Port Landscape Paintings

This vibrant artwork vividly captures a bustling harbor scene with an array of colorful fishing boats gently bobbing on the reflective water. Each vessel, painted with meticulous det...

Signed Adolfo Perez Frameless

Signed Adolfo Perez Frameless

Valerio D'Ospina's (US based) "Dry Dock" is an oil painting depicting a crane above a large boat in dry dock. Valerio D’Ospina was born in Taranto in 1980. On July 14, 1999 he rece...

Signed Adolfo Perez Frameless

Francesc Saborit Sans - Nautical port of Barcelona - Oil on canvas Oil measurements 46x55 cm. Without frame.

Maritime Scene signed by Édouard Righetti (1924-2001) dated 1958 mounted in a card frame oil painted on artist paper, beautifully painted. very good condition framed: 20.5 x 29.5 in...

Signed lower right, 'Sanzone' for Mario Sanzone (Italian, born 1946) and titled, 'Portofino'. Previously with: Zantman Art Galleries, Carmel, CA. A substantial oil on canvas showi...

An Oil painting of boats in a marina. Above, the suns rays pierce through the clouds. American realist painter Carl Bretzke is particularly adept at nocturne scenes which ooze in d...

Alexander Bower (1875 - 1952) Portland Harbor, Maine, 1910 Oil on canvas 27 x 33 inches Signed and dated lower right An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...

An early twentieth-century, American School oil showing a view of a sailor caulking the seams of a substantial wooden sailing ship with a view beyond towards red-tiled houses beneath...

A quiet port on the Canary Islands in Spain where there are many yachts, with the evening gentle sun, which gilded white blocks and sails. Exhibition: 2017 The exhibition "Enchanted ...

Dear clients, Thank you so much for your interest to the art of Maestro Alina Khrapchynska. The artist Maestro Khrapchynska has escaped the war in ...

Image dimensions: 60cm x 60cm Framed dimensions: 75cm x 75cm This original Cornish seascape painting beautifully depicts the coastal town of St Ives. Mike Bernard pays homage to the St Ives group...

In this sunset harbor scene, everything is enveloped in calm. The last rays of the sun bathe a fishing building, while the moored boats play with light a...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

Butko paints the natural, sprawling light of early, mid, and late day. In this composition–his largest of 2023—Butko takes on early summer's mid-day light in Northeastern U.S. The cl...

Signed Adolfo Perez Frameless

This work depicts a serene landscape of the Tablas de Daimiel, (Ciudad Real, Spain) a unique and UNESCO protected wetland, known for being an important passage point for migratory bi...

Title: Watercolor of Fishing Boats in Dry Dock; Entitled Bateaux en Cale de Halage by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Siz...

Traveling to Rovinj in Croatia is like getting in touch with Italian Venice. A very strong influence in architecture, and even one of the languages ​​spoken by the locals is Italian....

The picture was painted in the workshop after working in the open air from life on the island of Crete. Fishing boats in the small port of the Greek village of Malia, the smell of fr...

The beauty of the Golden City, where nature and civilization co-exist in ease, is something to be witnessed. Cradled by the prolific San Francisco Bay, with the Pacific Ocean but a s...

The Harbour, Nautical Themed Landscape Large Signed Oil Painting by Peter Nichols, British contemporary artist oil painting on board, unframed signed by the artist on the lower left ...

Ryan Reynolds’ newest series of paintings features coastal Northern and Central California wooden piers that extend from the land into the sea, and it depicts the people of Trinidad ...

"Shimmering Sunset" with glowing water reflections of sailboats tied up to the dock is a quintessential example of Tom Swimm's enhanced realism. This colorful oil painting exhibits a...

Serene landscape by notable billboard artist Art Pastusak (American, b. 1950). A small dock just out over glassy water, rendered in dark grey-green and bright cyan, where the sky is reflected. The shore is rendered in tones of yellow, tan, and green, with some water lapping up towards the viewer. Signed and dated "Art Pastusak 18" in the lower left corner. Titled "Solitude" on verso. No frame. Board size: 11"H x 14"W Art Pastusak (American, b. 1950) is an artist and billboard painter originally from Portland, OR. Pastusak began outdoor painting in 1977, focusing on billboards. He learned from Mario Rueda, Bernardo Sepulveda, and Tim Solliday. Pastusak has been commissioned by major brands like Apple, Nike, Red Bull, Subaru, and Spotify. In 1992, Pastusak stopped painting billboards to focus on larger scale public murals, mostly in Oregon and Los Angeles. He now focuses on smaller fine art...

A view of the walkways to the Gondola services in Venice, where the painter places us at dawn with the Church of San Giorgio Maggiore in the background, submerged in the mist produce...

A painting of boats docked in a harbor. Loose brushstrokes in the lower lefthand corner indicate ripples in shallow water, shades of green and teal. The water becomes a deeper richer...

Beautiful watercolor landscape of boats along the wharf by Henry Hank Volle (American, 20th Century). Presented in a rustic wooden frame. Signed "Henry Volle" lower left. Artists bio...

"MaineSunrise" with glowing water reflections of boats anchored in a peaceful harbor is a quintessential example of Tom Swimm's enhanced realism. This colorful oil painting is on a b...

"Perfect Autumn Day" with glowing water reflections of a wooden boats tied up to the dock is a quintessential example of Tom Swimm's enhanced realism. This co...

Valerio D'Ospina's (US based) "Docks from Above" is an oil painting depicting a yellow crane above a dock yard. Valerio D’Ospina was born in Taranto in 1980. On July 14, 1999 he re...

I painted this view of the Venice canal on a foggy gray morning, playing with the chromaticism of the scene to alter the colors and create a special luminosity. I used soft tones to ...

Attersee Austria, Original Contemporary Impressionist Seascape Painting, 2016 24" x 36" x 1.5" (HxWxD) Acrylic on Canvas Hand-signed by the artist. Somewhere between a landscape, waterscape, and still life, this work by artist Ingrid Dohm...

Egg tempera on canvas, Shadow joint frame Frank Suplie is a German artist born in 1950 lives and works in Berlin, Germany. He is a member of the Painters Association of the North Ge...

Acrylic, Oil on Canvas Artwork on supported wooden frame. Ready to hang. Framing on request. 200x300cm About this artwork In my creation, I blend the fervent vibrancy of acrylics wit...

I painted this view of the Venice canal on a foggy gray morning, playing with the chromaticism of the scene to alter the colors and create a special luminosity. I used soft tones to ...

Docklands, Belfast, 2023 Oil on Board 24 x 72 in 61 x 182.9 cm "Painting is trial and error, somewhere between this there is a balance in which a painting will work." - Verner Finlay...

Jin Peng, born in 1996 in Feixian County, Linyi, Shandong Province Chinese nationality 2015-2019 Undergraduate in the representational performance studio of the Oil Painting Depart...

Li Xiao Biography Chinese, b. 1957 Li Xiao was born in 1957 in Shanghai, China. Xiao commenced showing interest in the fine arts at a very young age and has been consistently devel...

Saturday Evening Post sticker and editorial and production marks on verso. This is more than just a simple semi-silhouette. It's a carefully crafted and wonderfully composed image. T...

Signed and dated (at lower right): Randall Exon 2018

Date: circa 1957 Medium: Gouache on Board Dimensions: 25.50" x 17.75" Signature: Signed Left Original illustration for a poster for the Grace Line Travel c...