Bela Balogh

Still Life with Lilacs

Alfred Arthur Brunel de Neuville, French (1879 - 1907), " Panier de Cerises". Oil on canvas. Signed bottom right hand corner.

Alfred Arthur Brunel de Neuville, French (1879 - 1907) "Panier de Peches" Oil on canvas. Signed lower right side.

Western still-life called "Time for a Cup" by Guido Frick 36" x 36" Oil on Canvas

Milbie Benge 10" x 8" Oil on Canvas Framed Size: 13.5" x 11.5"

By Milbie Benge 14" x 18" Oil on Canvas Framed Size: 18.5" x 22.5" 

This floral still life scene by José Vives-Atsara, features yellow, orange, purple and green. The impressionistic abstracting style nearly gives the feeling that you are viewing the ...

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

A mid-twentieth century oil on canvas, depicting a fig amongst foliage, painted in imitation of a Renaissance fresco.

Follower of Jean-Baptiste Monnoyer (12 January 1636 – 20 February 1699) Still Life Oil on Canvas in Later Giltwood Frame Dimensions refer to size of frame. Jean-Baptiste Monnoyer ...

A Late 19th Century still life oil depicting a melon, a vine branch with grapes, tomatoes, plumbs and hazelnuts on a marble table top. Oil on canvas. Set within a guilt composite f...

Strange Tracey are proud to be the exclusive agent for Fran Mora in the United Kingdom. Born in Huelva in the south of Spain in 1979, Mora studied at the School of Fine Arts in Sev...

Oil on canvas painting by Jill Davenport (American, 20th Century) still life titled "Banjo Player" from the Attic series. Signed and dated on bottom lef...