USA - Figurative Paintings

Unknown Artist (Dutch School, late 18th century) Pastoral Scene with Goatherds, ca. 1780–1800 Oil on canvas In this lively pastoral composition, a group of figures reclines in rusti...

'In the Flow' by Via Li is a stunning example of modern figurative painting that combines vibrant, emotional depth with abstract form. Measuring 48" x 36", this acrylic on canvas cap...

Dimensions: (Frame) H 28.5" x W 35.5" (Painting) H 22" x W 30" Miguel Ángel Aybar Llauca, an artist specializing in expressionist painting, was born in Huancavelica and lives in the city of Ica where he began drawing from a very young age, drawing from its beautiful valleys and customs. In 1970 he began his studies in Drawing, Painting and Sculpture at the Regional School of Ica. He is a graduate of the National Superior Autonomous School of Fine Arts of Peru (1971-1976) with honorable mention, forming the promotion "Juan Manuel Ugarte Eléspuru". "Iqueño Expressionism" is the title of the exhibition that will be available to the public from May 25 to June 13 in the "Paracas" Room of the "Adolfo Bermúdez Jenkins" Regional Museum of Ica. Av. Ayabaca block 8°. Miguel Angel Aybar is a painter who characterizes expressionism in Ica without a doubt. His songs speak of longing, and secret friendships with the hurango, the palm tree of Huacachina or the silent and still sand of Ica. His work is primarily characterized by color. The contrasts between the intense dark contrasted with the radiance of reds, oranges, yellows or greens, achieve a positive effect on the observer. Its warm tones reach high levels like an Ica sun at noon. However, among those quasi Servulian colors , Andean prints maintain their presence. Hats, ponchos or skirts hidden from a root bound by blood or memories. The perfect textures of his works give him the seal, the personality that characterizes a curdled and experienced Aybar who no longer needs to dialogue with the brush; they just flow, hand and brush. When entering the exhibition hall, you do not need to read the signature, he is an Aybar. There is no room for confusion. Although there are not a few artists from Ica who use these boiling tones, and I translate it as a tribute to that Sérvulo that touches you in the depths of your being, if you are an artist and you live in Ica, you want to be possessed by the ghost of the disturbing Sérvulo Gutiérrez turned legend. Servulus still catches the spectator being absorbed, as if observing a volcano, fearing that it might erupt, but with an inexplicable delight that he stops you next to him and captures you. However, Aybar no longer needs Servulo's shadow, he has gained an important space in the artistic world of Ica. He is an artist and a close friend of poets and musicians. Painter recognized by the Ica society and deserving of all the medals and recognitions by the different institutions. He not only paints with mastery, as Alberto Dávila predicted, when he said that his maturity would give him the position that corresponds to him. He now sings in public to the delight of his closest friends. Ica recognizes him as a son and has given him the place that corresponds to this remarkable painter whom I congratulate. DATA ABOUT THE ARTIST Miguel Angel Aybar Yauca, was born in 1952 in Huancavelica. He has lived in Ica since he was very young; he began his art studies at the Ica Regional School of Fine Arts. He later moved to Lima to study at the National Autonomous School of Fine Arts of Peru from where he graduated in 1976. His teacher Alberto Dávila described him as: a restless, imaginative young man with a sober and dramatic color. His forms acquire poise and great eloquence . Aybar also had the painter Carlos Aitor Castillo...

Jon Wassom’s "Here to Stay" is an evocative mixed media painting on panel, measuring 16 x 12 x 1.5 inches. This stunning composition captures an intimate embrace between two figures,...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowi...

Justin Wheatley's "Two of a Kind" is an original, handmade acrylic painting depicting a white barn with a gray roof. Justin Wheatley was born and raised in Clinton, Utah. He holds ...

Striking French impressionist portrait of a young girl. Oil on board. Original carved frame. Circa 1950's. Signed illegibly lower right.

Gordon Brown's "Defined Imagination" is an original, handmade oil painting that depicts am atmospheric landscape. "My paintings are all about light and mood," says Colorado native ...

Brad Davis’s "Progress on Memorial," oil on wood panel, measures 16 x 20 inches with a framed size of 18.50 x 22.50 inches, and is framed, ready to hang. This painting captures a sta...

Ewe So Fancy by Dawne Raulet is an 18 x 18-inch mixed media work on board that begins with a black-and-white photograph and evolves into a playful, painterly statement piece. Featuri...

