Sir David Murray Art

Step into the bustling energy of a portside moment with René Genis’ “Les Grues” (The Cranes)”, a captivating oil-on-mat-board painting that transforms the in...

OIL PAINTING SIGNED 19th Century BRITISH SCHOOL Fine Original Antique 19th Century British OIL PAINTING GOLD GILT FRAME By Major John Edward Bale Excellent Condition Panel, ...

MONIKA ROSSA studied painting at the University of Arizona, in the Ecole des Beaux Arts in Paris and at the Escuela de Diseno in Barcelona. She practices drawing and easel painting....

Horse & Figure in the English Countryside by 20th Century British Landscape Artist, James Wright Signed, Original, Oil on Canvas, housed in a beautiful ornate gold frame. Proven...

ntique 19th Century oil painting on stretched canvas of a traditional Barbizon riverscape scene. This atmospheric French painting is rich in tonal depth with the trees juxtaposed on...

A good antique marine oil painting by James Webb (1825-1895), circa 1860, ex-Sothebys. The painting depicts a stormy or squally sea, most likely the English channel, the rocky cliff...

This is an original, unique oil painting by the artist William Watson Jnr., a Liverpool (Birkenhead) painter of animals and landscapes. He was the t...

"Dusk Forest Scene, Catskills," 1875 by Hudson River School painter Lockwood DeForest (American, 1850-1932) is oil on artists card-stock and measures 9.5 x 7 inches. The work is signed by DeForest, and dated May 13, 1875 at lower right. The work is framed in an elegant, period appropriate frame, and ready to hang. Lockwood DeForest was born in New York in 1850 to a prominent family. He grew up in Greenwich Village and on Long Island at the family summer estate in Cold Spring Harbor. As was customary for a cultivated family in the Gilded Age, the DeForests made frequent trips abroad. Excursions to the great museums, which were prominent on the DeForests agenda, deepened the young Lockwood's familiarity with European painting and sculpture. Though he had begun drawing and painting somewhat earlier, it was during a visit to Rome in 1868 that nineteen-year-old DeForest first began to study art seriously, taking painting lessons from the Italian landscapist Hermann David Salomon Corrodi (1844–1905). More importantly, on the same trip, Lockwood met one of America’s most celebrated painters, (and his maternal great- uncle by marriage) Frederic Edwin Church (1826–1900), who quickly became his mentor. DeForest accompanied Church on sketching trips around Italy and continued this practice when they both returned to America in 1869. Early on in his career, de Forest made a habit of recording the date and often the place of his oil sketches, as to create a visual diary of his travels. Lockwood’s profession as a landscape painter can be primarily attributed to Frederic E. Church and his belief in the young artist’s talent. DeForest often visited Church in the Hudson River community of Catskill where, in addition to sketching trips and afternoons of painting, he assisted with the architectural drawings and planning of Olana. In 1872, DeForest took a studio at the Tenth Street Studio Building in New York. During these formative years DeForest counted among his friend’s artists such as Sanford Robinson Gifford (1823–80), George Henry Yewell (1830–1923), John Frederick Kensett (1816–72), Jervis McEntee (1828–91), and Walter Launt Palmer (1854–1932). Over the next decade DeForest experienced success as a painter. He exhibited for the first time at the National Academy of Design in 1872, and made two more painting trips abroad, in 1875–76 and 1877–78, traveling to the major continental capitals but also the Middle East and North Africa. His trip to the Middle East and the library at Church’s home, Olana, established his interest in design during his mid-twenties. From about 1878 to 1902, landscape painting was overshadowed by his activities and preoccupation with East Indian architecture and décor, a style that became quite fashionable in late nineteenth century America. From 1879-1883, de Forest founded Associated Artists along with Louis Comfort Tiffany, Candace Wheeler...

Decorative river landscape in romantic style, Signed lower left 'I Roy', unknown artist, Oil on canvas Dimensions excl. frame: 49 x 65 Dimensions incl. frame: 64 x 80 x 7 cm. In go...

“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...

Early 20th Century French Barbizon School of a lake and cottage by G Jouyet. The painting is signed bottom left and there is a birthday inscription, signature and title to the back o...

Thomas Birch is considered one of the earliest American Marine painters of importance both in his own time and historically, forming the foundation of what would become a great American Maritime movement in the successive years of the 19th century. Born in England, Birch started as a landscape painter but after the War of 1812 he turned to marine subjects, taking inspiration from the best of both English and Dutch maritime traditions but refining these techniques into a very recognizable style all his own. The work featured here is a classic of Birch's later period, when he focused specifically on maritime subjects, mainly the busy waterways of Philadelphia Harbor. Here we see one of those scenes- a series of ships plying their trade, all framed by the city as it sits across the Delaware River, with the tall, white spire of what is either Independence Hall or Christ Church to the left of the main vessel. The details of the city are particularly good in this painting, with the wharf building to the left and the long line of buildings all along the shore. The American Merchant Bark at the center of this painting is rendered in excellent detail, from her house flag and pennant, to her rigging and sails, and down to her deck filled with the activity of crewmembers readying the ship to head out, her gilt billet...