Paintings

Pocket Yellowy Orange Clementine is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to ba...

Pocket Dark Blue Sloes is an original still-life painting by artist Dani Humberstone. This painting is a small scale renaissance inspired still life in a photorealistic style and sol...

Follower of Adriaen Coorte (1665-1707) 18th Century Still Life c1795 A sumptuous still life painting depicting peaches, grapes, plums, exotic birds and butterflies in the style of ...

Reclining Nude figure

Fujiko’s work amalgamates a contrast of the contemporary with traditional scenes, juxtaposing Indian black ink on a variety of warm textured papers, whilst forming a modern emotive f...

A beautiful large c.1960 French oil on paper laid on board cubist influenced landscape by Oleg Zinger. The work depicts a summer landscape with white build...

This highly stylized portrait depicts a well dressed man in front of a mining property likely in West Virginia. It is very much in the manner of earlier American artists such as Gra...

Looking northeast from downtown Brooklyn, Manhattan can be seen at sunset, glowing in saturated red and yellow, here depicted with vermillion and lead-tin orange. Lapis lazuli blue l...

In northern Norway the midnight sun sets over the stillness of a strange dusk that will rise again in moments. Surrounded by mysterious dark mountains and unbelievable views of the a...

Vibrant watercolor of Pacific coastal waters crashing in the the cliffs, by an unknown artist (American, 20th Century). Presented in a dark green mat w...

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

Impressionist landscape of a river at the edge of the woods by Yuri Gusev (Russian, b. 1928). There is a kneeling figure between the trees in the foreground. Presented in a pink-hued...

This small, expressive abstract painting invites the viewer to interpret an untold message. Part of an ongoing series. To view more of my artwork, scroll down and click into the bo...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady against a plain background wearing a simple red silk dress and transparent headdress hanging down the back. The sitter is not shown with jewellery or any other elements to distract the viewer’s attached, thus highlighting the beauty of the young sitter. This restrained manner achieves a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

Antique American impressionist flower landscape oil painting by Edward S Annison. Oil on board, circa 1910. Signed. Image size, 9L x 12H. Housed i...

Oil on board by Spanish artist Mariano Andreu Estany (1888-1976). Amazing quality and fine detail. Excellent original condition. Signed lower left, "Mariano Andreu '39". Image si...

Immerse yourself in the regal allure of Chinese history with this captivating pair of framed reverse glass paintings depicting a Chinese Emperor and Empress...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

The Knight Errant English School, circa 1900 after the painting by John Everett Millais (1829-1896) oil painting on board, framed board: 13 x 10 i...

This is a large Oil Painting on Canvas, it came from a Country Estate in the UK. It is housed in its original restored gilt sporting frame. The painting is not only really well exe...

"During a battle reenactment At the Daniel Lady Farm in Gettysburg, I helped carry a soldier from the field to the hospital. This painting depicts that soldier as his leg is amputated. Clara Barton...

Artist: Jack Graves III (American, 1988-) Title: "Brigitte Bardot Icon IV" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Mediu...

After Athena was born fully armed from Zeus' forehead, Triton, acting as a foster parent to the goddess, raised her alongside his daughter, Pallas. The sea god taught both girls the ...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

The Education of Achilles by the Centaur Chiron Signed and dated "A.C. Chrétien 1861" (lower right) Oil on canvas A masterpiece of French N...

Two figures, cast in shadows, stand in the foreground between a nude female figure in the background. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the mystery of this gathering of characters. This artwork is mounted to a wood cradle and can hang directly on the wall. Please contact the gallery for framing options. Georgia Hinaris...

A thwarted lover cannot conceal her shame so she jumps into the lake to become a fish but her beauty cannot be hidden - thus the legend of the mermaid is born. Here, Bruno Surdo bri...

"Black Lotus" Mixed media Painting 43" x 31" inch by Emanuele Tozzoli Mixed media on canvas 43" x 31" inch 110 x 80 cm ABOUT THE ARTIST Born in Italy...

