Continental US - Art

The graceful arcs of this botanical painting call to mind Chinese ink brush paintings or Japanese textiles. The silhouette is that of a money tree, a plant traditionally believed to ...

Resurrect Studio, “Orange Crush,” Vintage Glass Sculpture, 15 x 13 x 5 in. “Orange Crush” is a vibrant vintage glass sculpture by Resurrect Studio, the collaborative practice of Nan...

Christo (1935 - 2020) and Jeanne-Claude (1935 - 2009) The Gates (Project for Central Park, New York City, XV), 2003 Offset lithograph in colors on wove paper Published by Kunstverlag...

Artist: Alexander Shandor Title: Stones Medium: Oil on Hardboard Year: 2016 Style: Impressionism Dimensions: 20" x 19" x 0.3" inch (51 x 48 x 1cm) Presentation: Unframed, Type: Ori...

Medium: original lithograph. Printed on Arjomari paper in 1969 at the Mourlot Freres atelier and published by Editions Richelieu in a limited edition of 2400 for the L'Odyssee portfo...

Walter Tittle, 'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 6 15/16 inches (299 x 176 mm); sheet size 15 11/16 x 9 inches (399 x 229 mm). A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies, Butterflies and Birds. This piece depicts 7 gestural figures of Bunnies, 10 Butterflies, 7 Doves, 1 Cardinal...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

In American Motel Signs Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the n...

Edwin Loder – son of famous artist James Loder – originally enlisted in the 62nd Regiment of Foot in 1846 at the age of 19, serving mainly in India. After 20 years in the Forces, Ed...

Medium: original lithograph with embossing. Printed in 1967 for the art revue Derriere le Miroir (issue number 168) and published in Paris by Maeght. Size: 15 x 11 inches (380 x 277 ...

Provenance Acquired by the gallery directly from the artist. Signed "Obermeyer" on lower right FRAMED: 20.375" x 32.25" x 1.5" UNFRAMED: 12" x 24" Artist Statement "Each year, La...

VENDEDORA, a limited edition lithograph by the renowned American-born Mexican sculptor and printmaker Elizabeth Catlett(b.1915–2012) depicts a sensitive black and white portrait of a...

George Inness A Cloudy Day, 1886 Signed and dated lower center Oil on canvas 25 x 30 inches Provenance The artist Estate of the above Fifth Avenue Galleries, New York, Executor's Sa...

Never opened at all and still sealed in Original Packaging. An absolutely iconic piece from Daniel Arsham and a must have for any Pokemon Fan! Daniel Arsham Pokemon Perrotin Pika...

Sveta Hessler (Russian, born 1973) "I Dream in Flowers" 2025 Oil and mixed media on stretched canvas Signed on verso. “I Dream in Flowers” is a heavily textured contemporary abstrac...

Medium: lithograph (after the watercolor). Printed in 1962 at the Mourlot atelier for "Jerusalem Windows". This piece was executed by Chagall in preparation for his famous stained-gl...

This is an original 19th century hand-colored McKenney and Hall lithographic portrait of a Native American entitled "Wa-Na-Ta, Grand Chief of the Sio...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Bernard Segal (1907-1986). Cubist painting, ca. 1960. Gouache and watercolor on paper, sheet measures 14 x 15.5 inches. Unsigned. Estate stamp on verso side. Excellent condition. ...

Medium: lithograph (after the lithographed decoupage poster). Printed in 1959 at the Mourlot Freres atelier. Size: 10 1/4 x 9 1/2 inches (263 x 244 mm). Signed in the plate (not hand...

A striking Machine Age Modern industrial scene oil painting of a New York shipyard crane by notable American artist, Lessing Whitford Williams (1894-1989). A colorful, dynamic examp...

This 1973 Galerie André Emmerich exhibition poster, featuring Morris Louis’s iconic “Delta Epsilon” imagery, is an important historical document from the height of postwar American a...

