Connecticut - Paintings

Artist: Ian Hornak (1944-2002) Title: Pastoral Landscape Year: 1970 Medium: Acrylic on canvas Size: 50 x 72 inches Condition: Good Inscription: Unsigned, estate stamped, verso. Prove...

Artist: Ian Hornak (1944-2002) Title: Very Baroque Flowerpiece with Red Birds of Paradise and Shining Parrot Year: 1989 Medium: Acrylic on Panel, with Artist Painted Frame Size: 58.5...

Outstanding English 19th century still life of fruit, a German Stein with silver top in an interior. Charles Thomas Bale was born in Soho, London in 1849, the son of Thomas Bale, a basket maker. His older brother Thomas Charles Bale (1831-1899) was an artist and picture restorer. He lived with his family in St James, Westminster and although little is known about his education, he would have undoubtedly received encouragement and drawing tuition from his brother. Bale started exhibiting in 1866 at the Institute of British Artists, Suffolk Street. He also exhibited at the Royal Academy in 1872, the same year he married Caroline Leathem. Together, they spent their married life in St Pancras. He specialized in still life paintings predominantly of fruit, but he frequently incorporated baskets, a homage to his family’s profession, as well as pottery, glass, and game. Bale’s work was influenced by the English still-life artists George Lance and William Duffield...

In this contemporary woodland landscape, the densely treed forest and mountain ledges of Hennen's Virginia home are the subject for this rich, highly detailed painting in oil on pane...

Wonderful early 20th-century oil on canvas depicting a view of the Scottish highlands and the River Usk. Sidney Yates Johnson was an active painter during the late Victorian period ...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in dark brown, taupe, charcoal ...

This contemporary painting in ink, gouache and pencil on archival paper, is composed of solid shapes, botanical, animal and figurative shapes suggesting strong female characters. Av...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint and and lacquer on board. It features light textured and a light blue-grey and yellow palette contrasted by the almost black focal point of the composition. The painting is 14.5" x 19" and measures 16.25" x 20.5" x 2" framed. Signed by the artist in the lower left-hand corner of the painting, it is framed in a floater frame with warm silver face and black sides and is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Fabulous gouache on paper for the Comedie de Française. This painting depicts Pierrot, the servant, and Columbine, who was the love interest of Harlequin. It is signed G. Barbier a...

In this contemporary, realistic interior painting in oil on panel, the warmth of a worn, golden brown hardwood floor is unexpectedly dramatic against a stark white wall and teal gree...

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Dualidad Oil On Canvas 43 x 37 My work is mainly abstract, I would say abstract expressionism. I love painting with oils, they give me many possibilities I do not find in other medi...

Carefully ordered patterns, geometric shapes and delicate lines in luminous light pale peach, teal, olive green, ochre and blue on a light blue background with a dark indigo leaf pat...

Luminous pink magnolia blossoms grace burgundy brown branches with hints of dark turquoise green on the pristine white background of this painting on Mylar mounted on acrylic panel. ...

In this contemporary abstract painting in oil on linen, a jewel-toned deep turquoise blue green background is vibrant and eye-catching with a layered, geometric pattern of yellow and...

In this contemporary abstract painting in acrylic and mixed media on panel, mint green and burgundy red stripes are bright and colorful against a luminous cobalt blue background. Sig...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condition: Good Provena...

This abstract landscape painting by Elwood Howell features the artist's signature high horizon line, separating a textured, pale nearly grey foreground and a blue gradient sky. Along...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

Layers of foliage in vibrant shades of deep purple grace dark brown branches on the pristine white background of this horizontal painting in acrylic on Mylar mounted on acrylic panel...

This colorful contemporary landscape painting by Carol Young features a warm, vibrant palette and captures three barns sitting in a yellow-gold field under a contrasting light violet...

There is a sense of freedom that I experience when painting landscape. The quality of these kinds of images allows for expression and interpretation, yet they can still be viewed as...

Knight was one of the most celebrated of the "Riverbank and Flowers" motif of the early 20th century. he was the son of Daniel Ridgeway Knight noted for similar work but always with a figure in it. Louis preferred to do nature and usually not with a figure included. Framed in a lovely Art Nouveau 24 karat gold leaf hand carved frame...

Most of Deborah’s paintings concentrate on a single bloom, large in size, so stunning that they command the view of the audience. With great affection she takes care to capture every...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Garden Still Life with Flowers, Plants and Pumpkins) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 in...

This original abstract watercolor painting by Nealy Hauschildt features a deep blue and magenta palette, with two large organic planes of washy color layered over one another for a b...

Outstanding Scottish landscape from the late 19th to early 20th century oil on canvas. Born in Scone, Frazer would participate in the growth and development of Scottish landscape painting during the late 19th and early 20th centuries. Long desiring to compete with the artistic endeavors of England, Scotland was making sure to make its mark, investing heavily in its artists. Indeed, Frazer would attend the acclaimed Royal Scottish Academy to receive his art education, intended to compete with English schools such as the Royal Academy in London. When his studies were complete, he would then base himself out of Edinburgh as he pursued a professional career. Edinburgh was and remains, the art capital of Scotland, and there was no place better for budding artist to plant their roots. Frazer’s work is a prime example of the growing influence of impressionism on Scottish landscape art...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

Represented by George Billis Gallery, NYC & LA -- I think of my work as being like a visual journal- observations and interpretations of people, places and things I experience day t...

