Brush Paintings

2 x ( 21 x 29,7cm ) Markers on paper Shipped well protected, unframed

"Wine Glass and Bottle Seen From The Top" is a contemporary still-life painting portraying a bottle of wine and a glass silhouette from a playful point of view that defies perspectiv...

Artist: Dana Loomis Title: Attributes of Art Year: 1984 Medium: Oil on Canvas, signed and titled in marker Size: 40 in. x 46 in. (101.6 cm x 116.84 cm) Frame Size: 41 x 47 inches

A fine early 20th Century portrait,. showing a young boy playing a tin whistle. The artist has adopted an Italianate style and subject matter to create an atmospheric and eye catchin...

Very finely painted realist still life oil painting. Oil on canvas. Signed. Framed. Image size, 20H by 23L.

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Artist: Arsham, Daniel Title: Remains of the Tomb, Second State Series: Unique Date: 2012 Medium: Ink and Acrylic Unframed Dimensions: 27" x 31" Framed Dimensions: 28" x 32" x...

Still life with brushes. Paper, watercolor, 32x39 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she began her st...

Still Life With Wagtails. 2011. Oil on linen, 40X45 cm

This still-life is an acrylic on canvas work that depicts a jar full of various paint brushes bunched together brushes up. In contrast to many still-lifes that depict the setting tha...

A celebration of charm and cultural richness, Joie de Vivre by Ginny Williams brings together objects of beauty and a striking European Goldfinch, perched with poise and personality. Painted in oil on a 16 x 16-inch panel, this still life exudes warmth, elegance, and a touch of whimsy. The bird’s vivid red face, golden wing bars, and black markings are hallmarks of the beloved goldfinch—often associated with vitality, joy, and spiritual endurance in European art history. With its palette of soft neutrals, classic chinoiserie blue-and-white ceramics, and a bold red, white, and blue fan motif, Joie de Vivre feels both traditional and refreshingly modern. The title, meaning “joy of living,” perfectly encapsulates the mood: uplifting, timeless, and thoughtfully composed. Ideal for collectors of symbolic still life, bird lovers, or designers seeking a small yet story-rich piece, this original painting adds layers of narrative and charm to any space. Offered by Huff Harrington, Joie de Vivre is a radiant moment of visual poetry. We were immediately drawn to the thoughtfully painted work, the clever titles and the rich, deep hues. And when we got to know the artist, we were equally charmed by her delightful wit, her sensibilities as an artist, her depth of knowledge and her modesty. This one’s got it all and we are honored to represent her. GC Williams has a BA in art history and began her artistic career as a self-taught artist. She subsequently studied at several classical ateliers including 4 years at the Academy of Realist Art, Boston. Influenced heavily by her studies of and love for the art of the northern European Renaissance, she creates still life paintings that employ chiaroscuro and symbolism to point beyond themselves to more enduring truths. Just as the still life masters of long ago used everyday objects to convey timeless messages pertinent to the culture of the day, Williams’ works often have underlying symbolism in the placement and combination of objects she chooses to paint. With tight renderings and playfulness she attempts to draw the viewer beyond an initial appreciation of a pretty picture into a deeper engagement and understanding of the language of the still life. Ginny Williams painting European Goldfinch art red and yellow bird painting...

Artist: James, Clarence Title: Spirit Date: 2025 Medium: Acrylic, Aerosol, Oil Stick on Canvas Unframed Dimensions: 30" x 24" Signature: Signed Edition: Unique

Self-portrait of the painter with beret and brush in hand, 1930s Period: Circa 1930s Italian school. Technique: Oil on wooden panel Frame: Painted wooden frame, coeval Dimensions: ...

The painting was created in 2024. Dedicated to the 210th anniversary of Taras Shevchenko's birth.

Willard Dixon, who says "the charm of Still Life painting for the artist lies in the ability to manipulate ones subject matter and in the intimate, direct nature of the painting proc...

When we think of a tree we usually envision an image of a perfectly pruned tree, balanced and symmetrical. In nature those rarely exist. Trees are individuals. Trees grow to survive,...

Justin Wheatley's (US based) "The Failed Attempt at Avoiding the Inevitable" is an acrylic painting that depicts a small white house-like object with red roof pierced by a black pain...

Contemporary figurative oil on canvas painting by Polish artist Kamil Lisek. The artwork depicts a man holding paintbrush, concentrated on creation proccess. There is palette in forn...

Stuart Bigley is an artist based in New York’s beautiful Hudson Valley. He has been making and showing his artwork for over 40 years. During this time he also co-founded and ran th...

Original minimalistic abstract painting. Spray paint emerald line with white marks on pink background. Improvisation, subconscious and serendipity. D...

Refined Mid Century Modernist oil painting on canvas of still life flowers and artist supplies painted by the noted artist and author Enid Munroe as pa...

The Last Brushstroke is an original acrylic painting realized by the Italian artist Salvatore Petrucino in 2016. Hand-signed on the lower right. Technique, dimensions, and date ar...

I nostri esperti sono giunti ad una conclusione determinante is an amusing and ironic enamel and China ink on cardboard realized in 1970 by Pablo Echaurren. Signed and dated in blac...

Sulla ricostruzione di una trappola a paniuzze is a colorful original painting (enamel and China ink on cardboard) realized in 1970 by Pablo Echaurren. Signature, date, and title in ...

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who lives and works in Oslo, Norway. He s...

Acrylic on mounted round linen canvas. Ready to hang. I painted my friend while she was putting on make-up. I had to take some pictures to be able to continue without having her to ...

The last rays of the sun :: Painting :: Fine Art :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Signatu...

My favoite year! 1968... I was in Viet Nam hearing the news about assassinations and French street riots. The more the merrier! We need that energy now! :: Painting :: Contemporary :...

Still life with blocks and birdhouse :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed...

Jacques Halbert, born in 1955 in Bourgueil, is a contemporary French artist. He attended the Brassart school then the École des Beaux-Arts in Bourges. In the 80s, he moved to the Un...

ink on paper, 8"x10" This painting is featured in our current exhibition at the gallery, entitled: "Recollect" a solo show by the artist, Jesse Lambert. Jesse Lambert was bor...

Available unframed ink on paper, 8"x10" Jesse Lambert was born in Hudson, NY and grew up in rural New Hampshire and New York City. Jesse received a BFA from Cooper Union and ...