Suit Paintings

Acrylic on Canvas supplied framed :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Y...

Oil on canvas Hiromi Sengoku is a Japanese artist born in 1982 who lives and works in London, UK. Since 2008, she participated regularly to solo exhibitions in Japan and participate...

Mixed media on paper, Framed 19 x 14 x 2 cm

This oil painting evolved by exploring the possibility of translating the strong personality of Whistler's mid-1800's model Eloise, a modiste, from Whistler's etching of her "Fumette Standing". Among the other grisettes, in the Paris garden...

June Glasson is an artist, illustrator, and designer. She lives in New York. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in Berlin, and various New York and stateside galleries and museums. They have also appeared in New American Paintings, the Paris Review, the Wall Street Journal, Guernica, Versal, Asymptote, People, Domino, June Glasson Herself, Sand Journal, and Diner Journal as well as the film “My Idiot Brother.” She has also designed and fabricated exhibitions and displays for the Center for Urban Pedagogy, Bergdorf Goodman, Bumble and Bumble, and Crumpler Bags. She is a co-founder of the Wyoming Art...

Louis-Emile Adan French, 1839-1937 A Lady in a Garden Oil on board 9 ⅝ by 13 in, w/ frame 14 ⅞ by 18 ⅛ in Signed lower left French painter Louis-Emile Adan was born in Paris. Little is known of his earliest introduction to the visual arts, but he was admitted to the École des Beaux-Arts, where he initially studied with François-Edouard Picot (1786 – 1866), a successful painter who had himself been part of Jacques-Louis David’s studio, and who was one of the most popular professors at the École. Adan’s work during the 1860s embraced the mainstream tradition of neo-classicism espoused by J.A.D. Ingres (1780-1867). Simultaneously, Adan seems to have taken an interest in painting elegant young women. These images had considerable popular appeal, especially when they featured fashionable clothing in the latest styles. The decade of the 1880s was very busy, both with annual painting submissions to the Salon and with an expanding role as a book illustrator. Toward the end of the decade, Adan’s painting changed significantly. His earlier curiosity about Realist themes took on a new urgency as the artist explored the rigors of rural life. By the middle of the 1880s, Adan was actively engaged in the naturalist movement. Adan’s submissions for the 1889 Exposition Universelle in Paris showcased his naturalist aesthetic. His reputation as a distinguished painter was further recognized in 1892 when he became a Chevalier of the Legion of Honor, and again in 1900 when he was asked to sit on the jury of both the Salon and the Salon des Artistes Français. Museums: Macon, Agen, Pau, Alençon, Lyon, Mulhouse, Rouen, Nice, Péronne, Nantes, Pfister Art...

René Romero Schuler is an American painter and sculptor who creates powerful images that speak to the complexities of the human condition and the spirit that connects all human being...

Mixed media, acrylics, pigments on canvas

Acrylic on Canvas framed by Southgate Gallery Exeter to Guild Of Framers Museum Standard. 12"x16" or 16"x20" approximately including frame size. Painting is framed after purchase so ...

Mixed media, acrylics, pigments on canvas

Signed on reverse Andrea Vandoni is an Italian artist born in 1972 who lives and works in Novara, Italy. The artist studied and trained at the School of the Archaeologists and the S...

Welcoming her solitude, she let out one long breath as she sat down. It was time to unfold. -THE FEATURED ARTWORK was created using professional grade artist paints on gallery wra...

The stimulus for this painting was a trip to India in 2014. The young women seen at the Qutub Minaret in Delhi and the Taj Mahal in Agra. Their anarkali dresses were so wonderfully c...

Branko Bahunek, Croatian (1935 - ) - Wedding Day. Year: 1989, Medium: Oil on Canvas, signed and dated, Size: 22 in. x 18 in. (55.88 cm x 45.72 cm)

RUTH OWENS graduated in 2018 with an MFA from the University of New Orleans after leaving her medical practice of 25 years. She is represented by the Jonathan Ferrara Gallery, and belongs to the artist collective, “The Front,” both in New Orleans. Owens’ work is concerned with contributing to and preserving the black archive, and she uses personal super-8 film references in her painting and video art. Artist residencies include the Joan Mitchell Center, the Addison Gallery...

TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked ...

