Realist Art

Rodney Pleasants, Alessandro Spicaglia, Pauline Cappa, Don C. Napolitano and Luigi Boscaln walking on the island of Capri, Italy, in August 1980. Slim Aarons Estate Edition, Certif...

Dave Seeley's "Audrey #1" is an original, handmade oil painting that depicts a nude female model reclining on blue velvet fabric as she turns her face away from the viewer. Dave S...

Martin. 1936. Paper, pastel. 27.5x11.5 cm

"The General" is a realist oil on linen painting. A portrait of a senior war offical, The General wears a dark grey military jacket and a white undershirt can be seen poking out at h...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Dramatic Peony" by Julie Whitehead is a breathtaking original...

Acquired by the gallery directly from the artist

"Freshly Shorn", is a 12x24 oil painting on board by artist Leslie Peck featuring a lively flock of freshly shorn sheep and lambs. The animals are framed under a canopy of bright gre...

A fine floral oil painting by Scottish listed artist John M. Aiken. This is a super oil on canvas painting of a floral arrangement entitled "Gay Companions" of yellow, pink, red and white flowers in a blue bowl. The flowers are marigolds, dahlias and cosmos amongst others. This is a fine example of a Inter War Scottish Post Impressionist floral oil with good subject. It is a good large size painting and is signed and in good condition. If you want a painting by this artist then this is a fine example. Signed lower right. Provenance. Private estate collection. Gallery label verso. Remnants of exhibition label. Condition. Oil on canvas. Image size 30 inches by 25 inches and in excellent condition. Housed in a complementary frame, framed size is 39 inches by 34 inches. In good condition. John Macdonald Aiken (1880-1961) was born in Aberdeen and a painter in oils and watercolours as well as an etcher and stained glass artist. After serving a six years apprenticeship as a draughtsman with the lithographer Robert Gibb he studied at Gray's School of Art in Aberdeen and at the Royal College of Art under Gerald Moira...

Jack Mitchell, American Photographer (1925-2013). Joe Dallesandro, ca. 1973. 11 x 14 inches; 12 x 15 inches framed. Period print from artist's studio. The image was intended for ...

Oil on panel by George Nemethy, signed lower right. This piece measures 16.25 x 18.25 inches including the frame, panel measures 8 x 10 inches and features the Sidewheeler Scott cru...

Florence, Italy is an exquisitely crafted 24-color silkscreen print by renowned American artist Gretchen Dow Simpson, celebrated for her architectural precision and serene, minimalis...

"Hunting Dogs with Geese" is a 26 x 21.5 inches, oil on canvas landscape of two dogs on the trail by the river. The canvas is signed "B Lanoux" in the lower left. B. Lanoux is a lis...

This expressive mixed media sketch on paper (study for a large painting) captures the essence of a dense forest landscape with bold brushstrokes and layered textures. The interplay o...

Gouache on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of Calif...

A tranquil mountain lake scene with vivid light, colour and natural beauty, by 20th Century Artist, William Yeaman. Art measures 30 x 20 inches Frame...

This midcentury landscape photograph, captured by society photographer Slim Aarons, features the apres-ski in Zermatt, Switzerland, March 1968. In this scene of casual winter glamo...

Brian O'Neill's (US based) "Exhale" is an original, handmade oil painting that depicts a nude male figure stooped over and keeling on the ground, with his back exposed and bowing his...

A rich and tonal image of an icon of Manhattan architecture. Etching with drypoint, 11 7/8 x 7 3/8 inches (300 x 186 mm), full margins. Edition of 100. Signed in pencil, lower right...

Edmond Suau (1871-1929) Une Académie, Standing man, oil on canvas signed lower left 88 x 70 cm In quite good condition, some damages - small lacks of painting - in the lower part, ...

The boy with a grown man’s expression. The dignified rooster, unfazed by his situation. This may have been painted from a 19th-century photograph, given the sepia tones of this paint...

