New Mexico - Art

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

Antique Bronze Dog Portrait “La Levrette au Papillon” or “Whippet (Greyhound) with a Butterfly”   Arthur Waagen (Germany, France 1833-1898) Circa 1860’s 11 x 8 x 4  inches (1 of 2. ...

Pauline Ziegen oil, gold leaf, mixed media on panel coral, pink, white gold, teal, aqua, rust, navy, blue Pauline Ziegen’s earliest landscape paintings were painted outdoors in Kans...

"Le Port de Marseille" Eugène Galien Laloue (French, 1854-1941) Gouache and watercolor on paper, original carved and gilded frame. 12 3/8 x 7 3/4 (14 1/2 x 9 5/8 frame) inches Signe...

Great Gray Owls, limited edition photograph, signed, Platinum/Palladium Print My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s la...

Through The Ages by Toko Shinoda, black and white signed lithograph calligraphy 11/35 obituary published by CNN March 2021 Celebra...

Pair of Antique Hand Painted Chinese Vases with Foo Dogs and Inscriptions China, early 20th century Porcelain 17 x 8 x 8 inches Painted in iron red, these Foo Dogs or Imperial Guardian Lions are strong Feng Shui protection symbols which were traditionally placed in front of Imperial palaces, temples, and government offices. They were also a traditional symbol of family wealth and social status and were placed in front of wealthy homes. It is widely accepted that foo dogs were created sometime after real lions...

“Young Farmer with Draft Horses and Favorite Dog” Paul Junghanns (German, 1876-1958) Oil on Canvas Signed verso 41 1/2 x 33 1/2 Depicted here is one of Junghanns favorite subjects d...

"Pair Recumbent Stone Lions" after Antonio Canova (1757-1822) Italian (possibly Florence) Mid 19th Century Alabaster, marble 6 x 9 x 4 inches This is an exquisite pair of Italian alabaster lions on marble bases based on the monumental lions carved by Antonio Canova (1757-1822), the greatest Italian neoclassical sculptor. Canova sculpted the marble lions for the monumental tomb of Pope Clement XIII in St. Peter’s, Rome in 1792 Canova Lions refers to the pair of copies of lion sculptures by Antonio Canova. When Canova created the sculptures in 1792, he installed them on the tomb of Pope Clement XIII. The marble sculptures are some of the most prominent features in St. Peter's Basilica in Rome. Given the intricacies of creating the original Canova lions, some artists created molds and replicated them. A good example is the pair of lion sculptures...

"Big Ben in Garden" Antique Dog Portrait of a Bulldog Arthur Wardle (England, 1864-1949) Pastel on paper Circa 1900 13 x 9 (17 x 12) inches Though he made his reputation with large...

Antique Dog Painting of a Hunting Dog Jules Chardigny (1849-1892) Circa 1870 Oil on paper. 8 x 6 (18 1/2 x 15 1/4 frame) inches In Jules Chardigny's signature style, a beloved compa...

Pair of Buddhist Foo Dogs Polychrome porcelain Japan, Meiji era (1868 – 1912), circa late 19th century Satsuma Kilns 12 3/8 x 9 5/8 inches This exquisite pair of Japanese Foo-dogs ...

*22x30" editions and 24x36" editions are platinum prints. Editions with a width of 60" or greater are archival pigment prints* Baobabs are one of Africa’s natural wonders: they can live more than 2,500 years, and their massive, water-storing trunks can grow to more than one hundred feet in circumference. They also serve as a renewable source of food, fiber, and fuel, as well as a focus of spiritual life. But now, suddenly, the largest baobabs are dying off , literally collapsing under their own weight. Scientists believe these ancient giants are being dehydrated by drought and higher temperatures, likely the result of climate change. Photographer Beth Moon, already responsible for some of the most indelible images of Africa’s oldest and largest baobabs, has undertaken a new photographic pilgrimage to bear witness to this environmental catastrophe and document the baobabs that still survive. In this oversize volume, she presents breathtaking new duotone tree portraits of the baobabs of Madagascar, Senegal, and South Africa. She also recounts her eventful journey to visit these fantastic trees in a moving diaristic text studded with color travel photos.

