Gifts For Him 2014

From an incandescent sunset on Long Island Sound to an iconic pop-kitsch ice storage bin at the neighborhood  corner store, Rob Brooks offers us a visual journey from the real ...

A moment in time is captured in intimate detail in this realistic painting by Dmitry Yuzefovich. Known for his nostalgic trompe l’oeil work, this composition of an entryway features a lovingly worn straw hat in the center surrounded by a flurry of handwritten notes pinned to the wall, an umbrella sitting on the shelf above it all...

Dmitry Yuzefovich’s work is a representation of memory—the recollection of moments in the past. In this oil painting, a motor scooter is parked on a ...

Michel Brosseau was born in Nantes and has lived in Bordeaux for many years. Both cities are on the Atlantic coast of France and have rich maritime histories, highlighted by prospero...

A large, unique oil painting on stretched canvas, ready to hang. The artwork depicts close-up tropical plants in beautiful and rich colours. Framing options are available on request

ADELIN VERLY Brussels 1883-1967 STILL LIFE WITH ROSES Triplex 54 x 54 cm. Signed: lower right 'Adelin Verly' Provenance: Private collection, The Netherlands

Forest river. 1990. Cardboard, oil. 67,5x93 cm Information about artist Edgars Vinters (1919-2014). Edgars Vinters was working in oil, waterc...

Signed still life oil on canvas circa 1910 by French impressionist painter Marie Duhem. This stunning piece depicts delicate pink and yellow peonies in a vase placed on an ornate marble-topped table with a fan resting beside them and a mirror behind. Signature Signed lower left Dimensions: Unframed: 29"x20" This painting is not currently framed but a suitable frame can be sourced if required Provenance: The collection of the artist's family Marie Duhem's parents operated a lace factory, so she became familiar with the work of designers and models from an early age. She began her art studies with Adrien Demont...

Contemporary 'Still Life with Limes' Painting of glass, fruit and candle with drapery. Photorealism at its very best! From his childhood he felt great predilection for drawing. In fact drawing was his favourite pastime. When he was 12 years old his parents moved to Brussels, and he joined an international college where his artistic interests for drawing and music woke up. In this period he passed most of his free time drawing...

Still life with jars. 1976, gouache on cardboard, 48x67 cm Gunars Klava (1933 – 1989) Gunars Klava was born in 1933 in Priekule. 1953 - graduated from J. Rosenthal Art School 1964 - began to participate in art exhibitions 1970 - He graduated from the Latvian State Academy of Arts 1970 - Admitted to the Latvian Artists...

"Eight Apples" is a still-life painting by Ivan Roussev. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, signed Weight: Approximately 2 kg. The painting is unframed. Frame: Optional Snow Pearl gallery...

Beautiful mallow flowers have always attracted the attention of artists. In Ukraine, the image of mallow has long been adorned with embroideries, Easter eggs, and walls of houses. Ma...

