Gifts For Him 2014

In the evening, 1950-ties, cardboard, oil, 46,5х34 cm Anatoly Lebedev (1935-2014)

Indecent Exposure by Lélia Pissarro (b. 1963) Acrylic and glitters on canvas 150 x 120 cm (59 x 47 ¹/₄ inches) Signed lower right, Lélia Pissarro; signed, titled and dated on the rev...

Acrylic on canvas 60 x 48 inches 2022

Acrylic on canvas 48 x 48 inches 2022

Acrylic on canvas 48 x 48 inches 2022

Avec ou sans coeur? by Lélia Pissarro (b. 1963) Acrylic, gold and a heart brooch on canvas ​​​​​​​145.5 x 114 cm (57 ¹/₄ x 44 ⁷/₈ inches) This work is accompanied by a certificate o...

Rhino sauvage sous la pluie, ta force ma taille (b. 1963) Acrylic, oil and resin on canvas 146 x 114 cm (57 ¹/₂ x 44 ⁷/₈ inches) Signed lower left, Lélia Pissarro Signed and titled on the reverse Provenance Private collection Literature Lélia Pissarro, The Colours of Silence, London, 2010, p. 58 (illustrated) This work is accompanied by a certificate of authenticity from the artist. Artist biography Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia Pissarro. She was raised, however, in the loving care of her grandparents Paulémile Pissarro, Camille’s youngest son, and his wife Yvonne, in Clécy, Normandy. From a young age, Lélia’s interest in drawing and painting was nurtured by her grandfather while she sat beside him at his easel, captivated. He taught her the fundamental Impressionist and Post-Impressionist techniques he had learnt from his father and brothers before him and watched as her skills blossomed rapidly. Standing readily on the shoulders of giants, Lélia sold her first painting to New York art dealer Wally Findlay, when she was only four years of age. When Lélia turned 11 she moved to Paris to live with her parents where, with the guiding support of her father’s teachings she began to broaden her skill sets. Under the watchful eye of her father Hughes Claude Pissarro, she became exposed to new environments and learnt to experiment with abstract styles and subjects. At age 14 Lélia submitted some of these works to the exhibition ‘Salon de la Jeune Peinture’ at the Luxembourg Museum in Paris. Being underage, however, she had to submit these works secretly under the pseudonym Rachel Manzana Pomié. With her parents dividing their time between France and California, Lélia found herself moving between Tours, Paris and San Francisco, all the while studying fine art and psychology at the University des Beaux Arts. She eventually settled in Paris to teach art at the Moria School and study oil painting conservation under the guidance of a teacher from the Louvre museum. During this time she began to present her work in solo exhibitions in Paris, Lyon, Mulhouse and Rennes. In 1988 Lélia married English art dealer David Stern and moved to London. Their three children Kalia, Lyora and Dotahn, all paved their own way in the art world. From 1995 Lélia participated in a series of exhibitions entitled Pissarro – The Four Generations, which were held in galleries in London, Tel Aviv, Boston, Austin, San Francisco, Cleveland, Milwaukee and Los Angeles as well as a number of museums in Japan in 1998 and the Museum of Art in Fort Lauderdale, Florida in 2000. In 1999 Lélia also became one of the founders of the Sorteval Press, a group of artists dedicated to developing techniques in etching and printmaking. Their first exhibition took place at the Mall Gallery in London. In 2005 following a long break in painting because of cancer, Lélia started a journey into modern art creating a number of different series: Circles, Shoes, Animals, exploring these until she reached the point of abstraction and minimalism. Developing innovative techniques, she began incorporating in her work new materials such as gold, wax and encaustic paint. To coincide with a major exhibition at Stern Pissarro gallery...

Tribute to Freddie Mercury (1946-1991) with encrypted messages

Inspired by Johann Sebastian Bach's Well-Tempered Clavier

A warm and beautiful contemporary beach scene 'Dusty Skies' by E. Martinez. This stunning seascape has a soft and natural colour palette, pale blues and earthy cool tones are subtle ...

Serguace di Salvator Rosa Paesaggio con personaggi Olio su tela, Sec. XVII, cm 52x93,5; con cornice cm 64x146x6

Lukas Glinkowski's work focuses primarily on painting, often creating imagery that is combined with fragments of urban places, films, and comic books. Spac...

