Romona Youngquist, Art

“Being There,” an original oil on canvas by Robert K. White, is a piece for the true collector. White’s careful attention to detail and vivid use of browns and reds project from the painting, immediately capturing the viewer's attention and highlighting the artist's keen ability to capture emotion and life - all in a brushstroke. White's talent for depicting light and shadow provides the foundation for him to deliver subjects and scenes to the viewer's eye. This masterful work would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for cityscapes, theater, and architecture. In the artist’s own words, “I don’t paint what is inside of me; I paint what I see outside of me. I’m an observer. If I see something and I feel an affinity for it, something just clicks in my head. I’ll make the decision right then and there to paint that particular subject during that particular moment. It’s a perfect moment. Once something has caught my eye and I’ve heard the “perfect” click, it’s like a photograph has been taken in my mind’s eye. I only have a few days of clarity with that image. I have to start the painting quickly or else it will be gone and I will lose that image forever.” Artist: ROBERT KENNETH WHITE...

GOVERT VAN EMMERIK (1808-1882) View on the Governor’s Palace in Paramaribo, Surinam Signed and dated 1856 Oil on canvas, 70 x 90 cm In large gilt...

Stanley Sporny (American 1946 - 2008) A view into a stream with overhanging branches reflected in the water. A beautiful oil painting that explores the stream bottom as well as the ...

An excellent example of Doragh's best work. The scene is believed to be New Castle, Delaware circa 1920. The painting has been professionally restored. The ...

"Approach to Lee's Ferry" by Kim Whitesides, oil on canvas, 18 X 22 inches (Framed size: 21.5 x 25.5 inches) Whitesides made an impact in the art community at a very young age. While working as an illustrator in New York City from the late 60s through the mid 80s, his paintings appeared in many publications, including Time Magazine, Rolling Stone and Playboy. He received numerous awards from The Art Directors Club of New York and The Society of Illustrators. It was at this time that Whitesides began a period of bold work with the airbrush that emphasized the simplified spaces and clean lines of art deco and art moderne, for which he gained a national reputation. A native Utahn, Whitesides believes art is a language and an opportunity for his vision to inspire others. He continues to grow as an artist, as his art is constantly opening doors on new vistas...

Rene Genis (French 1922-2004) “Les Falaise Normande” / The Cliffs of Normand. A sea scape with high cliffs, the beach, and two fishermen. The cliffs are in browns, tans and olives a...

George W. Drew 1875-1968. Excellent example of his work, housed in a period Louie XIV style frame measuring 20.5 x 24.5in. Painted in early to mid 20th century.

Provenance: The Marchesi Strozzi, Palazzo Strozzi, Florence Sale, Christie’s, London, May 20, 1993, lot 315, as by Carl Borromaus Andreas Ruthart...

Paul Guiramand (French 1926-2007) Abstract painting of a house by a lake. Oil on Canvas. Expressive blues of the water and sky with greens reds, brow...

New York City artist Eliot Candee Clark was well known for his impressionist landscapes. He was the son of painter Walter Clark. Many of his paintin...

Battle Mountain, Nevada (2005), oil on canvas, 30x40 inches (framed size: 39 x 50 inches) Earl Jones (1937- ) is one of Utah’s best known landscape artists. As an undergraduate at the University of Utah, where he earned a BFA in 1959 and an MFA in 1962, Jones was preoccupied with the figure, studying under the tutelage of portrait painter Alvin Gittins. He then ventured from Utah to New York and the Art Students League where he took figure painting classes with Joseph Hirsch. Later Jones became heir to the landscape legacy of LeConte Stewart...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...