English 20th century portrait of an English Frigate in full sail at sea in oils. A very well painted oil on canvas with great detail of a ship cutting through the sea at I'm sure great speed. The piece is an oil on canvas with I think gouache added to the waves to make them a brighter white. The piece is signed Mason and with some investigation, we are attributing this painting to the talented English painter Barry Mason...

Clean and precise, carefully ordered stripes and blocks of color in orange, green, pale lemon yellow, gray, blue and brown are lively and vibrant against the soft beige background. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. Gourlay's artwork is a contemplation of the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay drew inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely used a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

In the tradition of Modigliani, Maurer's depictions of women are expressive and lively. America had very few modernists who painted in this manner but Maurer is famous for exactly t...

A male figure wearing a white t-shirt and baseball cap stands knee-deep in inviting pink water holding a fishing pole, the curving fishing line traced in 22-carat gold leaf. Green fo...

In this contemporary landscape painting in oil on panel, a peaceful summer scene is set, beautifully capturing the idyllic feel of a field of wildflowers in early August. Signed, dat...

A vibrant cobalt blue and bright turquoise encaustic (pigmented beeswax) painting on birch panel accented with subtle orange and red details. Signed and titled on verso. Joanne Matt...

Artist: Lowell Nesbitt (1933-1993) Title: Impossible Series (Horse with Knight) Year: 1983 Medium: Oil on canvas Size: 69 x 99 inches Inscription: Signed, dated by the artist, verso ...

It is rare to see a painting by Vasa Mihich available. These works are carefully worked through and planned with the aid of Computers. Mihich will work through the sequencing of co...

This captivating early 19th-century painting of an interior farm scene by Abraham Cooper, circa 1830, is a testament to the artist's skill in capturing ...

Outstanding early 18th century English portrait of James Bellevue. The portrait was always believed to be the work of Sir Godfrey Kneller who was known to have painted James Bellevu...

Owning a 19th century English Victorian landscape by John Duvall, particularly one featuring sheep resting circa 1880, offers a unique opportunity to own...

Cascading Folds (Aqua Footer) by Susan English is a wonderful play of color, light, and composition. The layers of English's tinted polymer on Yupo paper create the depth and smooth,...

Classic Saratoga paddock walking ring enclosure by Robert Roche c1960 Art Sz: 14"H x 18 1/4"W Frame Sz: 18 1/2"H x 22 3/4"W Giclee

Ilya Bolotowsky is an important and highly recognized hard edge american abstractionist. He experimented with diamond shaped canvases and circular works as well as square formats wi...

The densely treed forest and mountain ledges of Hennen's Virginia home are the subject of this rich, highly detailed landscape painting. An enormous boulder presiding over a deep gro...

Artist: Lowell Nesbitt (1933-1993) Title: Impossible Series (Stone Leigh) Year: 1984 Medium: Oil on canvas Size: 18 x 18 inches Inscription: Signed, dated by the artist, verso LOWEL...

A peaceful outdoor scene in summer of delicately painted lavender and violet blue flowers in a grassy field beneath a tree with dark green leaves, beautifully capturing the idyllic f...

Mid-Century Italian Impressionist view of the Church of the Madeleine in Martigues, France. A fantastic view in the classical Italian 20th-century Impressionist style of the famous ...

Oil on canvas Compline: Compline is a recent piece, a work honoring New England. It is a culmination of what I developed and experienced from those decades painting and trekking thr...

ARTIST STATEMENT Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been altered and heavily influenced by tec...

In this contemporary landscape painting in oil on panel, a peaceful autumn scene is set, beautifully capturing the idyllic feel of a field in September. Signed, dated and titled on v...

This abstract floral encaustic painting by Linda Bigness features a cool green, blue, and violet palette, with large organic botanical forms and line work throughout the composition....

Gingko leaves in deep hues of purple and lavender on delicate brown branches with hints of teal are striking against the pristine white background of this vertical painting in acryli...

This large abstract statement painting by Kelly Rossetti is made with oil paint on gallery wrapped canvas. It features cool blue palette with light pink and dark charcoal accents and...

Allan Hansen, Still life of of Japonica. Hansen was a painter of many different subjects during the middle to end period of the 20th century. He painted many still lives and this...

Daniel Hill’s work is an exploration between vision and sound and the power of this connection to generate compelling visual environments. The inquiry of this integration has also sa...

This contemporary floral painting presents an elegant composition of delicate white blossoms gracefully arranged in a clear glass vase against a rich, vibrant blue background. Evokin...

The densely treed forest and mountain ledges of Hennen's Virginia home are the subject for this rich, highly detailed landscape painting. Recording the changing light's ridge shadow ...

This delicate botanical drawing is made with metallic gold acrylic on cradled panel, painted black. The exploration of ephemerality, and the fragility of a wild geranium, its leaves,...

In this contemporary painting in acrylic on canvas mounted on a shaped panel by Elizabeth Gourlay, carefully ordered blocks of color in a luminous, grassy shade of green frame two th...

This large abstract contemporary statement painting by Roger Mudre features many light circle shapes, layered over one another in a concentric fashion and a cool blue and silver pale...