Blackboard Art

In this evocative winter landscape, painted in 1941, Swedish artist Olof Walfrid Nilsson captures the serenity and quiet grandeur of a frozen lake bathed in gentle afternoon light. E...

Tonalist style, abstract figurative watercolor by Susan Hope Fogel watercolor on Arches heavy-weight paper 30 x 44 inches, diptych of two sheets measuring 30 x 22 inches each 35.5 x...

Pauline Ziegen oil, aluminum leaf, mixed media on panel white, gray, white gold, navy, blue Pauline Ziegen’s earliest landscape paintings were painted outdoors in Kansas where vast ...

"Exotic," 2019. Enamel on panel, sign painting, black, white, and red. Hand lettering

Michele Harvey’s 2007 oil-on-linen painting, Dancers, evokes serene beauty through its depiction of trees immersed in a misty environment. The poetic title draws attention to the alm...

This pop art painting of a Canadian flag is by Charles Pachter. One of Canada’s much-loved and collected contemporary artists, Charles Pachter, is renowned for his iconic pop art im...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Forest Light, 2016 (Contemporary Impressionist Landscape in Watercolor ) by Susan Hope Fogel Abstracted landscape watercolor drawi...

Romantic, Tonalist style landscape drawing by Sue Bryan of a lush country forest set against a serene sunset charcoal and acrylic on Arches paper mounted on wood 16 x 20 inches, unf...

This exquisite lithograph by Marino Marini (1901–1980), titled Cavalli e cavalieri in piedi (Horses and Riders Standing), from the album XXe Siecle, Nouvelle serie, No. 1, 1951, orig...

This dynamic seascape captures the raw power of the sea under a darkening sky. Waves crash violently against coastal rocks, sending white spray high into the air, while shifting tone...

Robert Hopkin (Scottish/American, 1832-1909) Signed: R Hopkin (Lower, Right) " In the Distance ", c. 1880s Oil on Canvas 14" x 20" Housed in a 2 3/4" Frame Overall Size: 19" x ...

This beautiful painting by Nacho Reina is a formidable example of the interplay between form and color forms as the central axis of his work, where he starts from architectural shape...

Antonio GUANSE (1926-2008) Pipe Smoker, 1977 Oil on canvas Signed and dated Countersigned and dated on the back On canvas 61 x 50 cm Presented with the wooden frame 62.5 x 51 cm Ve...

Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master. Original oil painting on Canvas. The painting represents a still life...

Born in Jefferson City Missouri in 1976 Justin Allen attended Webster University in St. Louis, Missouri where he studied filmmaking before studying painting at the Art Students Leagu...

"French Economy" by Bert Hardy 14th June 1952: A young French girl holding a large loaf of bread while reading a sign about a possible decrease in bakery prices in the home town of ...

"Door #12 (Magazines)" (2018) by Francesca Reyes Original oil, acrylic and paper on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, depicting doors that she h...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

This pop art painting of a Canadian flag is by Charles Pachter. One of Canada’s much-loved and collected contemporary artists, Charles Pachter is renowned for his iconic pop art ima...

Portraits of found nests. Price includes frame.

Intimate paintings represented by unmade beds and tossed sheets, absent of any human evidence, on intentionally blank, somewhat rough backgrounds. The empty bed in these paintings represents a place for grief, isolation or healing. As such, the work speaks to our shared feeling of grief, with the understanding that while we all suffer in our individual ways, suffering is universal. Source material for this work are photographs the artist has both taken and found, and the intimate size of the paintings references the intimate nature of the subject matter. The backgrounds of the paintings are repeatedly painted and sanded, to create a frame and backdrop for the bedding that is flat, yet rough with work and time. The bedding itself is seen from different perspectives, but still indicates a scene of desolation and despair. While the series began in the fall of 2016, recent events—including the pandemic—have provided a new dimension to the work and have compelled Serpick to consider the themes in light of these events. Our forced isolation and the challenges it has brought to our physical and mental health provides an additional shared experience from which to consider grief and eventual healing. Biography Stephanie Serpick is a painter whose work explores themes of isolation, grief, and healing. Her work has been shown in various exhibitions in the U.S. and internationally, and she is a fellow at several residencies, most notably at the Florence Trust Studios in London, MASS MoCA in North Adams, Massachusetts, and the Vermont Studio Center, where she was awarded a full fellowship and stipend to attend. Recent exhibitions include solo shows at Sweet Lorraine Gallery in Brooklyn, the College of Southern Nevada, and a two-person exhibition at The Munson-Williams-Proctor Arts Institute at the Museum of Art at Pratt in Utica NY...

Oil on wooden table realized by Giovanni Gromo in 1980s. Hand monogrammed. Good condition.