San Francisco Abstract Figurative Painting of Figures in an Asian Opera A semi-deconstructed abstract expressionist work in the style of Ferdinand Leger, Picasso and others. By an u...

Abstract painting on canvas in an bright, earthy blue and green palette "Orchard", made in 2010 oil on board 33.5 x 32 inches 35 x 33 x 2 inches with a natural maple floater frame S...

"Southern Beach" Coastal Landscape in Oil on Canvas Oil painting of the a beach landscape by Max Flandorfer (American, b. 1962). A sandy path winds towards the beach through some gr...

Artist: Alexander Shandor Title: It's Snowing Again Medium: Oil on Hardboard Year: 2021 Style: Impressionism Dimensions: 19'' x 23.5" x 0.3" inch (48 x 60x 1cm) Presentation: Unfra...

Miguel Condé (Mexican/American, b. 1939) Untitled, 1968 Oil on canvas Signed and dated verso 59.5 x 49.5 inches Paint loss throughout - please reach out for a thorough condition rep...

Winter Afternoon oil on canvas panel signed LL image is 12 x 16 Here is a beautiful winter scene painted by one of my favorite artists to collect, Junius Allen, who was a former P...

Plastic Jesus is a Los Angeles based street artist that specializes in bold stencil and installation work, inspired by world news events, society, the urban environment, culture and ...

Painted plein air in oil on panel, this work captures the landscape of the artist’s childhood home, rendered directly from life. The immediacy of outdoor observation is evident in th...

Mr. Brainwash Balloon Girl, 2025 Medium: Silkscreen and Mixed Media on Paper Artwork Size: 36 x 36 in Framed Size: 43.5 x 43.5 in This work is Framed

Robert Mapplethorpe (American, 1946-1989) Calla Lilly, plate produced by Swid Powell in 1989, original image captured 1984 Porcelain with overglaze transfer-printed decoration 12 in....

Artist Comments
A small desk and chair rest against a blue grey wall. Sunlight filters through a tall window, casting warm light across the room. This modern painting finds mov...

In 2020, an offset lithograph reproduction of David Hockney's "Park Hotel Munich" was published, measuring 23.5 x 16.75 inches. The original artwork, created in 1972, is part of Hock...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Nina Tichava is a pattern-based, abstract painter primarily focused on spatial relationships that emphasize the inherent surface quality, color, and visual variations in her work. Sh...

Jesse’s imagery often merges playful and gritty elements, blending floral patterns, vintage-inspired designs, and bold outlines with a touch of whimsy. His artwork exudes a sense of ...