In this oil painting, I sought to capture the serene poise of a ballerina, a silent moment of reflection amidst the dynamism of her world. I used a palette that contrasts the warmth ...

Charles H. Boland de Spa (Belgium, 19th Century) 'Tom’ - a Brussels Griffon terrier signed 'Ch. Boland' (lower left) oil on panel 13 x 8 ⅝  in. (33 x 21.9 cm.) frame 18 ½  x 14 in. (...

Don Crowley (1926-2019) Arizona / California Western Artist Image Size: 11 x 13 Frame Size: 18 x 20 Medium: Gouache Study "After Glow" Indian Girl with her...

Jill Soukup's "Russian Olive Tree" is an oil painting created on location in 2021` that depicts a tree highlighted with sky. About the artist: Jill Soukup was born in Buffalo, New...

445 Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2025 Style: Classic Art Title: Kingfisher Size: 12 x 16 inc...

443 Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2025 Style: Classic Art Title: Yellow Bird Size: 12 x 16 in...

Gilbert Lewis (b.1945). Portrait of a Young Man, ca. 1990s. Gouache on illustration board, 18 x 24 inches. Signed upper right. Excellent condition. Measures 24 x 30 inches in custom frame. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks...

Charcoal drawings add warmth to an artwork and this is a nice one by Terry Futvoye. It has a few minor imperfections but still looks nice in the frame. Reframing is an option if t...

Shire Horse & Man by Woodland River in the English Countryside by British Artist, Peter J Greenhill Art measures 24 x 18 inches Frame measures 30 x...

This coastal seascape limited edition print captures a scene from the porch of a beachfront property along the coast. A setting sun casts sharp light and cool blue-grey shadows across the porch, where two sets of shoes and two boat paddles...

Jacques Poirier ( 1928 -2002) " La boule de cristal " . 1980' s Jacques Poirier est un peintre du mouvement trompe l'oeil , Hyper-réaliste et un illust...

Robert Bliss (1925-1981). Man in Thought, 1964. Graphite on canvas, 11.5 x 46 inches. Signed and dated lower left. Right piece of basic wood strip frame i...

MAXWELL ARMFIELD, RWS. (British 1882-1972) Costume Design for Geranos Signed l.l.: MAXWELL ARMFIELD, inscribed u.l.: Costume, PHEONIX CEREMONY/ IAN (?) VALO as DAVID, and further i...

Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...

Provenance On consignment with the gallery from a Pasadena, California corporate collection. The painting was displayed at Mutual Savings and Loan on Colorado Blvd. in Pasadena. A 1955 photo showing Bickerstaff paintings on display at the same Mutual Savings and Loan office in Pasadena is available through the Pasadena Museum of History's library. Label on verso: Mutual Savings No. 3107 Description This painting is untitled, however, the landscape appears to be of California's Palm Springs Desert area with a scattering of smoke trees...

This artwork by Lee Teter depicts a veteran at the Vietnam Veterans Memorial in Washington, D.C. It is nicely framed and in very good condition. The signature by Lee Teter is a r...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

This is an original 19th century hand-colored lithograph entitled "Petra, Shewing the Upper or Eastern End of the Valley" by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is one of Roberts' most famous and collectible works. The scene captures a view of the magnificent ruins of Petra in what is Jordan today, as it appeared on March 8, 1839, on the day of Roberts' visit. Multiple Arab men are approaching Petra; some on foot and others riding camels. They are dressed in their colorful local costumes. Roberts' signature and hand written date are reproduced in the plate on the left. This hand-colored lithograph is printed on wove paper with wide margins. There is some loss of color in the text in the title and a faint dark curvilinear area in the upper right. The print is otherwise in very good condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV protected conservation glass. All framing materials used are archival museum quality. The frame measures 23.63" high and 29" wide. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Approach of Simoon, Desert of Gizeh and the Petra. They can be viewed by typing their reference #'s, LU1173211955452 and LU1173211969422, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

This painting was done with high quality oil paint on canvas. I used traditional techniques such as chiaroscuro, layers, and glazing to achieve a high level of realism and show how b...

