Alexandre Sacha Garbell

Iconic French port scene with boats and small shops., newly custom framed. Frame size is 30"x x 26" H x 2" deep. Canvas size is 24 x 20 Image 23.5 x 1...

Signed Impasto French street scene painting. Most likely street tourist art but very well done. Linen matting and wooden frame made in Mex...

Large scale orange geometric painting, artist unknown, circa 1960s. It has quite a commanding presence at 6 feet x 6 feet. Please note that this painting is not currently framed or m...

Selection of large-scale abstract paintings, artist unknown, probably American, circa 1960s. They have been framed in clean lined white lacquered gallery frames under UV resistant gl...

Early 20th century signed French Blanchard painting. French street scene. Large canvas with gilded frame.

Selection of large-scale abstract paintings, artist unknown, probably American, circa 1960s. They have been framed in clean lined white lacquered gallery frames under UV resistant gl...

Selection of large-scale abstract paintings, artist unknown, probably American, circa 1960s. They have been framed in clean lined white lacquered gallery frames under UV resistant gl...

Large Scale " Butterflies " Oil Painting on Board Signed R.Cooper, 1967.

These large scale 19th century French florals are breathtaking. The set complements each other perfectly. Both bouquets have neo-classical elements with the urns and pedestals. The l...

Very striking larger oil painting on canvas laid down on Masonite with gilt background depicting Buddha in a seated position on a giant lotus flower. The flower represents a symbol of fortune, meaning rising and blooming above the murk to achieve enlightenment. The painting is believed to be of Bhaajyaguru, the Buddha of healing and medicine, commonly referred to as the "Medicine Buddha...

Renato Guttuso (Italian, 1911-1987), "Nudo", tempera on paper mounted to canvas, signed and dated lower right, Galleria Il Gabbiano, Rome label to stretcher, framed under plexiglass....

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with cart and oxen. Amazing luminescent sky. Signed lower left corner "W. Keith '96". Retains original museum quality gilt frame. Canvas measure 30"H 50"W. Accompanied with period correct Stereograph black and white photograph depicting actual painting in a parlor with handwritten pencil title "Parlor, Berkeley, Cal. '97". This is a museum quality work of art. William Keith (1838-1911) William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters" and "California's Old Master." Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. Keith’s first wife died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier...