Bob Peak Landscape Paintings

Charming oil painting of the Wells Fargo Express Office building in the gold country town of Columbia State Historic Park in Columbia, California by Cecil ...

Title: Mid-20th Century Post-Impressionist Pastel of Beachgoers with Sailboat by Anne Marie Migette Perard (French 1902-1977) Medium: Pastel on unframed paper Size: 12.5 inches (heig...

Title: Mid-20th Century Post-Impressionist Beach Scene with Women and Parasol by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Pastel on unframed paper Size: 10.5 ...

Marin County Meadows and Pond with Oak Trees by Manuel Valencia Tonalist Pioneer A painter of California history and western landscapes, Manuel Valencia was born in Marin County, California in 1856 on the Rancho San Jose, the Valencia hacienda. The family received many land grants in the San Francisco area because of their ties to settlement history. Image 8"H x 11.5"W Frame, 14.5"H x 18.5"W x 2.75"D The central focus of the painting is a cluster of lush, verdant trees, likely deciduous, situated near a calm body of water, possibly a pond or slow-moving creek. With a faint outline of figures emerging into the meadow below the towering trees. The foreground features a grassy area with hints of wildflowers or textured ground cover, leading the eye towards the water's edge. In the background, beyond the main cluster of trees, there appears to be a smaller, indistinct structure, possibly a house or shed, suggesting a subtle human presence in the otherwise natural scene. The overall composition is balanced and serene, typical of Tonalist works seeking to evoke a peaceful mood rather than dramatic narrative. Color Palette and Light: The painting employs a subdued, Tonalist color palette, dominated by varying shades of greens, browns, and grays for the landscape elements, and a muted, possibly overcast or hazy sky in the upper portion of the canvas. The light source is diffused and soft, creating a gentle luminosity across the scene, particularly noticeable on the surface of the water which reflects the muted tones of the sky and surrounding foliage. This soft lighting emphasizes the atmospheric quality and quiet mood of the scene. He was a descendant of General Gabriel Valencia, the first governor of the state of Sonora, Mexico under Spanish rule. He was named for his grandfather, who arrived in California in 1774 and became administrator of the Presidio in San Francisco. As a Tonalist, Valencia primarily focused on variations in value and muted color palettes, often featuring greens, purples, blues, and grays. This emphasis on subtle shifts in tone, rather than sharp contrasts, allowed him to create smooth transitions between light and shadow, mimicking the soft, diffused light found in atmospheric conditions like mist, twilight, or moonlight. Valencia studied with artists including Jules Tavernier in the San Francisco area, where he lived his entire life, and attended what is now Santa Clara University. He also spent some time in Mexico where he was a member of the Esquela de Bellas Artes de Mexico. Early in his career, he was a commercial artist who designed calling cards. After the 1906 earthquake and fire, Valencia and his family moved to San Jose, but he commuted to his studio in San Francisco. There he was art editor of the "San Francisco Chronicle" newspaper under art patron M.H. de Young, for whom the museum in San Francisco is named. War Cry, the Salvation Army newspaper, also hired Valencia as its first illustrator. During the time he did illustration work in San Francisco, he kept studios in Monterey and Santa Cruz, did landscapes in Tonalist styles including moonlit scenes that were similar to those of Charles Rollo Peters and indicated he had an awareness of the poetic aesthetic of James McNeill Whistler. Around 1912, he began exhibiting in San Francisco galleries such as S & J Gumps and in New York at Macbeth Gallery and exclusive restaurants such as Delmonico's. President William McKinley, who purchased one of his Yosemite paintings...

Cattle By Pond At Dusk, Mid-19th Century Tonalist Landscape by William Keith Gorgeous mid-19th century landscape painting by William Keith (American, 1838-1911), circa 1860. This impressive Tonalist landscape, titled "In the Woods", depicts cattle beside a pond in the forest at dusk. Keith uses loose, blended brush strokes and a muted earthy palette to create an atmospheric mood that Tonalism is known for. Signed "W. Keith" lower left. Museum label on verso from Santa Barbara Museum of Art. Presented in an antique giltwood frame. Image size: 9"H x 13"W. With frame measures: 16"H x 20"W x 3"D. Provenance: Mrs. Eugene Patterson; Santa Barbara Museum of Art. Authenticity guaranteed and certificate include. Condition: Very good. Cleaning and restoration required signature to be re-touched, original images pre-restoration available. About the Artist: Brought to New York City in 1850, William Keith was apprenticed to a wood engraver in 1856 working for "Harper's" magazine. In 1858 (or 1859) he visited California for "Harper's" and then after a trip to Great Britain, settled in California as an engraver in 1862. He began exhibiting paintings in 1864 in San Francisco where he opened his studio, after having been taught painting by his wife. The Northern Pacific Railroad...