Hans August Lassen (1857–1927) – "Im Atelier des Malers" (1887) Artist: Hans August Lassen Title: Im Atelier des Malers (In the Painter’s Studio) Date: 1887 Medium: Oil on Wood Dimen...

Herzogin Cecilie, 1902 by Louis Letouche (French 1924-2015) oil painting on linen canvas, stretched over board framed Framed size: 15 x 21.75 inches Superb oil painting by the well listed French marine artist Louis Letouche (1924-2015). The painting portrays the early 20th Century ship titled: Herzogin Cecilie, 1902. Herzogin Cecilie was built in 1902 by Rickmers Schiffbau AG in Bremerhaven. She was yard number 122 and was launched on 22 April 1902. Completion was on 7 June that year. She was 334 feet 8 inches (102.01 m) long, with a breadth of 46 feet 3 inches (14.10 m) and a draught of 24 feet 2 inches (7.37 m). Herzogin Cecilie was built for Norddeutscher Lloyd Bremen. Unlike other contemporary German merchant sailing ships, the black Flying-P-Liners or the green ships of Rickmers, she was painted in white. She was one of the fastest windjammers ever built: she logged 21 knots at Skagen. The tall ships of the time remained competitive against the steamers only on the longer trade routes: the Chilean nitrate trade, carrying salpeter from Chile to Europe, and the Australian wheat trade, carrying grain from Australia to Europe. Both routes required rounding Cape Horn routinely, and were not well suited for steamers, as coal was in short supply there. Herzogin Cecilie was one of the fastest merchant sailing ships of her time, on a par with the Flying-P-Liners. The trip around Cape Horn from Portland (Oregon) to The Lizard (England) was done in 1903 in only 106 days. At the outbreak of World War I, she was interned by Chile, returning to Germany in 1920, only to be given to France as reparation, and subsequently sold to Gustaf Erikson (24 October 1872 – 15 August 1947) of Finland for £4250. She was homeported at Mariehamn.[2] As the freight rates for salpeter had dropped after the war, Gustaf Erikson sent her to bring grain from Australia. In so-called grain races, several tall ships tried to arrive first in Europe, to sell their cargo for a higher price, as told, for example, in The Great Tea Race of 1866 or The Last Grain Race. Typically, ships were loaded in the Spencer Gulf area, Port Victoria, South Australia or Wallaroo, South Australia, and travelled to Europe, with ports on the British Isles like Queenstown, Ireland or Falmouth, Cornwall being considered as the finish. After "winning" four times prior to 1921, she again won the grain race four times in eleven trips from 1926 to 1936. In 1927, when Herzogin Cecilie covered Port Lincoln (South Australia) –Falmouth, London and won a race against the Swedish ship Beatrice. Alan Villiers was on board, which would result in his book Falmouth for Orders, and later a trip aboard the barque Parma. Wreck of the Herzogin Cecilie in south Devon. With Sven Erikson as her Captain and Elis Karlsson her First Mate, the ship left Port Lincoln in South Australia on 21 January 1935, with a cargo of wheat, and after taking a more southerly route than usual, reached Falmouth for Orders on 18 May making her passage of 86 days the second fastest ever. Herzogin Cecilie was making for Ipswich in dense fog, when, on 25 April 1936, she grounded on Ham Stone Rock and drifted onto the cliffs of Bolt Head on the south Devon coast. After parts of the cargo were unloaded, she was floating again, only to be towed in June 1936 to Starhole (Starehole) Bay at the mouth of the nearby Kingsbridge Estuary near Salcombe, and beached there.On 18 January 1939, the ship capsized and sank. The remains of the ship sit at a depth of 7 metres at 50°12.82′N 3°47.02′W. The timber and brass portholes from the chart room...