This artwork "Couple Holding a Baby" c 1940 is an oil painting on hardboard by noted American artist Victor Thall, 1902-1983. It is signed at the upper right corner by the artist. The board size is 10.75 x 17.25 inches, framed size is 22.25 x 27,75 inches. Framed in original gold wash frame, with fabric liner. it is in excellent condition. About the artist: Victor Thall belongs to that unique American brand of rugged individualist. Working closely for a time with such painters as Gorky and de Kooning, Thall wasn't content to join the burgeoning American clique of Abstract Expressionism. Instead, on the eve of its international recognition, he abandoned New York, making a worldwide tour of indigenous cultures attempting to find a solution to the crisis of abstraction. Thall felt that painting needed to communicate in a way that Abstract Expressionism could not. Using parts of its vocabulary, Thall created work that was modern in spirit but based on fundamental traditions that he believed connected the whole history of art. In this way he resembled his contemporary Max Beckman, and it is fitting that Thall was chosen with Beckman by The New Yorker art critic Robert Coates as the best painter of the 1949 Whitney Annual. Fiercely uncompromising in his opinions, Thall sadly fell into obscurity in his later years. Yet it was a willful obscurity. But America does eventually honor her difficult individualists, even if sometimes years after their deaths. Victor Thall was born in New York in 1902. He studied at the Art Students League under Arthur B. Davies, George Bellows, George Luks, and John Sloan. Further studies were at the Pennsylvania Academy of Fine Arts. He left for Paris in 1924 continuing his studies at the Ecole des Beaux Arts and the Academie Julien. Returning to the United States in the early 1930's, he became friendly with Willem de Kooning and Arshile Gorky. He participated in the WPA New Deal Art Project of New York City between 1935 and 1939. He taught at the Art Students League in the late forties and was represented in the Whitney Annual of 1949 and 1950. His paintings are in numerous private collections in the United States and Europe. He died in 1983. Education: 1914 -1927 Art Student's League - Studied with:Arthur B. Davies, George Bellows, George Bridgman, George Luks, Von Schlegel, Robert Henri, John Sloan, Frank Vincent du Mond. Pennsylvania Academy of Fine Arts - Studied with:Arthur B. Carles, Henry McCarter Ecole des Beaux Arts - Paris; Grande Chaumiere - Paris; Academie Julien, Paris Teaching: 1947 -1949 Art Students League Selected Bibliography: Falk, Peter Hastings , ed. The Annual and Biennial Exhibition Record of the Whitney Museum of Art 1918-1989. (New York): Sound View Press, 1991. Levick, L.E., "A Guide to the Art Galleries," New York Journal American, May 23, 1964. Review of one-man show at Southampton Gallery. 1950 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1950. Coates, Robert M., "The Art Galleries: Paul Klee, The Whitney Annual, and John Marin, The New Yorker, December 31, 1949, pp. 42-43. 1949 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1949. Lansford, Alonzo, "Thall at Binet," The Art Digest, December 15, 1947, ill. Upton, Melville, "George Binet Gallery," Sun, December 13, 1947. Devree, Howard, "Victor Thall at the Binet Gallery," New York Times, December 10, 1947. "Victor Thall at Binet Gallery," Art News, December 1947, p. 59. Oil Paintings by Victor Thall, New York: George Binet Gallery, 1947. Burrows, Carlyle, "Art of the Week," Herald Tribune, 1946. Review of group show at the Chinese Gallery. Coates, Robert M., "The Art Galleries: Past and Present," The New Yorker, May 27, 1944, pp. 68-69 Victor Thall at Puma Gallery," Art News, November 1-14, 1943, p. 22. Devree, Howard, "Victor Thall," New York Times, October 24, 1943. Burrows, Carlyle, "Victor Thall at the Puma Gallery," Herald-Tribune, October 24, 1943 Upton, Melville, "Victor Thall at Puma Gallery," Sun, October 23, 1943. Lansford, Alonzo, "Varied Shows of the Week," The Art Digest, October 1943. Review of Puma Exhibition. Victor Thall Oil Paintings, New York: Puma Gallery, 1943. Art News, "Our Own Exhibition Gallery," June-july 1943, ill. MacLeod, Norman. Thanksgiving Before November. New York, 1936. Book ill. Selected Public and Private Collections: Brooklyn Museum Desmond Child, Los Angeles Robert Crewe, Los Angeles Sidney Lumet, New York Newark Museum Billy Steinberg, Los Angeles 1968 DePoliolo Gallery, Palm Springs 1965 Studio Gallery, Naples, Florida 1964 L’lnstitute Francais d’Haiti 1964 Summit Gallery, New York City 1964 Southampton Gallery, New York City 1963 Guildhall Gallery, Chicago 1961 Leicester Gallery, London 1950 Whitney Museum , New York City 1949 Whitney Museum, New York City 1947 Binet Gallery, New York City 1946 Chinese...

Large, brightly saturated red color field abstract geometric painting in various shades of bright green, blue, purple and deep red. "Memory Wall #10" made by Hudson Valley artist, Vi...

Original serigraph: Andy Warhol Brillo soap pads. Artist: Andy Warhol. Size 26" x 30" Year: 1970. Archival linen-backed original serigraph ready to frame. Warhol's Billo ...

