Panel Paintings

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 collections throughout the Unite...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Oil on panel

Oil on panel

This abstract oil composition by Montreal born Mel Davis takes a traditional theme—the still life—fruit on a table, draped in a white cloth and imaginatively re-interprets it in a fr...

Born in Columbus, Ohio, in 1965, Ron Hicks was an avid artist from an early age. Hicks began his formal studies in art at the Columbus College of Art and Design in Ohio. Hicks continued his studies at the Colorado Art...

Roger de la Fresnaye (1885-1925) Nature morte à l’oeuf 1910 oil on board mounted on panel 66.2 x 50.9 cm signed and dated ‘R de la Fresnaye.10’ (upper right) Price: $157,500 USD (in...

A majestic palm stands tall amidst a tangle of tropical plants in this landscape by Peter Hoffer. The Canadian artist is known for creating romantic pain...

Medium: Oil on Wood Panel Signature: Signed ‘Parrish’ (On the Reverse) Finished painting done as a prototype for the mural at the University of Pennsylvania LITERATURE L.S. Cutler ...

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 Panel Signature:Signed & Dated Lower Right, ii: Signed & Dated Lower Left Literature: Coy Ludwig, Maxfield Parrish, New York, 1973, p. 153, nos. 194-95, illustrated...

Mark Innerst lives and works in Philadelphia and Cape May. After graduating from Kutztown State College in Pennsylvania in 1980, he moved to New York City, where he interned at The K...

Michael Gregory lives and works in Bolinas, California, and for several years, Gregory has been fascinated with the study of old barns and silos. While...

Michael Gregory lives and works in Bolinas, California, and for several years, Gregory has been fascinated with the study of old barns and silos. While...

Michael Gregory lives and works in Bolinas, California, and for several years, Gregory has been fascinated with the study of old barns and silos. While...

Michael Gregory lives and works in Bolinas, California, and for several years, Gregory has been fascinated with the study of old barns and silos. While...

Michael Gregory lives and works in Bolinas, California, and for several years, Gregory has been fascinated with the study of old barns and silos. While...

Michael Gregory lives and works in Bolinas, California, and for several years, Gregory has been fascinated with the study of old barns and silos. While...

DAVID ROW Verde, 2015 Oil on canvas 22 1/2 x 31 inches 57.2 x 78.7 cm

abstract watercolor painting of intertwined tubular forms on a wood panel, varnished.

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 collections throughout the Unite...

Medium: Oil on Panel Sight Size 31.00" x 21.25", Framed 36.00" x 22.00" Signature: Signed Lower Left Maxfield Parrish began his career at age 25 as an illustrator, painting magazin...

Signed "Reily" at lower right Frame is wormy chestnut with a casein liner, and measures 33 1/4 x 43 1/4 inches.

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

acrylic and gold metal leaf and lime plaster on wood