Stone and Press Gallery Paintings

Unsigned

Original Painting Lucia Riccelli, painter and performance artist. Born in Rome, living in Vienna, Zakynthos and Rome. Degreed at Accademia di Belle Arti di Roma in painting and scenography. Studied and performed classical ballet...

English 19th century folk art portrait of an English spaniel dog in a landscape. Painted with a great deal of skill and care this is a charming 19th-century piece. With the origin...

Absolutely charming folk art style study titled, "Mahantango Valley Farm" by Pamela Schooley (American, 20th Century). Presented in a wooden frame. Signed ...

Artist/School: 19th century English Provincial School Title: The River Landscape Medium: oil on board, framed Size: 11.5 x 15 inches, frame 14.5 x 18 inches Condition: Very Good ...

Acquiring an early 19th-century English painting of a hound or terrier in a landscape circa 1850 is an opportunity to own a captivating piece of art that not only celebrates the arti...

Garth Bayley The Full Gallop. Original Mixed Media Painting on Watercolur pare Graphite, Oil Pastel and Oil paint Paint on Paper Image size: H 40 cm x W 53 cm x D 0.1 cm Sold Unframe...

Cecilia "Peach" Taylor (Mrs Reginald B. Taylor) Folk Art watercolor painting of horses titled "White Horse Farm) painted in 1948 A classic example of self t...

Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. "No Pasaran" - an expression of determination to defend a position against an enemy - channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake No Pasaran oil on linen 48h x 30w in 121.92h x 76.20w cm WIL047 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...

William Blake’s oil painting asks us to perceive the powerful layers of history that shape both art and memory. In Blake’s painting is a man, but what Blake painted is an idea. Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. Artist, William Blake channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake Ramparts oil on linen 24h x 30w in 60.96h x 76.20w cm WIL048 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...

English 19th century Folk art portrait of Chickens, landscape with maple frame A wonderful and well-painted piece of rare English Folk Art. The scene is of a group of Chickens in an extensive landscape pecking at their food on the ground. This style was very popular during the early Victorian period and all barnyard animals were painted by these folk art painters, with most of the painters never signing their work. This is a very good example of what are now very rare subjects to find. It is framed in an Antique Maple frame...

"Feelers" - Contemporary figurative oil painting of a man's torso by Chelsea Gibson Medium: Oil on linen Size 25 x 20 inches. Offered unframed. "Feelers" is part of Chelsea Gib...