Portrait Figurative Classic Art, Original oil Painting Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic ...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Frederick Judd Waugh Risen Moon Signed lower right, Grand Central Art Galleries Inc. label on verso Oil on board 25 x 30 inches Mainly known as a marine painter. Waugh's sea paintings were enthusiastically received; for five consecutive years, he was awarded the Popular Prize at the Carnegie International Exhibition. Waugh was the son of a well-known Philadelphia portrait painter, Samuel Waugh...

Canvas Size: approx 26.5 x 18 Framed Size: approx 30 x 22 inches Born into a poor family in Durham, England, John George Brown (1831-1913) earned a reputation as one of 19th-century...

"Ferrari Prancing Horse 2" by Shan Fannin is an original acrylic painting depicting a close up view of a Ferrari ornament on a red car. Born 1969 in California, artist Shannon “Sha...

Sergio Valenzuela “Valenz” is a contemporary Guatemalan artist who tells stories with everyday objects, primarily expressing them with graphite and acrylic on canvas. His artworks pr...

A beautiful oil painting on canvas by the French artist Georges Gerbier, depicting a tremendously vivid and alive street scene from Paris in the 20th Century with a view of "Maxims C...

The Demagogue or Tale in a Tub, 1952, oil on canvas, 24 x 20 inches, signed, titled, and dated verso, presented in a newer frame The Demagogue is an iconic Bendor Mark painting fro...

Francis Mora is often considered to be the American artist who most depicted Hispanic culture in American and abroad. He made a trip to Spain in the early 1900's and created mostly ...

"Aspen Stand" (2014) by Robert Moore is an original handmade oil on panel painting that depicts an aspen forest in dim sunlight.

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...

Carl Lasch (1822-1888 German) "The Walk Back Home" A Monumental Exhibition Painting, Oil on canvas laid to masonite in original gilt-wood frame. ...

A muscular male is seated on a chair, his eyes closed and head tilted toward the sky soaking up the warmth of the sun. "Sogni D'Oro", meaning sweet dreams, is set upon an intricate b...

Portrait of a Clown This expressive and dynamic work by Ken Foster, an accomplished English Impressionist painter, is a compelling example of his mastery in capturing the essence of...

Annieo Klaas Held Inside a Shaft of Light 2023 Oil on Canvas 40 x 30 inches (101.6 x 30.48 cm) Signed lower right COA provided *On stretcher frame - gallery wrapped - ready to hang ...

James Massena March (American, 1953-2021) Untitled Oil on canvas 30 x 24 inches "My paintings are about space, form and energy. I generally start ...

Carl Frederick Gaertner (American, 1898-1952) Winter Rooftops, 1945 Oil on board Signed and dated lower right 9.5 x 13 inches 17 x 20.5 inches, framed Carl Gaertner was one of the g...

Matt Talbert's "Remember When" (2024) is an original, handmade oil painting on panel that depicts a portrait of a seated brunette in deep contemplation. Artist bio/statement: Matt ...

A large American Western, Native American oil on canvas landscape, by Frank Paul Sauerwein (1871-1910), "The Captive", 1901. This large oil on canvas depicts a Native American brave captively tied to a tree stump and being viewed by a rival tribe, who are evidently deciding his fate. Behind the collected tribe of elders, braves and children are a pair of conical tipi dwellings, to the background are grazing horses and another group of native people in a tree lined setting. The painting is indistinctly signed lower left, condition is good, the painting is housed in the original frame with a giltwood rabbet, the painting at sight is 40" x 26". Provenance; From a lifelong collection of 19th & early 20th Century Western Art, Portland, Oregon. Frank Sauerwein was a respected painter of western landscapes, Indian portraits, Indian genre scenes, and California missions. His promising career was cut short by his death of tuberculosis at age thirty-nine. The son of European-trained artist, Charles D. Sauerwein, Frank took his first art lessons from his father before studying at the Philadelphia School of Industrial Art, the Pennsylvania Academy of Fine Art, the Art Institute of Chicago and, finally, the Philadephia Museum School of Art. In 1891 he moved to Denver in hope of improving his health. In 1893, Sauerwein accompanied the artist Charles Craig on a trip to the Ute reservation in southwestern Colorado. This began Sauerwein's unyielding fascination with the Southwest and its Native inhabitants. After a trip to Europe, he returned to the American West, visiting Taos in 1899 and Santa Fe in 1900. That same year, Sauerwein visited the Navajo reservation, becoming good friends with trading post entrepreneur, Lorenzo Hubbell. He also spent time at Keam's Canyon on the Hopi reservation where he sketched local inhabitants. Sauerwein moved to Los Angeles in 1901, and then to Pasadena in 1902, but he maintained his contacts in the Southwest with Summer trips to the Grand Canyon, New Mexico Indian Pueblos, Taos, Santa Fe and Albuquerque. He especially loved the Grand Canyon which is the subject of a large number of his paintings. Rendered in a tight, academic style, Sauerwein's paintings clearly show the influence of German...

