Miniature Still-life Paintings

ASHLEE SELBURG Flycatcher Ink and pencil on paper 14 x 11 inches

This piece is part of an exciting new collection depicting iconic "Coco Chanel" with the artist's "Dripping Dots" style. Focused on a pointillistic technique, the paint is able to ca...

Little Girl Dress Shoes - This set of two original paintings showcases delightful pairs of little girls dress shoes. Each pair is adorned with unique delicate features. The classic M...

Work on cardboard

Works of Liene Liepina are full of life and joy because of photography-like, realistic details on the one hand, and intense and slightly artificial colors on the other. The artist gi...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Contemporary figurative painter Andrew S. Conklin creates a co...

Work on canvas mounted on cardboard

Cherries on Table is an original oil painting realized by Zhang Wei Guang (Mirror) in 2007 Mixed colored oil on canvas Includes frame Hand-signed and dated on the back Zhang Wei ...

'January Light' depicts an historic San Francisco home with warm sunlight and shadows cascading across the window pane. The subtle and brilliant work of art is meticulously hand pain...

'Leaves', 2006 is 16.5 x 13.5 inches, framed 24 x 21 inches. By focusing on a single subject, the artist immerses herself in the nuanced lines, shapes, and tones that the oil paint o...

'Tulip', oil, alabaster and gold leaf on panel is 10 x 10 inches, and created in 2019 ay American artist Stephanie Peek. This white tulip flower appears to float in mid air, and it glows on its small, jewel like panel, that is 10 x 10 inches. Peek's floral series...

A vibrant and captivating oil painting by Sadie Ogus, depicting a still life scene with begonia flowers, a bottle, a plate of fruit and a yellow book. Sign...

Dramatic oil on mylar on panel painting by Elena Zolotnitsky depicting a chair from her Extinct series of abandoned chairs and their unique histories. Professionally framed in a clea...

Bird perched on bowl of bones

Acrylic on board. Monogrammed 'DSV' in the lower right-hand corner. Presented in a grey wooden frame with the title on the verso.

Night driving road landscape scene by Edie Nadelhaft - Oil on canvas, 12 x 12 inches. Edie Nadelhaft's paintings focus on the visual nuances and psychol...

"Collioure Sunset" is a contemporary impressionist view of the Collioure church in this coastal South of France town. Painted en plein air. Framed Dimensions: 17 x 20 inches Marc ...

Bright whimsical colors are helping to dispel the grayness of the winter inside Acton Memorial Library’s meeting room, where Boston-based artist Maureen O’Connor’s 20 paintings are on display through February. Randi Hopkins, former assistant curator at Boston’s Institute of Contemporary Art, has called O’Connor “a masterful painter of some of our favorite things.” A pair of ceramic ducks...

Oranges in a Bowl is an original oil painting realized in 1998 by Zhang Wei Guang (Mirror). Mixed colored oil painting Includes frame Hand-signed and dated on the lower right corn...

Named "Vote for me", this symbolism oil painting ia s topical one, the clothespins symbolizing Humans gathered around a winner. The amusing thing about this composition is that the objects represented are used for laundry. Would an election be a great cleaning? Andrée Bars...

Jordan Wolfson's (US based) "Still Life with Flowers XXXI" is an oil painting that depicts yellow and red flowers gathered in a vase contrasted with a forest green background. Jord...

Pocket Green Fig 3c is an original oil painting by Dani Humberstone as part of her Pocket painting series featuring small scale realistic oil paintings, with a nod to baroque still l...

Flowers, 31x22 cm, cardboard/mixed media, 2023

FLOWERS - Oil on canvas painting, Francesca Strino, Italy., 2005

OPAC, the Organization of Photorealist Artists and Collectors, presents Cesar Santander Goldfish With Matisse Detail Original Oil Painting 16" x 16" original painting on board. Th...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Work on canvas Beige wooden frame 32 x 37 x 4 cm

This fresh and airy bouquet piece, "Pink" is a 12x12 oil painting on canvas by artist Jill Matthews depicting a contemporary floral bouquet of pink roses with green leaves against a ...

Work on canvas Beige wooden frame with golden borders 44.5 x 52.5 x 5 cm

Meadow herb, Scottish borders by Natalie Bird, oil on board painting in an impressionist style. The landscape composes of mounatins in tones of blue in the background with pink flowe...

