$20,000Sale Price|20% Off
Turn of Century English Portrait of Mrs. Rogerson
By John Charlton
Located in Soquel, CA
Elegant Victorian original oil portrait of Mrs. Rogerson by John Charlton Robert Azensky Fine Art is pleased to offer this fine example of Victorian portraiture of Mrs. Frances Mary...
Linen, Oil, Stretcher Bars
Oil Painting by John Charlton R.I "Rex"
By John Charlton
Located in Mere, GB
Oil Painting by John Charlton R.I "Rex" 1849 - 1917 Northumberland painter of horses and military scenes. Exhibited at the Royal Academy and Royal Institute where he was a member. Oi...
Oil
$545
H 12 in Dm 12 in
A Brackish Delight - Original Whimsical Sea Animal Oil Painting on Wood Panel
By JJ Galloway
Located in Los Angeles, CA
JJ Galloway is an internationally collected artist known for her whimsical paintings and sculptures that combine people, animals, and food. Using oils, watercolors, and mixed media, ...
Oil, Wood Panel
$595
H 18.3 in W 18.3 in D 0.5 in
1960s Vintage Swedish Oil Painting Fish Market Scene by Modernist Henry Eldin
Located in Stockholm, SE
This mid-century oil on canvas by the renowned Swedish modernist Henry Eldin (b. 1921) reveals an expressive harbour scene, where a young woman purchases fish against a backdrop of p...
Canvas, Wood, Oil
Zhao Wang Animal Original Oil On Canvas "Company 1"
By Zhao Wang
Located in New York, NY
Title: Company 1 Medium: Oil on canvas Size: 8 x 8 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2000 Circa Artist: Zhao Wang...
Canvas, Oil
$5,360
H 22.05 in W 20.87 in
Shepherd with Sheep, Cows and a Goat in a Landscape by Jan Frans Soolmaker
Located in Stockholm, SE
This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999. The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further. The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work. The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson. Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented. Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre. Information: Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep...
Canvas, Oil
$4,500
H 29 in W 23 in
Post Impressionist Ballet Dancer Oil Painting Louis Kronberg French Ballerina
By Louis Kronberg
Located in Surfside, FL
Louis Kronberg (American 1872-1965) Oil on canvas. Hand signed lower right. (very faintly, almost illegibly) "Ballerina" Dimensions: 24 inches high x 18 inches wide. Total Framed ...
Canvas, Oil
$786
H 21.66 in W 21.66 in D 1.46 in
Portrait Starry Night Van Gogh French School 247 Chut Les Barbizons!
Located in Zofingen, AG
Portrait French PS 247 Starry Night Diving Portrait of a diving woman dress with a Vincent Van Gogh swimsuit A daring dive in the unknown! This is one of the famous artwork from V...
Gesso, Mixed Media, Oil, Acrylic, Stretcher Bars
$12,500
H 49 in W 35 in D 0.75 in
'Portrait of a Fashion Designer', Berlin National Gallery, Weimar, Jewish, 20's
By Georg Rössner
Located in Santa Cruz, CA
Signed lower left, 'Georg W. Rössner' for Georg Walter Rössner (German, 1885-1972), titled 'Bildnis Lieselotte Friedländer' and painted circa 1926; original artist card verso. A sub...
