Fine Art San Diego Paintings

Signed lower right: "R. Vickery" Provenance: Harmon-Meek Gallery, Naples, FL This item is in our New York City warehouse and can be viewed by appointment.

Egg Tempera on gesso panel Signed lower right: "R. Vickery" This item is in our New York City warehouse and can be viewed by appointment.

PROVENANCE: Christie’s South Kensington, England, June 10, 1986; Maynards Auction, Vancouver, Canada, December 6, 1994. This 19th cent wc depicts Charles Darwin in the Beagle’s Tender, Coastal Patagonia, Argentina. The son of an English mother and the Austrian Consul General in London, Conrad Martens pursued a career in painting following his father’s death in 1816. From the age of sixteen he studied under landscape watercolourist Copley Fielding, absorbing the traditions of the English watercolour school and Joshua Reynolds’ theories on painting. In 1833 Martens joined the HMS Beagle on a scientific survey expedition at Montevideo, South America, as ship’s artist, replacing the ailing Augustus Earle. He befriended the ship’s naturalist, Charles Darwin, whose empirical observation of landscape forms and climatic conditions would influence Martens’ practice. Martens left the Beagle in Valparaiso in 1834 and travelled to Australia via New Zealand and Tahiti, settling in Sydney in 1835 and setting up a studio in Pitt Street. Patronised by the colonial elite, he fulfilled many commissions for watercolours of the local landscape and Sydney Harbour, including Elizabeth Bay c1838, which features the grand neoclassical edifice of Elizabeth Bay House, built for the former colonial secretary...

For four decades, G. (Gloucester) Caliman Coxe was considered the dean of African-American artists in Louisville, Kentucky, an art scene in the 1950s and '60s that included Sam Gilliam, Bob Thompson, and Kenneth Victor Young...

Treasures In The Flames is a colorful, abstract, surrealist painting by Armenian artist, Vatche Geuvdjelian. Artist’s Statement “𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 �...

Artist’s Statement “𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘵𝘩𝘳𝘦𝘦 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘧𝘢𝘤𝘵𝘰𝘳𝘴 𝘵𝘰 𝘮𝘺 𝘢𝘱𝘱𝘳𝘰𝘢𝘤𝘩 𝘵𝘰 𝘱𝘢𝘪𝘯𝘵𝘪𝘯𝘨: 𝟷) 𝘔𝘺 “𝘚𝘱𝘪𝘳𝘪𝘵𝘶𝘢𝘭 𝘚𝘦𝘢𝘳𝘤𝘩” 𝘪𝘯 ...

JAN WYSOCKI (Polish 1873-1960) Reclining Nude Woman with Mirror and Roses Oil on canvas 39 x 48 inches Signed lower right In a period gold leaf frame Jan Wysocki was born on Februar...

Oil on canvas board. Signed and dated lower left. Unframed. Salvador de Regil’s 1951 surrealist oil painting transports viewers into a mesmerizing dreamscape where architecture and ...

Jabulani Sam Nhlengethwa was born on 9 January 1955 in the Payneville township of Springs, Gauteng, (formerly Transvaal) South Africa. Forced removals in the area made his family rel...

Papunya Tula Artists Pty. Ltd., Alice Springs The Holmes Court Collection, Perth Austral Gallery, Saint Louis, MO; acquired in 1996; Richard Kelton Collection, Santa Monica; Exhibite...

Malcolm Maloney Jagamarra "Kangaroo Dreaming" 1991 Framed Signed verso Provenance: Hank Ebes, Aboriginal Gallery of Dreamings, Melbourne, Australia; Acquired from the above in 1991, Richard Kelton Collection, Santa Monica, California Malcolm Jagamarra was born in the Australian outback...

