William Thomas Wood Paintings

Bananas, peaches and grapes MAYA KOPITZEVA (Gagra, Georgia, 1924 - 2005) Maya kopitzeva’s works have been acquired by the Russian Ministry of Cult...

Peaches in a Pot, c. 1970s/80s, oil on canvas, signed lower right, 16 x 20 inches, original label verso, presented in its original frame Peaches in a Pot is an excellent example of...

Sal Meijer Mimosa Oil Painting on Panel Still Life In Stock 28 x 23 cm (measured without frame) No signature on the Painting. Sal Meijer was born at Zwanenburgwal 10, ( 6 December ...

In this vibrant tapestry of color, I've melded acrylic, oil, and oil pastel to craft an impassioned dance of poppies. My strokes brim with the spirit of expressionism and touch of im...

Lilac Flowers Oil Painting by Olga Nikitina – Impressionist Impasto Palette Knife Floral Art on Canvas, Large Textured Painting, 85x60 cm Description: This original oil painting on canvas by Olga Nikitina features a lush bouquet of lilac flowers painted in an expressive impressionist style using a palette knife and rich impasto technique. Thick, textured brush and knife strokes create a vibrant surface where light, color, and texture interact, giving the painting depth and movement. The lilac bouquet appears almost sculptural due to the heavy paint application, making the artwork visually dynamic and tactile. The color palette combines various shades of violet, lavender, soft pink, white, and deep green leaves, set against a contemporary abstract background in muted greys, warm neutrals, and soft blues. This balance between impressionistic flowers and a modern background allows the painting to fit both classic and contemporary interiors. The artwork is painted with professional oil paints on high-quality canvas. The painting is sold unframed and will be shipped rolled in a protective tube to ensure safe international delivery and lower shipping costs. Once received, the canvas can be easily stretched at a local framing shop. This large floral oil painting would make an elegant statement piece for a living room, bedroom, dining room, or interior design project. The textured impasto technique makes the painting unique and impossible to fully reproduce in prints or photographs, as the texture changes with light and viewing angle. Details: Artist: Olga Nikitina Title: Lilac Flowers Medium: Oil on canvas Technique: Impasto, palette knife Style: Impressionist / Contemporary Impressionism Size: 85 × 60 cm Condition: Excellent Signature: Signed by artist Framing: Unframed Shipping: Ships rolled in a tube Lilac painting, floral oil painting, impressionist flower painting...

Hand signed on front by the artist. Original oil on masonite painting. Framed. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will ...

Oil on board - 3mm MDF. Scotland. Varnished, unframed ADDITIONAL INFORMATION: Oil on Board 24 H x 18 W x 1 D cm (9.45 x 7.09 x 0.39 in) Sold unframed Please note that insitu images...

Loaves, 1937, oil on canvas, signed and dated lower left, 16 x 26 ¼ inches, exhibited at the Seventeenth Exhibition of Artists Members, Chicago Galleries Association, Chicago, IL, De...

Dimensions with frame: 53,8 x 44,6 x 3,5 cm. Signed "Guinand" in the lower left corner. This charming mid-20th-century still life depicts a generous bouquet of flowers arranged in an elegant white vase. Painted with a free and expressive touch, the composition combines delicate whites, vivid reds and pinks with deep greens, all set against a warm, muted background. The artist approaches the subject with a distinctly Modernist sensibility, simplifying the forms and allowing color and brushwork to shape the composition. The flowers are loosely and spontaneously rendered, while the sculptural white vase, with its curving silhouette, provides a strong and luminous focal point. The restrained palette of the surrounding interior further enhances the freshness and vibrancy of the bouquet. Both intimate and decorative, the painting reflects the enduring influence of Post-Impressionism on mid-20th-century European still-life painting. Its expressive character and harmonious colors make it an appealing work for both classical and contemporary interiors. rené guinand...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. This work consists of six oils on canvas framed together by the artist. ...

A beautiful 1920's French impressionist oil on board interior still life with yellow roses in a jug. Excellent quality work with lots of detail including a painting on the wall and m...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...