Aniello Ascione (Naples, fl. 1680-1708) A still life of flowers in an urn with a parrot, melon, pomegranates and figs at its base, a view to an ornamental garden beyond Oil on canvas 59 3/4 x 39 3/4 in Provenance The Alexander Family Collection, Milford House, Co. Carlow, Ireland The latter half of the 17th century and earlier 18th century marked the golden age of Neapolitan still-life painting and Aniello Ascione was one of its most highly regarded exponents. His sumptuous paintings, brimming with fecund produce of the Mediterranean and painted in rich colours, were eagerly sought after by those who wished to decorate their palaces in that city. Naples in the seventeenth century had established a significant reputation and artistic tradition of producing flamboyant and technically excellent still-lifes which had largely been initiated by Caravaggio who, having stated that it required as much effort to paint a good flower piece as a figure subject, helped to revolutionise and eventually abolish the closed attitude to genres of painting. Caravaggio maintained that art was the mirror of nature and his superb Basket of Fruit, now in the Ambrosiana in Milan and painted in 1597, marked the birth of European still-life painting. Throughout the 17th century, Neapolitan still-life painting was founded on the principles demonstrated by Caravaggio and these artists seem to have been the only ones to correctly understand and utilise his ideas. These paintings were noted for their vibrant portrayals of flowers, often in great abundance, fruit and birds done in an elegant and decorative manner. Luca Forte (c.1615- c.1670) was one of the first Neapolitan artists to adopt the Caravaggesque naturalism in this genre of painting and with exceptional creativity sweeping through the city in the 1630s, he was soon followed by Paolo Porpora and Guiseppe and Giovanni Battista Recco and the Ruoppolo family. When Abraham Brueghel arrived in Naples in about 1670, his influence accelerated the transition of the portrayal of still-life to a more baroque style often epitomised by a mass of flowers, cascading over classical objects like water. This more baroque style was taken up by a new generation of painters and one of the first and most prominent of these was Andrea Belvedere (1652-c.1732). He taught Nicola Casissa and other artists working in a similar vein included Gasparo Lopez (called Gasparo di Fiori) d. circa 1732, Paolo Porpora (1617-1663) and Nicola Malinconico (1663-1721). The aforementioned Ruoppolo family were also eminent and Giovan Battista Ruoppolo (1619-1693) instructed the young Aniello Ascione. His pupil became one of the most celebrated representatives of Neapolitan Baroque which combined the traditional naturalism favoured by the city with the new 18th century decorative style. This style proved highly popular with the more secular Neapolitan middle classes as well as the aristocracy and royalty to furnish their grand homes. They loved the harmonious colouring and composition suffused with exuberance Ascione became the most prominent still-life painter in Naples at the transition from the seventeenth and eighteenth centuries. His paintings, which are often of a significant size, utilise intense decorative colours with an abundance of flowers and piles of fruit such as pomegranates, grapes, peaches, pears, melons and plums. Sometimes these spill down stone steps or are draped or stacked with flowers among classical statuary and there is often a view to a landscape or ornamental garden beyond to give the composition depth. Accompanying the fruit and flowers, Ascione occasionally added parrots, dogs or rabbits and he often signed with a monogram comprised of interlocking As although there are some works signed in entirety. His smaller pieces tended to be more intimate in construction with one looking at just different fruits with some of its foliage so that the different hues and skin textures could interact and to some extent, these reflect the legacy of Abraham Brueghel. One very rare piece, now in the Castellino collection in Naples, is a kitchen interior with a skinned lamb which owes its influence to Guiseppe Recco. There is a fine set of the Four Seasons, which also incorporates putti into the compositions and which are believed to have been contributed by Nicola Vaccaro (1659-1720) the son of Andrea Vaccaro...

This contemporary artwork by Sylvia Paul presents a still life study painted in an impressionistic style. The composition is rendered with a bright and colourful palette which gives the image a joyful ambience. The artist conveys the subject matter in thick, impasto paint work which gives the piece an interesting textural appearance as well as a blissful energy. Delicately painted florwers indicate the artists relatable appreciation for natural subject matter. This piece is painted in oils on board, hand signed by the artist and ready to be displayed. Sylvia Paul studied painting at Colchester School of Art and Hockerill College of Education. She exhibits widely across the UK including galleries in London, Surrey, Neath, Wales and Bristol. Residing in East Anglia for most of her life she has been a regular exhibitor for nearly forty years in the region. One of her Japanese abstracts was hung in The Royal Academy Summer Exhibition 2009. She has held three solo exhibitions in Japan and in 2013 at her exhibition at Gallery Sakura, Nagoaka, 36 paintings were sold in three days. Other successes include being accepted for open exhibitions with The Pastel Society. The Royal Institute of Oil Painters, The Laing Landscape Exhibition and The Royal Institute of Water Colour Artists where two of her landscape collages were exhibited. Two of Sylvia’s paintings are in the Norwich Union Art Collection and her work is in many private collections in the UK and abroad. Sylvia continues to demonstrate to art clubs and is has inspired many people with her painting workshops. Since 2013 Sylvia has also been creating textile art and was elected as a member of Art Textiles: Made in Britain in 2016. She exhibits with them every other year at The Festival of Quilts at the NEC and then on tour throughout the UK. Open Exhibitions Royal Academy Summer Exhibition- 2009 Royal Institute of Water Colour Artists - 2009 East West Artist and Culture Club...

During his successful career as a goldsmith the desire to paint grew on Dutch artist René Smoorenburg (1954). The attention to detail, which was of gr...