This powerful and vividly colored diptych by Malcolm Maloney Jagamarra (born 1955), a renowned Warlpiri artist, is an extraordinary example of contemporary Aboriginal art, drawing deeply from cultural knowledge, ancestral memory, and ecological stewardship. Depicting the sacred narrative of the creation of the Lander River system, the painting is both a visual masterpiece and a spiritual map, tracing a journey through geography, kinship, and Dreaming (Jukurrpa). At first glance, the canvas pulsates with energy. Vortices of concentric circles in rich ochres, reds, yellows, and blues dominate the composition, pulling the viewer into the spiraling flow of the Dreaming. These forms are not merely decorative; they carry deep cultural meaning. The blue line that winds through the center of both canvases is a stylized yet surprisingly geographical depiction of the Lander River, representing its twisting path through central Australia, from the artist’s home country of Willowra to Purtulu (Mount Theo), his mother’s land. Purtulu, meaning “backbone” in Warlpiri, forms not only a physical destination but a metaphorical axis that holds the painting together. This backbone is both personal and cosmic—representing the spine of the land, the structure of ancestral lore, and Jagamarra’s own familial inheritance. The work is grounded in the artist’s kinship obligations and responsibilities to country, with specific references to the roles of kirda (owners of the Dreaming) and kurdungulu (caretakers). In Warlpiri culture, this relational dynamic is foundational—it is the system by which land is cared for, stories are maintained, and ancestral laws are fulfilled. The Dreaming Goannas, positioned at each end of the canvases, are key ancestral figures. Their presence not only signals the sacred nature of this journey but also reflects the traditional Warlpiri iconography—note the “U” shapes, which are used to denote seated ancestors. The goanna is a totemic being, and its hunting patterns and ecological relationships are mirrored in human behavior. To maintain the health of the land and support the goanna population, it is necessary to burn the country regularly. Jagamarra references this practice with depictions of spinifex grass and hunting grounds, connecting mythological beings with tangible ecological practices, and blurring the line between story and science, belief and land management. The left canvas contains the Owl Dreaming, where an abstracted face of the owl can be discerned—haunting and watchful. The owl, a silent observer of the night, brings wisdom and a sense of foreboding. It is a powerful spirit presence in many Aboriginal traditions. Meanwhile, the right canvas turns to the Warna, or Snake Dreaming. The snake, winding and water-bound, is both creator and destroyer, and its movement echoes that of the river. The snake’s body, woven into a hypnotic spiral, is a symbolic representation of the waterways that give life and form to the central desert. This artwork is more than a painting—it is a teaching. It encodes knowledge about ecology, fire management, kinship roles, and sacred geography. It is both autobiographical and communal, a map of memory and belonging. Created within the living traditions of Warlpiri law, it speaks to the inseparable relationship between people and land in Aboriginal worldviews. Malcolm Maloney Jagamarra’s work is a powerful expression of this connection—his hand guided not only by brush but by heritage, ceremony, and Dreaming. Its journey from the Aboriginal Art Galleries of Australia in Melbourne to the Kelton Foundation in Santa Monica, and its exhibition at venues such as the Australian Consulate in Los Angeles and the Indigenous Wisdom and Healing Conference in Virginia Beach...

Signed, dated and titled on verso Original frame by the artist Provenance: Private Collection, Cleveland, Ohio; Acquired directly from the artist in 1980. Julian Stanczak's Sequential Chroma #4 (1980) is a striking example of Op Art—a movement known for its optical illusions and visual dynamism. Measuring 44 x 38 inches and rendered in acrylic on canvas, the work exemplifies Stanczak’s mastery of color relationships and geometric precision. The composition is meticulously constructed with a grid of squares that radiate an intricate interplay of hues, creating a mesmerizing visual effect. The painting’s title, Sequential Chroma #4, highlights Stanczak’s deliberate approach to exploring the sequential interaction of colors. The chromatic shifts within the grid seem to pulse, oscillate, and vibrate as the viewer’s gaze moves across the surface. This dynamic is not merely visual but psychological, as Stanczak’s careful modulation of tones creates a sense of depth and movement that defies the painting’s two-dimensional plane. The grid structure offers a sense of order, yet the gradation of color imbues the work with vitality and rhythmic energy. What makes this painting particularly compelling is its ability to engage viewers in an active experience. The eye is drawn into the grid’s center, where colors appear to intensify, then pulled outward as the edges subtly fade into cooler, darker tones. This shifting focus mirrors...

Signed, titled and dated verso 1980 (11–’80) Provenance: Irving Galleries, Palm Beach, Florida 1985; Private Collection, Palm Springs, CA Exhibitions: M. Kno...