French impressionist landscape, Barbizon forest, with river and cows at Sunset Boyle was a pioneering 19th-century British artist inspired by European Impressionist painters. The i...

Calleri’s early influences were primarily the great American Illustrators such as N.C. Wyeth, Norman Rock- well, and J.C. Leyendecker, as well as Renaissance painters and the Masters...

Michael Magrin's ( US based) "Healing Promise" is an original, handmade oil painting of a tranquil sunrise. This piece is framed in a natural float fram...

Frederick Serger Genre: Post Impressionist Subject: Flowers, Poppies Medium: Oil Surface: Panel Frederick Serger (given name Frederick Bedrick Sinaberger) was born in 1889 to a family of Jewish manufacturers in the village of Ivancice near Brno Moravia, a province of Czechoslovakia. Showing artistic talent at a young age, he attended art schools in Brno, Czech, Vienna, Austria and Munich, Germany. During World War I, Serger joined the Austrian Army and served in the Balkans. Once his service ended, he traveled to Paris where he resumed his art training and eagerly joined the Ecole de Paris (School of Paris) artists’ movement. During this period, he was greatly influenced by the Impressionist, Post-Impressionist, and Expressionist movements. While living in Paris, he met and married Helen Spitzer. Serger and his young wife moved from Paris to Scoczow, a city on the Polish-Czech border. They remained in Scoczow for 12 years and he continued to work as an artist, exhibiting in museums in Cracow and Warsaw, Poland. He also showed at the Paris Salon de Tuilleries and the Salon d’Automne. He was part of the generation of expat artists, mostly jewish known as the School of Paris. They created art in the styles of Post-Impressionism, Cubism and Fauvism. The group included artists Marc Chagall, Chaim Soutine, Amedeo Modigliani and Piet Mondrian. Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. Many École de Paris artists lived in the iconic La Ruche, a complex of studio apartments and other facilities in Montparnasse on the Left Bank, at 2 Passage Dantzig, built by a successful sculptor, Alfred Boucher, who wanted to develop a creative hub where struggling artists could live, work and interact. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The core members were almost all Jews, included Emmanuel Mane-Katz, Abraham Mintchine...

An important Old Master oil on canvas painting by the Flemish artist, Jan Cossiers, a follower of the style of Caravaggio (1600-1671). Born in Antwerp in 1600, Jan Cossiers was a pupil of his father, the painter Antoon Cossiers (died 1646/1647), and also studied under Cornelis de Vos...

3982 Children riding a giraffe oil on board set in a painted oak frame Image size 15.5x19.5"

REWA says of her work… Viewers largely label me under “Contemporary African Art”. I label my work as Igbo Vernacular Art. The reason for this is that I believe that I have created a...

Well painted American Impressionist landscape signed Everet. The artist was a Chinese/American painter who lived and worked in Hackensack, New Jersey. I met the artist on many occasions in the late 1990s when I lived in New York and he was a very talented and pleasant chap. I asked him to paint different commissions for a client who wanted a certain color or subject and he was always able to amaze me with what he could produce. I have many paintings by him in my own collection. This is an oil on canvas. The piece was in a private collection towards the late 1990s and has been recently re-framed and revarnished. The artist worked for an Art Gallery called Art...

"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...

3rd Version's (Ben Patterson) "Masks We Wear, to Coincide" is a 2022 oil on cradled panel measuring 20 x 16 x 1.5 inches. The piece is unframed but ready to hang. This imaginative co...

A vivid mid-century impasto figurative cityscape oil painting of New York during the 1940s by Dorothy Rossen Greenberg (American, 1915-2005). A Fishmonger plies his trade amidst a ha...

Olja Ivanjicki "Florence or Hell of l'Inconnue De La Seine" original oil circa 1965 Original oil on board. Dimensions 26" wide x 42" high. The frame measures 30" wide x 46" high. Signed and dated at the upper border. She has auction results over $9,000 which was earlier in 2021. Olga Ivanjicki, the daughter of Russian emigrants was born in Pancevo, Danube Banovina. She studied at the Academy of Fine Arts in Belgrade, graduated in 1957, and in the same year she was the only woman among the founders of MEDIALA Belgrade, an art group of painters, writers and architects such as Leonid Šejka, Vladimir Velickovic, Ljubomir Popovic, Miodrag Ðuric. In 1962, she received a scholarship of the Ford Foundation to pursue her art studies in the United States, and in 1978 she was a selected artist of the Fulbright program Artist in Residence at the Rhode Island School of Design. She had over ninety individual exhibitions and participated in numerous national and international group exhibitions. Ivanjicki’s painting was influenced by Symbolism, Surrealism, Pop art and Fantastic art. In the course of her career, the artist received the Vuk Lifetime Achievement Award (Vukova nagrada, 1988), the Seventh of July Award (Sedmojulska nagrada, 1988) and the Karic Award. L'Inconnue de la Seine (English: The Unknown Woman of the...