Kate Brinkworth (b.1977) London Binion's 2017 oil on canvas 100 x 150 cm Price: £10,200 GBP (inc. 20% UK VAT) Provenance: Direct from the artist’s studio Notes: Kate Brinkworth undertook her artistic training at Nottingham Trent University, and graduated in 2000 with first class honours. She rapidly began exhibiting her work, and her first major solo show took place in 2001 at Britart Gallery, London. Her success led to further exhibitions across the country and abroad, and she began featuring regularly in several international art fairs and won numerous awards. These include the Westgate Prize (2004), and a commission from GUS headquarters in Mayfair. Kate Brinkworth's painting stems from her curiosity in films, particularly those directed by or in the style of Hitchcock. She is particularly inspired by effects created though experimentation with focus, and repeatedly photographs her still lifes with various shutter speeds, camera angles and lighting to find the optimum composition. Brinkworth's style uses the language of film, advertising and photography to create these unique images; her visits to Las Vegas have developed her interest in the representation of objects associated with vice. Painted in varying degrees of focus, her expert technique deceives the viewer into believing the work is a photograph, due to the realism of her subject matter and style, and the thin application of paint which gives a smooth, glossy finish. It is only on closer inspection that the viewer realises the work is entirely painted by hand. Brinkworth's works challenge our perceptions of the image; in our contemporary world inundated with visual stimuli, she painstakingly labours over her compositions to make us look at these familiar objects in a new way. In a parallel challenge to contemporary conventions her technique mirrors the Renaissance mural technique of the 'cartoon', a drawing which would be pricked along the lines and dusted with charcoal to transfer the skeleton of the image to the wall. Brinkworth similarly maps out her photographs onto both sides of sheets of paper and rubs the reverse to move the image onto the canvas. Once the composition is mapped out, she begins working into the picture in oil using her distinctive technique. Categories: London Binion's, Kate Brinkworth, photorealist, dice, gambling, casino...

This artwork by Andrée De Frémont has a simple theme : Two farms in the distance in a hedged landscape. But on closer inspection, the arrangement of ...

This artwork features a large architectural spring composition, almost geometrical by successive plans. A bouquet of wild grasses and a few scattered flowers make sing hard blues and aniseed greens. The background color changes on the left edge of the canvas, becoming a light mauve with a large orange spot. This piece is not framed. Andrée de Frémont...

To evoke the French Riviera and the light of the South, a sketch made by Andrée de Frémont on the French Riviera has become canvas. It is camping a h...

"December" is a poetic oil painting by Marcel Demagny depicting a typical winter landscape with snow-covered peaks, rivers and trees. This piece is n...

Still life with brushes. Paper, watercolor, 32x39 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she began her st...

I love it) what about you?

Man lives for himself. Interested in the surrounding world. History is so fascinating, science reveals secrets, books teach, travel inspires! And a fish in an aquarium and a bird in a cage, and a candle and ancient manuscripts...

This artwork is named after "Nissa", the ancient name of the "Nice" French city, which the painting refers to. It depicts a bouquet with large leaves, in a compact and central composition balanced by a cluster of palm trees flushed with sunlight. This piece is not framed. Andrée de Frémont...

One day, the son of the artist Planted a medlar pit in the garden in front of their house. Becoming Medlar, it stood out in the view of the workshop window till it became an inspiration of the artist. One summer, when it was covered day after day with countless medlars, it became the subject of a botanical canvas by Andrée de Frémont...

Large yellow flowers emerge on the sides of the roads in summer, in Tyrol as in Brittany, and probably everywhere else. These solar flowers, usually considered to be weeds, are actually a source of wonder to the artiste, bringing back summer memories. Andrée de Frémont...

In a square 70cm x 70cm, a jug full of flowers offers the necessary verticality to this subject. Against an ocean blue background stand out the broad leaves of a water plant and its pink flowers. The water here is represented by the dominant blues, however, a yellow bloom and spots of gold powder are a reminder of the sun. Andrée de Frémont...

Titled "Yellow Symphony", this abstract oil painting by Marcel Demagny depicts distinctive yellow color blocks emerging against various blue colors defi...