A wonderful, museum caliber painting by Craig Kauffman. Initialed "CK" and dated "82" in the lower right corner. PROVENANCE: Asher Faure Gallery Luther Vandross Luther Vandross Estate Private Collection, New York Private Collection, San Diego, CA EXHIBITED: Asher Faure Gallery, Los Angeles, California, CRAIG KAUFFMAN: NEW PAINTINGS April 23 through May 21,1983 CATALOGUE: Craig Kauffman Estate Archive Number CR No: P.1982.2 The following is from The New York Times, May 15, 2010, By Douglas Martin Craig Kauffman, who in the 1960s helped put Los Angeles on the art map with audacious experiments in molding industrial plastic to create ethereal wall-mounted sculptures — some resembling giant pieces of jelly candy — died Sunday in Angeles City in the Philippines. He was 78. The cause was complications of pneumonia following a recent stroke, said Frank Lloyd, his friend and dealer. Mr. Kauffman was eminent in an eclectic group of artists who reveled in the light, space and energy of postwar Southern California to forge new Minimalist, often glossy artistic approaches. Richard Armstrong, director of the Guggenheim Museum said that these Californians, sometimes called the Cool School — along with Chicago Imagists and Washington, D.C., painters called the Color School — were counterpoints to the Abstract Expressionists who ruled New York. "California was never ashamed of being a new society," Mr. Armstrong said in an interview on Thursday, "it all fit together nicely." Los Angeles was then ascending to the status of a metropolis, with a growing number of major-league sports teams, fresh industries and a surging population. There were new quarters for public galleries and the burgeoning of commercial ones. At the center of the action was the Ferus Gallery, which staged the first solo exhibition of Andy's Warhol's pop art and the first American retrospective of Marcel Duchamp. Mr. Kauffman was a featured artist at the gallery's inaugural exhibition in 1957, "Objects on the New Landscape Demanding of the Eye." Peter Plagens, in his book Sunshine Muse: Art on the West Coast, 1945-1970, (1974, 1999), wrote, "'Culture' meant 'art' and 'art' implied 'new,' and 'new,' as everybody was informed, meant California — particularly Los Angeles." The artists who seized this historic opportunity included Billy Al Bengston, Ken Price and Robert Irwin, among others. In an interview on Wednesday, Arne Glimcher, founder and chairman of Pace Gallery, which had Mr. Kauffman's first New York show in 1967, called the California scene in the late '50s and early '60s "a pressure cooker of ideas." Referring to artistic styles, he said, "It was California perfection against New York messiness." Mr. Kauffman's early paintings were critical in defining this new style. Mr. Plagens called them "the first evidence of a Los Angeles sensibility." Mr. Kauffman's later work blazed splashier trails, as he experimented with the effects of light on works that were painterly yet three-dimensional. "The true power of what he did was his incorporation and then redirection of light inside sculpture," said Mr. Armstrong, who was the curator of a show of Mr. Kauffman's work at the Whitney Museum of American Art in 1987. "Many of them glowed," he said. "Others were translucent. Even the supposedly opaque had a noteworthy shimmering quality to them." What Mr. Kauffman made reflected a wide range of inspirations. In a 2008 video interview in conjunction with a show at the Armory Center for the Arts in Pasadena California, he said that the famed lingerie store Frederick's of Hollywood provided artistic nurture. With a smile, he confessed to a "shoe fetish" that had influenced some of his art. Robert Craig Kauffman was born on March 31, 1932, in Los Angeles. He started painting regularly at age 7 and went to theUniversity of Southern California to study architecture in 1950. But art soon won out over architecture, and he transferred to the University of California Los Angeles, to study painting. He earned Bachelor's and Master's degrees there. A breakthrough came in the early 1960s when he experimented with painting on glass, but found it too fragile. He then painted on flat acrylic plastic. His next inspiration came from the plastic packaging increasingly used to wrap merchandise. He sought out craftsmen at commercial factories to learn the technique, Time magazine reported in 1968. The results were several series of three-dimensional wall hangings. Some were inspired by large plastic fruit clusters on the wall of a doughnut shop he frequented in Los Angeles. These lozenge-shaped reliefs were sometimes called "bubbles." Barbara Rose, in a catalog essay for an exhibition at the Washington Gallery of Modern Art in 1967, wrote, "Shaping the brittle sheet plastic into a series of voluptuous curves, Kauffman achieves a kind of abstract eroticism that is purely visual." Mr. Kauffman's work was shown in countless exhibitions and many one-man shows. It has been acquired by the Museum of Modern Art in New York, the Tate Modern in London, the Art Institute of Chicago and the Los Angeles County Museum of Art, among others. In 2006, one of Mr. Kauffman's reliefs fell from a wall of the Georges Pompidou Center in Paris, where it was part of an exhibition titled "Los Angeles: Birth of an Art Capital, 1955-1985." It shattered. After storms of publicity, the Pompidou provided technical help and money to make a new version. Mr. Kauffman was married several times. He is survived by his daughters from his marriage to Dana Kauffman, from whom he was separated: Wilhelmina, Vida Rose and Georgia Kauffman. When they started in the 1960s, Mr. Kauffman and his artistic compatriots did not foresee a legacy, much less earning an income, Larry Bell, a prominent artist in the group, said in an interview on Wednesday. "The troops sort of banded together to be our own audience," he said. "Every once in a while, we'd sell...

