David Rucli Figurative Paintings

Berlin has loved Manhattan & New York City for decades. This love is passionately brought to life in the dynamic & vibrant series of Guradian Angels that he's created to protect the areas that he loves so much with his own Guardian Angels in the Sharp Edge style.The first of these Angels has been created to protect SoHo, the now historic cast iron district in Lower Manhattan south of Houston Street north of Little Italy. During the dark hours when people are sleeping and the district has emptied this first, primary coloured Angel watches...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Oil paint on cvanvas Signed lower left

Figurative street art painting. Colors are vibrant; the silhouetted male figures would look perfect in various settings. The depth of the canvas makes this painting even more impress...

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

Hans Burkhardt The Artist's Wife (1930) Oil on canvas, 20" x 16" 24" x 20 ½" x 1 ½" framed Dated 1930 lower right recto. Annotated "To Elsa HB Louise Burkhardt 1930. HB" verso. ...

The Show is On, 1940, oil on canvas, signed and dated lower right, 24 x 20 inches, exhibited: 30th Annual Exhibition of the Associated Artists of Pittsburgh, Carnegie Institute, Pitt...

A Day at the Beach by unkown American School painter, circa 1940-1950, oil on canvas. Framed: 31 x 29 inches

Domingo Zapata Born: Palma de Mallorca, Spain (1974) Lives and works: New York Awards: ‘Most Influential Artist of the Year’, Latino Heritage Celebration (2019) Exhibitions: Grand Hyatt Tokyo (2021), New York Fashion Week (2020), Art Basel Miami (2019) Domingo grew up in Palma de Mallorca in Spain, where his mother was a painter and his father painted cars. Surrounded by “paint and fumes”, he explored his heritage and learnt about artists like Diego Velázquez, Francisco Goya, Pablo Picasso and Salvador Dalí. His art studies in London and subsequent political science degree took him to Wall Street, New York, in 1999, before he embarked on a career in the music industry and wrote lyrics for Michael Jackson. He was hugely influenced by pop culture and the aesthetics of Andy Warhol and Jean-Michel Basquiat. Created in oil and acrylic, Domingo’s works incorporate mixed media, collage and graffiti. His poetic imagination is visualised through layers of text and visual cues including symbols and iconic brands and figures. He says his work is a “conversation of colours”, with its distinctive style identified by the raw strokes of paint. Each piece is designed to have a positive influence on the viewer. Domingo’s art is collected by celebrities including Leonardo DiCaprio, Johnny Depp and Orlando Bloom...

The Demagogue or Tale in a Tub, 1952, oil on canvas, 24 x 20 inches, signed, titled, and dated verso, presented in a newer frame The Demagogue is an iconic Bendor Mark painting fro...

Collections: Robert Isaacson; James Draper, New York, 2014. Exhibited: Cambridge, The Fitzwilliam Museum, Beggarstaffs: William Nicholson and James Pr...

Riders of Pigeon Hill, c. 1940s, oil on canvas, signed lower right, 24 x 36 inches, label verso with title, artist’s name and address; same information inscribed verso; ex-collection...