Quotation from Infinite Jest by David Foster Wallace. The duo was officially born in 2017 with the RAR project, which focuses on the value of the analogy in literature. At the heart of their investigation is the dynamic that leads reading to become writing, and other way the user to become a creator, a maker, mixing roles. The exchange that is established guarantees the transmission, that it goes beyond repetition and finds its completion in transformation. The eternity of an experience, whatever it is (physical, material, emotional, intellectual), is measured by its capacity to be an eternal breeding ground for discovery and knowledge. Their work was exhibited in solo shows by art galleries, such as Raffaella De Chirico Contemporary Art in Turin and Manuel Zoia Gallery in Milan, and in Art Fair such as ArtVerona and WOP in Lugano (CH). In 2021, they were finalists in the Cramum Award. Between October 2022 and January 2023, they took part in the World Textile Biennale – Italian Act, a series of three exhibitions curated by Barbara Pavan. In January 2023 they attended their first group show in New York at the Ivy Brown Gallery.

The words used in the artworks come from the indo-european root √Ker, which contains a bunch of auspicious meanings, which can be associated with vibration and rhythm and, together, with the flesh as well as with the head and the heart, developing a semantic collaboration that becomes a story. The heart and, on the other side, the brain, by vibrating, make the energy they generate flow in the flesh and animate it. The duo was officially born in 2017 with the RAR project, which focuses on the value of the analogy in literature. At the heart of their investigation is the dynamic that leads reading to become writing, and other way the user to become a creator, a maker, mixing roles. The exchange that is established guarantees the transmission, that it goes beyond repetition and finds its completion in transformation. The eternity of an experience, whatever it is (physical, material, emotional, intellectual), is measured by its capacity to be an eternal breeding ground for discovery and knowledge. Their work was exhibited in solo shows by art galleries, such as Raffaella De Chirico Contemporary Art in Turin and Manuel Zoia Gallery in Milan, and in Art Fair such as ArtVerona and WOP in Lugano (CH). In 2021, they were finalists in the Cramum Award. Between October 2022 and January 2023, they took part in the World Textile Biennale – Italian Act, a series of three exhibitions curated by Barbara Pavan. In January 2023 they attended their first group show in New York at the Ivy Brown Gallery.

The City of Books shows a map of an imaginary city made up by words: 140 quotations, taken from 40 different books and chosen following the criterion of analogy, give rise to 12 tales that compose the roads of the city. The artwork sees literature cross over into art, exit from books, and is an homage to the transformation process that leads the reader to become author, mixing roles; reading become writing, creating an access between two actions intimately connected. Clarice Lispector, Roberto Bolaño, David Foster Wallace, Jorge Luis Borges...

A bottle, a glass of red wine, an old door handle with a hole for a key, in the background, two symbolic images - a woman and a man (Adam and Eve)

Sergii Druziaka and Sergii Litvinov. ART tandem "Still life. Pans."

Poppy 2021., cardboard, oil, 30x21 cm

Sergii Druziaka and Sergii Litvinov. ART tandem "Samovar"

Flowers in a vase 2010, cardboard, oil, 64x46 cm

Light composition in a light mood. Cardboard, oil, 70x50 cm Still life with flowers in vase

'Bouquet of Flowers in a Pitcher', oil on canvas, by Lilian Whitteker (circa 1960s). This Impressionist bouquet of mixed flowers is a swirl of colour, elegantly posed in a green glas...

Still life with vegetables. 1973. Oil on cardboard, on canvas, 35x55 cm

Flowers in vase. Caltha. 1947, oil on plywood, 73x54 cm

Dutch artist Nico Heilijgers (1964) works in the tradition of the great seventeenth-century painters. Heilijgers' paintings are characterized by aesthetics, harmony and atmosphere,...

Dutch artist Nico Heilijgers (1964) works in the tradition of the great seventeenth-century painters. Heilijgers' paintings are characterized by aest...

The artwork is an excursus between different languages, beyond the historical, cultural and geographical boundaries, starting from the Indo-European root √AR, from which it takes its name. This root can be associated with words such as arena, artillery that refer to a military and warlike environment, but also it has in itself the idea of unity, explored in the artwork, and with it that of cohesion, of right direction; the idea of integrity and of moral rightness. Coexisting languages in AR: Hittite, Sanskrit, ancient Greek, Latin, runic Proto-Germanic and Italian. The duo was officially born in 2017 with the RAR project, which focuses on the value of the analogy in literature. At the heart of their investigation is the dynamic that leads reading to become writing, and other way the user to become a creator, a maker, mixing roles. The exchange that is established guarantees the transmission, that it goes beyond repetition and finds its completion in transformation. The eternity of an experience, whatever it is (physical, material, emotional, intellectual), is measured by its capacity to be an eternal breeding ground for discovery and knowledge. Their work was exhibited in solo shows by art galleries, such as Raffaella De Chirico Contemporary Art in Turin and Manuel Zoia Gallery in Milan, and in Art Fair such as ArtVerona and WOP in Lugano (CH). In 2021, they were finalists in the Cramum Award. Between October 2022 and January 2023, they took part in the World Textile Biennale – Italian Act, a series of three exhibitions curated by Barbara Pavan. In January 2023 they attended their first group show in New York at the Ivy Brown Gallery.