A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of ...

Jennifer unveils her bare breast, luring her unsuspecting rapist towards her so that she may seek her revenge. Should her morals be questioned? It makes no difference to her animal companion. This dog’s family was murdered and his response is to bite on a pair of dentures. Morality is exclusive to humanity. Nature simply carries forward. Featuring the films "I Spit on Your Grave", 1978, "High Tension", 2003 and "Angst", 1983. Georgia Hinaris I Spit on Your Angst oil on panel 28h x 56w in 71.12h x 142.24w cm GHS012 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

Painting by Maryanne Pollock titled "St. Catherine's". Signed and titled on reverse. Maryanne Pollock received her BFA from Tyler School of Art in Philadelphia and Rome, Italy. She...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...

"Twilight in the Wilderness" focuses on the heavy industry of the Midwest. These strange and sinister structures speak to the strength and industrial might of this urban landscape. The pink sky sheds a warm light on this ominous scene bringing a sense of nostalgia to this forgotten place in the American landscape. This contemporary realist painting is framed in a simple black wooden frame measuring 37.5h x 59.5w inches. Arthur Chartow Twilight in the Wilderness oil on canvas 35h x 58w in 88.90h x 147.32w cm ACH010 Arthur Chartow b. 1951, New York, NY Education 1972-74 M.F.A, Cranbrook Academy of Art, Bloomfield Hills, MI 1968-72 B.F.A, Carnegie – Mellon University, Pittsburgh, PA. Selected Exhibitions 2019 Earth Wind Fire, Gallery Victor Armendariz, Chicago, IL 2018 Portraits and Place: Select Works from Gallery Victor Armendariz, curated by Corporate Art Advisory, Metropolitan Capital Bank, Chicago, IL 2017 Scene Change, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2016 Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, Birmingham, MI 80th Annual Midyear Show, Butler Institute of American Art, Youngstown, OH 2015 Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, Birmingham, MI 2012 City Streets II, George Billis Gallery, New York, NY 2010 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2009 Selections, Ann Nathan Gallery, Chicago, IL 2006 Ann Nathan Gallery, Chicago, IL The Four Seasons, Sherry French Gallery, New York, NY Gallery and Invited Artists, Sherry French Gallery, New York, NY Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, Birmingham, MI 2005 Mainely Maine, Sherry French Gallery, New York, NY 45th Annual Greater Michigan Art Exhibition, Dow Museum of Science and Art, Midland, MI 2004 Poetry = Painting: ut picture poesis, Sherry French Gallery, New York, NY Arthur Chartow: Quiet Places, Sherry French Gallery, New York, NY 2003 Mainely Maine, Sherry French Gallery, New York, NY Poetry = Painting: ut picture poesis, Sherry French Gallery, New York, NY Flowers in February, Sherry French Gallery, New York, NY 2002 Art of Collecting, Flint Institute of Art, Flint, MI Arthur Chartow: At Water’s Edge, Sherry French Gallery, New York, NY The Four Seasons, Sherry French Gallery, New York, NY Poetry = Painting: ut picture poesis, Sherry French Gallery, New York, NY Land and Water, Art Placement...

“City of Gold” by Catherine Picard-Gibbs is a contemporary panoramic evening landscape, painted in deep purples and blues which contrast with the textural golds, yellows, and reds. T...

This painting, like each of the paintings in the Purple Dawn series, is based on an earlier work that was lost or destroyed in the course of time. Feeling that I wanted to finish wha...