S.D.C.G.T. (Stretch / Dark), 2022 60 x120 cm, Oil and Lacquer on Canvas

Santi di Tito Ritratto di Nobildonna Olio su tavola, Sec. XVI, cm 74x61; con cornice 116x100x9 Con procedere degli studi su Santi di Tito, del quale è stata recentemente precisata la nascita fiorentina , si viene sempre più definendo come non solo una delle personalità più interessanti della scena artistica fiorentina, ma anche come il più interessante ritrattista cittadino della seconda metà del Cinquecento. L'attribuzione di questo ritratto al pittore, che nell'impresa dello Studiolo di Francesco I fu uno dei maggiori innovatori fra i giovani riuniti da Vasari e Borghini, appare subito evidente per l’inconfondibile disegno ovale e fermo del volto, reso con un incarnato compatto dai toni rosati che si accende di naturalistiche notazioni epidermiche ma anche di una puntuale figurazioni degli elmenti decorativi dell’abito e dell’acconciatura. Sempre coerente con i modi pittorici di Santi è poi la pittura compatta con la quale vengono definiti i piani semplificati del volto delle donna, che conservano una notazione di luce e di naturale sensibilità in linea con i dettami controriformati dei quali il pittore fu uno dei più fedeli osservanti nella scena fiorentina. Sempre tipica di Santi di Tito è poi la ferma e volumetrica rappresentazione del torso e dell’abito definito nei piccoli intagli della stoffa ma allo stesso tempo semplificato nei volumi delle maniche e del busto. Ancora di santi ci sembra la notazione luministica con la quale è rilevato il disegno dell’abito attraverso stesure compatte ma sottili e trasparenti, oppure è resa la gorgiera bianca che aggiunge una luce netta all’intero dipinto. Una simile scelta pittorica appare nel Ritratto di Guido Guardi coi figli, esposto alla mostra Il Cinquecento a Firenze, (Palazzo Strozzi, 21 settembre 2017 – 21 gennaio 2018, n. IV. 5, pp. 156-157), dove, pur in un ritratto maschile, Santi di Tito usa la medesima cifra formale nella resa dei volti e delle gorgiere. Pur nell'attenzione alle caratteristiche fisionomiche, Santi di Tito conserva, infatti, una cifra disegnativa sempre evidente e riconoscibile pur col passare degli anni, un carattere stilistico che sostiene, con volumi saldi, ogni sua differente prova pittorica. Ne sono un esempio dipinti quali il Ritratto di donna con Figlia, già in collezione Koelliker2, oppure il Ritratto di Lucrezia (Emilia) e Sinibaldo di Niccol Gaddi3, tutti databili agli anni settanta del Cinquecento proprio per la stereometrica definizione delle forma. Col passare degli anni, invece, tale carattere di ascendenza bronzinesca sembra cedere sempre più in favore di una pittura più morbida e sensibile, chiamata a raggiungere esiti di naturalezza sempre maggiore. Dipinto emblematico per seguire tale percorso rimane il già citato Ritratto di Guido Guardi con i figli , dove Santi di Tito ha effigiato il capofamiglia subito dopo il suo ritorno da Roma, fra il 1564 e il 1568, al tempo in cui il Guardi commission al pittore anche una pala con una Natività per la cappella di famiglia a San Giuseppe. L’uomo, seduto su uno scranno, sembra rimandare per la posa arcaizzante alla ritrattistica di primo Cinquecento, alla quale Santi di Tito s’ispira anche per le pieghe frante ma scultoree dell’abito. Sulla stessa tavola, probabilmente verso la fine degli anni settanta del Cinquecento, il pittore venne chiamato ad aggiungere le effigi di figli, quando probabilmente l’opera era già in cornice, e lo fece con una pittura più svolta e libera, in modo da raggiungere effetti naturalistici di maggiore sensibilità. Anche nel Ritratto di donna in esame, i volumi saldi e potenti della figura spiccano sul fondo monocromo della parete con un’evidenza che farebbe pensare alle figure eseguite dalla fine degli anni Settanta del Cinquecento, al pari, appunto dei due figli di Guido Guardi. Nato a Firenze nel 1536, Santi di Tito si form prima da Bastiano da Montecarlo per passare poi dal Bronzino, del quale conserv la preferenza per volumi luminosi e torniti, a cui aggiunse un'attenzione per la chiarezza compositiva e il naturalismo richiesti dai dettami della Controriforma, che lo portarono a guardare allo stile di Scipione Pulzone...

