canvas artwork, measuring 30 x 60 inches. "Store Lot" is sold unframed but is ready to hang. This unique artwork is perfect ...

This very large, superb California landscape was painted by an artist celebrated for his California and Pacific Northwest scenes, and well-known among collectors of these works. Frederick Schafer (bio below) emigrated from Germany to the U.S. in 1876 at the age of 37. He traveled widely through the west and captured dramatic nature scenes such as this one, depicting the Upper Sacramento river with its towering trees. His paintings are in many superb institutional and private collections around the world. Paintings by Schafer in this size range have brought from $15,000 to $26,000 recently at auction, which is wholesale pricing (see photos) so we feel ours is a fair price. The painting measures an impressive 65" x 44.5" in its ornate gold wooden frame; the canvas size is 50" x 30". It has some professional and unobtrusive inpainting, not unusual for a painting of its age. Proudly presented by Guy Lyman Fine Art, New Orleans. Bio as featured in AskArt: The following biography is from the artist's web site and reprinted with the permission of Jerome H. Saltzer. "Frederick Ferdinand Schafer...

Artist: Slonem, Hunt Title: Bayou Teche Sunset Date: 2024 Medium: Oil on Canvas Unframed Dimensions: 36" x 48" Framed Dimensions: 38" x 50" Signature: Signed verso Edition: Un...

In this contemporary landscape painting in oil on canvas by David Konigsberg, the drama and sublime beauty of the vast summer sky in New York State's Hudson Valley is captured. The a...

Oil on Canvas. Italian school of the late 1700s-early 1800s. The romantic-taste landscape sees a river flowing between rocky banks topped by leafy trees; on the bank, in the left for...

This artwork "Harbor Scene" c.1975 is an oil painting on canvas by Austrian artist M. Edward Griff. It is signed at the lower right corner by the artist. ...

“Last of the Showers” by Harry Brioche is a mesmerizing original realist landscape painting that captures a moment of calm after the storm. With expert use of oil on board, Brioche c...

Oil on Canvas. French school of the 2nd half of the 18th century. Probably the work of a follower of Claude Joseph Vernet (1714 -1789), a French painter who specialized in seascapes ...

A beautiful oil on canvas painting by the French artist, Salvadore Demone. Deomne was a Parisian painter known for his colorful cityscapes depicting the times of his generation. This...

Vibrant plein air painting of blooming meadows, and oil on paper landscape by J. A. Johnson (American, 20th C.). Presented in a wooden frame. Pr...

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

A masterful oil painting depicting a colorful British country side with a couple strolling in the distance along a beautiful pathway. As an Impressionist painter, Clymer was known fo...

Venice - Mario De Angeli - Italia 2009 - Oil on canvas cm. 80x120. Gold leaf gilded wooden frame ext. mis. cm.100x140 Mario De Angeli's canvas is an extraordinary work of Italian l...

This is an original work by Andre Kohn. Growing up near the Caspian Sea, Kohn's received a formal art education from the University of Moscow where he studied with members of the la...

This stunning Italian Capriccio Old Master landscape oil painting is attributed to circle of Giovanni Paolo Panini. Painted circa 1740 it is a fantastic view of the Temple of Sibyl, ...

Very Large Square Painting of New York City Skyscrapers USA - Red Blue & Yellow - by Polish Artist, Katarzyna Szulc. Signed Kasha on the front of the canvas. Art measures 47.2 x 47....

 Realized by Mustapha Yehya in the mid-20th century. Hand signed. In excellent condition, it includes a coeval wooden frame.

Rare and finely painted French modernist abstract painting by Jacques Doucet (1924 - 1994) . Framed. Oil on canvas. Signed. Artist Bio: Jacques Doucet's work is inextricably bo...

This stunning winter landscape by Mauritz Lindström captures the serene yet striking beauty of a snow-laden scene illuminated by the warm glow of twilight. The interplay between the soft, colorful hues of the evening sky and the intricate, frost-covered branches creates an almost three-dimensional effect, drawing the viewer into the composition. The detailed rendering of the snow and the trees evokes a profound sense of coldness, making the atmosphere almost palpable. Measuring an impressive 101 x 152 cm (39 3/4 x 59 7/8 in) with the frame, this large-scale work is a testament to Lindström's mastery of light and texture. Arvid Mauritz Lindström...

Big Sky: Utah - The painting was created in 2007 by celebrated American realist artist Willard Dixon, who has captured the undeniable beauty of the west for the past 35 years. Dixon...

In this piece, the artist depicts his subject in an abstract and impressionistic way, capturing the busy Seine by the Hotel de Paris. The streets of Paris are portrayed in the distan...

Judd Mercer's (US based) "Open Grazing," is an original, handmade oil painting that depicts a green grassy pasture where a herd of chickens and sheep graze peacefully as a stream cuts through their landscape. About the Artist: Judd Mercer is a watercolor painter based in Denver, Colorado. After attending art school for industrial design, Judd pursued a career in digital design and user experience and is co-owner of Elevated Third, a Denver-based digital agency. After committing to writing and illustrating a full-length fantasy novel in his spare time, Judd began watercolor painting around 2014, studying with teachers such as Alvaro Castagnet, Joseph Zbukvic...

Clive Madgwick "Countryside Hunt" Original Oil on Canvas C.1980 A hunt out in the English countryside Original oil on canvas Dimensions 36" wide x 2...

Oil on Canvas. North Italian school of the late 1700s-early 1800s. In the 'wide landscape, which lets the eye sweep over a vast plain with shaded hills looming on the horizon, an arc...

Brian Blood (American, born 1962) County Farmhouse Provence, 2002 Oil on canvas Initial signed lower right Titled, dated, and signed inscribed on stretcher bar verso Canvas: 20in H...

Medium: Oil on canvas (Floral Stroll), Acrylic on canvas (Pink Sky) Dimensions: Each canvas 80 x 80 cm (31.5 x 31.5 in) Artist: Linda Clerget This stunning diptych by Linda Clerget ...

Impressive early American modernist abstract textural painting. Oil on canvas. Framed. Signed. Image size, 42 by 46 inches.