Rudy Nappi Paintings

NIGHTIE NIGHT 1 - In this original artwork, focus is placed on the blending of delicate detail and expressive brush work. A subtle tone on tone texture is built up in the background ...

Joseph Margulies (American, 1896-1984) Untitled (Portrait of a Girl), 20th Century Oil on canvas (or possibly linen?) 29 3/4 x 25 in. Framed: 33 3/4 x 26 x 1 1/2 in. Signed lower rig...

Acrylic painting on illustration board of three pink cyclamen flowers and heart-shaped leaves on a blue background by Barbara Gibson (American, 20th Century). Artwork is presented in...

Oil on board Image size: 5 3/4 x 7 inches (14.5 x 17.75 cm) As can be seen in this painting, Surrealism served as a source of inspiration for Bergner, though he did not consider himself a surrealist but a lover of stories, and indeed narrative elements appear frequently in his work. He uses the “displacement” element, as the Surrealists did, and that is detaching the figures, objects or landscapes from the logical context and into a poetical-magical climate. Nissim Aloni noted in 1983 He paints as though to install stabilizers against the turbulence of the dream, and perhaps these stabilizers serve him in time as a touchstone'. The Artist Yosl Bergner was born in Vienna, Austria, in 1920 and grew up in Warsaw, Poland. With rampant anti-Semitism in Europe, the Freeland League for Jewish Territorial Colonization was formed in the United States in July 1935, to search for a potential Jewish homeland. Soon afterwards a pastoral firm in Australia offered the League about 16,500 square kilometres (6,400 sq mi) in the Kimberleys, stretching from the north of Western Australia into the Northern Territory. As history showed, the plans went nowhere. But for a time, the Australian idea was at least worth considering. Bergner's father, Melech Ravitch, became involved in a serious investigation of the Kimberley Plan. In this way the Bergner family moved to Australia. Yosl emigrated to Australia in 1937 and studied in the National Gallery School in Melbourne. During World War II he served for four and a half years in the Australian Army, and later continued his studies at the Art School. In Melbourne from 1937–48, Bergner befriended many of the local artists who now epitomize modern Australian art: Sidney Nolan, Albert Tucker...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

This expressive mixed media sketch on paper (study for a large painting) captures the essence of a dense forest landscape with bold brushstrokes and layered textures. The interplay o...

A stunning depiction of boats docked in a Cape Cod harbor. Nemethy uses a bold impressionistic technique with thick use of paint and wonderful impressi...

Raised in Gloucester, Massachusetts, Arthur Davis grew up when fishing and cargo vessels were still sailing in and out of Gloucester's busy harbor. At an early age, he spent time down on the docks where he built model sail boats and completed his first paintings before having any formal training. Davis studied under Emile Gruppe and Gordon Grant and was one of Grant's prize pupils. Davis also painted on the waterfront with Frederick Mulhaupt, Aldro Hibbard, Frederick Stoddard...

John William Buxton Knight was born in Sevenoaks, Kent, in 1843, the son of the landscape painter, William Knight.  Buxton Knight began his art studies at an early age by working in ...

Cattle By Pond At Dusk, Mid-19th Century Tonalist Landscape by William Keith Gorgeous mid-19th century landscape painting by William Keith (American, 1838-1911), circa 1860. This impressive Tonalist landscape, titled "In the Woods", depicts cattle beside a pond in the forest at dusk. Keith uses loose, blended brush strokes and a muted earthy palette to create an atmospheric mood that Tonalism is known for. Signed "W. Keith" lower left. Museum label on verso from Santa Barbara Museum of Art. Presented in an antique giltwood frame. Image size: 9"H x 13"W. With frame measures: 16"H x 20"W x 3"D. Provenance: Mrs. Eugene Patterson; Santa Barbara Museum of Art. Authenticity guaranteed and certificate include. Condition: Very good. Cleaning and restoration required signature to be re-touched, original images pre-restoration available. About the Artist: Brought to New York City in 1850, William Keith was apprenticed to a wood engraver in 1856 working for "Harper's" magazine. In 1858 (or 1859) he visited California for "Harper's" and then after a trip to Great Britain, settled in California as an engraver in 1862. He began exhibiting paintings in 1864 in San Francisco where he opened his studio, after having been taught painting by his wife. The Northern Pacific Railroad...

Artwork sold with frame (100 x 120 x 7.5 cm) Henri Druard (1821–1877) was a French painter known for his genre scenes and depictions of everyday life in 19th-century France. Born in...

French Mid 20th Century oil on board Fauvist view of a road in a landscape, probably near Nice in the South of France and the surrounding countryside, by Hyppolite Roger...