Bartolomeo Passerotti ( Bologna 1529 – 3 giugno 1592) Ritratto di Gentiluomo con cane Olio su tavola, Sec. XVI, cm 84x69; con cornice 101x87 // Bartolomeo Passerotti (Bologna 1529...

Sebastiano Mazzoni Andata al calvario Olio su tela, Sec. XVI, cm 130x143; con cornice 167x153x9 Il dipinto rappresenta un episodio della Passione di Cristo cui accennano appena i Van...

Sebastàn de Llanos Valdès (circa 1605-1677) testa di santo martire Olio su tela, cm 50,5x72,5 Non vi sono dubbi in merito all’autografia del dipinto che spetta a Sebastian de Llanos y Valdes (1616-1677), come testimonia l’ iscrizione frammentaria posta nel margine inferiore destro della composizione. Il pittore spagnolo fu allievo di Herrera il Vecchio (1576-1656), poliedrico artista suo conterraneo, abile oltre che nel dipingere anche nella lavorazione del bronzo e nel campo della medaglistica. Nella famosa bottega dell’ Herrera, cui viene attribuito il ruolo di fondatore della famosa Scuola di Siviglia, gravitarono anche il tredicenne Velasquez, che vi rimase per un intero ano, e Ignacio de Riarte. Nel nostro dipinto raffigurante la testa...

Lukas Glinkowski’s work focuses primarily on painting, often creating imagery that is combined with fragments of urban places, films, and comic books. Spac...

The Dutch multidisciplinary artist, Ger Doornink, specialises in painting, illustration and photography. Time spent living in Tokyo, Milan and currently Amsterdam, has heavily influe...

John Bulloch Souter 1890 - 1972 Still Life of Pink Roses Oil on canvas, signed lower left Image size: 11 1/4 x 15 1/2 inches (28.5 x 39.5 cm) Period Gilt frame This still life shows...

Panel depicting the Holy Family with San Giovannino. At the center of the scene is the Virgin, with a red tunic and a blue cloak edged with gold embroidery,...

Agnieszka Zawisza (born 1970) is a painter, visual artist and art teacher. She studied at the Warsaw Art Academy, Department of Painting (1994-2000), obtaining a Master's degree with...

Acrylic on canvas, with frame Ready to hang I can make commissioned works_ -Specialist in large painting___ _intuitive painting, trying to share the happiness of the creating exp...

Acrylic on canvas, with frame Ready to hang I can make commissioned works_ -Specialist in large painting___ _intuitive painting, trying to share the happiness of the creating exp...

'French Riviera View', oil on wood, French School (circa 1950s). Discovered in the South of France, this charming oil painting depicts one of the small coastal village towns of the R...

Mid-century oil on canvas, " Composition ii " by Romanian/French artist Philippe Lepatre. The work is signed LP and dated Viii 1968 to the bottom righ...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

'Seated Woman', oil on board, by François Diana (circa 1970s). This work of sumptuous colour and sensuous subject matter elicits an immediate response. ...

Signed and dated impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. This simply stunning piece de...

Vadym Mykhalchuk "Coca-Сola" 2018

The art work is already framed. The size of the unframed artwork: 45x45 cm, framed 47 x 47 cm Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in C...

The art work is already framed. The size of the unframed artwork: 45x45 cm, framed 47 x 47 cm Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in C...

Graham Dean 1984 Porter Acrylic on canvas Image size: 40 x 29 inches The model in this painting is the same as the one in the painting Camouflage. The artist researched a lot about ...

