Paint Paintings

Expressionistic still life with oil lamp in a room interior, signed by Arne Roland Anderson (1915-1982) and probably painted in 1938. Oil on canvas. Signed a.r.a. lower left. Accordi...

No matter what life throws at you to discourage or change your good personality, or change the reflections people see on your face or identity, one should try to look beyond and ahea...

The Venetian Backwater French artist, signed and dated 29/4/2000 oil painting on canvas, framed framed: 48.5 x 35 inches canvas: 46 x 32 inches condition: very good provenance: priv...

The Highland Loch (Loch Lomond) signed by Prudence Turner, British b. 1930, signed. oil painting on canvas, framed. framed: 29.5 x 41 inches canvas: 24 x 36 inches Provenance: pri...

“Warm Touch” A peaceful wave unfolds across the canvas — not forceful, not fierce, but gently wrapping the space in tenderness. Its shifting shades of blue flow softly, like the brea...

Acrylic and 24k Gold Leaf on Canvas. At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our col...

Where silence dwells. The calm water’s surface becomes a mirror for the beautiful sky, the reeds, and the water lilies. A muted palette and dense palette-knife strokes convey not so ...

Colorful geometric houses beside a jetty emerge from a delicately sketched landscape in this playful architectural acrylic painting by Spanish artist María Magán Lampón. Created in ...

Los Angeles artist Harrison Gilman graduated from NYU’s Tisch School of the Arts. In 2018 his artworks were exhibited at the We Rise Art Fair in Los Angeles alongside Shepard Fairey ...

“Look at the flowers. It is simply unbelievable how happy flowers are.” — Osho Blooming Current reflects the energy of nature through an expressive composition of blossoms and branc...

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. About Artist Fal...

River Landscape by Charles Martin-Sauvaigo (French 1881-1970) * see notes below French Impressionist painter oil painting on wooden panel unframed size: 13 x 16 inches condition: ve...

“Sarabande No. 2” is a contemporary abstract oil painting on canvas in which angular forms and overlapping planes create a measured interplay of movement and balance. The title refe...

"Emissary" by Thane Gorek (Colorado, US based) is an oil on canvas depicting an aspen grove on a warm summer night with a moon in the background. This piece is framed and ready to ha...

Los Angeles artist Taylour Martin creates captivating abstract compositions in acrylic on canvas, showcasing a dynamic interplay of emotions and colors. Martin's art is a reflection ...

Harry Finney (fl.1875-1945) Portrait of Dorothy with her Coton de Tulear, 1940. Oil on canvas, 25 x 31 inches. Signed, dated and dedicated lower left. We have an antique frame (n...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. David Chapple has portrayed this piece in a most intimate, yet energetic way, and has packed much ...

Signed lower right, 'C. J. Dickman' for Charles John Dickman (American, 1863-1943), titled lower right 'Etaples' and dated 1899. Born in Germany, Dickman came to the United States ...

Elisabeth Grace, a visionary artist based in Denver, CO (USA), is renowned for her immersive large-scale paintings, collages, murals, and installation art. With a BA in oil painting ...

Artist: Vahe Yeremyan Title: Village Medium: Oil on Linen Year: 2026 Style: Impressionism Dimensions: 14" x 17" x 0.8" inch (35 x 45 x 2cm) Presentation: Unframed, Gallery Wrapped on...

In this contemporary oil painting on canvas, a bright and inviting interior scene is set with a still life with arrangements of flowers in a vase and a glass pitcher, a pear and lemo...

William Yates (British, 20th Century) St. Paul’s Cathedral, London Oil on board, circa 1970 Signed on the reverse William Yates was a gifted British painter whose expressive citysca...

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...

In this contemporary landscape painting in oil on panel, a peaceful summer scene is set, beautifully capturing the idyllic feel of a field of purple wildflowers in August. Signed, da...

The dog’s gaze meets a bouquet of pink flowers — not to possess, but to witness. There’s no tension here, only quiet coexistence. Daria captures the delicate balance of softness and ...

Nan Van Ryzin (American, born 1952) "Stone and Sage" 2026 Acrylic paint on canvas, stretcher bars Signed and dated on verso. "Stone and Sage" is a work of rare quiet power - an epic...

This painting makes part of my series dedicated to the scenes of a summer period. This abstract vibrant floral painting called "Floral radiance" is done in a modern contemporary exp...

Portrait of a Pomeranian Dog English artist, late 19th century oil on canvas, framed Framed: 14.5 x 12.5 inches Canvas: 10 x 8 inches Provenance: Private collection, Surrey, England ...

Los Angeles artist Taylour Martin creates captivating abstract compositions in acrylic on canvas, showcasing a dynamic interplay of emotions and colors. Martin's art is a reflection ...

A charming and atmospheric 19th century European oil painting on canvas depicting an intimate domestic interior scene with two chil...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

Sidera reflects that kind of radiant intimacy, the soul's longing to chart constellations in another person, to navigate the galaxies of their experiences, and to leave behind light,...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

"Touch it if you dare!" English artist, signed and dated 1927 oil on canvas, framed framed: 25 x 31 inches canvas: 18 x 24 inches provenance: private collection, England condition: v...