Canvas, Oil
$15,000
H 64 in W 66.5 in
Nature's Web of Dependency - Large Scale Oil Painting with Animals and People
By Bruno Surdo
Located in Chicago, IL
This painting exemplifies Bruno Surdo’s synthesis of Renaissance figuration, Northern allegory, and psychological symbolism. Female figures twist and overlap beneath a lattice of tree branches, while animals—a lamb, fox, squirrel, hummingbird—inhabit the same compressed pictorial space. The interlocking limbs and diagonals recall High Renaissance and Mannerist strategies of sculptural composition, and Surdo’s atelier training is evident in the anatomical precision and volumetric modeling of flesh. Yet the scene feels intentionally dense and claustrophobic. Rather than a pastoral idyll, the forest becomes charged—alive with tension, concealment, and layered meaning. The symbolic animals situate the work within a long art historical lineage. The lamb evokes innocence or sacrifice; the fox suggests cunning and instinct; birds often signify fragility or spirit; the spider embedded in the branches recalls vanitas traditions of the Dutch Golden Age, where small creatures signal mortality and hidden threat. However, the background introduces an additional, more psychological register: the partially obscured eye and the numbers 3, 5, and 7. These are not naturalistic elements; they intrude like fragments from another realm. Their presence subtly aligns with Jungian thought—an area of interest for Surdo—where numbers function as archetypal structures of order within the psyche. In Jungian symbolism, such numbers carry qualitative meaning rather than mere quantity, suggesting stages, wholeness, embodiment, or cycles of psychic development. Their appearance within the forest—traditionally a metaphor for the unconscious—suggests the mind’s attempt to map or structure instinctual terrain. The eye, half-hidden behind branches, intensifies this reading. It can be understood as a symbol of awareness or consciousness emerging from within the thicket of instinct. Rather than divine omniscience, it feels psychological—an archetypal “watcher” embedded in the natural world. The forest thus becomes more than environment; it reads as psychic landscape. Surdo collapses civilization and instinct, rational structure and animal impulse, into a single visual field. Within his broader oeuvre—often concerned with the tension between performance and authenticity, order and chaos—this work becomes a contemporary myth of the psyche. Renaissance form provides authority and structure, while allegorical animals and Jungian symbols suggest the layered architecture of the unconscious. The result is a painting that feels timeless yet inwardly modern: a meditation on innocence, predation, awareness, and the hidden numerical and symbolic frameworks through which the human mind seeks to understand its own wilderness. Bruno Surdo Nature's Web of Dependency oil on canvas 64h x 66.50w in 162.56h x 168.91w cm BRS082 Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2021 Ethos + Truth, Gallery Victor Armendariz, Chicago, IL 2020 Realities, Gallery Victor Armendariz, Chicago, IL 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden...
Canvas, Oil
Artist's self portrait
Located in PARIS, FR
Self portrait by Jan Rikar Oil on canvas 39,3 x 31,7 cm (48,3 x 40,4 cm with frame) Signed lower right Inscription on the back : "A Madame et Monsieur le Docteur G - Jaubon (?) - a...
Canvas, Oil
$3,900
H 32.49 in W 27.17 in D 2.37 in
The Italian Girl, Oil on Canvas, 1924
By Charles Picart le Doux
Located in Saint Amans des cots, FR
Oil on canvas by Charles PICART LE DOUX (1881-1959), France, 1924. The Italian girl. Very beautiful work where post-impressionism embellished with a few cubist touches form a harmoni...
Canvas, Oil
$38,121
H 31.89 in W 25.6 in
"Jeune femme aux fleurs" 20th Century oil on canvas by Jean-Gabriel Domergue
By Jean-Gabriel Domergue
Located in Madrid, ES
JEAN GABRIEL DOMERGUE French, 1889 – 1962 "JEUNE FEMME AUX FLEURS" Signed & dated "Jean-Gabriel Domergue ´28 " (lower right) With the Atelier stamp on the stretcher and canvas on the reverse Oil on canvas 32 X 25-3/4 inches (81 x 65 cm.) framed: 39-1/2 X 33-1/4 inches (100 X 84 cm.) PROVENANCE Private Collection, Madrid Note: We are grateful to Mr. Noé Willer for confirming the authenticity of this work which is recorded in the archives of the Artist. Painter born in Bordeaux, in 1889 and died in Paris in 1962. He began painting his mother's portraits very soon. He studied at the National Superior School of Fine Arts. The artist considered his teacher and inspiring Degas. Between 1904 and 1907 he joined Fauvism. In 1905 he participated in the "Autumn Hall" and in the "Hall of Independents". In 1907 he presented his 1st individual exhibition at the Vollard Gallery. He specialized in female portraits of Parisian ladies, creating a unique, sophisticated and elegant female portrait prototype that characterized him forever. He played an essential role in the evolution of women's fashion of his time. He designed numerous dresses, hats and accessories for famous designers such as Paul Poiret and Henry Marque It goes down in history as the architect of a new type of woman, thin, with an elegant air, always with style, with unusual elongated necks, with impressive slanted eyes, that seem to look at the world in amazement, perhaps because they express a feeling of freedom towards Society and its norms. With these paintings of women, he showed the world the true French, elegant, beautiful and with a gooseneck. In 1914 he won the Rome Prize. Many celebrities of the time posed for the artist, Josephine Baker, Brigitte Bardot, etc. But although he painted numerous nude actresses...