Christian-Henri Roullier was born in Lyon, France, in 1845, and was an infant when his parents arrived in gold-rush San Francisco. After much difficulty, Roullier senior found employment at the White House, a pioneer department store owned by a popular and successful French businessman, Raphael Weill. From then, the Roulliers' life took a prosperous turn. Christian-Henri resided with his family in San Francisco at the beginning of his career. During the Franco-Prussian War he was listed, with other members of the city's French community, as a local subscriber to a French patriotic fund. He subsequently traveled to Paris to study painting with Jean-Leon Gerome the leading teacher of the day. He also studied sculpture with W. E. Fremiet and explored both media throughout his life. A successful artist, Roullier exhibited widely in France. His work was included in most Paris Salon exhibits between 1878 and 1914. He exhibited at the San Francisco Art Association and the Mechanics' Institute of San Francisco in 1883, suggesting that he had returned to San Francisco, perhaps working with Jules Tavernier, whom he depicted in buckskin and knee-high boots in an oil entitled Tavernier Painting. Roullier probably joined the gregarious Tavernier in Monterey as well. Among his portraits, he executed two of Josiah Stanford, now in the collection at the Cantor Center for Visual Arts at Stanford University. When in France, Roullier and his sister Blanche spent half of their time in Paris, the remainder at a beautiful property the family bought in the small town of Saint-Nizier sous Charlieu, some ten miles from Roanne. Blanche became a successful pastellist who also exhibited at the French salons and received several awards. Like his friend and fellow-painter Armand Charnay, Roullier painted rustic, local scenes of his native region, except for a few canvases of Tunisia done in colors reminiscent of his California work. He died in Paris on July 25, 1926. A retrospective exhibit of his work was held at the 1926 Paris Winter...

Estate signed verso. Painted between the years 1916 and 1926 while living in Santa Barbara, CA. This painting is identified in the Francis Draper Jr. archives as #0-90........... ...

Estate signed verso. Painted between the years 1916 and 1926 while living in Santa Barbara, CA. This painting is identified in the Francis Draper Jr. archives as #0-90........... ...

A diamond shaped canvas by abstract expressionist artist, Darryl Leo Hughto. Framed. In very fine, age appropriate condition. PROVENANCE: Private Collection, Miami, FL since 1980 Co...

A very lovey Impressionist painting depicting spring wildflowers in the desert near Palm Springs, California. In a classic, carved, gold leaf frame. Frame dimensions are 30 x 40 inch...

Robert Lowe was born in England in 1955. He moved to the USA in the 1980s. Lowe's work is very rare but can be found in museum collections such as the Metropolitan Museum of Art in New York, Museum of Fine Arts Boston, Tampa Art...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Abstract, oil, watercolor, ink & pencil on paper by important Italian artist, Gastone Novelli. Signed & dated lower right "Novelli 68" Provenance: MILAN ART, Via Zara 18, Milano Fra...

A lovely oil painting by William Lionel Wyllie (1851-1931) referred to as "Britain's premier marine artist of the later Victorian & early 20th century." Framed. Oil on paper laid on ...

A charming late 19th century Mexican school painting, oil on tin.

