Paintings

Medium: Oil on Canvas Dimensions: 24.00" x 30.00" Signature: Signed Lower Right Hobo & 3 clowns at poker

Landscape with multiple readings, where the viewer's gaze can form its own imaginary universe

Lightning

Initialed Lower Left

Robert’s work incorporates small poetic texts, often in a childlike manner. She did not utilize conventual tools, such as a paintbrush, but moved the paint with her hands. Though right-handed, she preferred to use her left hand to tap into a fragile creative energy akin to the mark-making of an untrained child’s first gestures. Her work, therefore, has a sense of discovery that is both assertive and tentative. Her poetic texts are evocative and sometimes nonsensical, functioning more compositionally than literally. Her works on paper are often composed of variegated scribbles, and her paintings are rich painterly statements that move between abstraction and fantastical landscapes. Louise Robert’s first professional exhibition was held in Montreal...

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

M&M's inspired, great colors, acrylic and spray on canvas, great artwork, exhibitions in the best Art Galleries in France, USA and Mexico. :: Painting :: Pop-Art :: This piece comes ...

a

John Ferneley Jnr Stabled horses Oil on canvas Canvas Size - 20 x 24 in Framed Size - 27 x 31 in Born in about 1815 at Melton Mowbray, he was the eldest son of the important sporting artist John E Ferneley. The latters other two children, Claude Lorraine and Sarah, were also artists. He spent his early life at Elgin Lodge and his father was a major influence on his artistic development and was in all probability his sole teacher. His father took him on trips to London and in 1832 to Durham and York where the younger Ferneley later settled in about 1839, probably because of the large number of patrons in the area. His first work, of a Whipping-in, was engraved and published in the New Sporting Magazine in May 1833 and was followed in the next year by an engraving of a Hunter. John E Ferneley had established a significant career as an equestrian artist in the old English tradition largely due to being a pupil of Ben...

Signed Center Right by Artist Collier's Magazine Cover, December 23 1916

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Harry Leith-Ross (1886 - 1973). The son of an English father and a Dutch mother, Harry Leith-Ross was born in the British Colony of Mauritius, an island in the Indian Ocean a thousand miles off the southeast coast of Africa. His first formal art instruction began in England under Stanhope Forbes, followed by studies with Jean Paul Laurens at the Academie Julian in Paris. Leith-Ross came to the United States to enroll at the National Academy of Design in New York City in 1910, and then to Woodstock, in 1913. It was in Woodstock at the Art Students League, under the tutelage of Birge Harrison and John F. Carlson, that Leith-Ross would receive the training that most influenced his career as an artist. There he formed a lifelong friendship with fellow artist, John Folinsbee. The two artists shared a studio during this time and participated in several joint exhibitions exclusively featuring their work, including an exhibit at the Louis...

Her Magnolia

" The paintings I create are my connections to any city, mountain or coast I visit. I’m fascinated by the everlasting relationship I have with every place I visit, even if in passing...

Bad News

After the School of Fine Arts in Barcelona and after graduating in art history, he discovered the United States. He met Julian Schnabel, Ed Ruscha and David Hockney. Back in Europe...

Artist: Edmond Firey (French, 19th Century-20th Century) Title: "Voyageurs en Hiver (Travellers in Winter)" *Signed by Firey lower left Circa: 1880 Medium: Original Oil Painting on C...

Oil paint on wood panel Unique work Hand-signed on the back by the artist

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Traduci in inglese Nasce a Oggiono nel 1980. Dopo il diploma accademico ottenuto con il massimo dei voti con lode presso l’Accademia di Belle Arti di Brera, si specializza con il mas...

Oil on canvas

A painting done on location on the canal in Scottsdale, AZ. A detailed look at man made structures and line.

Oil and acrylic spray paint on canvas

a

Abstract art can touch your soul, as it wakes some remembrance which you kept in the corner of your heart. It activates your brain, as we really want to recognize something in what w...

Oil on canvas

Materials: Acryl auf Leinwand

Burning Ember is painted on a wood panel, in acrylic. The size is 40" x 40". The painting hangs on a French cleat. Troy Smith is a Canadian artist, designer, sculptor and painter w...

Jim Woodson, Simultaneous Relevant Embodiments Enfolded, Oil on canvas, 24 x 48", 2020

Mysterious Place II

Making mistakes is often a taboo in society. This forms a person's mentality and when problems come they tend to blame circumstances. This artwork invites us to be more open and acce...

Signed (on verso): AF/2021

Forbidden Love

Mass migration and expression of human struggle during his times.

Acrylic on canvas

a

We believe in life after death, where the spirits of our ancestors reside. In Javanese tradition, they believe that ancestral spirits are always with us and take care of us even thou...

Mysterious Place I (Eco Collection)

Spine

Acrylic on canvas

The abundance 2 is about the repetition of the same mouvement on different colorful backgrounds and the reaction and contrast among these colors. She loves using the golden color on ...

Rubi

Gaia 36

This interesting grisaille […] of a high standard of quality and in an excellent state of conservation, represents an interesting derivation with slight variations from an engraving,...

Eiffel Tower in winter

Large Format Abstract Pink & Black Mixed Media Painting by Cuban Artist Victor Manuel. Victor is an emerging talent born and raised in Havana. With a great sense of Havana’s always ...

Very fun painting by artist, Ekaterina Bokotey, a graduate of the prestigious Repin Academy in St. Petersburg. The whimsical, well-painted tells the story of a serious fly fisherm...

Daffodil, Daniel Blagg, Oil on Canvas, 42 x 54", 2019 A well-known figure of the contemporary Fort Worth art scene, Daniel Blagg has worked in the DFW ar...

Oil on canvas

Sin límites

Westminster From The South, 18th Century by Joseph FARINGTON (1747-1821) similar to $45,000 Fine large 18th Century London view of Westminster fr...

Oil on canvas. Signed, dated, and titled verso. 46.5 x 36 in. 47.5 x 37 in. (framed) Custom framed in a maple floater. Charles Strong, who was born in Greeley, Colorado on Christmas Day in 1938, was one of the youngest artists of the San Francisco School of Abstract Expressionism. He was a colleague of vanguard artists such as Elmer Bischoff, Richard Diebenkorn, Jack Jefferson...

Jim Woodson, Emergent Clarifying Temporal Embodiments, Oil on canvas, 30 x 30", 2020

Oil paint on wood panel Unique work Hand-signed on the back by the artist

J. Oscar Molina is a painter and sculptor as well as Founder of Oscar Molina Gallery in Southampton, NY. He is most well-known for his “Children o...

Alienated

Portrait

Speak up, Charlotte!