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Maggie Taylor creates evocative single-scene narratives in her whimsical and often elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objec...

Heart + Cloud, sculpture by Kerry Green, contemporary,indoor, outdoor, red, silver limited edition 18, fabricated aluminum Interlocking sculpture for indoor display. Contact us for information about current delivery times. Since childhood, Kerry Green has always been creative; painting, drawing, sculpting, and sewing. Her family provided her with materials and encouraged her efforts. She literally grew up in her parents’ art galleries, and with them toured the U.S., Europe, Mexico, Japan, and New Zealand, seeing museums and visiting artists’ studios. Growing up in Arizona and New Mexico gave her the opportunity to explore the Native reservations there where she has made life-long friendships. Several of her very early influences were Dr. Harry Wood...

Geometric, abstract sculpture in fabricated steel, finished with mottled patina in warm browns. Frank Morbillo was born in Queens and raised on Long Island, but as a young adult mo...

Double Portrait: Grand Griffon Vendéen Hunting Dogs Jules Chardigny (France, 1842-1892) circa 1870 Oil on canvas, signed 21 3/4 x 18 1/4 (29 1/8 x 25 frame) inches Though pairs of G...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Works on Paper About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 1954, lives and paints in Santa Fe, New Mexico. She discovered her love of abstract ...

"Sysonby" Edward Herbert Miner (American, 1882-1941) Depicting the champion thoroughbred horse Sysonby (1902-1906) Oil on canvas, signed "E H Miner 1905" 24 x 32 inches (31 1/4 x 39...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Red Terrier Possibly Dutch School Oil on wood panel, circa 1900-1910. Initialed lower left 7 1/2 x 7 (12 x 11 1/2 frame) inches A charming and thoughtfully rendered depiction of a t...

Ghost Ranch Encantado 22 x 22" image size watercolor, unframed. Shrink-wrapped on poster board. I document the essence of the landscape everyday. I am interested in those untouched...

Hand carved aspen wood sculpture torched burnished and painted Greg Joubert was born in 1977 and raised in the seaside New England town of Hingham, Massachusetts. Joubert gained hi...

Wings, limited edition photograph, signed, Platinum/Palladium Print My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the ...

orange rust white blue Martha Rea Baker’s technique of choice is driven by her selection of mediums. She has successfully moved between the unique properties of oil and cold wax, a...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Cloudy Day Prairie II, by John Hogan, New Mexico Landscape Color Etching, blues edition 13/50 matted and framed John Hogan A graduate of Northeast Louisiana State University with a...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

"The Road Beneath the Snow (Le Chemin Sous la Neige)" Eugène Bégarat (French, 1943) Oil on canvas Signed lower left 15 3/4 x 31 1/2 inches Saturated with winter's light glinting off...

Portrait of a Monkey with Wine Jug Zacharias Noterman (Belgium & France 1824-1890) Initialed "Z N" l.r. Oil on board 8 x 6 inches PROVENANCE: Galerie Tamenaga, Paris (label verso); Louvre des Antiquaires, Paris; Berman Swarttz, Los Angeles, California, Marcella Swarttz, Beverly Hills, California     8 x 6 inches Zacharias Notermann (1820 in Ghent – 1890 in Paris) was a Belgian painter and printmaker who specialized in scenes with monkeys engaging in human activities (the so-called singeries), as well as in paintings of dogs. He also produced images and scenes of traveling circuses. Zacharias Noterman was born in Ghent in the family as the son of an artist-decorator. He was originally trained by his older brother Emmanuel Noterman, genre and animal painter active in Antwerp. Noterman continued his art education at the Academy of fine arts Antwerp. Zacharie Noterman...

