Naturalistic Art

Contemporary painting has very pleasing western subject matter depicting two cowboys actively taking part in a roundup of a herd of cattle . Takes place in a valley with surrounding ...

A really charming and beautifully executed study of a horse by this very talented artist. A most attractive picture of this noble creature in ready to hang condition Rafael Mckenzi...

Almost a folk painting in its naiveté and awe of the abundance on display. It’s a direct reminder of another era when such fruits, imported from warmer, faraway climates were an uni...

F. CLEVEROT Captain 1898 Oil on panel 18 x 14 inches Framed: 28 x 24 inches Hand signed lower right recto

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Kai Pol E Quah, White Nosed F...

Fine quality pair of cold painted bronze sculptures of Bedouins, garbed in short pants with colorful cold painted striped sashes and a gunbelt concealing a pair of daggers at their w...

The paintings are drawn with oil on the canvas with stretcher A bright still life with pomegranates and lemons. The national Armenian headscarf is on a dark background. There is a s...

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Nah-Et-Luc-Hopie", created by...

This evocative 19th-century oil portrait by renowned Swedish artist Julia Beck features a young woman in meditative repose. Captured during Beck’s influential years in France, the pi...

This beautiful, original hand-colored orchid lithograph entitled "Laelia Anceps Williamsii" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Album...

Oil on canvas 60x60 cm

The Grecian Greyhound 1887 Etching

Beautiful mid century California landscape of trees reflecting over a nearby lake by an unknown artist (American, 20th Century), c.1940s. This idyllic setting is dotted with wild flo...

Naturalistic painting of a rural farm landscape with a barn that has the iconic red Coca-Cola sign painted on the side. Signed by the artist in the bottom right corner and currently ...

Contemporary realistic Texas landscape nature painting by Houston based artist Jerry Greenberg. The work features a pair of trees casting shadows in an open field. Signed in the front lower right corner as well as titled on the reverse. Currently hung in a gold frame. Dimensions Without Frame: H 24 in. x W 30 in. Artist Biography: I have a deep appreciation for nature. In my work I seek to convey the landscape as I experience it emotionally as well as visually. I travel frequently throughout the United States and Europe in search of new landscapes. Some of my favorite subjects include rivers and creeks in the Texas hill country; aspen trees in the Rocky Mountains; ponds in New England; and lush rolling hills in the English countryside. My influences include French and Russian Impressionists and early California landscape...

Signé "Cte du Passage" et numéroté sur le rebord de la terrasse "55", ce bronze est une belle fonte ancienne d'un modèle emblématique du sculpteur Arthur du Passage. Le Cheval à l'...

The Old Mill is a 19th century oil painting on board by Scottish artist Colin Hunter, (1841-1904). Hunter was a member of the Royal Academy with the title...

This painting unfolds within a dimly lit interior, where the scene emerges gradually from shadow, as if shaped by a single, concentrated source of light. The composition is intimate ...

Tiger 3, Archival Photographic print reverse mounted to Plexiglass with aluminum hanging hardware- Edition of 10. Max Clifton is a renowned nature photographer who is celebrated no...

A contemporary still life representing atelier of the artist painted in a realistic style by an award-winning Polish woman artist. AGNIESZKA STAAK-JANCZARSKA (born in 1994) A gradua...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Antoine-Louis Barye (1795 - 1875) Basset debout (tête tournée à droite, second modèle) Bronze à patine brune nuancée H. : 15,5 cm; L. : 23,5 cm; P. (terrasse) : 9,6 cm Signé en c...

Watercolor on paper BIOGRAPHY: Eunju Kang was born in 1962 and raised in Daegu, Korea. She moved to California at 14 years old with her mother and two sisters in the 1970s. Kang was...

Hand-Forged Life-Size Sunflower Sculpture by Italian Hammersmith - Indoor & Outdoor Art Description: Bring the warmth and poetry of nature into your space with this exquisite life-size sunflower sculpture, masterfully handcrafted by a renowned Italian hammersmith. Designed for both indoor and outdoor settings, this piece radiates elegance, charm, and artisanal excellence. Each sunflower is forged by hand using traditional techniques passed down through generations, embodying the essence of Italian craftsmanship. The delicate curvature of the petals, the intricate texture of the center, and the organic lines of the stem all contribute to a sculpture that feels alive with movement and emotion. Whether placed in a garden, terrace, entrance hall, or contemporary living space, this sculpture becomes an immediate focal point-inviting conversation, admiration, and a deeper appreciation for handmade artistry. Details: Origin: Italy Material: Hand-forged iron Finish: Natural patina suitable for outdoor use (custom finishes available on request) Dimensions: Life-size scale Condition: New, Suitable for: Indoor or outdoor display Style: Organic, botanical, timeless Celebrate the beauty of nature through the hands of an Italian master. A truly unique and timeless piece for collectors of fine art and lovers of bespoke design. Based in Caldes (Trentino, Italy), Zanoni is heir to a family tradition of blacksmithing passed down from his father, Luciano Zanoni, who famously forged a monumental four-meter olive tree sculpture...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Boat House, Springs, NY, Archival Pigment Print, $550 Ed.5, 2015 East Hampton Printed to Order *Photography: U Wash Truck, Death Valley and Mulford Lane, Amagansett 2012 have been featured in the June 2019 issue of Black & White Magazine and the photograph Boat House, Springs East Hampton...