Evening Bag: A blend of pale neutrals, textured collage and a delicate touch of sparkle create this elegant artwork. Attention to detail captures a hint of timeless glamour in this h...

Provenance: Babcock Galleries (bears their label verso. signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

Vibrant still life of pears in a purple bowl by Susan Sarback (American, b. 1955). Two bright green pairs sit in a purple glass bowl on a magenta surface. ...

Wreath: ROME from artist Stephenie Peek who makes her home in California, is beautifully rendered with a sense of depth, intellect, timelessness and beauty. Inspired by a time the artist spent in Italy and found herself strongly drawn to the history and mystery of antique Roman laurels. Here, the golden wreath appears to float above the clouds in a surrealist, Magritte-like sky. The clear blue has an ethereal quality with glimmering gold. The painting's edges are painted white, so framing is not required. If framing is desired, we can provide it for an additional cost. Signed, dated and titled verso by artist: Artist's statement— The genesis of this oil painting, “Wreath,” is the classic laurel wreath fashioned in gold and awarded to victors, both athletic and poetic, in ancient Greece and Rome. From my studio at the American Academy in Rome, I looked out over the city and imagined these memorials to those who have crossed finish lines, so to speak, who have won their races. Suspended in silence, this wreath speaks for me not only of wordly success with its ephemeral nature, but also of a kind of lasting victory that art can remind us of. "Ars longa...

An early, wonderful oil on panel, still life Sucker in a wrapper, in green, orange and red, from Kim Frohsin, who is often associated with the Bay Area Figurative movement, began exh...

The original painting by Adrienne Sherman in oil on panel with a lacquer-like luster. depicting the endangered Western Crowned Pigeon from New Guinea, is 8 x 8 inches and is professi...

Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

BETH HUNTER RWA (b. 1935) Elizabeth Hunter was a British 20th century painter and printmaker who trained at the Slade School of Art under Lucian Freud...

Title Tea pot. Oil on canvas 45x35.  Lights and reflections in a silver teapot. Certificate of authenticity by the Artist on photograph.

The London city skyline in Autumn from the Thames Path when the tide is out Acrylic paint on Canvas 20 H x 20 W x 2 D cm (7.87 x 7.87 x 0.79 in) Sold unframed Image size: Height: ...

Signed to the lower left. Dated to stretchers verso. Presented in a wooden frame. On canvas.

David Cheifetz's (US based) "Ebb and Flow" is an oil painting featuring a red apple still life with various objects. About the artist: David is an internationally acclaimed and col...

Agonda By Alanna Eakin [2021] original Oil paint on wood panel Image size: H:30.5 cm x W:23 cm Complete Size of Unframed Work: H:30.5 cm x W:23 cm x D:0.5cm Frame Size: H:38 cm x W:3...

Original watercolour painting by the Cotswold artist Elizabeth Chalmers is sold mounted but NOT framed. Size: H:31 cm x W:41 cm. Artist Bio: Eliz...

Pullman Limousine Adler Standard. Gouache and watercolour heightened with gum-arabic on very dark green card, annotated in pale ink with body type below, numbered ‘93’, in upper lef...

Contemporary figurative floral still life oil on canvas painting by Polish artist Katarzyna Zwolinska. Painting is textured. Katarzyna Zwolinska is a Polish painter, she graduated ...

Artist: Harry Lane, American (1891 - 1973) Title: Late Summer Medium: Oil on Board, signed Size: 16.5 in. x 12.5 in. (41.91 cm x 31.75 cm) Frame Size: 20 x 16 inches

Allison’s softly rendered and beautifully painted landscapes and waterscapes capture light, depth and the constantly shifting movement of water, flora and fauna. Her impasto techniq...

View from the top of the Shard of four bridges, looking towards Big Ben Short listed for the RA Summer Exhibition 2023 Additional information: Acrylic paint on Canvas 20 H x 20 W x ...

Two Garlic on French Plate Painting by Martin Yeoman B. 1953, 2016 Additional information: Medium: Oil on panel Dimensions: 23.5 x 31 cm 9 1/4 x 12 1/4 in Martin Yeoman was born in...

Anne Sargent Walker's "Summer Flowers" is a contemporary still life in oil of flowers in a glass. Freshly painted and lushly colored, blossoms sport shades of pink and white, with le...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Vivid, bold, and strikingly fresh, Lime Light is an oil on boa...