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Oil on canvas 13 x 20 inches Signed and dated center right: "Matthew Spender / 1981" Titled on canvas overlap verso: "#16 Remote Foreground" Retail: $2...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Born in 1934, the work of Suzanne Bloomfield represents the life force which binds us all -- a universal symbol for the soul's transformation. Bloomfield believes that painting is the discovering of beautiful secrets which are only uncovered in the searching. Her painting blends encaustic (an ancient painting method which adds pigment to heated beeswax) with oils. Her selected exhibitions include: Permanent Collection Archives, American Album, The National Museum of Women in the Arts, Washington, DC; Foreign Exhibition Tour of India, National Association of Women Artists-Centennial Year, New York City; and International Latin American Exposition, Miami Florida. "Quickening" Female Abstract Expressionist Artist 1970 Red...

According to the artist, this can be displayed either horizontally or vertically. Artist’s Statement “𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘵𝘩𝘳𝘦𝘦 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘧𝘢𝘤𝘵𝘰𝘳𝘴 𝘵𝘰 𝘮𝘺 𝘢𝘱�...

This painting is done on two wood panels that are joined. The artist's intent is for the seam to be visible and part of the composition. For many years Susan Squires...

For many years Susan Squires goal has been to create encaustic paintings as meaningful, evocative experiences for herself and for the viewer. She wa...

"After Aristotle" by Susan Squires is an evocative oil and encaustic painting that invites viewers into a contemplative space, blending ancient philosoph...

For many years Susan Squires goal has been to create encaustic paintings as meaningful, evocative experiences for herself and for the viewer. She wa...

Lundbohm grew up in Fritsla, Sweden where his father was a fisherman. Sixten Lundbohm graduated in Gothenburg in 1913, and studied art history at the University of Gothenburg and at the same time studied at Valand's evening school. In the spring of 1914 he also attended Valand's painting school with Axel Erdmann as a teacher and started the autumn of the same year at Wilhelmson's paint school in Stockholm. Throughout his career, Lundbohm made a large number of painting trips in Europe, primarily to France and Spain, but also Norway and Denmark . His southern landscape and architecture motifs have a strict and monumental structure, akin to Ivan Aguéli...

For many years Susan Squires goal has been to create encaustic paintings as meaningful, evocative experiences for herself and for the viewer. She wa...

Georges Dayez , born on July 29 , 1907 In Paris where he died in 1991 , is a French painter , engraver and lithographer of the new Ecole de Paris whose works have been regularly exhibited with those of non-figurative painters. Georges Dayez is the eldest son of the editor Jules Dayez, a native of the North and a son of a peasant, who in 1905 had taken over a small-size engraving studio in Paris rue des Marais, printing in particular gravure reproductions of eighteenth- century images E century. His mother, Marie Brard, was born in Neuilly in a Norman family of Bayeux . After the birth of a second son, the family settled in Vaires-sur-Marne in 1909 where Georges Dayez attended the communal school from 1913 , took refuge for two months in Bayeux in 1914 , in Tinténiac ( Brittany ) In 1918 . In 1919 Georges Dayez obtained his certificate of studies and spent his holidays in Vicq , in the mining country of the north of Valenciennes , with his grandfather, the spectacle of the destruction caused by the war impressively him, then returns to the college of Meaux . In 1924 , after spending the first part of the baccalaureate, he stopped studying to start painting, and studied phototypy and intaglio and lithography in his father's studio. He attended the Académie de la Grande Chaumière at Montparnasse and the Julian Academy in Saint - Germain - des - Prés , as well as the evening drawing courses of the City of Paris, which Adam also followed. In 1926 he was accepted as a "free pupil" in the studio of Lucien Simon at the Ecole des Beaux Arts . From 1927, he made his military service, assigned to Nanterre then to the Aeronautics Directorate of Paris, and painted in 1928 , on a permission, Le Pont du Pouliguen and Le Croisic...

For many years Susan Squires goal has been to create encaustic paintings as meaningful, evocative experiences for herself and for the viewer. She wa...

Born in 1934, the work of Suzanne Bloomfield represents the life force which binds us all -- a universal symbol for the soul's transformation. Bloomfield believes that painting is t...

Marian Schuster was 19 years old in 1954 and attended City College San Francisco where she studied Art. In the old school, Victorian, San Francisco, moneyed household that she was r...

Louis Buisseret (Belgian) Exhibited at the Pittsburgh International (Carnegie Institute) show of 1928 "Composition" This surrealist painting depicts nude women having a picnic in a S...

