Gun Paintings

Colonel Bates Leads the 30th Colored Infantry at the Battle of the Crater Watercolor on Paper Circa 1903 15 ½ x 21 ½ Inches 25 ½ x 33 ½ Inches Framed LR: Graves This rare portrait of African American troops serving in battle during the Civil War depicts the 30th United States Colored Infantry at the Battle of the Crater, at Petersburg, Virginia. The regiment was composed of African American enlisted men commanded by white officers and was authorized by the Bureau of Colored Troops which was created by the United States War Department on May 22, 1863. The Battle of the Crater, July 30th, 1864, was part of the Siege of Petersburg, fought between the Confederate Army of Northern Virginia, commanded by General Robert E. Lee and the Union Army of the Potomac, commanded by Maj. Gen. George G. Meade (under the direct supervision of the general-in-chief, Lt. Gen. Ulysses S. Grant). At the top of the painting, Colonel Delevan Bates raises his saber to lead the charge of the 30th United States Colored Infantry. Bates was promoted to this command just prior to this battle, having served with distinction in the 121st New York Infantry at the Battles of Fredericksburg, Chancellorsville and Gettysburg. Though the Battle of the Crater would eventually be won by the Confederacy, it was here that Bates and 23 other troops would be award the United States highest award for bravery during combat, the Medal of Honor. After weeks of preparation, on July 30, Union forces exploded a mine in Maj. Gen. Ambrose E. Burnside's IX Corps sector, blowing a gap in the Confederate defenses of Petersburg, Virginia. From this propitious beginning, everything deteriorated rapidly for the Union attackers. Unit after unit charged into and around the crater, where soldiers milled in confusion. Grant considered the assault "the saddest affair I have witnessed in this war." The Confederates quickly recovered and launched several counterattacks led by Brig. Gen. William Mahone. The breach was sealed off, and Union forces were repulsed with severe casualties. Brig. Gen. Edward Ferrero's division of black soldiers...

This is a meditation on the curious relationship that has developed between contemporary body goals, the current perception of our “natural diet,” and the impact that diet may have on our environment. In my current work, The Revisionist Histories, I am writing letters to art history, literature, and mythology in an attempt to redress past wrongs, re-draw archetypes, and reflect the social changes that have reshaped our society over the past century. As part of this agenda, I explore the evolution of gender norms, power dynamics, and representation within Western visual culture and what this implies for the negotiation between pleasure, justice, and our culturally specific discourse on beauty. Oddly enough, this work is inspired in part by my pre-teen daughters’ growing musical interests which exposed me for the first time to the world of music videos (I had a sheltered childhood as my parents couldn’t afford cable TV). My daughters are primarily interested in pop divas...

Oil on peeling paper Aziz Anzabi is a British artist with Iranian origins born in 1970 who lives & works in London, UK. He exhibits many artworks in the U.S, the Netherlands, and Ir...

Tempera mixed with gum arabic and alcohol on Renaissance Panel Robert Riggs was a gay man. Being gay in American during the 1940's time was something not to flaunt in public. Rigg's had to communicate his underlying feelings in more symbolic ways. Throughout Riggs oeuvre, one sees continuous references to strong hunked out manly men and vulnerable boys. It is a core element of is iconography and is described in a powerful graphic style. In “Prospector firing Rifle” is a Dick Pic. Riggs is clearly making a sexual statement about the moment of climax. The long, straight rifle explodes and is captured at the peak moment of climax. Meanwhile, the bag two bags of gold clearly resemble the other part of the male anatomy. Riggs was a thoughtful and meticulous visual thinker and nothing in any of Riggs’s compositions were haphazardly placed. In tribute to the artist’s suppressed feelings, I have given this work a second title “Happiness is a Warm Gun...

Medium: Oil on Canvas Signature: Signed Lower Right Literature: The Saturday Evening Post, October 15, 1938, cover illustration. J. Cohn, Covers of The Saturday Evening Post, New Yo...

Oil on canvas Mikheil Arbolishvili is a Georgian artist born in 1987 who lives and works in Tbilisi, Georgia. Mikheil grew up immersed in the vibrant world of art, being part of a f...

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC Cover Illustration of Complete Northwest, April 1940

Signed on Corner Story: “ Wolf Pass” by William Byron Red Book Magazine May 1930 # 1774 in the Catalogue Raisonne 2009

The work is called "In the Fly" and in the title is a play on words and semantic and humorous overtones. The fact that in Russian the word "fly" means both an ...

