David Leonard Landscape Paintings

Oil on board Board Size: 16 x 20 in. Frame Size: 22 x 26.5 in. Signed, bottom right. In this oil painting Jose Vives-Atsara captures the rugged, sun-drenched essence of the Spanish ...

Boat on the river bank. 1980. Oil on cardboard, 54x41 cm Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University at studies to R.Suta, J...

UNION SQUARE Depression Era Oil Painting WPA Realism American Scene Realism NYC Jo Cain (1904 – 2003) "Union Square" 24 x 36 inches Oil on canvas, c.1940s S...

Charles Lewis Fussell (American, 1840–1909) Children Playing on a Boat Oil on canvas, 11 x 16 3/4 inches Framed: 19 x 25 inches (approx.) Signed at lower left: “C.L. Fussell” Charle...

“Being There,” an original oil on canvas by Robert K. White, is a piece for the true collector. White’s careful attention to detail and vivid use of browns and reds project from the painting, immediately capturing the viewer's attention and highlighting the artist's keen ability to capture emotion and life - all in a brushstroke. White's talent for depicting light and shadow provides the foundation for him to deliver subjects and scenes to the viewer's eye. This masterful work would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for cityscapes, theater, and architecture. In the artist’s own words, “I don’t paint what is inside of me; I paint what I see outside of me. I’m an observer. If I see something and I feel an affinity for it, something just clicks in my head. I’ll make the decision right then and there to paint that particular subject during that particular moment. It’s a perfect moment. Once something has caught my eye and I’ve heard the “perfect” click, it’s like a photograph has been taken in my mind’s eye. I only have a few days of clarity with that image. I have to start the painting quickly or else it will be gone and I will lose that image forever.” Artist: ROBERT KENNETH WHITE...

ROBERT KENNETH WHITE (b. 1950) – “OAK CREEK CANYON” (AKA “TRAIL SIDE – LAGUNA HILLS”) ⚜ Oil on Canvas ⚜ Hand Signed Lower Right ⚜ Frameless Display A QUIET CALIFORNIA TRAIL SCENE IN...

ROBERT KENNETH WHITE – "PEACEFUL REFLECTION II" ⚜ Oil on canvas ⚜ Hand signed lower right ⚜ Frameless display CLASSICAL GARDEN INTERIOR WITH MEDITERRANEAN LIGHT In Peaceful Reflecti...

Frank Waller (American, 1842-1923) Farmstead, Long Island Oil on canvas, 13 x 21 inches FRAMED: 18 x 26 inches (approx.) Note: while this work is unsigned, it relates to a number o...

Frank Waller (American, 1842-1923) House in the Country Oil on canvas, 10 1/2 x 20 1/4 inches FRAMED: 16 x 26 inches (approx.) Signed and dated at lower left: "Frank Waller Study 19...

ROBERT KENNETH WHITE – "WHERE THE SHADOWS BLOOM" ⚜ Oil on canvas ⚜ Hand signed on verso ⚜ Frameless display MEDITERRANEAN COURTYARD IN VIBRANT LIGHT Suffused with radiant hues and d...

ROBERT KENNETH WHITE (b. 1950) – "RETURN OF THE KING" ⚜ Oil on Canvas ⚜ Hand Signed Lower Right; Titled on Verso ⚜ Frameless Display A CINEMATIC MOMENT OF ARCHITECTURE, MEMORY, AND ...

A wonderful realistic portrait of the Penobscot, a mid-19th century coastal sidewheel steamer, rendered in Cameron’s hallmark marine portrait style - technically meticulous, historically informed, and visually serene. Executed with crisp linework and a soft, luminous palette, the ship is shown in profile navigating calm Atlantic waters under both steam and sail, her red paddle box emblazoned boldly with her name. Commissioned in 1843 by Menemon Sanford’s Steamship Line and constructed in New York, the Penobscot was a near twin to her sister ship, the Kennebec, but became especially prized for her seaworthiness. Measuring 228 feet in length with a 48-foot beam and twin 14-foot paddlewheels, she carried schooner rigging fore and aft, providing the added stability necessary for coastal and offshore passages. Initially assigned to the Maine coastal excursion routes, she would later be reassigned to the elite New York–Philadelphia line and eventually sold and renamed Norfolk for pre-Civil War service along the southern coast. This work is oil on canvas and is signed in the lower right. It is housed in its original black frame and retains the artist’s description of the ship on the reverse. Size: 22 inches tall by 44 inches wide (painting) 26 inches tall by 48 inches wide by 1 inch deep (frame) Provenance: Private collection; Acquired from the above About the artist: A Delaware artist, Scott Cameron paints the simple elegance of the America’s Cup races, serene coastal marsh scenes, timeless landscape vistas and historic steamboats in a style reminiscent of the era in which they reigned. An admirer of Andrew Wyeth and the Brandywine School of painters, Scott has combined the detail and quiet stillness of that School in his landscapes with the Luminist School’s sense of light glowing from within. A soft gentle atmosphere seems to fall over each scene adding to the peacefulness of the setting, and a sense of a time gone by. His America’s Cup scenes capture the action at a moment in time, allowing the beauty of the wind-filled sails to become the central design element of each painting. Scott Cameron has exhibited his oil paintings in numerous national and regional shows from the Mystic Seaport Museum to solo and group shows in some of the foremost galleries throughout the Northeast and Mid-Atlantic states. Favorite painting locations are the waterways and coastal inlets of Martha’s Vineyard and Maryland’s Eastern Shore and the gentle rolling landscapes of rural Pennsylvania, Delaware and Maryland. Meticulous research is behind every historic steamboat and America’s Cup painting...