Simon Greco Paintings

Signed gouache on board impressionist landscape by French painter Luigi Loir. This work depicts the famous flood of Paris in 1910 when the Seine broke its banks in the largest flooding the city had seen in a 100 years. Loir likely painted this work "en plein air" as he encountered this rare natural occurrence. Signature: Signed lower left Dimensions: Framed: 13"x19" Unframed: 5"x11" Provenance: Private French collection He first exhibited at the Paris Salon in 1865 with a Landscape at Villiers-sur-Seine which brought him a certain amount of recognition. He was a regular exhibitor at the Salon des Artistes Français. Obtaining a third-place medal in 1879, and a second-place medal and a gold medal in 1889 at the Exposition Universelle in Paris. He was decorated with the Légion d'Honneur in 1898. Born in Austria to French parents who served the exiled French Bourbon royal family, Luigi Aloys-François-Joseph Loir moved with his family and the Bourbons to the Duchy of Parma in 1847. In 1860 his family returned to Paris following the expulsion of the Bourbons from Parma. But Luigi remained in the city, having enrolled, at the young age of eight, at the Accademia de Belle Arti. He eventually rejoined his family in Paris in 1863. There he studied with the decorative painter and set designer Jean Pastelot, making his Salon debut in 1865. Loir painted mainly views of Paris, in all seasons and at different times of the day or night. Loir was the Paris painter...

Beautiful Hudson River School Original gouache autumnal landscape of vivid sunset through forest by Charles Russell Loomis (American 1857 - 1936), circa 1880. Warm and cool tones wit...

Kerry Smith Circle Jerks - Group Sex Mixed Media on Crescent board Year: 2021 Size: 12x12in Framed Signed, dated by hand COA provided Ref.: 924802-1612 ----...

Kerry Smith Etta James - At Last Mixed Media on Crescent board Year: 2022 Size: 21x22in Framed Signed, dated by hand COA provided Ref.: 924802-1621 ---------------------------------...

Kerry Smith Nine Inch Nails - Pretty Hate Machine Mixed Media on Crescent board Year: 2019 Size: 12x12in Framed Signed, dated by hand COA provided Ref.: 924802-1618 ---------------...

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...

Late 20th century gouache landscape of "Les Baux de Provence" on paper by French artist Désiré Villain, signed bottom left and to the reverse and dated 199...

Artist: G. Rhumont Title: The Harvest Medium: Oil on Masonite Dimensions: 6.5 x 12" unframed, 18 x 12" Framed G. Rhumont was a turn of the century German landscape artist of romantic style with realistic scenes as seen here in “The Harvest”. This bucolic scene of harvesting hay depicts two farmers working in tandem loading the horse-drawn hay wagon in a field just outside their homestead. This early autumn painting...

Day at the Beach - Realistic Figurative Illustration in Gouache Original figurative illustration of people at the beach by Charles Ross Kinghan (American, 1895-1984). Several women are looking at someone's foot, as if there is a splinter being removed. Three of the women are closer, with their heads in the frame. Two of them have are standing with their backs to the viewer. Between the women, the viewer can catch glimpses of other activities on the beach. Possibly a sketch for Good Housekeeping Magazine. Signed "Charles Ross" in the lower right corner. (Charles Ross Kinghan) Acquired with other signed estate works by the artist. Presented in a new cream mat. Mat size: 16"H x 13"W Board size: 14"H x 11.75"W Charles Ross Kinghan (American, 1895-1984) was born in Anthony, KS on January 18, 1895. A teacher, he moved to Wichita as a teenager and did sign painting for the Western Sign Works. He studied at the Chicago Academy of Fine Art in 1916, the American Academy of Art in Chicago, the Audubon School of Art and the Art Institute of Chicago. He was a pupil of Carl Scheffler, J. Wellington Reynolds, and H.A. Oberteuffer. He taught at the Art Institute of Chicago and at the American Academy of Art in Chicago. He was an illustrator for McCalls, Good Housekeeping, Saturday Evening Post, Colliers, and many others, including American Artist magazine. He was author and illustrator of Rendering Techniques for Commercial Art and Advertising (1956) and of Ted Kautzky...

Kerry Smith Black Flag - Who’s Got The 10 1/2? Mixed Media on Crescent board Year: 2020 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1638 -------------------------...

Fabulous illustration depicts a costume for Broadway production. Gouache on illustration board, image measures 10.5 x 16.5 inches; 15 x 22 inches framed. Excellent condition in ori...

The artist tells a whole action-packed story in one picture. A handsome young soldier shoots his pistol at a passing bomb-dropping airplane. The close call splashes water on him and his two sexy girl...