Parrot basket, Wounaan Tribe Darien Rainforest Panama, red, yellow, black, white

Blue, Navy, calm, teal, white, cloud, green, river,landscape 49 x 37" oil on canvas, maple frame Inspired by the drama of nature and light, Cynthia creates abstracted landscapes wi...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor's images are built, layer by layer and object by object, through a...

cyanotype, acrylic on canvas blue, white, cyan Thomas uses a cyanotype photographic process incorporated into his paintings. The layering process of his paintings evoke a sense of d...

Constantine (Algeria) Claude Firmin-Goy (1864-1944) Oil on canvas Signed and dated lower right 11 3/4 x 15 1/2 (17 1/2 x 21 1/4 frame) inches This bright and luminous work by the Av...

Hand carved aspen wood sculpture torched burnished and painted Greg Joubert was born in 1977 and raised in the seaside New England town of Hingham, Massachusetts. Joubert gained hi...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Hand carved aspen wood sculpture torched burnished and painted Greg Joubert was born in 1977 and raised in the seaside New England town of Hingham, Massachusetts. Joubert gained hi...

This print is currently featured in our exhibition, Warm Regards, and will be available to ship after the show closes June 24th, 2017. Pentti Sammallahti is a benchmark figure in co...

"A Colorful Crowd, Yugoslavia" Jacques Martin-Ferrières (1893-1972) Circa 1930s Oil on panel 17 1/8 x 13 3/4 (frame) inches A painter remarkable for his highly personal portraits a...

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

Portraits of found nests. Price includes frame.

Antique Silvered Bronze Rooster France, circa 1900 10 1/4 x 9 1/2 (H x D) inches A very fine and lively bronze statuette of a preening Rooster. Nicely cast and well-carved and in ex...

Pauline Ziegen oil, gold leaf, mixed media on panel coral, pink, white gold, teal, aqua, rust, navy, blue Pauline Ziegen’s earliest landscape paintings were painted outdoors in Kans...

Potter, oil on canvas, Pueblo Indian Potter Gay Betts Born and raised in New York City, Grace (Gay) Betts (1883-1978) became a peripatetic painter of Western and Southwest landscapes and Indians, and her subjects included Yosemite National Park and Arizona tribal members. She was also a muralist who did backdrops for animal displays...

"The Power (People)" 1970  Olaf Karlsen (b. 1947) Oil on canvas Signed front and back. 28 1/4 x 40 inches (frame) Olaf Karlsen  has managed to remain a m...

Salt, lit by a flashlight

Hunting Dog at the Ready (R) Louis Lartigau (French, 19th/20th) Oil on canvas 9 1/8 x 11 5/8 (frame) Signed lower right A very finely drawn and executed painting of a hunting dog at...

Antique Bronze Portrait of a Draft Horse Isidore Jules Bonheur (France, 1827-1901) Circa 1840s Cast bronze mounted on a rectangular plinth atop a marble s...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

I cherish a the Dutch Old Masters. As a contemporary artist, I work with the female nude and portraiture, so I was enthusiastic when the Rembrandt House approached me to create a new series inspired by Rembrandt’s nudes. His incredible drawings and etchings show not only amazing technique and individuality, but also a sublime mastery of light, shadow and composition. His strong light-dark contrasts and his bold compositions, engaging costumes and draperies, resulted in powerful visual images. His models, portrayed from life, with their own personalities and bodies, not adjusted to fashion and ideals, were striking in their day, and have remained so into the present. Rembrandt’s nudes inspired me to create new works in which I have been able to capture magical moments in new works of art. The explosion of creativity has resulted in a large body of work which I call The Rembrandt Series...

Pair of Labrador Retrievers Gianni Reggio (Italian, 1898-1961) Circa 1930s Gouache on paper 14 1/4 x 13 1/2 inches (frame) Signed on the back. Gianni Reggio was an Italian painte...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

“A Very Large Draft Standing Horse in the Stable” Georg Wolf (Alsace/Germany 1882-1962) Oil on canvas 39 1/2 x 21 1/2 (50 1/4 x 42 1/4 frame) inches Estate stamp and inventory No. 17...