Unknown

American Portrait Painting of a Gentleman of the Verplanck Family

1820s

The painting features a 3/4 bust portrait of a refined lady from the Verplanck family of Orange County, New York. The painting shows a young woman seated for her portrait in a fine b...

This portrait depicts a seated colonial woman, painted in a realist style that can be compared to John Smibert. This painting has beautiful details such a...

Lovely acrylic painting of a Texas speckled trout by Texas artist Terry Burleson in the 20th century. Signed in lower left corner. Labeled as a design for wildlife stamps on reverse....

This dynamic painting is of a match between the world famous boxers Ingemar Johansson and Floyd Patterson. Having fought for the World Heavyweight Championship in 1959 with Johansson...

Abstract portrait of a man by artist Carla Nickerson-Adams. This portrait depicts a seated bald man with a green garment with a red and yellow lining. Signed ...

Pastel green toned realistic portrait of a Tao woman by Pasadena, CA artist, Charles Kern Fiedler. Signed by the artist at the bottom. Framed and matted in a black and gold wooden frame. Dimensions Without Frame: H 19.75 x W 15.88 Artist Biography: Charles Kern Fiedler was born in Ohio in 1885. Fiedler studied at the Cleveland School of Art and University of Pennsylvania. After settling in Pasadena in 1919, he studied with Jean Mannheim. During WWII he taught art for two years at Occidental College. His studio in Pasadena was formerly that of Benjamin Brown. and it's likely that Fiedler was exposed to some of the early landscape oils of Benjamin Brown which show similarities to Fiedlers own early works. Fiedler was also influenced by the more traditional early Plein Air eucalyptus landscape...

A beautiful and rare antique American portrait of a young woman in a stunning period frame, likely original to the piece. Unsigned but beaut...

"Macintosh" by James Zamora is a striking ode to technological elegance, where the artist's brushstrokes breathe life into the iconic Macintosh computer. This original still life, cr...

Fletcher Martin (1904-1979). Darkness, 1940. Oil on canvas, 18 x 22 inches; 28.5 x 32.5 inches framed. Signed and dated lower left. Presented in a carved chestnut Heydenryk custom frame of the period. Excellent condition with no damage or conservation. Biography: Birth place: Palisade, CO Death place: Guanajuato, Mexico Addresses: NYC; Woodstock, NY, 1947 and after; Guanajuato, Mexico in 1976 Profession: Painter, lithographer, block printer, muralist, illustrator, teacher Studied: Stickney Mem. Sch. Art Exhibited: Hatfield Gal., Los Angeles, 1932 (solo); LACMA, 1935 ( Van Rensselaer Wilbur Prize), 1939 (prize), 1944; FAP, 1937 (prize); PAFA Ann., 1939-54 frequently (prize 1947); 48 States Comp., 1939 (prize); WMAA, 1940-57; AIC, 1940-45; VMFA, 1941; CI, 1942-44; MoMA, 1942; NAD, 1943, 1949 (Altman Prize); Corcoran Gal. biennials, 1943-53 (6 times); Roberson Mem. Center, Binghamton, NY, 1968 (retrospective); Eve Loring Gal., Cedarhurst, NY & Rudolph Gals., Woodstock, NY, 1970s Member: A.N.A., 1969; Woodstock AA (chmn., 1953-55); Calif. WC Soc.; Am. Artists Cong.; Fnd. of Western Art; AEA (nat. committee,1949-55). Work: MMA; WMAA; MoMA; LOC; Cranbrook Acad. Art; William Rockhill Nelson Gal., Kansas City, KS; LACMA; Denver Art Mus.; Mus. FA, Houston; SFMA; PAFA. Commissions: true fresco, WPA, Hollywood H.S., 1935; oil on canvas, U.S. Secretary Fine Art, Fed. Bldg., San Pedro, CA, 1937; oil on canvas, U.S. Secretary Fine Art, Post Office Bldg., Lamesa, TX, 1938; bas relief sculpture, U.S. Secretary Fine Art, County Court House, Bonner's Ferry, ID, 1939; oil on canvas, U.S. Secretary Fine Art, Post Office Bldg., Kellogg, ID, 1940. Comments: Preferred media: oils, watercolors, print media. Specialty: Western subjects. Illustrator: Tales of the Gold Rush, 1944; Mutiny on the Bounty, 1947; The Sea Wolf, 1961; The Jungle, 1965; Of Mice and Men...

Classical portrait of a woman harvesting grapes. In this oil painting, I captured the serene essence of nature and the simple elegance of human connection with the earth. The centr...

From the artist statement, "When asked about my work, my mantra used to be, “The subject matter of my work is not as important as how I paint it. Whether it be people, places, or thi...

From the artist statement, "When asked about my work, my mantra used to be, “The subject matter of my work is not as important as how I paint it. Whether it be people, places, or thi...