Artist’s Statement “𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘵𝘩𝘳𝘦𝘦 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘧𝘢𝘤𝘵𝘰𝘳𝘴 𝘵𝘰 𝘮𝘺 𝘢𝘱𝘱𝘳𝘰𝘢𝘤𝘩 𝘵𝘰 𝘱𝘢𝘪𝘯𝘵𝘪𝘯𝘨: 𝟷) 𝘔𝘺 “𝘚𝘱𝘪𝘳𝘪𝘵𝘶𝘢𝘭 𝘚𝘦𝘢𝘳𝘤𝘩” 𝘪𝘯 𝘥𝘦𝘷𝘭𝘰𝘱𝘪𝘯𝘨 𝘢𝘴 𝘢 𝘩𝘶𝘮𝘢𝘯 𝘣𝘦𝘪𝘯𝘨; 𝟸) 𝘚𝘰𝘳𝘵𝘪𝘯𝘨 𝘮𝘺 𝘤𝘩𝘪𝘭𝘥𝘩𝘰𝘰𝘥 𝘮𝘦𝘮𝘰𝘳𝘪𝘦𝘴 𝘰𝘧 𝘈𝘧𝘳𝘪𝘤𝘢 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘔𝘪𝘥𝘥𝘭𝘦 𝘌𝘢𝘴𝘵; 𝘢𝘯𝘥 𝟹) 𝘛𝘦𝘤𝘩𝘯𝘪𝘲𝘶𝘦, 𝘵𝘩𝘦 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘤𝘦 𝘰𝘧 "𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘪𝘯𝘨 𝘵𝘩𝘦 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘮𝘰𝘮𝘦𝘯𝘵", 𝘢𝘯𝘥 𝘵𝘳𝘶𝘴𝘵𝘪𝘯𝘨 𝘵𝘩𝘦 𝘪𝘮𝘱𝘳𝘰𝘷𝘪𝘴𝘢𝘵𝘪𝘰𝘯𝘴 𝘵𝘩𝘢𝘵 𝘦𝘷𝘰𝘭𝘷𝘦 𝘧𝘳𝘰𝘮 𝘵𝘩𝘪𝘴 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦.” 𝘝𝘢𝘵𝘤𝘩𝘦 𝘎𝘦𝘶𝘷𝘥𝘫𝘦𝘭𝘪𝘢𝘯⁣⁣⁣⁣⁣⁣⁣ Provenance: The artist's private collection "Origins" 2015 A colorful, abstract, surrealist oil painting by an Armenian Artist...

Provenance: Acquired directly from the artist. Signed on the reverse of the painting Medium: Acrylic paint with gold leaf and mineral pigments Exhibited: M50 Daigo Art Centre, Shanghai "Gods and Men of the Himalayas" 2021 “The Realm of Imaginary Mystery” is an amazing Tibetan Narrative Wall Painting. Artist’s Statement The Realm of Imaginary Mystery continues the narrative approach I have been experimenting with, with much of the linguistic expression coming from elements of mature Tibetan wall paintings. Narrative in painting is something that Western modern art and Chinese literati painting have strongly rejected, but I believe that it is precisely the way in which traditional Tibetan art is expressed. It is also the native language system that I have always been searching for. It is not defunct, it has just not been activated to connect to the contemporary context. Unlike the traditional narrative, my narrative is scattered and fragmented. Like the chaos of the times. This work was painted during the epidemic, which made me experience the uncertainty of world affairs and the impermanence of life. The word "vague and confused" is actually a homophone of "Sumi". The reason why I use "vague and confused" instead of "Sumi" is that I think "vague and confused" is more suitable for the world we live in, which is unreal and confusing. It is in the virtual that we gain knowledge, produce and record history. Perhaps when historians study our generation in 2,000 years' time, the internet will be the great transparent medium in which trivial or significant records of the virtual world will be recorded, like a phantom suspended over this era. When a thing is erased from the virtual world, that is perhaps its demise in the historical sense. Perhaps the world we live in, the dreams we hold on to and the art we create are, from the beginning, just a phantom of illusion. GADE GADE is a leading Tibetan Artist, Art Professor and Curator with 30+ years of experience in painting, and lecturing on finding one’s voice through contemporary art. Gade’s creative concept is based on the “Tibetanized background”, and continues the first-perspective Tibetan art, still using traditional Tibetan Thangkas, murals, Tibetan Buddhism-related materials, composition, style and other elements. He is an active, worldwide exhibiting artist with a portfolio of work available upon request. Gade currently lives and works in Lhasa, Tibet, China. Gade's works have won the Bronze Award of China National Art Exhibition and Special Award of China Fine Brushwork Painting Exhibition, and the TAR Art Exhibition Silver Award. His works have been collected by many museums and galleries, including: National Art Museum of China (Beijing), Rubin Museum (New York, USA), White Rabbit Art...