Thomas Sidney Cooper was one of the foremost animal painters of the Victorian period. He was born in Canterbury, Kent, and as a small child he began to show strong artistic inclinations, but the circumstances of his family did not allow him to receive any systematic training. By the time he was twelve years old, he was working in the shop of a coach painter. Later he obtained a job as a scene painter, and he alternated between these two occupations for about eight years. He still felt a strong desire to become an artist, and all his spare moments were spent drawing and painting from nature. At the age of twenty, he went to London, drew for a while in the British Museum, and was admitted as a student of the Royal Academy. Subsequently, he returned to Canterbury, where he was able to earn a living as a drawing master and by the sale of sketches and drawings. In 1827, he settled in Brussels and married before taking up a position as a teacher in Brussels in 1829. There he befriended Eugène Joseph Verboeckhoven, the great Belgian animal painter, who greatly influenced his style. He was also influenced by the 17th Century Dutch School. Because of the Belgian Revolution, he returned to London where he settled and first exhibited at Suffolk Street in 1833. He exhibited forty-eight pictures at the British Institution between 1833 and 1863. ‘Landscape and Cattle’, Royal Academy 1833, was shown until 1902 without a break - a record for a continuous exhibit at the Royal Academy. Sheep and cattle were his most frequent subjects, although he did paint a few figurative subjects. Cooper collaborated between 1847 and 1870 with Frederick Richard Lee...

The art work is already framed. The size of the unframed artwork: 45x45 cm, framed 47 x 47 cm Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in C...

Artist: Vadym Mykhalchuk Title: Nastya Year: 2018 Style: Pop Art Materails: Oil on canvas Height: 100 cm Width: 80 cm

Vadym Mykhalchuk "Odessa.Rain on Preobragenska Street."

Jeremy Andrews Born 1974 The Road to Somewhere Oil on canvas, signed Image size: 12 x 9 inches Framed Jeremy Andrews works in oils and uses traditional techniques such as under pa...

Vadym Mykhalchuk "Selfie"

Vadym Mykhalchuk "Odessa.Grekivka.Masha."

Picking Flowers by Fréderic Ferdinand Koch (signed lower right) Provenance: Galerie Berko Frederic Koch was a painter and pastellist of figures, compositions, still lives, drafts...

Jakub Malinowski – Born in 1985. He is a graduate of the Faculty of Painting at the University of Arts in Poznań. He is engaged in painting and drawing. Since 2011 he has been workin...

Jakub Malinowski – Born in 1985. He is a graduate of the Faculty of Painting at the University of Arts in Poznań. He is engaged in painting and drawing. Since 2011 he has been workin...

'Ebren Ha Dor, September, Softening'. Contemporary landscape painting, Cornwall Original Artwork. Framed ready to hang _________________ The dancing light and rapidly changing skies,...

Frank Hill is a professional artist living and working in North Norfolk. He studied art at Waltham Forest School of Art and later at St Martins School of Art. Frank’s professional c...

Born on June 25 1911 - she died just before her 100th birthday, fond of drawing and painting from an early age, she did her first drawing when she was four years old. She later studi...

Frank Hill is a professional artist living and working in North Norfolk. He studied art at Waltham Forest School of Art and later at St Martins School of Art. Frank’s professional c...

Work by Ryan McNamara

Anna Sobkowiak is a painter and 2D animator living and working in Poznan, Poland. She graduated from the Academy of Fine Arts in Poznan and studied at t...

Boris Akopian "Nude"

The work is a canvas that already includes a wooden frame; the subject is a snowy mountain in the background with an intricate pattern of branches in the foreground.

Watercolour and pencil, signed and dated 19 '30' bottom right Image size: 21 x 14 1/2 inches (53 x 37 cm) Contemporary frame This is a wonderfully lively watercolour scene of London...

SOPHIA MILLIGAN 'Transient Beauty' Original Artwork __________________________ The red lily, symbol of passion, love, motherhood, fertility and good fortune. Flashing shafts of sunli...

Inspired by the colourful fields filled with wild flowers and the low light of the September sun near where Rachael lives. Rachael Dalzell’s paintings...

Work by Sam Moyer

Jakub Malinowski – Born in 1985. He is a graduate of the Faculty of Painting at the University of Arts in Poznań. He is engaged in painting and drawing. Since 2011 he has been workin...

Rachael Dalzell's paintings are colourful and expressive.  Her free and lively use of paint through various techniques,  mean that Rachael's work is as much about mood as it is of pl...

Oil and gold leaf on canvas For centuries, artisans and artists have turned to gold leaf as a way to make their creations shimmer and shine. Also many contemporary artists continue ...