Enoch Seeman Art

A muscular male is seated on a chair, his eyes closed and head tilted toward the sky soaking up the warmth of the sun. "Sogni D'Oro", meaning sweet dreams, is set upon an intricate b...

Vibrant portrait of a Filipino girl playing a harp by an unknown artist (20th Century). This piece is done in the style of traditional Filipino art, with ...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

Delicate and detailed portrait of Jesus by notable outlaw John Paul Chase (American, 1901-1973). Jesus is looking directly at the viewer with a piercing gaze, holding a glowing sacred heart in his left hand. The other hand is gesturing toward the viewer, palm up, and the stigmata can be seen on his palm. Jesus is wearing a red garment with a blue cloak, the traditional symbolic colors for humanity and the heavens. It appears that this piece was painted over a previous composition. Signed "John Paul Chase" in the lower right. Presented in a mahogany frame with an oval opening. Board size: 31"H x 24"W Oval opening is 28.75" x 22" at widest points John Paul Chase (December 26, 1901 – October 5, 1973) was an American bank robber and Depression-era outlaw, who also became an artist. John Paul Chase was born in San Francisco, California. He left grade school to work on a ranch and later became an assistant machinist in a railroad yard. In 1926, Chase was fired from the railroad and was hired as a chauffeur for a professional gambler in Reno, Nevada. He spent the next few years as a bootlegger in Sausalito, San Rafael and San Francisco but was not involved in major crime until his association with Baby Face Nelson in the early 1930s, possibly in March 1932. It is generally agreed among crime historians that Reno was the most likely place where the two first became partners, Nelson having connections in the local underworld and frequently hid out there while in Chicago and the general Midwest. On October 23, 1933, he and Nelson robbed their first bank together in Brainerd, Minnesota escaping with $32,000. Along the way, they picked up a number of other outlaws including Charles Fisher...

Calvin Lai's (US based) "Deep Breath" is an original, handmade oil painting that depicts two acrobats, cast in red light, with the female figure balancing on the male figure. Artis...

Raimond Lecourt (1882–1946) Study of a Horse's Head Oil on canvas mounted on panel, 28 x 24 cm Signed and dated 1909 lower left Provenance: Private Collection Raimond Lecourt, a p...

"Fragment" by Rudolf Kosow is a compelling painting that intricately uses the medium of wood to enhance its textural and emotional depth. The artwork features a close-up of a human f...

These two royal portraits are a major historical testimony to the stay of the Comte d'Artois (the future Charles X) and his family in Edinburgh in 1796-1797. Given by the sitters to Lord Adam Gordon, the Governor of Edinburgh, and kept by family descent to this day, these two portraits provide us with a vivid and spontaneous image of the Duc d’Angoulême and his brother the Duc de Berry. Danloux, who had emigrated to London a few years before, demonstrate his full assimilation of the art of British portrait painters in the brilliant execution of these portraits. 1. Henri-Pierre Danloux, a portraitist in the revolutionary turmoil Born in Paris in 1753, Henri-Pierre Danloux was first a pupil of the painter Nicolas-Bernard Lépicié (1735 - 1784) and then, in 1773, of Joseph-Marie Vien (1716 - 1809), whom he followed to Rome when, at the end of 1775, Vien became Director of the Académie de France. In Rome he became friends with the painter Jacques-Louis David (1748 - 1825). Returning to France around 1782, he settled in Lyon for a few years before returning to Paris in 1785. One of his first portraits was commissioned by the Baroness d'Etigny, the widow of the former Intendant of the Provinces of Gascony, Bearn and Navarre Antoine Mégret d'Etigny (1719 – 1767). He then became close to his two sons, Mégret de Sérilly and Mégret d'Etigny, who in turn became his patrons. In 1787, this close relationship with the d'Etigny family was further strengthened by his marriage to Antoinette de Saint-Redan, a relative of Madame d'Etigny. After his marriage, he left for Rome and did not return to France until 1789. It was during the winter of 1790-1791 that he painted one of his masterpieces, the portrait of Baron de Besenval. Set in a twilight atmosphere, this portrait of an aristocrat who knows that his death is imminent symbolizes the disappearance of an erudite and refined society which would be swept away by the French Revolution. The Jacobin excesses led Danloux to emigrate to England in 1792; many members of his family-in-law who remained in France were guillotined on 10 May 1794. Danloux enjoyed great success as a portrait painter in England before returning to France in 1801. During his stay in England, Danloux was deeply under the influence of English portraitists: his colors became warmer (as shown by the portrait of the Duc d'Angoulême that we are presenting), and his execution broader. 2. Description of the two portraits and biographical details of the sitters The Duc d'Angoulême (1775-1844) was the eldest son of the Comte d'Artois, the younger brother of King Louis XVI (the future King Charles X), and his wife Marie-Thérèse of Savoie. He is shown here, in the freshness of his youth, wearing the uniform of colonel-general of the "Angoulême-Dragons" regiment. He is wearing the blue cordon of the Order of the Holy Spirit, which was awarded to him in 1787, and two decorations: the Cross of Saint-Louis and the Maltese Cross, as he was also Grand Prior of the Order of Malta. Born on 16 August 1775 in Versailles, Louis-Antoine d'Artois followed his parents into emigration on 16 July 1789. In 1792, he joined the émigrés’ army led by the Prince de Condé. After his stay in Edinburgh (which will be further discussed), he went to the court of the future King Louis XVIII, who was in exile at the time, and in 1799 married his first cousin Marie-Thérèse Charlotte of France, the daughter of Louis XVI and the sole survivor of the royal family. The couple had no descendants. He became Dauphin of France in 1824, upon the accession to the throne of his father but played only a minor political role, preferring his military position as Grand Admiral. Enlisted in Spain on the side of Ferdinand VII, he returned home crowned with glory after his victory at Trocadero in 1823. He reigned for a very short time at the abdication of Charles X in 1830, before relinquishing his rights in favor of his nephew Henri d'Artois, the Duc de Bordeaux. He then followed his father into exile and died on 3 June 1844 in Gorizia (now in Italy). His younger brother, the Duc de Berry, is shown in the uniform of the noble cavalry of the émigrés’ Army. He is wearing the blue cordon of the Order of the Holy Spirit, awarded to him in May 1789, and the Cross of Saint-Louis (partly hidden by his blue cordon). Born on 24 January 1778 in Versailles, Charles-Ferdinand d'Artois also followed his parents into emigration and joined the émigrés’ army in 1792. After his stay in Edinburgh, he remained in Great Britain, where he had an affair with Amy Brown...

Early figurative portrait painting by Houston-based artist Buford Evans. The work features a black woman dressed in a green dress gingerly caressing her young child. Signed by the ar...

The Cocktail Paintings It's Five O'Clock These four cocktail paintings are completed at a certain point at which time the artist will start to add a mosaic style pattern to the en...

Johann August Frederik Carl‏ Lorange (1833 - 1875) was highly skilled Danish artist of German roots. Not much known on his biography, unfortunately, but most of his works were produc...

Like the Westerns I grew up with, my own work is camouflaged in a veil of nostalgia. The figures in my work are often portrayed against a stark background. This forces the viewer to recognize the myth before the critique exposes itself. I work from observation and my imagination using watercolor and traditional printmaking methods. The figurative images I create are heavily researched. By using the West, a subject that I am both familiar with and continue to question, I aim to engage with our inherent perceptions of the past and the myths embedded within. - Jed Webster Smith