Oleksandr Khrapachov "SUNSHINE_"

Dutch artist Nico Heilijgers (1964) works in the tradition of the great seventeenth-century painters. Heilijgers' paintings are characterized by aest...

Dutch artist Nico Heilijgers (1964) works in the tradition of the great seventeenth-century painters. Heilijgers' paintings are characterized by aest...

Dutch artist Nico Heilijgers (1964) works in the tradition of the great seventeenth-century painters. Heilijgers' paintings are characterized by aesthetics, harmony and atmosphere,...

Dutch artist Nico Heilijgers (1964) works in the tradition of the great seventeenth-century painters. Heilijgers' paintings are characterized by aest...

Alina Sharovskaya-Konstantinova "FLOWERS AND APPLE"

Signed post-cubist oil on canvas circa 1950 by French painter Claude Venard. The piece, painted predominantly in green and grey tones depicts various items placed on a table - a vase with a paintbrush in it, fruit bowls filled with pears and apples, a plate, scissors, a glass and broken ceramic pieces. A wonderful piece. Signature: Signed lower right Dimensions: Framed: 29.5"x40" Unframed: 21.5"x32" Provenance: Galerie Cardo - Paris (original labels verso) Claude Venard was born in Paris to parents from Burgundy. He attended the École des Beaux-Arts for just two days, followed by six years of study at the École des Arts Appliqués. In 1936 he worked in the Louvre as a restorer. As with André Marchand...

Signed still life oil on canvas circa 1920 by French post impressionist painter Georges D'Espagnat. The work depicts a ceramic vase placed on a wooden stall filled with pink peonies and yellow flowers. A beautiful piece in the artist's distinctive hand. Signature: Signed: Signed lower left Dimensions: Framed: 24"x21" Unframed: 16"x13" Provenance: To be included in the forthcoming Georges d’Espagnat Catalogue Raisonné being prepared by Jean-Dominique Jacquemond. From the beginning of his career it was a constant concern of Georges d'Espagne to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagne was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont...

'Cubist Still Life', oil on board, with guitar, wine bottle and glasses, (circa 1950s - 1960s), by an unknown artist. A masterly cubist still life representation depicting items atop...

Coquillage et réveil en rouge by Henri Hayden (1883-1970) Oil on paper laid down on isorel 33.5 x 46 cm (13 ¹/₄ x 18 ¹/₈ inches) Signed and dated lower le...

Oil on canvas Image size: 23 1/4 x 19 1/2 inches (59 x 50 cm) Dutch Ripple frame PROVENANCE Private Collection, London Here a glass vase containing an exuberant display of flowers stands on a ledge. With only one known exception, Verelst included vases in all of his flower paintings. The asymmetrical arrangement of the flowers fills most of the canvas and the vibrant bouquet contains peonies, a bearded iris and a poppy set amidst a perfusion of twisting leaves and stems. Poppies were one of Verelst's favourite flowers and were commonly featured in his still life's. This painting shows a superb understanding of light and colour that is consistent with Verelst's other works. Indeed, the strong contrast between the brightly lit, the colourful blossoms and the surrounding darkness lends to the flowers and foliage a hyper realistic quality and a strong sense of three-dimensionality. The Artist Verelst was born in The Hague in 1644 and came from a family of painters. His brothers Johannes and Herman also became painters and, like Simon, were trained by their father. In 1663 Simon became a member of the Confrérie Pictura, the painter's association in The Hague, and soon afterwards moved to nearby Vooburg with his brother Herman, who also painted flowers. In 1668 Simon he moved to London where the Duke of Buckingham became his principle patron and on 11 April 1669 he met with Samuel Pepys. He was enormously successful in London and his elegant portraits became popular for a time during the 1670s among court circles. He painted this portrait of Prince Rupert, son of Frederick V, Count Palatine and Elizabeth Stuart...