Otto Eichinger Austrian, 1922 – 2004 Still Life with Cherries Oil on panel 10 ¼ by 12 ¾ in, w/ frame 17 ¼ by 19 ¾ in Signed lower right Otto Eichinger was born in 1922 in Vienna, A...

PLAN OF A PART OF NEWPORT, R.I. SHOWING CHANGES IN HIGHWAYS ASKED FOR BY O.H.P. BELMONT, ESQ. The original ink and watercolor plan on paper from 1907. The plan is extremely large; if fully assembled it would measure no less than 11.5 feet in height and 6.5 feet in breadth. Segmented and backed on modern linen in four sections – each section is 70 x 39 inches. This grand oversized folding map can be folded down to four sections each 17.5 x 11 inches and stored in a modern made leather and marble paper case 18 x 11.75 x 3 inches. Text continues, "Prepared for Charles Warren Lippitt at the office of J. P. Cotton, C.E. Newport, R.I. Oct. 28, 1907." A fine manuscript plan of the Bellevue neighborhood of Newport, depicting the street layout and the detailed footprints of the area’s many mansions. The plan was produced at the behest of Charles Warren Lippett (1846-1924), who served as governor of Rhode Island from 1895-1897. The Lippett “Breakwater” mansion is also shown on this plan, situated at the southernmost tip of the peninsula. Though the circumstances are unclear, Lippitt seems to have requested the plan be drawn out of some concern for road construction proposed by Oliver Hazard Perry...

Details: Title: Marine Botany II Medium: Gouache Crayon and Acrylic Paint on Watercolor Paper Size: Size: 40x28 Inches (100x70cm) Year: 2026 * Certificate of Authenticity provided. ...

Deer in a Mountain Landscape Wenzel Karl-Heinz 1932 – ? 20th Century German Painter Signature: Signed bottom left Medium: Oil on canvas Dimensions: Im...

Marzio Tamer occupies a unique position in contemporary painting. Few artists working today have developed a visual language in which extraordinary technical mastery and a profound k...

Beautifully rendered flower watercolor #9 by American artist Robert Rives. Rives uses the medium to its full depth in his details and color ranges. Painted on a heavy paper board w...

Rich blue and green toned naturalistic landscape painting by Houston based artist Nancy Paris Pruden. The work features a serene scene of water flowing through the trees of a cypress...

Pierre Jules Mêne (1810 - 1879) fut l'un des sculpteurs français les plus importants du XIXe siècle, au même titre que d'autres animaliers célèbres tels qu'Antoine Louis Barye (1795 ...

Nicholas Trofimuk is a fine art photographer and Master Printer whose work spans black-and-white landscapes, archival pigment color prints, and his signature "Vibographs." Raised in ...

Edouard Delabrièrre (1829 - 1912) Lion marchant Bronze à patine verte H. : 14 cm ; L. : 20,2 cm ; P. : 8 cm Signé « E. DELABRIERRE » sur la terrasse Épreuve de fonte ancienne É...

Copperplate etching by Martin Lewis titled "Under the Street Lamp." Edition of 100. Printed on laid paper with watermark and 83 recorded impressions. McCarron catalogue raisonne #70. Signed in pencil with "imp" next to the signature. In the bottom right corner is a penciled 75 and in the top right corner is a 50. The etching is framed and was taken out of the frame for condition report and photographs. The gallery label is on the back of the matte inside the frame. Dimensions without Frame: H 15 in x W 9.5 in. Artist Biography: Martin Lewis (1881-1962) was born in Castlemaine, Victoria, Australia on 7 June 1881. He was the second of eight children and had a passion for drawing. At the age of 15, he left home and traveled in New South Wales, Australia, and in New Zealand, working as a pothole digger and a merchant seaman. He returned to Sydney and settled into a Bohemian community outside Sydney. Two of his drawings were published in the radical Sydney newspaper, The Bulletin. He studied with Julian Ashton at the Art Society's School in Sydney. Ashton, an English-born Australian artist and teacher, known for his support of the Heidelberg School and for his influential art school in Sydney. In 1900, Lewis left Australia for the United States. His first job was in San Francisco, painting stage decorations...

Three plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: XLVIII; XLIX & L. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Early 19th century ink drawing of Chartres Cathedral by English artist Samuel Prout. The work focuses on the large scale architectural elements of the cathedral with small figures st...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

AMERICA'S CUP - 1967. BEAT TO THE FINISH - INTREPID (USA) VS. DAME PATTIE (AUS). “Beat to the Finish” is a 1967 watercolor by Joseph Webster ...