Canvas, Oil
$1,200
H 19.5 in W 15.5 in
Jiao Wang Animal Portrait Original Oil Painting "Puppy's Family Series 4"
By Jiao Wang
Located in New York, NY
Title: Puppy's Family Series 4 Medium: Oil on canvas Size: 19.5 x 15.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2000 Circa Artist: Jiao Wang...
Canvas, Oil
The Master of the Hounds
By John Charlton
Located in Sheffield, MA
John Charlton English, 1849- 1917 The Master of the Hounds Oil on canvas 36 by 28 in. W/frame 47 ½ by 39 ½ in. Signed lower right Early life: Born to Samuel Charlton and his wife Mary Ann (née Pickering) Charlton on 28 June 1849, in Bamburgh, Northumberland, he received his first lessons in drawing from his father when he was only three or four years old, and within a few years was drawing horses with some skill. Due to his family’s financial misfortunes, he had to attend Dr. Sharp’s charity school held in Bamburgh’s great castle, and a few years later, was forced to quit and find employment. A job in the Newcastle bookshop of Mr. Robinson, a keen collector of the work of Thomas Berwick, “the father of Wood engraving,” gave him an appreciation of graphic art. It was here that the budding artist began to imitate the master’s work, much to the delight of two of Berwick’s aging sisters. Later he spent seven monotonous years employed in the office of Sir Isaac Bell’s ironworks, but seeing the young man’s skill at draughtsmanship, his employers regularly granted him one day a week in which to practice his art. Mr. Joseph Crawhill suggested that he attend evening classes at the Newcastle School of Arts under William Bell Scott. During this time he began to develop quite a reputation on Tyneside as a painter of horses and dogs, and he received some commissions to portray family pets. He debuted at the Royal Academy in 1870, and his first painting with a military theme, Exercising artillery horses on a frosty morning, appeared three years later. Realising that his best prospects for advancement lay in the London art world, he ventured south in 1874 and took classes at the South Kensington Museum, now the Victoria and Albert Museum, under J. D. Watson.While he settled in the capital, he never forgot his northern roots, maintaining a house at 24 Windsor Terrace, Newcastle, and at one time lived at Cullercoats, while his final years were spent at Lanercost in Cumbria. The late 1870s and 1880s were a very busy time for British and colonial forces as they tried to consolidate colonial hold over possessions in northern and southern Africa. Many of the illustrations appearing in The Graphic depicting these events came from the hand of Charlton, especially during the Egyptian campaign of 1882, when he had to draw-up many of the eye-witness sketches posted to the paper by its ‘special artists’ as well as soldiers. It was also during 1882 that he married Kate, daughter of Thomas Vaughan, J.P. of Ugthorp Lodge, Cleveland. Military Paintings: Exposed to the wealth of military illustration he decided to try his hand at creating a large painting on canvas using a war theme, and in 1883 exhibited British artillery entering the enemy’s lines at Tel-el-Kebir, 13 September 1882. It was well received, one writer asking, "who can look unmoved upon his vigorous and vividly realistic rendering." Spurred on by the success of this work which "opened up for him a field in which he could find freer scope for his artistic sense of vivid movement and powerful action in both horse and figure-painting, and exercise for his keen imagination," he chose another military scene for his 1887 academy piece. Based on a sketch by Surgeon N. C. Ross of the Royal Marines, Bad news from the front represented the first news of the disaster to General McNeill’s column during the Suakim campaign of 1885: "A number of horses of the Bengal Lancers having broken through the zeriba [thorn-bush stockade] in confusion, galloped back to headquarters, and created much excitement and alarm, it being conjectured that some terrible disaster had befalled the advance column." He returned to the Sudan campaign for his 1893 piece, Placing the Guns, the same year his wife died leaving him to look after their two young sons. For his next military subject, Charlton turned once again to men and horses in battle with a theme from the Zulu War: After the charge: 17th Lancers, Ulundi, July 4, 1879, which was shown at Burlington House in 1888. The regiment was to figure again later in the artist’s work. Some years previously, he had painted a portrait of Lord Tredegar who had led the lancers out of the fateful charge at Balaklava on 25 October 1854, and no doubt inspired by hearing the nobleman’s account during the sittings as well as reading Kinglake’s history of the Crimean War, Charlton exhibited several paintings of the charge. An Incident in the charge of the Light Brigade...