ARTIST STATEMENT I'm currently working with figures and portraits and combine human forms with botanicals to explore our relationship with natural elements. Capturing the movement of the figure or an expression of a living soul presents endless possibilities and inspiration enabling me to blend with different themes. I've studied classical methods of oil painting with a focus on the 17th century Dutch Masters. The subjects I am drawn to are individuals with character, athletic figures and blooming floral arrangements with elegance and ethereal beauty. The reference for my work comes from my direct observation of natural day light in my north light studio illuminating and blanketing the form of my subjects. I am fascinated and challenged by the process of transforming a flat, blank canvas into the illusion of dimensional form, atmosphere and mood. That process is usually well thought out but sometimes painted direct and use intuition to complete my idea. Both of these methods present challenges but each way fills the void of the other and opens up the possibility of new visual ideas to meet my objective. BIOGRAPHY For Michael Van Zeyl, portraiture is much more than a one-sided translation of the artist’s point of view taking form in a subject. It’s an engaging visual dialogue that renders a soul in light, shadow and pigment, continuing the conversation for future generations to appreciate. While subtle observation and technical skill are only part of Michael’s gift, his experience has honed his craft to the highest standard. His talents were apparent by age seven and he spent subsequent decades mastering a wide range of painting techniques. In particular, 17th century Dutch and 19th century impressionist styles have resonated with him and surfaced in his own works. His formal training began at the American Academy of Art in Chicago, continuing on at Chicago’s Historic Palette & Chisel Academy and the Art Students League in New York, where he studied with the most accomplished artists who also paint directly from life under natural light. Michael is currently a faculty and board member at the Palette & Chisel and has been the club’s most popular instructor for several years. Michael’s work is already appreciated in many public and private collections, such as the United States District Court, University of Chicago, DePaul University School of Law, Chicago Theological Seminary and American Hotel Register. He has received awards from the Portrait Society of America, The Artists Guild, the Oil Painters of America and the 2014 recipient of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists. EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

This figure of St. Sebastian has long been a favorite subjects for artists. In this modern interpretation we see St. Sebastian shackled in chains and leather restraints against an industrial graffiti covered wall. He gazes upwards while his body is pummeled with rubber suction cup darts. Historical references are ripe for interpretation in this painting. St. Sebastian is known as the patron saint for athletes, soldiers and warriors. He is said to have survived his initial wounds from arrows by way of divine intervention only to be beaten to death later after warning the emperor of his sins. St. Sebastian is known to be a protector from plague. Bruno Surdo Paradox of St. Sebastian oil on canvas 60h x 36w in 152.40h x 91.44w cm Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden...

2009, Unique Artwork Oil on Canvas 57 1/2 × 70 9/10 × 2 in - 146 × 180 × 5 cm The artwork and signed by the Artist on verso of the canvas & stamped with the logo of the Studio of the...

Painting Description: This painting began as an adaptation of a sketch I made after figures in an old Irish manuscript- probably The Book of Kells or Li...

This simple graphic painting of a lawn chair beside a lake under a moonlit sky pays homage to the Canadian summer. Painter, printmaker, sculptor, designer, historian, and author Ch...

"Evening at Singeorz" by contemporary Romanian painter Marcel Lupse is a framed oil on canvas representing a tranquil Transylvanian landscape in the e...

A fine painting after Caravaggio of "The card sharps" housed in a gilt frame, excellent condition. The size overall being 99 cm x 86 cm whils...

This painting uses simple geometric shapes and color harmony to explore balance and the relationship between positive and negative space. Cool blues and warm green shapes bring a sen...

Jean-Baptiste Robie (1821 Brussels - 1910 ibid.). Still life with meadow flowers. Oil on wood, 24.5 x 18.5 cm (inside measurement), 37 x 31 cm (frame), signed and dated (difficult to...

This original painting is a beautifully depicted nude figure study in a cozy interior space with southwest elements by San Jose, California artist David D....

