Cottage Art

This listing is for an unframed print. Framing options are available. Peter Essick is inspired by the work of Walker Evans, Ray Metzker, Ansel Adams and David Hockney. Peter Essick is a photographer, author and drone pilot who specializes in nature and environmental themes. His latest series, "Memorial Drive," documents the thoroughfare that stretches between the Georgia State Capitol and the Confederate monument at Stone Mountain. Originally known as East Fair Street, Memorial Drive was one of the first roads in Atlanta, and connected the downtown commercial districts to the residential neighborhoods of East Lake and Kirkwood. In 1930, it was expanded all the way to Memorial Hall in Stone Mountain Park with the use of convict labor. The now 15-mile-long thoroughfare took on a new symbolic meaning to physically connect the State Capitol with the Confederate monument at Stone Mountain. According to an article in The Atlanta Constitution on February 2, 1930, Memorial Drive was “another step in the effort of Atlanta and Georgia to honor the memory of the heroes of the confederacy.” In the years since, Memorial Drive has acquired even more history. The street passes through communities of a wide diversity of people. These neighborhoods have seen cycles of development, economic decline, redevelopment and in some recent cases complete gentrification. People from all over the world as well as those from just across town have come to live and work on or near Memorial Drive. The street’s story is complex and of interest not only to developers and realtors, but also urban planners, sociologists, community activists, business owners, residents and even artists. Peter used a drone to take many of the photographs in the series, using a survey approach, he hopes to peak a viewers’ interest with the wide array of subjects. Named one of the forty most influential nature photographers in the world by Outdoor Photography...

Alejandro Rubio Red Roof, 2023 Oil on canvas 12 x 36 inches This one-of-a-kind oil painting on canvas is stretched across wooden stretcher bars.

"St. St. Petar and Pavel Monastery" is an impressionist painting by Maestro Krassimira Mihaylova. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edi...

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 wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

ABRAM ADOLPHE MILICH 1884-1964 Tyszowce, Poland 1884-1964 Paris (Polish) Title: Chateauneuf, 1957 Technique: Original Signed Oil Painting on canvas size: 65.5 x 81 cm / 25.8 x 31...

Original watercolor painting by celebrated, twentieth-century California landscape painter, Ronald Shap. Vibrant scene of the Arroyo Seco Stables in Pasadena, CA with the York Boulev...

HUGO SCHEIBER 1873-1950 1873 - Budapest-1950 (Hungarian) Title: Landscape with Tree and Houses, circa 1930's Technique: Signed Gouache and Pastel Painting on Paper Size: 67.5 x 48...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Richard Wedderspoon (1889 - 1976). Richard Wedderspoon was an important member of the New Hope Art Colony as both an Impressionist and Modernist painter. Wedderspoon was not only a respected painter, but also a teacher who spent summers at his Bucks County home and the school year at Syracuse University where he was Professor of painting. He was born in Red Bank, New Jersey and first studied art at the Carnegie Institute in Pittsburgh. He continued his studies at the Corcoran School of Art in Washington, and at age twenty four, he enrolled at the Pennsylvania Academy of the Fine Arts studying with Henry McCarter and Daniel Garber. While there his roommates were Charles Garner and Lloyd Ney. Wedderspoon began friendships with fellow artists, Charles Hargens, Clarence Johnson and Stanley Reckless...

The original oil painting, "Red Vines" is an impressionistic view of a woman sweeping the walkway in front of a building covered in red vines. Cook use of vi...

Edt Austria, Original Contemporary Impressionist Landscape Painting, 2014 16" x 20" x 1.5" (HxWxD) Acrylic on Canvas A quaint depiction of the Austrian countryside, this impressionist landscape painting by artist Ingrid Dohm...

My work is all about sunlight, the play of light on objects, the varying degrees of contrast between light and shadow, and deep, saturated color. Long shadows cast by buildings, win...

Heller covers monumental and lesser-known works starting with Frank Lloyd Wright and tracing his design principles through his son Lloyd Wright, and students Richard Neutra, Rudolph ...

Original painting signed by the Artist lower left.

Art Sz: 23 1/2"H x 30 1/2"W Frame Sz: 31"H x 38"W x 1 1/4" D Charming Danish country estate c1950s oil on canvas signed ?AS (LR)

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Oil on Canvas

A painting by Gregory Sumida. “Plastic Feeder, Lockford, CA” is a landscape painting, watercolor on paper in an earth-tone palette by American artist Gregory Sumida. The artwork is s...

Signed, numbered and inscribed with title on label fixed to reverse Digital c-type print 25 x 20 inches Edition of 5

The artist is dealing with the fullness of life, while the ground becomes shakier. There is nostalgia for a lush world that never actually existed. Her lighthearted series of drawing...

Artist: Duncan Hannah, American (1952 - ) Title: Private World (Lisa) Year: 1986 Medium: Oil on Canvas, signed l.r. Size: 40 x 54 inches

"Stroll in the Park" Oil Painting 20" x 28" inch (1970) by Zohra Efflatoun signed & dated Zohra Efflatoun came from an artistic family. Her half-sist...

'Untitled (Natural Wonder Series)' by Gregory Crewdson, 1995. C-print, Ed. 6, 30 x 40 in. Best known for staging complex, cinematic scenes to dramatic effect, the featured color C-pr...

acrylic on panel

Signed, titled and dated on reverse Archival pigment print Available in three sizes: 24 x 20 inches, from an edition of 10 + 3 APs - SOLD OUT 38 x 30 inches, from an edition of 5 + ...

#2421 - Todd Hido (Colour Photography) Signed, titled and dated on reverse Archival pigment print Available in three sizes: 24 x 20 inches, from an edition of 10 + 3 APs 38 x 30 inc...

Laszlo Neogrady (1896-1962) "Tending the Flock" c. 1930 Oil on Canvas approx 24 x 30 approx 30 x 36 framed Laszlo Neogrady was born in Budapest, Hungary in 1896. He was the son of...

Robert Robin Fenson (Active 1889-1914, British) "Sundown" Oil on Canvas 16 x 23.5 (site) 19 x 27 (framed)

Joseph Orr, from Missouri, has been painting professionally since 1972. He paints much of his work on location (plein air) and his paintings depict the land...

Artist: Emilio Sanchez, Cuban (1921 - 1999) Title: La Mansion en Mantanzas (Cuba) Year: 1971 Medium: Oil on Canvas, signed Size: 72 in. x 72 in. (182.88 cm x 182.88 cm) Prove...

Signed lower left A prominent landscape and marine painter, Jules Eugène Pages spent most of his career in France where he was a well-known Impressionist painter, but he maintain...

We are proud to present a just discovered, extremely rare modernist still life, Trio", by American artist Robert McIntosh (1916 - 2010.) Robert McIntosh won first prize at the Los Angeles County Museum of Art in 1948; this painting is from the series that won this award in Los Angeles, and again at the San Francisco Museum of Art in 1949. "City Hall...

A rare, early original painting by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited throughout his lifetime, including first prize awarded at the Los Angeles County Museum in 1948. "Palos Verdes...

Presenting a magnificent small oil on panel by English artist Samuel Henry Baker(1824–1909). "Cauldrin Mill", is an original oil on panel, signed, titled, c.1850, with an image di...