Venetian Harbor Scene Artist: Karl Kaufmann (Austrian, 1843–1902) Date: Late 19th century Medium: Oil on canvas Dimensions: Framed: 40 × 72 cm Unframed (sight): 34 × 63 cm Signature:...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

A traditional original oil painting of the beautiful English countryside, capturing the range of trees, fields and buildings to be f...

A Meal Van Den Eycken Charles Brussels 1859 – 1923 Belgian Painter Signature: Attributed to Charles Van Den Eycken Medium: Oil on panel Dimens...

Woman lighting a cigarette by Victor Gabriel Gilbert. Excellent condition and original frame.

"Dust & Scarlet" (2024) by Blair Atherholt is an original, handmade oil painting on panel that depicts a still-life featuring a white flower, a red rib...

This artwork titled "Scene Galante au XVIII eme Siecle" c.1930 in an aquatint on paper by French artist Antoine Calbet, 1860-1944. It is hand signed in pencil at the lower right corner. The plate mark (image) size is 9.60 x 12.25 inches, framed size is 16.5 x 19.5 inches. Framed in a wooden gold and black frame, with fabric matting. The artwork is in very good condition, frame and matting are in good condition, frame have some minor dents, matting have a small point of discoloration at upper left. About the artist. Antoine Calbet is the son of Marie Singlande and Jean-Baptiste Calbet, landowner at a place called Gaubert. Trained at the School of Fine Arts in Montpellier by Édouard - Antoine Marsal (1845-1929) where he learned drawing, this illustrator and illustrator, a painter of nudes and gallant scenes, was very popular during his lifetime. Antoine Calbet is then admitted to the School of Fine Arts in Paris in the studio of Alexandre Cabanel (1823-1889). He was a member of the admission jury of the Beaux-Arts from 1913 to 1930. He began to exhibit in 1880 and became a member of the Society of French Artists . He was the friend of his compatriot of Lot-et-Garonne, the President of the Republic Armand Fallières , for which he drew the menus of his meals, which made him known in Parisian salons.He illustrated works by Jean Lorrain , Henri de Regnier , Pierre Loues 3 and for periodicals like L'Illustration . Selected museums and collections Dallas , Dallas Museum of Art : Back woman...

Engraving by Albert Emil Kirchner Dutch artist born in 1813 and died on 1885 He have 176 registered auctions. The oldest was in 1989 and the most recent in 2022 The theme of the engraving is one of the most famous castle in Switzerland "le chateau...

Oil painting of an English Country Landscape by 20th Century British Artist, Peter J Greenhill Art measures 30 x 20 inches Frame measures ...

John Tarantola's original nude portrait "Levi Jackson" (2015) is a realist oil on panel painting that depicts a nude male lying on a bed, looking up seductively at the viewer's point...

Unframed. 2023. Signed on the back. Narrower than "The Journey's End." This photograph was taken a year after the artist's husband died, revisiting the same path but photographing ...

Charming turn-of-20th Century interior painting that takes the viewer back to simpler times with grandmother, grandfather, mother sewing and a young girl playing with her greyhound a...

Elizabeth Osborne (b.1936). Still Life Cabbage, 1983. Watercolor on paper, sheet measures 22.5 x 30 inches; 29.5 x 37 inches in custom frame. Original Fischbach Gallery label affixed...

A rare antique Italian portrait of two children posed inside a villa against a landscape. This unsigned but beautiful work comes house in contemporary frame added to the work to e...

Landscape, 1990 Original aquatint and aquatint signed by hand by the artist.. (mm. 450x540). Perfect specimen, imprinted on Hahnemühle paper in a total of 100 copies Perfect preserv...

German Aircraft Original vintage Second World War poster Lithograph 51 x 71 cm c.1941-1944 This original vintage poster, published in 1941, depicts a series of German aircraft,...