A Magnificent Oil Painting "A Dainty Bit" A Young Woman With Lobster and Game, by Otto Meyer (German, 1839-1868) Oil on canvas with original gilt-wood fram...

Sunny seascape of seagulls over ocean waves breaking on the coast by Joe Hazel Conrad (American, 20th century). Presented in a wood frame. Signed ...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis...

Gustave Jaquet Jacquet was born on 25th May 1846 in Paris. He was a pupil of Bouguereau and for his debut at the Paris Salon in 1865, he exhibited 'The Reverie' which was very much i...

BING ZHANG's Subway no. 4, 48 x 48 inches, oil on canvas. Proudly presented by Andra Norris Gallery in California. Bing Zhang’s Subway painting series explores themes of class, labo...

This is a wonderful outstanding quality scene of an English cottage garden scene. The quality of the piece is amazing with a real understanding of how to make a very desirable painting. Charles James Lewis, was baptized at St Giles, Camberwell, London on 6 October 1830, son of Charles Thomas Lewis, a clerk at the bank of England, and his wife Sarah Hyde née Bennett (1805-1872), who married at Tottenham, London on 11 June 1825. In 1851, a 20-year-old student in painting, living at 17 Nelson Square, Camberwell with his 52-year-old married father Charles and a 64-year-old 'unmarried' Sarah Lewis. Charles married at Camberwell in 1854, Mary Ann Matilda Hammond Shetton, and in 1871, a 50-year-old landscape artist, living at 2 Cheyne Walk...

"3rd Avenue EL" NYC American Scene Ashcan WPA Modern 20th Century Social Realism Bernard Gussow (1881-1957) 3rd Avenue El 28 1/8 x 30 1/4 inches Oil on canvas Signed lower left Fram...

"Life" (2024) by Adam Shaw is an original handmade oil painting that depicts a portrait of an astronaut who appears to have died in orbit. About the Artist: Figure painter, illustr...

Michael Miller's beautiful original photorealist Midwestern landscape painting "Winter Morning" (2024) depicts a snowy ranch during sunrise. Artist Bio/Statement: Michael Miller’s ...

19th century English Antique Victorian Summertime Harvest landscape, with figures. John Mundell was a British painter of landscapes as well as river scenes and coastal views. It is suggested that Mundell was a pseudonym of John James Wilson. Mundell’s work was vigorous, bright, and attractive and compares favorably with the work of many of the better artists of his time. This is a very fine example of the artist's work. It is a rare composition for the artist as he mostly painted marines. This piece is framed in its original antique gold leaf frame

Jacob Dhein's "Chicago Rain" a 2023 original oil on panel, stands at 17.7 x 23.6 inches. This piece highlights Dhein's ability to capture reflection, diffusion, and a beautiful impre...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

Kate A. Williams (American, 1877-1939) Salt Marshes, Cape Cod Oil on board Signed lower left 16 x 20 inches 21 x 25.25 inches, framed KATE ANTOINETTE WILLIAMS (December 15, 1877 – A...

Georgina Klitgaard Bearsville, New York Signed lower right Oil on canvas 26 1/4 x 32 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign ...

Small head in pencil. original drawing painting André Derain (Chatou, June 10, 1880-Garches, September 8, 1954) was a French painter, illustrator and set designer, representative of...

A beautiful oil on board painting by American artist Maurice Monnard. Monnard was a Post-Impressionist painter known for his colorful cityscapes depict...

"Caterina d'Alexandria (Saint Catherine of Alexandria)" is a copy oil painting on wood panel, after Italian artist Giampietrino (Giovanni Pietro Riz...

Rebecca Jack "Sundance" Acrylic on Canvas 40 x 40 in. __________________________ Rebecca Jack, an intuitive painter, creates vibrant, figurative works that highlight the beauty of...

Late 19th century figurative painting of the battle of Trevilians Station and of the wounding of Colonel Sackett June 11, 1864. Oil on canvas in giltwood frame. Signed or notated ind...