Louisiana Parish shows the people gathering for the Sunday worship in the countryside of Louisiana. Many people would go to the service in the morning,m go home for lunch and a nap and come back for the evening service. Sunday was a day of rest for these people. No shopping, no cell phone, a day devoted to the Lord. A versatile and prolific painter and sculptor, Kirby Daniel Rogere was born in Jeanerette, Louisiana on February 14, 1929 to Marguerite Minvielle and Kirby Serafin Rogere. He painted still lifes, landscapes and abstracts. Rogère's art was influenced by both his Cajun upbringing as well as by great artists, classical musicians and places from around the globe. His work is populated with dancers...

A charming, beautifully framed and ready to hang gouache on panel by highly-listed Parisian artist Paul Renard. One of two Paris scenes I currently have on offer by Renard. Actual go...

Early 20th Century European School, view of the city, with buildings in the background, gouache on paper unsigned in a beautiful custom made Haydenryk frame under glass.

Hudson River School Style - The Homestead and Grist Mill 1942 In the Hudson River School style by A (K) Mathieu (American, 19th-20th C). Harvest time at the Homestead with a hay wago...

Painterly scene of boats and boats being built at the docks in old Pacific Grove, California by an unknown artist (American, 20th Century). Signed"WHM" lower left. Presented in a fau...

Day at the Beach - Realistic Figurative Illustration in Gouache Original figurative illustration of people at the beach by Charles Ross Kinghan (American, 1895-1984). Several women are looking at someone's foot, as if there is a splinter being removed. Three of the women are closer, with their heads in the frame. Two of them have are standing with their backs to the viewer. Between the women, the viewer can catch glimpses of other activities on the beach. Possibly a sketch for Good Housekeeping Magazine. Signed "Charles Ross" in the lower right corner. (Charles Ross Kinghan) Acquired with other signed estate works by the artist. Presented in a new cream mat. Mat size: 16"H x 13"W Board size: 14"H x 11.75"W Charles Ross Kinghan (American, 1895-1984) was born in Anthony, KS on January 18, 1895. A teacher, he moved to Wichita as a teenager and did sign painting for the Western Sign Works. He studied at the Chicago Academy of Fine Art in 1916, the American Academy of Art in Chicago, the Audubon School of Art and the Art Institute of Chicago. He was a pupil of Carl Scheffler, J. Wellington Reynolds, and H.A. Oberteuffer. He taught at the Art Institute of Chicago and at the American Academy of Art in Chicago. He was an illustrator for McCalls, Good Housekeeping, Saturday Evening Post, Colliers, and many others, including American Artist magazine. He was author and illustrator of Rendering Techniques for Commercial Art and Advertising (1956) and of Ted Kautzky...

This piece came from the collection of the Bezalel Art Gallery on the Lower East Side of New York City. Emmanuil Snitkovsky is an internationally known artist, sculpture and poet. Emmanuil Snitkovsky was born into a family of artists and scholars from the Odessa Art College in Russia. Immersed in the traditions of Russia art, he approaches form, line, space and color with relentless vision and impeccable technique. Two highly successful artists, the husband and wife team of Emmanuil and Janet Snitkovsky have exhibited a selection of eight large Judaic paintings at the Chabad Chassidic Art Institute (Chai Gallery) in Crown Heights. Three of those paintings are truly singular visions of Jewish Art that cause us to stop and reassess our preconceptions about the meaning and importance of their subjects. Emmanuil and Janet Snitkovsky were both born in the Ukraine in the 1930′s. Emmanuil was trained in Odessa in public monument art, and Janet majored in fashion at the Lvov Decorative Art Institute. After both narrowly survived the devastation of the Second World War in Stalin’s Russia, they began to collaborate on state sponsored art works in 1962. For ten years, they worked on grandiose public sculptural projects to commemorate the fallen Russian heroes of the Second World War in Moscow, Kiev, Tula and Kazan. They were exemplary Soviet Realists working for the Soviet regime. Eventually, this career became untenable for them, both as artists and as Jews, when they clashed with Soviet officialdom over a commission to commemorate the Babi-Yar massacre. The Soviets refused to acknowledge this massacre of 100,000 Jews and eventually suppressed the memorial. In 1978, Emmanuil and Janet arrived in New York and began to recreate their artistic lives. In the ensuing 25 years, they have been quite successful, exhibiting widely in the United States and Europe. They have nurtured a hybrid style of painting and sculpture called “Renaissance Revival” combining contemporary and classical subjects in a stylized realism that evokes both the American regionalist Thomas Hart Benton and the Italian Renaissance master Sandro Botticelli. The works are highly proficient, polished, and commercial productions in a quirky decorative style. They have continued to accept sculptural projects that have not shied away from kitschy realistic sculptures of Charlie Chaplin as “The Kid,” The Little Tramp” and Buster Keaton as “Cameramen.” In some ways, they have appropriated American culture just as they once accepted Soviet culture. Janet, a graduate of the Lvov College, was invited- by virtue of the high honors she achieved there- to matriculate at the Lvov University of Art. Such an opportunity is extremely rare for anyone, particularly for someone of Jewish descent. Their works of art are included in collections of the Japanese Imperial Family...