House Art

Coco Sits on Her Mirrored Stairs, 1957 -- Chanel sits on her famous mirrored stairs observing the crowd below. Mark Shaw's informal, grainy, black and white images of Coco Chanel wer...

Coco Sits on Her Mirrored Stairs, 1957 -- Chanel sits on her famous mirrored stairs observing the crowd below. Mark Shaw's informal, grainy, black and white images of Coco Chanel wer...

Quiet Manhattan puddles become networks of color and texture in the new oil paintings by Richard Combes. Timeworn streets make fertile subject matter...

Printed on Acrylic Jean-Charles Mandou is a French photographer born in 1962 who lives between France & Brazil. He studied at Ecole du Louve in Paris. He works also in theater & cin...

Printed on Acrylic Jean-Charles Mandou is a French photographer born in 1962 who lives between France & Brazil. He studied at Ecole du Louve in Paris. He works also in theater & cin...

Printed on Acrylic Jean-Charles Mandou is a French photographer born in 1962 who lives between France & Brazil. He studied at Ecole du Louve in Paris. He works also in theater & cin...

Chromogenic Print – Unframed Free Shipping – Ask us foar custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My p...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Digital Photograph, ed. 2 of 9 HP Premium Satin Photo Paper with archival inks Born in Japan in 1940 and educated at The Art Center College of Design in California, Michael K. Yamao...

Oil on canvas

Caroline de Piedoue is a French artist born in 1954 who lives & works in Berchères-sur-Vesgre, Eure-et-Loire, France. Her theme of her paintings is largely urban but also beach scene...

Robert Amirault's "Autumn Time" 36x36 oil painting on canvas of a red structure on a dirt road. The structure is slightly obstructed by a cluster of t...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Oil on canvas

Acrylic on canvas Elena Borstein currently lives and works in New York City and the Adirondack Mountains. Born in Hartford, Connecticut, She received her B.S. Degree from Skidmore C...

Signed on bottom right

Oil on canvas

Oil on canvas

Edition of 3 Dye sublimated on aluminum Please inquire for additional sizes Born in San Francisco in 1966, Mark Stephen Kornbluth was raised in Montreal, then Cleveland. Since gradu...

Medium: Painting Signature: Unsigned Marked on the back GM Photographic The Saturday Evening Post, August 16 1947, Page 89

A row of four verdant topiary trees mimics the shape and cadence of elegant windows in a home in the Sea Cliff section of San Francisco. The overall resulting image is a combinati...

Signed lower left American, b. 1950 Marla Korr attended Brooklyn College, earning both a B.A. and a M.F.A. There she studied with Philip Pearlstein, Lennart Anderson...

"Privacy" is an impressionist landscape painting by Maestro Elena Georgieva. The painting is unframed. About the artwork: TECHNIQUE: Oil painting S...

"The Sunny Courtyard" is an impressionist painting, oil on canvas by Maestro Zlata Shyshman. The painting is unframed. “The impressions of Maestro Shyshman's paintings on the viewe...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Nicholas Berger Biography American, b. 1949 In his more than three decades as an artist, Nicholas Berger (b. 1949) has created an outstanding body of work that continues to evolve a...

Terry Tomalty, Canadian, b.1938 St Urbain, Montreal Oil on board 12 x 16 in Signed lower left signed, titled and dated verso framed For our US custom...

This is a beautiful contemporary landscape photography of the Stupas in Bhutan, by a Singapore based award winning photographer, William Chua. His eye for capturing beautiful arresti...

Juan Garaizabal is a Spanish conceptual artist born in Madrid, 1971. He has accrued international recognition for his monumental public sculptures. His illuminated Urban Memories str...

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

edition 1/5 TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of ge...

Stéphane COUTURIER (*1957, France) E1027+ 123 – Villa Eileen Gray – Photo #3, 2021-2022 C-Print Sheet 110 x 155 cm (43 3/10 × 61 in.) Edition of 5 Framed print Born in 1957 in Neuil...

An abstracted view of the Art Institute of Chicago's Grand Staircase. The lone sculpture fictionally represents an armed officer pointing a gun at an absent figure. [b. 1977 – New York, NY ::: lives & works – New Haven, CT] CHRIS BARNARD received his BA from Yale and his MFA from The University of Southern California (USC) in Los Angeles. Having previously held faculty positions at Denison University, Indiana University, and USC, Barnard is currently associate professor of art at Connecticut College in New London. Barnard’s work has been shown in solo and group exhibitions in Los Angeles, New York, Chicago, and New Haven, among other locations, and can be found in public and private collections nationally and internationally. His work is represented by Fred Giampietro Gallery in New Haven, where he and his partner live. artist statement In my work I focus on white supremacy’s relationship to the privileged spaces of my experiences, such as private art and educational institutions. Amidst widening gaps in wealth and opportunity, discussions about race, power, justice and representation—across visual culture broadly—seem more relevant than ever. In many of my compositions, which reference real sites, I have inserted fictional elements to raise questions about the allegiances and priorities of these institutions, as well as people—including myself—who have benefitted from, or continue to support them. The resulting works are representational, but through gestural passages and color and surface manipulation, I aim to suggest instability, corrosion and decay. In the end, I strive to make engaging paintings that suggest dissonance and ambivalence, that entice and challenge viewers, just as painting them does for me. These paintings are rooted in my contemplating Whiteness and emerge from wrestling with the politics of painting—the connections and gaps between painting and lived experience. They also reflect: a love of paint, the act of painting, and the power of the painted image; a regard for practitioners past and present, as well as those for whom practice has not been possible; and an admission of painting’s complicity with hegemonic power. As always, my process remains driven by questions. In this case, questions like: What role does painting play in the face of concrete social crises? How can my paintings respectfully incorporate¬—rather than exploit—relevant and thought-provoking content and imagery? What does it mean to think about racism, dehumanization, injustice, etc., and then to paint such pictures, and in particular as a straight, White man? These questions and this body of work owe much to the work of others, and most acutely to four scholars’ books in particular: The History of White People, by Nell Irvin Painter; Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities by Craig Steven Wilder; The New Jim Crow: Mass Incarceration in the Age of Colorblindness, by Michelle Alexander; and White Rage, by Carol Anderson...