Date: 2011 Medium: Acrylic on Canvas Dimensions: 30.00" x 24.00" Signature: Signed and Dated Lower Right and Verso

Medium: Oil on Canvas Signature: Dedicated and signed 'To the Bellows/from/George/Giguere' bottom right Soldiers at Rest

Signed "William Nelson" verso William Nelson’s latest body of work, titled Pretty, Desirable, Delightful, Dangerous, invites us into a dynamic world of glamour and mystery, rich wit...

Harry Lemon Parkhurst American, 1876–1962 was a pulp illustrator for crime and detective stories. The works depicts an art thief caught at a pe...

Marshall Jones is a realist painter born in Atlanta Georgia, and presently working and living in New York City. From 2008 to 2015 Marshall was the recip...

Kate Brinkworth (b.1977) The Watcher (Black and White No. 2) 2013 oil on canvas 90 x 135 cm Price: £8,400 GBP (inc. 20% UK VAT) Provenance: Direct from the artist’s studio Notes: Kate Brinkworth undertook her artistic training at Nottingham Trent University, and graduated in 2000 with first class honours. She rapidly began exhibiting her work, and her first major solo show took place in 2001 at Britart Gallery, London. Her success led to further exhibitions across the country and abroad, and she began featuring regularly in several international art fairs and won numerous awards. These include the Westgate Prize (2004), and a commission from GUS headquarters in Mayfair. Kate Brinkworth's painting stems from her curiosity in films, particularly those directed by or in the style of Hitchcock. She is particularly inspired by effects created though experimentation with focus, and repeatedly photographs her still lifes with various shutter speeds, camera angles and lighting to find the optimum composition. Brinkworth's style uses the language of film, advertising and photography to create these unique images; her visits to Las Vegas have developed her interest in the representation of objects associated with vice. Painted in varying degrees of focus, her expert technique deceives the viewer into believing the work is a photograph, due to the realism of her subject matter and style, and the thin application of paint which gives a smooth, glossy finish. It is only on closer inspection that the viewer realises the work is entirely painted by hand. Brinkworth's works challenge our perceptions of the image; in our contemporary world inundated with visual stimuli, she painstakingly labours over her compositions to make us look at these familiar objects in a new way. In a parallel challenge to contemporary conventions her technique mirrors the Renaissance mural technique of the 'cartoon', a drawing which would be pricked along the lines and dusted with charcoal to transfer the skeleton of the image to the wall. Brinkworth similarly maps out her photographs onto both sides of sheets of paper and rubs the reverse to move the image onto the canvas. Once the composition is mapped out, she begins working into the picture in oil using her distinctive technique. Categories: The Watcher, Kate Brinkworth, photorealist, dice, gambling, casino...

F.R. Harper's striking painting captures the spirit of French resilience in the wake of World War I. A resolute young woman stands amidst the ruins of a ravaged village against the b...

Date: 1930 Medium: Oil on Canvas Dimensions: 28.00" x 30.00" Signature: Signed Lower Left Story illustration: “The Dead Ride Hard”, McCall’s Magazine, ca. 1930;

Medium: Oil on Board Dimensions: 29.75" x 38.50" Signature: Signed Lower Right This illustration by Mead Schaeffer was used as a Martin-Lockhead Electronics & Missiles Corp advertis...

Probable advertisement for a gun or ammunition company. William Harnden Foster's vibrant painting, Missed Again, captures a moment of humorous frustration with characteristic energy....

Date: 1945 Medium: Gouache Dimensions: 21.25" x 16.50" Signature: Signed Lower Left Cover of The Saturday Evening Post, February 3, 1945

Medium: Acrylic on Board Dimensions: 16.75" x 26.00" "Wilderness War" by Allan Eckert Book Cover

Medium: Oil on Canvas Signature: Signed Lower Left End of Track - Paperback Cover, written by Ward Weaver, Popular Library, 1951.

Medium: Acrylic on Board Dimensions: 20.50" x 24.00" Signature: Signed Lower Right "Lay the Mountains Low" Book Cover, by Terry C. Johnston

"Strawberry Field" (2023) by Keith Garcia Acrylic on canvas 36 x 36 x .75" square Figurative painting depicting elements that together form a story, with a turntable, a floating gem stone, a monstera...

"Hymnal" (2023) by Keith Garcia Acrylic on canvas 36 x 36 x .75" square Figurative painting depicting elements that together form a story, with a reel-to-reel, a gem stone, a monstera plant...

Paddle Forward (2021) by Keith Garcia Acrylic on wood panel Pop art, pop surrealism, low brow art, narrative art, knolling art, design Palette: gray & lavender, purple, pink, brown, tan, white, blue, clay Cat, monstera plant, MAC ATM machine, abstract, geode, rifle, video...

Site Size: 20 x 15 inches Framed Size: 28.5 x 24 inches Donald Spaulding's artistic talents were recognized early. Encouraged by his high school teachers to pursue formal art traini...