Ralph Pallen Coleman Paintings

A charming and decorative composition painted in 1943 by Danish artist Evan Wulff. This stilleben painting unveils a rustic table adorned simply with a wine bottle and two oranges. T...

"Blooming Rose” is an oil painting on Linen canvas created in 2010 by the French artist Françoise de Beaucé. From a private collection. This elegant artwork celebrates the timeless b...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

Michael Tole says of his work… This work draws a connection between the didactic moralizing tendencies of Neo Classicism (represented in the style of the painting) and Modernism (represented in the architectural setting). Though modern art eschews the naturalistic imagery used by Neo Classicists, both movements pursued a self-important, austere, self-consciously masculine aesthetic that they saw as synonymous with virtue. Set in the MoMA courtyard, a passel of men lounge about, regarding a golden statue which looks terribly out of place in this modernist vitrine. The uncomfortable architectural setting, prisonlike and cold, provides a foil for the odalisque-like young men sprawled on hard stone benches and paying homage to the central idol. In my current work, The Revisionist Histories, I am writing letters to art history, literature, and mythology in an attempt to reflect the social changes that have reshaped our society over the past century.  As part of this agenda, I explore the evolution of gender norms, power dynamics, and representation within Western visual culture and what this implies for the negotiation between pleasure, justice, and our culturally specific discourse on beauty.    The seed for The Revisionist Histories was sewn when I caught a glimpse of my preteen daughters watching music videos on their iPad as I chopped veggies for dinner.  Out of the corner of my eye I caught glimpses of music videos featuring Beyonce, Taylor Swift, Ariana Grande, Katy Perry, and Doja Cat gyrating across the tiny screen.  A better parent might have snatched the iPad away, but I was overcome with hallucinatory visions of this pop diva...

Larry Day (American, 1921-1998) Still Life with Decanter Oil on canvas, 33 3/4 x 41 3/ 4 inches FRAMED: 41 x 49 inches (approx.) Signed at lower right: “Day” Exhibition label on str...

About this work: Painted in 1882, this work is an intimate jewel by Edward John Gregory, combining his celebrated command of figure painting with the richly appointed interior of the...

This charmingly impressionist oil still life depicts an antique copper pot, a glass bottle, and two artichokes by French artist Raymond Bailly, 1970s. Original artwork on paper dis...

Lovely oil on paper landscape of autumn colored trees lining a small pathway in a park by artist Raymond Bailly, 1966. Original one-of-a-kind artwork on paper displayed on a white ...

Warmly hued oil on paper still life of open wooden box with artist's supplies spilling out, circa 1930. Signed lower right. Original artwork on paper displayed on a white mat with ...

Vibrant French oil still life painting of violin in blue lined violin case by artist Raymond Bailly, circa 1965. Signed lower right. Original artw...

When I think about the conventions of painting -- a tradition I respect immensely -- I notice that my concern has always been with the interplay of light and structure" says artist S...

Oil painting of four figures under a light by French artist Bidaud, circa 1990. Signed lower right. Original one-of-a-kind artwork on paper displayed on a white mat with a gold bor...

Spectacular oil painting on paper of an elegant bouquet of roses in a decorative pitcher sitting upon a leather bound book by French artist Marrot, 1942. Signed and dated lower left....

Abbott Fuller Graves (American, 1859-1936) Still Life with Fruit Oil on canvas, 20 x 32 inches FRAMED: 29 x 41inches (approx.) Signed and dated a...