Portrait of a Young Woman French artist, mid 20th century signed oil on board, frames Framed: 29 x 23 inches Board : 22 x 15 inches Provenance: private collection, France Condition:...

Artist: Tigran Hovumyan Figurative Surrealist Oil Painter Title: Between Dreams and Reality Medium: Original Oil on Linen Dimensions: 40" x 40" x 1" inch, ( 100 x 100 x 3 cm) Year: ...

Sunlit Mediterranean Village, Provence signed oil on board, framed Framed: 16 x 14 inches Board : 10.5 x 9 inches inscribed verso Provenance: private collection, Paris Condition: ver...

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...

This framed 20" x 16" oil on linen panel by Kazakhstan-born, Oklahoma-based artist Yulia Kim is a testament to the artist's technical skill and particularly successful portrayal of l...

Portrait of a Lady by Maurice Delavier (French 1902-1986) stamped verso with the artists studio mark oil on board, unframed board: 7.75 x 9.5 inches provenance: private collection, F...

Parisian Street Scene with Figures by British Artist Art measures 20 x 16 inches Frame measures 24 x 20 inches This atmospheric cityscape by Bennett captures the timeless romanc...

Green Valleys by Irina Hale (British 1932-2022) oil painting on artist paper , unframed painting: 5.25 x 8 inches provenance: private collection, Cotswolds condition: very good Irin...

Artist: Ashot Yan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Linen, Year: 2018 Style: Surrealism, Title: Performance Size: 23.5" x 23.5" x 1'' inch,...

The Virgin Madonna Spanish Renaissance artist, circle of El Greco (1541-1614) circa 1600 oil on wood panel, unframed panel: 20 x 14.5 inches Provenance: private collection, northern ...

Signed in red, u.l. $3,000 + $125 framing

North West - a tumultuous seascape beneath a dramatic sky. Blades' textured brushstrokes that merge shades of deep indigo and soft pink, suggest an impending storm. The transition fr...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

This landscape was painted during the first visit of the artist to Hawaii, on the North Shore of Oahu. Daria chose a view of the well-known Three Tables Beach — located right next to...

Large, charcoal and acrylic landscape painting on canvas featuring a detailed countryside wooded field and light blue sky "Dreamland" by Sue Bryan acrylic and charcoal on canvas 34 x 42.5 x 1.5 inches 35.5 x 43 inches with an ebonized walnut floater...

At dawn, the world holds its breath — suspended between stillness and awakening. Hints of a city or a mountain ridge emerge through translucent layers of blue, rose, and ochre, as li...

Dimensions with frame: 55 x 47,5 x 5,5 cm This evocative antique floral still life oil painting depicts a lush bouquet of roses and wildflowers arranged in a delicate porcelain vase...

Drawing inspiration from an immersive and impressionistic interpretation of nature, Canadian artist Vé Boisvert paints textural original artworks that capture the fleeting effects of...

ARTIST: ?? Large (mid/late 20th Century) British TITLE: "Leslies Shop" SIGNED: lower right and dated 1977 MEDIUM: oil on board SIZE: 47cm x 38cm inclusive of frame CONDITION: very...

George Henry Laporte A huntsman clearing a brook Oil on canvas Painting 28 x 36 in Framed 34 x 42 in This spirited composition by George Henry Laporte captures a huntsman at full st...

The hat-maker or the milliner is depicting a kitchen interior with a young woman making a straw hat with ribbon and flowers. Watercolor, late 19th century, signed "Carlton A Smith". Dressed in a pale blouse, green apron and deep crimson skirt, she carefully threads a bright green ribbon through a broad straw hat adorned with poppy flowers. At her feet stands an open workbox overflowing with fabrics, ribbons and millinery materials, while baskets and worktables in the softly shadowed background reinforce the impression of a busy artisan's studio. Warm daylight entering from the side illuminates the figure and her work, creating a pleasing contrast between the richly colored foreground and the subdued interior. Executed with delicacy, the watercolor demonstrates Carlton Alfred Smith...

William Anderson (1757-1837) Marine scene - shipping off the harbour walls Oil on panel Painting size 8 x 12 in Framed size 12 x 15 in Provenance The Parker Gallery, London. Willi...

The signature is on the back of the canvas A few words of the artist about his art: When i painting landscapes, I usually choose simple geometric arrangements, contrasts of vertica...

Technical sheet - Artist: Joan Carles Roca Sans (b. 1946) - Title: *Landscape of the Ampurdán* - Technique: Oil on canvas - Dimensions: 23.6 x 28.7 ...

This painting is a charming depiction of 42nd St. at the Public Library on a Snowy day in New York City. A cozy impressionistic street scene with colors of cobalt, light pink, yellow...

In Where the Earth Rises, the landscape is dominated by a vast reddish slope that fills almost the entire field of vision. Rather than opening into a distant panorama, the view feels...