Oil
Sold
H 25 in W 32 in
The End of day - British 1900's oil painting hunting scene inn hounds horses
By John Charlton
Located in Hagley, England
A large fine oil on canvas which dates to circa 1900 by noted British artist John Charlton. This is one of the best large romantic works that I have seen by this artist. It depicts The End of the Day for a huntsman and his hounds as they stop for a drink under the glowing evening of a cresupular moon. A stunning painting. Signed lower left. Provenance. Christies London Framed in a fine gallery frame 41 by 34 inches. John Charlton was a very successful British artist known for his powerful military scenes, detailed and accurate animal and figure paintings, and vivid landscapes. He debuted at the Royal Academy in 1870 and exhibited there until 1904, contributing 53 works. He was born in a county in North East England and received his first drawing lessons from his father. Due to his family’s financial misfortunes, Charlton was enrolled in Dr. Sharp’s charity school, but a short time later was forced to quit and find employment. His first job was at a bookstore, which gave the promising artist a chance to copy the master’s work. Years later, while working as a draughtsman, his employers noticed his extraordinary talent and regularly granted him time to practice his art. At the suggestion of Mr. Joseph Crawhill, a notable British illustrator, Charlton began to attend evening classes at the Newcastle School of Arts under William Bell Scott. It was during this time that Charlton developed a reputation as a skilled painter of horses and dogs, and began receiving commissions to portray family pets. In 1874, realizing that his best chance for advancement lay in the London art world, he ventured south and took classes at the South Kensington Museum, now the Victoria and Albert Museum. To earn a living Charlton became an illustrator for The Graphic, and his sketches of the Egyptian Campaign of 1882 were often reproduced in the popular weekly illustrated British newspaper. Experiencing the wealth of military illustration, he decided to try his hand at creating a large war-themed painting, and in 1883 exhibited British artillery entering the enemy’s lines at Tel-el-Kebir, 13 September 1882. The critics praised the canvas calling it a “vigorous and vividly realistic rendering.” Spurred on by the success, he chose another military scene for his 1887 academy piece. Based on a sketch by a Royal Navy surgeon, Charlton painted Bad News from the Front, a scene from the Suakim campaign of 1885. For his 1893 piece, Placing the Guns, he returned to the Sudan campaign. His next military subject was from the Zulu War, After the Charge: 17th Lancers, Ulundi, 4 July 1879, which was shown at Burlington House in 1888. Charlton exhibited several paintings from the Crimean War, including An Incident in The Charge of the Light Brigade...
Oil
Sold
H 30 in W 44 in D 1 in
Return of the Guns Victorian Shooting Party signed oil painting
By John Charlton
Located in Cirencester, Gloucestershire
Very fine, large scale original Victorian oil painting on canvas, depicting a traditional shooting party, "The Return of the Guns". The painting is ...
Oil