Signed lower right Raimondo (Raymond) Puccinelli (American, 1904-1986). Puccinelli began art training at age 15 at the California School of Fine Art (now the San Francisco Art Institute) and the Schaeffer School of Design. While in Italy in 1927, he studied ancient Italian sculpture (Romanesque, Gothic, and late Renaissance) which affected his future work. After a year of studying in France and Italy with various craftsmen, he returned to San Francisco to assist in the studio of J. Vieira and study under Benny Bufano...

Make Believe Heroine depicts a Young Girl with a Bow & Arrow painted in 2017 by DeLoss McGraw. Signed lower right. Not framed. PROVENANCE: Private collection San Diego, Ca. Acquired...

Provenance: Private Collection, San Diego, CA. Framed Giovanni Martino, National Academy of Design* member, was born on May 1, 1908 in Philadelphia PA where all seven brothers and one sister, Filomina, Frank, Antonio, Albert, Ernest, Giovanni, Edmond, and William became painters. They were under the tutelage of their eldest brother, Frank, who in the late 1920s, founded the first commercial art* studio, Martino Studios, at 27 South 18th Street. Besides studying with his two eldest brothers, Giovanni also studied with Albert Jean Adolph at La France Institute, The Pennsylvania Academy of the Fine Arts*, The Graphic Sketch Club, and Spring Garden Institute in Philadelphia. In his mid teens he accompanied his two eldest brothers to New Hope searching for subjects to paint. In the 1930s, he also started to paint in Manayunk, a hilly mill town along the Schuylkill River. At this time he signed his paintings M. Giovanni. These colorful impressionistic* works proceeded more thinly painted dramatically poetic street scenes of the mill town. These images developed into impasto* laden oils in the 1960's with some of the paintings worked with a palette knife*. In Manayunk, he was a common sight on the streets and sidewalks, painting on-the-spot with his wife, Eva Marinelli and his two daughters, Nina & Babette. In the 1980's and 90's he also painted in Conshohocken and Norristown with his youngest daughter, Babette. His paintings became more sharply executed like his earlier work but were more colorful. In the late '90's he worked in his studio to enlarge paintings. He is the recipient of over 100 awards and honors. He received the Benjamin Altman Prize in Landscape Painting in 1975 at the National Academy of Design, NYC where he was elected an Academician (NA) in 1944. He mentored not only his wife and two daughters but also taught at Lehigh University and the Graphic Sketch Club, Philadelphia. He died at his home in Blue Bell on February 1, 1997. (Babette Martino...

Lovely painting - Unframed

Antoine Ponchin's late 19th-century oil painting, capturing a serene scene along the Somme River in France, beautifully exemplifies the artist's mastery of light and atmosphere. Pain...

Provenance: Collection of the Artist Collection of Mr. & Mrs. Robert Warner, Washington, Connecticut Collection of the Washington Art Association, Inc. Private Collection, California...

Born in Le Havre in 1865, Binet painted both in Paris and in Normandy, capturing scenes of modern, everyday life. A pupil of Francois Cormon and Raphael Collin, he is known for his n...

“In The Depths Of The Sea” 1978 Abstract Expressionist Oil & Encaustic painting Born in 1934, the work of Suzanne Bloomfield represents the life force which binds us all -- a univer...

Edward Charles Barnes, a distinguished London painter active during the Victorian era, is celebrated for his evocative domestic scenes and interiors, particularly those featuring wom...

This item is located in our New York City warehouse and can be viewed by appointment. A self-taught artist, Dermot Seymour was born in Belfast in 1956. Like many of his contempora...

Alberto Zardo, Italian Impressionist painter. Born in 1876, died in 1959. Framed (12.75 x 16.75 inches)