ABOUT THE ARTIST Adam Mysock was born in Cincinnati, Ohio in 1983 - the son of an elementary school English teacher and a lab technician who specializes in the manufacturing of pigm...

Albert Rousseau, 1908 - 1982, Canadian Oil on masonite 18 x 24 in 46 x 61 cm Signed lower right ; Titled on the reverse framed

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...

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 Essic...

The city that boasts the most Victorian Houses San Francisco and the best of them are the That Painted Ladies. The Color Purple . San Francisco Victori...

Gordon Scott 1914 - 2016 Crescent Grove, Clapham Oil on canvas Image size: 18 x 24 inches Contemporary style frame GORDON SCOTT EXHIBITION AT DARNLEY F...

American, b. 1962 Contemporary artist Lori Zummo paints in a style evocative of the American Barbizon School. She received her BFA from Syrac...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'The river embraced me', 2016 C–type print 56 × 56 cm (22 × 22 in.) Edition of 3 Print only, Signed by the artist This photog...

Cover of The Saturday Evening Post, October 21, 1953 Image of children carrying a rowboat Date: 1953 Medium: Oil Paint Dimensions: 33.00" x 26.50" Signature: Signed Lower Left

Mykonos Windmill is a lithograph on paper with an image size of 3.75 x 2.75 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and ribb...

Signed and dated (at lower right): Randall Exon 2016

"A Village High Street" by Sir Herbert Tripp. Sir Herbert Tripp c.b.e 1883-1954 was a painter poster artist draughtsman illustrator and writer. Regular exhibitor Royal Academy. Assis...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Unique silver gelatin contact print Provenance: The Estate of Dora Maar

Taulé was born in 1945 in Sabadell, Barcelona. His father imparted the taste for painting to Antoni as a boy as the young artist watched him paint. After his primary studies, he began studying architecture in Barcelona and graduated in 1970. In 1965, he arrived in Paris and worked in architectural firms. It was Sartre's Paris, the construction of Unesco, the year of Le Corbusier's death and the end of Chandigarh, the French Cinematheque and Antonioni's films. Since the age of 14, he has never stopped painting and made his first personal exhibition in 1966 at the Academie de Belles Arts in Sabadell. Upon receiving his degree in architecture, he worked on the construction of l’Université autonome de Barcelone for a year. In 1971, he was asked to work on the development of a large shipyard on the small island of Formentera. There he met Laetitia Ney of Elchingen, who he would go on to marry. He devoted himself entirely to painting, and Formentera, like Paris, became one of his favorite places in both his life and to work. His first exhibition in Paris was in 1975 with Mathias Fels, presented to him by Hervé Télémaque—showing many paintings of his young daughter Djamilla, then three years old. The exhibition was titled, Espace hors temps (Space out of Time), with a foreword by Alain Jouffroy. In 1976, Taulé exhibited Contre-Jour (Against Day) at Fabien Boulakia on rue Bonaparte with a preface by Gérald Gassiot-Talabot and in Barcelona at the Aimé Maeght gallery—an exhibition visited by Joan Miró and Alexander Calder. In 1977, he exhibited at the Beaubourg gallery, with then associates Nahon and Trigano. In 1983, he met Jorge Luis Borges and Julio Cortázar, who wrote the novella Fin d’étape (End of Stage) for Taulé That same year, he was named Chevalier de l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) by Jack Lang...

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...

"Loblolly Pine #3, Decatur, GA #2" is a nocturne photograph of an urban tree featuring hues of black, blue, yellow and red. This listing is for a framed print. Additional unframed sizes are available. Peter Essick is inspired by the work of Walker Evans, Ray Metzker...

Marco’s background is in engineering and architecture, making him familiar with mathematical design and the awareness of geometry. When he decided to create art, he was naturally dra...

"Window with Sheet" features hues of black, white and cream. This is an unframed print. Jerry Siegel is inspired by the work of William Christenberry, Sally Mann, Andrew Moore, Walk...

A Nelson White plein air painting. Frame Dimensions: 22 x 30 inches Artist Bio: Nelson H. White was born in New London, Connecticut in 1932. White has been surrounded by art and a...

Rachel Personett was born in Hawaii, but raised in Colorado. Being the daughter of a pilot she has always traveled extensively. She has studied part time at the Savannah College of Art and Design, The Angel Academy of Art, and finally settled on the Florence Academy of Art, graduating in 2015. In January 2016 she apprenticed the painter Odd Nerdrum...

David Burdeny - Ca’Rezzonico, Venice, Italy, 2012 59 x 73.5 inches Edition of 5 + 2AP “These works present my abiding interest in the thresholds that divide and connect the sea to l...

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...

Myrtie Cope is inspired by the works of Richard Pare, Ezra Stoller, Berenice Abbott and Abelardo Morrell. This listing is for a framed photograph. Edition of 5. Additional unframed s...

Myrtie Cope is inspired by the works of Richard Pare, Ezra Stoller, Berenice Abbott and Abelardo Morrell. This listing is for an unframed photograph. Edition of 5. Framing options an...