The Wave Image is 9 x 12 framed, 15.38 x 18.38 framed signed LR The Wave is a seascape study oil painting on panel by Chesterfield NJ artist Michael Budd...

Valley House Gallery is honored to present a selection of paintings from the estate of American artist, John Hartell (1902-1995). John Hartell taught two disciplines at Cornell University in Ithaca, New York: freshman architecture and graduate painting. He was a much-loved professor there from 1930 until his retirement in 1967; one of his most illustrious students is the architect Richard Meier. As an artist, Hartell's first solo exhibition was in 1937 at Kleeman Gallery in New York. He exhibited at Kraushaar Galleries in New York for four decades, beginning in 1943. The Hartell Gallery at Cornell University, under the Sibley Dome, is named for him. In describing John Hartell, the artist Michael Boyd...

'Amaryllis Study no. 3' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and s...

This piece depicts a gestural figure of a bunny against a golden background. Inspired by nature and a genuine love for animals, Slonem's paintings encompass unique inspirations drawn...

Los Angeles artist Taylour Martin creates captivating abstract compositions in acrylic on canvas, showcasing a dynamic interplay of emotions and colors. Martin's art is a reflection ...

This American Impressionist painting is by listed artist Bernhard Safford Good. The artist was born in England in 1893. He came to Canada in 1910, moving west to Manitoba to work on...

Original first edition vintage U. S. movie poster: Let's Make Love, (20th Century Fox, 1960). Half Sheet (22" X 28"). Comedy. Japan acid-free backed. A very attractive price for a fine condition original compared to others. We work hard to find and present high-quality original vintage posters for your personal selections at reasonable prices. Starring Marilyn Monroe, Yves Montand, Tony Randall, Frankie Vaughn, Wilfrid Hyde-White, David Burns, Joe Besser, Mara Lynn, Bing Crosby, Gene Kelly, and Milton Berle...

Untitled (perhaps New Jersey Factories), c. 1940s, oil on board, signed lower left, 24 x 28 inches, perhaps exhibited Fifty-First Annual Exhibition, National Association of Women Art...

Clyde Steadman's "Family Meeting" is an original, handmade oil painting that depicts four rubber ducks gathered together

An elegant antique oil painting by Miklós Santhó (Hungarian, 1869–1932) depicting a poetic Arcadian scene where two graceful maidens rest beneath flowering vines while a faun quietl...

Artist Comments
The expressionist landscape painting depicts houses overlooking a pond in the northeastern United States. Inspired by the works of English painters Keith Vaugha...

Three spotted leopards in dynamic, powerful poses are dramatic and meticulously painted, layered beneath an intricately detailed map of Mumbai, India in bright shimmering gold. In th...

16 x 20" vintage silver gelatin photograph, multiple exposure male nude. Titled, numbered, dated, and signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Arch...

Peregrine Heathcote’s paintings conjure a world of intoxicating glamour and intrigue, slipping across the boundaries of time to fuse iconic pre-war design with modern conceptions of ...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 2005 Title: Cupids Size: 26" x 26.5" x ...

A surreal scene of elephants crossing the plains in Amboseli National Park Watching a herd of elephants, typically led by the matriarch, is an incredible and exhilarating sight Co...

About this work: “Faces, Butterflies, and Birds, 1999” by Hunt Slonem (b. 1951). This fantastic, monumental painting by Slonem brings together some of his most recognizable motifs i...

Pablo Picasso (1881-1973) - L'atelier de Cannes Lithograph from 1958. On Arches paper. Edition of 250 impressions. Dimensions of work: 44.8 x 33.4 cm. Plate signed. It's an enha...

Provenance Acquired by the gallery directly from the artist Signed "McVicker" on lower left Artist Statement "I painted this work on location above Luffenholtz Beach in Trinidad Ca...