Nicholas Trofimuk is a fine art photographer and Master Printer whose work spans black-and-white landscapes, archival pigment color prints, and his signature "Vibographs." Raised in ...

Ce modèle rare représente une race bien connue de taureaux écossais. Peut-être Isidore Bonheur s’est-il inspiré des dessins rapportés par sa soeur, Rosa, à l’issue de son voyage en É...

Board size: 16" x 20" Frame Size: 22.75 x 26.5 in. Signed, bottom right. In this serene, luminous landscape painting captures the quiet, golden hour of a pastoral twilight with rem...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Born in 1918 in Fordyce, Arkansas and raised in Louisiana, Fearing first studied art at Louisiana Tech University, and later earned a master’s degree at Columbia University in New Yo...

Original watercolor landscape painting of Niagra falls in the winter and in the spring. The pair of paintings are signed by the artist in the bottom corne...

A luminous alpine landscape with a big apple tree in full spring bloom dominating the foreground. Its spreading, somewhat gnarled branches carrying an abundance of pale pink and whit...

Modern naturalistic portrait painting by well-known Houston-based artist Herb Mears. The work features a detailed rendering of a jockey wearing a yellow and blue outfit standing next to his wife and a young lion. Signed by the artist in the front lower right corner. Retains the original DuBose Gallery label on the reverse. Currently hung in a complementary frame. Dimensions Without Frame: H 48 in. x W 54 in. Artist Biography: Born in New York City in 1923, Herb Mears was interested in art from a young age. He studied under Fernand Leger in Paris and went on to paint and study in various studios in France and Italy before his arrival in Houston in 1951. With colleague David Adickes, whom he had met in Paris, Mears decided to open an art school. Their Studio of Contemporary Arts finally settled in an old building on Main Street with Mears and Adickes hoping to give classes to potential students. However money was tight and Mears found himself as a draftsman for Houston Lighting and Power Company, a job he excelled at and enjoyed. Later, Mears was involved in the Contemporary Arts Association, frequently making trips to ensure security in addition to enjoying the art scene the Association provided. From the CAA to the Art League of Houston and the Museum of Fine Arts, Mears began to gain recognition. An abstract, or non-objective piece as he called it, won a prize at a competition held by the Museum of Fine Arts, earning him a teaching position at the Museum School. Mears also taught at the Contemporary Arts Museum, University of Houston...

Image dimensions: 14x22 cm. Horse with Herds is a really beautiful china ink original drawing on paper, signed and dated in black ink on lower margin by the Italian artist, Filippo Palizzi...

—–---Pyramidal, -------Pyramidalis Plate 366 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

'Crustacea' Copper-line engraving with original hand-colouring. From Baron Georges Cuvier's (1769-1832) 'Animal Kingdom', published in London in 1837. 210mm by 130mm (sheet)

'Crustacea' Copper-line engraving with original hand-colouring. From Baron Georges Cuvier's (1769-1832) 'Animal Kingdom', published in London in 1837. 210mm by 130mm (sheet)

'Crustacea' Copper-line engraving with original hand-colouring. From Baron Georges Cuvier's (1769-1832) 'Animal Kingdom', published in London in 1837. 210mm by 130mm (sheet)

Dated 1896, gouache on paper, and signed lower right; this painting by John Hauser (1859-1913) is so popular that it has been reproduced in several mediums over the last 100 years, b...

Landscape painting of a forest with hunters and their dog. The work is signed by the artist in the bottom corner. The canvas is framed in a gold frame with a black trim. Dimensions Without Frame: H 24 in x W 30.25 in. x D 1 in. Artist Biography: Texas artist, Peggy Byars, has been a professional artist since 1976. She feels that a work of art should involve the total person. One should sense the smells, feel the warmth of the sun, enjoy the fresh air and cold water hear the wildlife. Peggy's illumination technique, or glow, is the trademark of all her work, giving her paintings a refreshing aliveness and sense of being there. Ms. Byars has studied with Cowboy Artists of America Museum in Kerrville: Harvey...

This painting of a lush, wooden landscape with a house by a lake was painted by New Mexico, female artist Mabel Dodge Luhan in the 1940's. It signed "Mabel Dodge" in the lower left a...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

Oil on canvas 50x60 cm

Fine 19th century landscape oil painting on canvas by Scottish artist William Beattie-Brown (1831-1909), is of a Highland River in Spate. Beattie-Brown excels in capturing the movement of water and atmospheric hills in scenic Scottish backgrounds. Beattie-Brown was a member and academician of the Royal Scottish Academy (RSA), and his signature is followed by RSA to note this distinction as an artist. His work is represented in the Scottish National Gallery in Edinburgh, Glasgow, northern England and in the London Royal Academy. His forte' is in Scottish landscapes painted plein art...