Impasto Oil Painting Floral Still Life 1960s style of William Dobell

A wonderful modernist impasto oil painting by E. Francisco, dating from the mid-1970s, featuring excellent colour and texture. In great condition and one of those paintings that will...

This small but lovely work is an excellent example of Montgomery's joyfully experimental modernism. It is a sketch in oil on composition board. A table and jug are heavily outlined. The shape of a white seashell is superimposed, with a ghostly idea of it's internal spiral and speckled surface sketched in. The table surface is covered in sgraffito curls while heavy brush strokes build texture in the background. Montgomery's painting vibrates with lively observations of colour and texture. It was purchased from the artist's own studio (the address is penciled on the back) for a single owner collection, then passed down by descent. Anne Montgomery has for many years been one of the women artists Australia forgot. Not any more. Along with the likes of Clarice Beckett...

Anne Montgomery has been considered for many years one of the women artists Australia forgot. Not any more. Along with the likes of Clarice Beckett and Lina Bryans, her work is now recognised as an important part of Australian modernism. The breadth and quality of Montgomery's work over a long lifetime has always been appreciated by other artists. As Australian women artists in the mid Century period were relegated to the fringes of the establishment, they freely explored their own vision and developed their own style. Montgomery's work richly deserves the attention it's now receiving. This work shows Montgomery's unique perception and expression of colour in the Australian landscape. Her use of oil on board gives her work a robust structure but the inclusion of ink sketching in the work gives it a delicate texture. Her foliage and grasses tickle, her fabric floats, trees dance - her landscapes are in constant movement. This painting depicts a family camping under canvas amongst the Tea...

A large oil on canvas by extensively exhibited Australian artist, Beverley Downie, a painter whose keen interest in opera has strongly influenced her w...

A very large framed oil on canvas by extensively exhibited Australian artist, Beverley Downie. Downie's keen interest in opera has always influenced ...

An imposing, muscular impasto oil on board, unsigned, after Hans Bohrdt (1854-1945), in original period solid Oak picture frame. We love this painting for it’s dramatic scale and...

Mid-Century Modern heavy impasto floral still life oil painting circa 1950s A brilliant original oil painting by a mystery artist. The painting is si...

A late 19th century - early 20th century colorful still life painting. Painting depicts a 'fresh bouquet of flowers' wrapped in paper with string tie. Painting is on a stretched canv...

Original oil painting signed B. Asher of bright flowers. Framed in wood frame. Hanging wire along back.

Still life mural oil painting with birds in a wood frame. One of a pair sold separately.

Heavy palette floral still life done in primarily blues and greens. Painted by midcentury artist Etta Cien.

Sumptuous, very large, original oil on canvas board, still life painting depicting a banquet table. This painting is a virtuoso display of how artist William Frederick Foster (1883-1953) captures texture in paint. You can see this in the mouth watering fruit, crustacea and other samplings laid upon the table as well as the masterfully painted reflective surfaces of the copper tea pot, wine bottle and the gathered table cloth. Painting is framed in the original wood frame. Painting framed measures 34.5” high x 46” wide x 1.5” deep. Painting unframed measures 30.5” high x 42.5” wide. William Foster was born in Cincinnati, Ohio, in 1883. He became a noted figure painter and illustrator, living the last twenty-one years of his career in Los Angeles, California. At age 12, he moved with his family to Colorado, but in 1898, he returned to Cincinnati and enrolled at the Art Academy where he studied with Joseph Henry Sharp and Frank Duveneck. His early ambition was to be a violinist, but he was re-focused on fine art when he saw a painting by Albert Ceck Wenzell. In 1902, he went to New York City where he painted scenery for theaters, auditoriums, and large department stores. He also studied at the New York School with Robert Henri and William Merritt Chase, and from 1903 to 1931, he worked as an illustrator and with a brief teaching stint in 1919 at the Art Institute of Chicago. In 1903, he sold his first illustration, a depiction of high society, to Life magazine, and the style was very similar to Wenzell. From that time, he worked for most of the major magazines including Collier's, The Saturday Evening Post and Harper's Monthly. In 1926, he won the National Academy of Design's Thomas B. Clarke Prize for the best figure composition painted in the United States by a non-academician. The following year, he was voted an Associate Member based on his recognition for a figure work titled The Girl in Brown. During World War I, he operated his own ambulance in France as a member of the American Volunteer Motor Ambulance Corps and also received mention as a camoufleur artist. Returning to the U.S., he resumed his illustration work and moved to Chicago, where he taught at the Art Institute. Foster moved to Los Angeles in 1932 and devoted his energy to painting, exhibiting and teaching. He taught at the Chouinard School of Art in Los Angeles and gave private classes in his studio. He also worked on a mural project at the Hearst estate...