Antonio Jacobsen Paintings

The human element in nature is a connecting thread in Jeffrey Long’s broad swathe of paintings done over the past five decades. His paintings, expressed in various visual languages, abstract, representational, figurative, narrative, and metaphorical, are meant to bring order to direct experience. Jeffrey Long’s paintings balance elements of Modernist design with traditions from tribal and Asian art. The “Mosaic” and “Moderne” paintings present boundless associations of color and shape in syncopation. The “Numbers” series brings together mid-Twentieth Century biomorphic design and collage. The warp and weft of weaving are referenced in the “Rip Rap”, “Orchard” and “Kaokoland” paintings. The “Shelters” series introduces representational aspects. Rooflines and architecture are integrated into geometric abstraction. Jeff Long...

These earlier works by Stan Brodsky are reminiscent of Fairfield Porter. Stan Brodsky found his path into painting through the landscape. In his paintings of the 1970's, the horizo...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

High Plains Drifter II, oil on panel, 37 x 57 inches (Framed size: 41 x 61 inches), $7,000 Raised in the Bear River Valley, Tom Howard has an atta...

Paper, 2020, Daniel Blagg, Oil on canvas, 38 x 58" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewers to re-consider objects that ...

A Pair, oil on canvas, 40 x 40 inches (Framed size: 47 x 47 inches), $5,300 “Connie Borup’s work cannot simply be described as landscape; it is the trans...

Moonlite, 2021, Daniel Blagg, Oil on canvas, 38 x 58" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewers to re-consider objects th...

Tribute, 2009, Daniel Blagg, Oil on canvas, 60 x 90" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewer...

"Dark Reflections", Connie Borup, oil on canvas, 40 x 52 inches (Framed size: 33 x 43 inches), $4,800 “Connie Borup’s work cannot simply be described as ...

Rene Genis (French 1922-2004) Monument Valley. 1967. Beautiful oranges, browns, greens against a turquoise blue sky. Oil on canvas, laid on mat. Si...

Robert Stark Jr.(1933-2014) hails from a family of artists based on Nantucket. His luminous paintings depicting the sea and the boats that sail on it...

Jim Woodson, Bifurcation: B16 Bend with Mediated Disjunctions, Oil on canvas, 10" W x 36.25" L x 2.5" D, 1996