The Progressive Farmer magazine cover, January 1958 This dynamic scene of a mid-century New Year's Eve party captures the excitement across generations. While adults eagerly anticipate midnight, children watch from the staircase, and an older couple in the background enjoys a quiet moment together at the buffet table. Sarnoff's use of diagonals brings the scene to life, and the inclusion of noisemakers evokes the festive atmosphere. Created as a cover for the January 1958 issue of The Progressive Farmer, this is a prime example of Sarnoff's vibrant style. Approximate Date: 1958 Medium: Oil on Board Signature: Signed Lower Right Size: 25.00" x 22.00" Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art Museum, Brookings, South Dakota May 5, 2015 - September 13, 2015 Norman Rockwell Museum...

The illustration shows a young bride and groom at their wedding table above an older couple sitting down for a nice formal dinner. Probable Family Herald Magazine Illustration, May 1957 Much like Norman Rockwell, Kurt Ard...

Wencke Uhl is a contemporary figurative paintress living and working in Germany. She draws inspiration from human beauty and the female form. As a teenager Uhl wanted to become a f...

In highly developed nations today there is a widespread alienation and loneliness that engenders fear and distrust, a restrictive self-righteousness of thought, and a dread of what-c...

“I Promised My Wife: Sandy’s Business Trip Adventures,” original cover for Liberty magazine, published September 24, 1927 Traveling on a business trip, Sandy ventures out of his cut...

"Bright Horizons (The Puppeteers)" is a painting by Maestro Vlado Vesselinov. About the painting: Style and Technic: POP ART, Contemporary, Acryli...

36" x 36" Oil, Acrylic and Spray on Canvas Hand Signed by Billy Morrison

Gina Phillips is a mixed media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. The imagery, stories and characters of both regions influence her wo...

work is matted but not framed. Golden Age of Hollywood no illustrator chronicled the great stars, pin-ups and good girls better than Jaro Fabr...

Trump was a style of button-down shirt designed by Arrow Shirts. Trump shirts were treated by Arrow's then new "Sanforized" process to prevent shrinking, a...

"Lady in Waiting II" Figurative Oil Painting 55" x 39" inch by Yousra Hafad Yousra Hafad is a young artist who excels in portraiture and particularly the...

This surreal Men's Fashion illustration with a dragonfly is staged in an inside/outside setting against dreamlike Rene Magritte clouds. Of particular note is how the artist cropped t...

2009, Unique Artwork Oil on Canvas 76 4/5 × 70 9/10 in - 195 × 180 cm The artwork is signed by the Artist on verso of the canvas & stamped with the logo of the Artist's Studio on ver...

Painting: Oil on Canvas

One Queen (02) is an Original on Canvas by Agent. ’One Queen (02)depicts silhouette of the Queen. Agent X creates the illusion of a cut-out to reveal a Baroque, floral painting under...

Medium: Oil on Canvas Signature: Signed Lower Left

This is a one of a kind original realistic oil painting by San Diego artist Anna Cardoso titled, "Embracing Your Dark Side". It comes in a thin silver fra...

2010, Unique Artwork Oil on Canvas 31 1/2 × 47 1/5 in - 80 × 118 cm The artwork and signed by the Artist on verso of the canvas & stamped with the logo of the Studio of the Artist on...

2009, Unique Artwork Oil on Canvas 78 7/10 × 63 in - 200 × 160 cm The artwork is signed by the Artist on verso of the canvas & stamped with the logo of the Artist's Studio on verso o...

Georgian artist Merab Gagiladze was born in Tbilisi. In 1987 he began his formal art education at the Tbilisi College of Art, School of Ceramics. In 1990 he continued his studies at ...

Approximate date: 1924 Medium: Gouache on Board Signature: Signed Center Left Sight Size 20.75" x 29.88", Framed 49.00" x 39.00"

2010, Unique Artwork Oil on Canvas 49 1/5 × 50 4/5 in - 125 × 130 cm The artwork and signed by the Artist on verso of the canvas & stamped with the logo of the Studio of the Artist o...

Lets make a Move Acryl Painting on Canvas Fat Lady Dance Naive In Stock Ada Breedveld was born in Dordrecht at the start of the Dutch “Hunger winter” in 1944. Together with Ada’s br...

The paper in some of these photos looks overly textured due to the sharpness of the high-res digital camera. In person, with the human eye, the paper looks reasonably smooth with out blemishes. For this fashion illustration, Georges Lepape paints a stunning abstract pattern for the subject dress that is repeated in her hair. The work represents an early use of metallic paint, with silver metallic in the dress and bronze metallic in the blouse. Lepape's highly detailed drawing becomes more evident the closer you look. It's quite amazing how deftly he rendered facial feature on such a small scale. "Eva" 1918 Gouache, watercolor, and ink on paper Signed and dated, lower right: '1918' Inscribed, verso: "Costume for L'enfantement du mort, (miracle en pourpre, et or.). Devised by Marcel L'Herbier and performed at the Théatre Edouard VII and the Comédie des Champs-Elysées, 1919" Provenance: Ex-collection Lucien...

Pair of early 19th century Chinese export watercolour paintings Chinese, Early 19th Century Paper: Height 51cm, width 41cm Frame: Height 70cm, width 59cm, depth 6cm This exquisite...

Portrait Oil on cardboard, 100x92 cm The central focus of the artwork is a woman seated gracefully, elegantly adorned in a beautiful blue dress. Her presence dominates the composit...

Original cover for Liberty magazine, published October 13, 1928 Great Uncle Ulysses Grant Simpson comes to visit Sandy and Lil and stays for dinner, an event that he considers the c...

Bhaskar Chitrakar - Untitled, Gouache on Paper 15 x 11 inches, 2020 (Set of 2) Born : 1978 Bhaskar Chitrakar comes from a family of patuas (painters from an artisan community in West Bengal) that have been practicing Kalighat painting...

Blonde figure holding small butterfly in interior

Finely painted after C.A. Lenoir with a pensive brunette beauty seated at the edge of a fountain well; signed in front right corner "F. Hohle," plaque impressed monogram and scepter ...

Medium: Oil on Masonite Signature: Signed 'Hughes-' Lower Left This work was published as the cover of the June 17, 1950 edition of The Saturday Evening Post. Literature: J. Cohn, ...

Have you realized why I made this sketch? Why do artists even do preliminary sketches? And why do they need them and in what quality can they be exhibited or sold? Very funny ques...

Figurative realist painting by Steve Hawley

The illustration features a car salesman trying to talk a man into buying a very small red car whose license plate reads "Pikkolo" This piece was featured as the cover illustration of both HÖRZU and Panorama in 1959. Much like Norman Rockwell, Kurt Ard...

Date: 1989 Medium: Acrylic on Board Dimensions: 24.00" x 18.00" Signature: Signed Lower Left This painting was published as the cover for Aurora Rose by Anne Worboys, Pocket Books, ...

Oil on canvas, 16â€

Artist Statement Intermundium: space between worlds 2021 In the summer of 2019, I traveled to Ireland for an extended painting trip, renting a cottage for a month on the rugged Sheepshead Peninsula in West Cork, and then driving the circumference of the island for more exploration and painting. Along with my husband, also a painter, I’ve been going abroad...

Represented by George Billis Gallery. ARTIST STATEMENT: My work delicately renders familiar domestic comforts that we use to feel secure. Examining the identities of heirloom textiles and childhood nostalgia summons conflicting feelings of comfort and insecurity, shelter and confinement, and love and loss. I aim to expose the contradictions within the subjects- to honor their purpose with an honest portrayal, while simultaneously questioning whether the material comforts keep us safe or more vulnerable. ​ Native to Maine, Cindy Rizza...

Image of a ballerina wearing a tutu sitting in front of a brick wall. Signed Lower Left. Artist Francois Cloutier captures the essence of ballet in paintings of dancers who maintai...

Medium: Oil on Canvas Signature: Signed Lower Left Possibly illustrated for Glamour of Fashion Magazine

Acrylic paint on paper Hand-signed by the artist Unique work THE THOUSAND AND ONE NIGHTS OF MOHAMMAD ARIYAEI " Gentleness and oriental wisdom follow the supercharged bubbling to which we were accustomed from the previous deliberately art brut exhibition by Mohammad ARIYAEI. The Iranian painter's imagination moves serenely from the wildest frenzy to the meditative calm of great, fabulous stories. The artist then took pleasure in pouring the volcanic torrent of his barbaric figures onto the delicate latticework with which he is accustomed to lining his backgrounds with the patience of an illuminating monk. Already sweetness and paroxysm coexisted. Now gentleness wins. The trained imagination of the painter, yet spontaneously bubbling, by instinct as much as by erudition, has no difficulty in reconnecting with the abundant oriental tradition of the thousand and one nights, which, like a long underground river, resurfaces at the light of his painting. Spring renewal of traditions still alive. Systematic filling of space, a sort of oriental version of the Riches Heures...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Although painted 10 years ago the artist feels it is an appropriate image for these troubled times.

Original piece by Chris Cortez. Showing at The Queer Show Part II.