Leslie Lewis Sigler Art

A fauvist still life painting of a red cactus flower by Agda Holst (1886-1976). Oil on panel, signed Agda Holst. Probably painted somewhere around 1912-1920 when she had returned to Sweden after her studies abroad. It is painted on a Swedish panel...

Le Pot de Confiture is an original oil painting on panel. It is framed in a handmade, black frame with gold lip. The overall dimensions of the framed piece are approximately, 14x16 inches. Master Still Life painter Dale Zinkowski was born in New York and his earliest memories of painting and drawing were from his Grandfather's own work, which hung throughout the home. Fascinated by the world around him, and the ability to capture fleeting moments on paper, he began to draw and paint from nature almost exclusively. ​From 1993-97, he attended the School of Visual Arts in New York City where he studied the Reilly method with both Marvin Mattelson and John F. Murray. Inspired by the techniques, and hungry for more information, he began copying from the old masters at the Metropolitan Museum of Art.  ​When Murray moved his studio to Tucson, Arizona, Dale followed and focused his studies on the palettes, methods, and materials of artists such as Velazquez and Rembrandt.  ​In 2012, Dale attended the Florence Academy of Art in Italy, where he pushed his understanding of traditional techniques and materials even further while drawing and painting master copies in museums and painting landscapes in the countryside.  ​In 2013, Dale returned to New York City, where he immersed himself in the full-time program at Grand Central Atelier studying under Jacob Collins, Ted Minoff, Will St. John and Colleen Barry...

Hunt Slonem "Violet Spring" Purple and Green Flower A single violet gestured in purple, yellow and green on a matching background in a vintage frame Unframed: 10 x 8 inches Framed: ...

Le Pipe, is an original oil painting on panel. It is framed in a handmade, black frame with pale gold lip. The overall dimensions with the frame included are approximately 12x10.5 inches. A master of Trompe l'oeil, the artist here has depicted an antique smoking pipe...

This is an original oil painting on a linen panel. Mums, the traditional flower of All Saints Day in France, are pictured in a reflective silver cup. A jewel-like deep green-blue bac...

An original oil painting by GC Williams. Williams has a degree in art history which gave her an understanding of, and appreciation for, not only the art of the past, but the histori...

Patrick Nevin's (US based) "Vanitas with Marine Corps Coin" is an oil painting that depicts a human skull situated with an orange, a Marine Corps coin, ...

Hunt Slonem "Tulip" on Gold A single flower gestured in green, yellow and red on a metallic background in a vintage frame Unframed: 10 x 8 inches Framed: 16 x 14 inches *Painting is...

Provenance: S. Spinelli Collection, Florence; their sale, Galleria Pesaro, Milan, July 11-14, 1928, lot 112 (unsold); reoffered Galleria Luigi Bellini, Florence, April 23-26, 1934, lot 132, as manner of Baldassare Peruzzi Dr. Giacomo Ancona, Florence, 1930s, and after 1939, San Francisco; thence by descent to his son: Mario Ancona, San Francisco; thence by descent to his children: Mario Ancona III and Victoria Ancona, San Francisco, until 1995; thence to: Phyllis Ancona Green, widow of Mario Ancona, Los Angeles (1995-2012) Literature: Donato Sanminiatelli, Domenico Beccafumi. Milan 1967, p. 170 (under paintings attributed to Beccafumi) Among the precious survivors of Renaissance secular paintings for domestic interiors are several unusual and particularly attractive panels painted in Siena at the end of the fifteenth and beginning of the sixteenth centuries. These paintings depict exemplary figures from antiquity—heroes or heroines, as well as allegorical, literary, and mythological figures. For the most part, these panels have survived in groups of three, although it is possible that some of these works were painted either as part of larger series or as individual projects. One such trio by Beccafumi consists of two paintings now at the National Gallery, London (Marcia and Tanaquil) and a third in the Galleria Doria-Pamphilj, Rome (Cornelia). These were commissioned around 1517–1519 for the bedroom of Francesco di Camillo Petrucci in Siena and were most likely placed together as elements in the wall decoration (spalliere) or installed above the back of a bench or cassapanca. Another, earlier (ca. 1495–1500), set of three—Guidoccio Cozzarelli’s Hippo, Camilla, and Lucretia (Private Collection, Siena) survives with its original wooden framework—a kind of secular triptych. Judith, Sophonisba, and Cleopatra in the collection of the Monte dei Paschi, Siena, are by an anonymous artist close to Beccafumi called the “Master of the Chigi-Saracini Heroines.” Girolamo di Benvenuto’s Cleopatra, Tuccia, and Portia are dispersed (homeless, Prague, Chambery), and Brescianino’s Faith, Hope, and Charity are in the Pinacoteca Nazionale in Siena. The present painting first appeared in the Spinelli sale in Florence in 1934, at which time it was sold with two panels of identical size and format. Each was catalogued as being by the “manner of Baldassare Peruzzi” and of unidentified subject. Of these, the painting depicting a male figure turned to the right has recently reappeared in a private Italian collection, while the location of the third work, portraying a cloaked figure turned three-quarters left, remains unknown. Our panel depicts the allegorical figure of Fortune. Here she is represented in typical fashion as a nude female figure balanced on a wheel (sometimes called the Rota Fortunae), her billowing drapery indicating that she is as changeable as the wind. The appearance of the Virgin and Child in the cloud at the upper right is an unusual addition to the iconography. The subjects of the two pendant male...

Still Life with Cockatiel and Nautilus, oil on panel, 16 x 20 inches (Framed size: 20 x 24 inches) $3,250 Sandy Freckleton Gagon was born in Salt Lake City, Utah. As a preeminent re...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

Carol creates a range of subjects—landscapes, figures, portraits and still life. Whatever the subject, all are imbued with her strong sense of design; luscious brushwork; love for 19...