Joanna Mrozowska Born in 1976 in Warsaw. Studied in the Department of Painting in the Academy of Fine Arts in Warsaw; she graduated with a Master’s degree in painting, with the cycle...

This oil painting presents an opulent bouquet of lilacs in full bloom, arranged in a softly rounded ceramic vase. Cascading clusters of white, lavender, and deep violet blossoms fill...

This original lithograph poster was created by artist Martha Diamond for the American Dance Festival in 1981. The poster exemplifies Diamond's distinctive style and serves as a vibra...

Screen print on paper realized by Leo Guida in 1970s. Signed in the plate. Not numbered. Excellent condition.

33 x 41" framed, acrylic on canvas yellow black gray I document the essence of the landscape everyday. I am interested in those untouched views of our landscape - the best parts of ...

This is an exclusive handprinted limited edition cyanotype. Contemporary linear cyanotype showing a 3D mountain terrain. Details: + Title: 3D Render Mountain + Year: 2021 + Edition ...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Contemporary, abstracted landscape reminiscent of Hudson River School & Romanticist painters oil on canvas 40 x 48 inches Romantic (yet modern) Hudson River oil landscape painting of a vast field in the foreground with a red and blue sunset sky in the background. This painting is of a horizontal orientation and is finished with an olive green border painted directly onto the canvas. The edges are finished with the same color, so no additional frame required here. Once a hard edge realist painter, the artist eschews those details, letting the stroke of his brush and moody palette leave an abstract implication of the landscape. In the Openings series, Palmer integrates the frame into the painting. This element contributes to the narrative, suggesting the viewer is inside looking out. We are not a part of the landscape, rather we are a peaceful witnesses to nature that will transcend even our own existence and continue to change with the seasons long after we have passed. We are romanced by Leigh Palmer's unique ability to pare down and find the true essence of the landscape, gently veiled through his own soul. We are proud to have exhibited his work since the inception in 1991. Artist Statement: My paintings are based on observation of the landscape in the Hudson River Valley where I live, and are improvised in the studio; the images are found or discovered in my memory of familiar places and developed during the painting process. Human beings do not appear, but their presence is felt in the marks left on the ground (furrows, fence rows, roads), and sometimes in the air (smoke, haze). About the artist: In 1987, Leigh Palmer moved with his family from suburban Duxbury, Massachusetts, to Tivoli, New York, a quiet town on the Hudson River, north of New York City. His subject matter shifted to the sprawling hills and countryside of the Hudson Valley. “I wanted to respond to the new landscape I was seeing, to catch something of the feeling I had just before dark,” says Palmer. “I took a lot of photographs, but I was happier with the paintings I created from memory.” Leigh Palmer has been represented by Carrie Haddad Gallery in Hudson, NY for over 25 years. Resume: EXHIBITIONS 2013 - 2017 Carrie Haddad Gallery, Hudson NY 2011 Graficas Gallery, Nantucket MA 2010 Carrie Haddad Gallery, Hudson NY 2009 Bachelier-Cardonsky Gallery, Kent CT 2008 Bachelier-Cardonsky Gallery, Kent CT Four Starr Gallery, Stonington CT 2007 Carrie Haddad Gallery, Hudson NY 2005 Bachelier-Cardonsky Gallery, Kent CT 2004 Segalas Gallery, Bernardsville NJ 2003, 04 Bachelier-Cardonsky, Gallery Kent CT 2000, 01, 03 Carrie Haddad Gallery, Hudson NY 1999 Barbara Singer Fine Art, Cambridge MA 1999, 98 Carrie Haddad Gallery, Hudson NY 1997 The Main Street Gallery, Nantucket MA 1996 Randall Tuttle Fine Arts, Woodbury CT 1995 James Cox...

Dan Flavin Unique design for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood fra...

Oil painting on canvas in good condition. 2 small patches Image: 17 3/4 x 11 1/2 inches Overall: 22 1/2 x 16 1/2 inches

Lithograph on paper realized in 1970s. Hand signed in pencil. Artist proof our of an edition of 175. Very good condition.

Charming little 19th century oil on board. I am not sure if it’s European or American. The painting measures 12 inches wide by 6 inches high. The frame is 3/4 of an inch around. Pain...

Beautiful mid-century winter landscape of the sun rising over a forest stream covered in fresh snow by Genevieve Clibborn (American, 1892-1982). Presented in a rustic ornate, faux wood frame. Image, 12"H x 16"W. Genevieve Idell Booth Clibborn was born in Washington on January 6, 1896. She lived most of her life in Salinas, California (East of the Monterey Peninsula). She painted and exhibited widely in that area. An award-winning artist, she was primarily self-taught and was known for her tree studies. She was a member of the Santa Cruz Art League. She was also a famous evangelist who preached at revivals in the United States, Canada and Australia. Her husband was William Booth-Clibborn, grandson of the founder of the Salvation Army...

Linda Connor: Lick Observatory These celestial images are made from glass plate negatives that belong to the archive of the Lick Observatory in San Francisco. These images were mad...

Oil on canvas Anne Pélissier alias BERG is a French painter born in 1953 who lives and works in Paris, France. Under the pseudonym "Berg," meaning mountain in Goethe's language, lie...

Linda Connor: Lick Observatory These celestial images are made from glass plate negatives that belong to the archive of the Lick Observatory in San Francisco. These images were mad...

Gerald Coles - Original 1958 Woodcut. Signed and dated in pencil lower left corner. On Japan paper. Numbered 3/60. In fine condition. Gerald Anthony Co...

Wonderful 1940's Swiss winter scene with snow covered chalet in valley, by an unknown artist, c.1940's. Signature illegible lower right. Presented in period rustic frame. Image size...

Artist Statement For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both i...

Artist: Dan May (American, 1955-) Title: "A Woman and Her Pets" *Signed and numbered by May in pencil lower left Year: 1991 Medium: Original Screenprint on unbranded white wove paper...

Blu landscape 15.7 x 15.7 x 1.0, 6.6 lbs Acrylic on canvas Hand signed by artist Artist's Commentary: "This canvas is a landscape created with acrylics, oil pastels and graphite....

Calvert Coggeshall Untitled, 1952 Oil on canvas 45 x 45 inches Provenance The artist Estate of the above Calvert Coggeshall worked as an abstract painter and interior designer pri...

A finely detailed etching of Isfield Place in East Sussex by Marcel Schuette. Signed, dated, and titled in graphite below the plate line. Smartly presented in a black frame. On paper.

Victor Vasarely (Hungarian/French, 1906-1997), "Tewek", Screenprint in Colors, 1978, signed in pencil lower right, numbered edition "57/250" lower left, black frame. Image: 21.25" H...

Jose Bedia - Figurative & Religious painting on thick handmade paper. Bedia is one of the most renown living Cuban artist exhibiting around the world and showcased in many of the top...

Paper Size: 36.5 x 24.75 inches ( 92.71 x 62.865 cm ) Image Size: 23.75 x 23.5 inches ( 60.325 x 59.69 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or...

Oil on canvas 20 x 37 ¼ inches; 50.8 x 94.6 cm Framed dimensions: 67.5 x 110.5 cm Not signed c.1744-1745 Collections: Possibly John Charles Middleton (1757-1793); Revd Frederick M...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Landscape mineral oxide on canvas relief paint original art Ready to Hang Marilina Marchica, born in 1984, was born in Agrigento, where she lives and works. She graduated in Paint...

Poster made by Jean Cocteau 🇫🇷 (1889-1963) a French poet, painter, designer, playwright and filmmaker. In the workshop of Madeleine Jolly and Philippe Madeline in Villefranche-sur-...

John Beerman, American (1958 - ) - Blue Hour, Year: 1994, Medium: Color Etching Aquatint, signed and numbered in pencil, Edition: 1/45, Image Size: 15.5 x 25.5, Size: 22 x 31.5 ...

Medium: pochoir. Printed in 1952 for the Temoignages pour l'art abstrait portfolio (Witnesses for Abstract Art) and published by Editions d'Art d'Aujourd'hui in an edition of 1500. S...

Oil on canvasboard. Framed. Image size, 20H x 30L. Signed.

This original 1958 exhibition poster was created for a show of Jacqueline Lamba’s drawings at the Galerie Lucy-Krohg in Paris. Lamba, a key figure in the Surrealist movement, was kno...

Acrylic on canvas original painting 40 x 70 cm (Encadrée) 38 x 61 cm 15.75 x 27.56 in

The Rabbit is an original woodcut print by Giselle Hallf in the first half of the 20th Century. Good conditions. The artwork is depicted through strong strokes in a well-balanced c...

Stunning large floral still life of tulips, roses and lilacs by Marie-Clair Delaunay (French, 20th Century), 1987. Signed lower right corner and on verso. Presented in gilt-toned wood frame. Image size: 32"H x 32"W, Marie Claire Delaunay, born in Paris, is of Flemish and Breton origin. She studied in Paris then at the Ecole du Louvre, Artist studio of la Grande Chaumière, she deepened her technique in water-colour, oil painting, lithography and fresques and took inspiration in various painters creative course and works : Atelier of Baignol with its rigorous technical teaching, working trips with Jean Rigaud focused on the subject, work with Louis Süe architect as an other dimension of art. In Olso, Norway, training in Hans Klemensrüd Artist's Studio, abstract painter. Later, work with Sofia Vari, a Greek artist who also made her discover her country. And in the Cyclades islands again, study of the abstract technique with Sergio de Castro, the Argentinian painter...