Artist: John McCormick, American Title: 1956 Ford Thunderbird Year: 1983 Medium: Oil on Canvas Size: 18 in. x 32 in. (45.72 cm x 81.28 cm)

Gaspar van den Hoecke (Antwerp, 1585 - 1648) Herod's banquet Early 17th century oil on panel, with gold highlights (in the guise of Salome and in the curtains of the building in the background) 56 x 80 cm. framed 72 x 90 cm. Note: The painting probably dates from an original by Frans II Francken (1581 - 1642), which is shown under the number 0000344789 in the RKD. Valuable oil painting on panel depicting King Herod and the beautiful Jewish princess Salome according to the episode taken from the Gospel of Matthew (14.3-11), which sees her as the protagonist in the story of the martyrdom of John the Baptist. The event shown is a cross between history and legend, a myth faced for centuries by artists in every field: Caravaggio in painting, Oscar Wilde in theater, Richard Strauss...

The area of South Africa where the artist lives, is called "Die Swartland" (The Black Land). It was given this name by the first Dutch settlers, who named it after the shrub that is ...

Josep Serrasanta (1916-1998) - Spanish rural town- Oil on canvas Canvas measures 46x55 cm. Frameless. Josep Serrasanta was born in Buenos Aires (Arge...

Jirayr Zorthian(1911-2004), went through two Turkish massacres before age eight. He left Turkey at age nine with his family and spent a year in Padua, Italy, waiting for his visa to open to the United States. This period was very important in his life because his father took him to many cities in Europe and exposed him to great works of art. Zorthian arrived in the United States at the age of eleven and settled with his family in New Haven, Connecticut. He obtained his formal education there, after graduating from Yale in 1932, the Winchester Fellowship granted him a year and a half at the American Academy in Rome with travel and study throughout Europe. His art career branched into various directions on his return to the United States. As a mural painter his reputation was established. He has forty two (42) murals throughout the United States. Zorthian worked and taught painting at some of the finest art academiJirayr Zorthian(1911-2004), went through two Turkish massacres before age eight. He left Turkey at age nine with his family and spent a year in Padua, Italy, waiting for his visa to open to the United States. This period was very important in his life because his father took him to many cities in Europe and exposed him to great works of art. Zorthian arrived in the United States at the age of eleven and settled with his family in New Haven, Connecticut. He obtained his formal education there, after graduating from Yale in 1932, the Winchester Fellowship granted him a year and a half at the American Academy in Rome with travel and study throughout Europe. His art career branched into various directions on his return to the United States. As a mural painter his reputation was established. He has forty two (42) murals throughout the United States. Zorthian worked and taught painting at some of the finest art academies on the west coast including both the Chouinard Art Institute and the Otis Art Institute. es on the west coast including both the Chouinard Art Institute and the Otis Art Institute. The Gathering...

This particular piece depicts an anonymous portrait of a beautiful woman. Inspired by the every day, JM Robert strives to create paintings that mimic the fla...

Stately portrait circa 1900 of a woman in dark clothing with a green collar which is a copy of a similar portrait by Frank Duveneck 1875-1879. The woman i...

Portrait of a Man with a Hat holding a Pipe French School, signed and dated 1903 oil on canvas, unframed canvas: 21.75 x 18 inches provenance: private collection, France condition: s...

Aldro Thompson Hibbard (1886 - 1972) Autumn in New England Oil on canvasboard 18 x 25 inches Signed lower right; estate stamped on the reverse Born in Falmouth, Massachusetts, Aldro Hibbard was an Impressionist landscape painter much concerned with light and shadow. He was one of the founders of the Rockport Art Colony, and the Rockport Art Association now occupies his former studio. Hibbard grew up in Dorchester and Boston and spent much time in the summers in Boston and Cape Cod. He showed early artistic talent, an interest he shared with a life-long love of baseball, which led to his becoming a professional baseball player. For his art training, he graduated from the Massachusetts Normal School and studied at the Boston Museum School with Edmund Tarbell...

A dramatic night sky over the sea, "The long walk home" is an abstract painting in an ethereal light mounted in an antique gold frame. It is reminiscent of a dramatic sky unfolding o...

Fisherman in Highland Landscape by James Mudd (English, 1821 - 1906) signed oil on canvas, framed framed: 28.5 x 41 inches painting: 24 x 36 inches provenance: private collection, En...