New York City - Figurative Paintings

Thelma Appel Gravity's Rainbow, 2010 Acrylic on Canvas Hand Signed, Titled & Dated on the back of canvas 48 × 60 inches Unframed Thelma Appel was the subject of a 50 year career surv...

2023, Mixed media on canvas

2017, Oil on canvas

2021, Oil on canvas

Aaron Bohrod, 1907-1992 Barbecue Stand, circa 1935 Gouache on board Signed Lower left: “Aaron Bohrod” Inscribed and signed on verso Bohrod-1 Provenance: Private estate, Rhode Island...

Purchased from Ward Estate after his passing in 1990. Part of a private collection since mid 1990's till now and custom framed in handmade unique frames. Ward had a unique vision on ...

Purchased from Ward Estate after his passing in 1990. Part of a private collection since mid 1990's till now and custom framed in handmade unique frames. Ward had a unique vision on ...

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...

Purchased from Ward Estate after his passing in 1990. Part of a private collection since mid 1990's till now and custom framed in handmade unique frames. Ward had a unique vision on ...

Signed (on verso): AF/2021

Isca Greenfield-Sanders Woman on the Rocks I, 2016 Mixed media oil on canvas 35 x 35 inches 88.9 x 88.9 cm Signed, titled and dated (verso) -- Greenfield-Sanders’ landscape paintings invite the viewer into nostalgia, to forge a connection to their own experience. Using found vintage photography as a starting point, she creates several iterations of each image, which she alters with pencil and watercolor, and finally paints over with oil. They emerge simultaneously familiar yet enigmatic. She elaborates, stating, “All of my paintings are based on amateur slides from seventy years ago. I am interested in the ‘comfortably familiar’ nature of the images and how the elapsed time allows them to ‘prickle with new meaning’ to connect that which was worth capturing with that which is worth painting, at present.” The paintings require a great deal of forethought and groundwork, but still appear unlabored and fresh. Her style of painting, which prizes color, representation and evocation, is activated by both individual experience and collective memory. Isca Greenfield-Sanders (b. in 1978 in New York City) received her dual BFA and BA degree from Brown University. The artist lives and works in New York, NY. Recent solo exhibitions include “The Things I Can’t Forget,” Miles McEnery Gallery, New York, NY; “Ocean Eyes of Blue,” Michael Reid...

"Flower Vendor (Diego Rivera)" Oil, Photograph, and Alkyd on Canvas This piece is unique, signed on verso, and includes a certificate of authenticity. Grace Graupe-Pillard has conce...

This painting is unique
, signed on verso, and includes a certificate of authenticity. Annika Connor is a modern-day Renaissance woman. Primarily known as a Contemporary Romantic pa...

Two figures in 19th century dress sit at a table in a cafe. Provenance: Private Collection, New Jersey Originally based in New York City, William Bodfish was a talented artist who gained recognition for his illustrations and cartoons in the late nineteenth century. A painter of genre scenes, he also created detailed illustrations of hunting, whaling and fishing adventures for such magazines as Harper's Weekly. In the years following the Civil War, he traveled to the American West, joining the legion of journalists and illustrators who recorded the development of the new frontier. He was considered by historians to be one of the most “able cartoonists” to tackle the West. During his lifetime, Bodfish exhibited work at the National Academy of Design and the Art Institute of Chicago. Likely created after the artist’s departure from New York, The Sister’s Visit records a quiet moment between two siblings. Seated before a lovely spread of luncheon items, including a bowl of oranges...

Unsigned

Seated Nude by George Grosz (1893-1959) Oil on canvas 9 ½ x 5 ½ inches unframed (24.13 x 13.97 cm) 15 x 12 inches framed (38.1 x 30.48 cm) Signed on bottom...

Signed on verso

Artist: John McCormick, American Title: 1956 Ford Thunderbird Year: 1983 Medium: Oil on Canvas Size: 18 in. x 32 in. (45.72 cm x 81.28 cm)

"United Together" is part of a series called "Spoken" by artist Kelvin Agyepong Ansong which depicts the fierce fight women around the world continue t...

Aereo (triptych) III, 2018 Acrylic on paper 29.53h x 21.65w in Valeria Vilar received her Bachelor’s Degree in Architecture from the University of Buenos Aires in 2009. In 2011, Vi...

"Sketching Among the Irises" by George Herbert McCord (1848-1909) is oil on canvas and measures 20 x 16 inches. The painting is signed by the artist at the lower left.

ADDISON THOMAS MILLAR American, 1850-1913 The Sword Merchant Signed Addison T Millar Oil on board 10 in x 8 in Framed: 18 in x 10 in

Berlin Porcelain Allegorical Plaque of Admiration KPM, Late 19th CENTURY The three-quarter-length portrait depicting a brunette woman with blue eyes in light ecclesiastical robes supporting palms crossed over chest and looking up over right shoulder - in a landscape immersed in powder blue sea holly...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

American, b.1956 Scott Duce is an international artist working in New York. Duce’s work is included in many corporate, museum, and private collections. Notable collections include ...

Oil Painting by Luis Frangella done in 1984. This painting is on a 24x34" canvas, of a figure cut off at the knees and a reclining head. Defined with pa...

Katya Zvereva was born in Saint Petersburg, Russia in 1990. She received her Master’s Degree in Architecture from the V. Surikov Moscow State Academy Art Institute in 2013, and in 20...

JAMES WOLANIN "Summer Love" Acrylic & Gloss Varnish on Panel 36 x 36 inches ______________________ James Wolanin’s paintings transport the viewer to an effervescent, candy coated w...

hand stenciled with spray paint by Plastic Jesus: Born : London (United Kingdom) Current Location: Los Angeles Huffington Post - Best street art of 2012 Complex art and Design : ...

Exploring the purity of the feminine form and the excitement of High-End Fashion, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composi...

An abstract, whimsical and bold depiction of a woman standing gracefully in a white gown against a blue, silver and peach background with delicate details. This piece captures the es...

Plastic Jesus: Born : London (United Kingdom) Current Location: Los Angeles Huffington Post - Best street art of 2012 Complex art and Design : top 10 street artist to watch (2013)...

An exceptional impressionistic depiction of an afternoon along the Seine in Paris by Mario Passoni, on a spring day with the busy activities of people wa...

It is said that Marbling (his painting technique) originated in Japan in the 12th Century. Mikael has been able to reinvent the technique existing for more than hundreds of years li...

Signed and dated lower right; signed, titled and inscribed Milano. Observed in frame, the painting is in good condition. A minor loss to the left center edge. Inspection under UV lig...

Perler beads and mixed media in bitten frame - 1/1 the artist lives and works out of Sweden and is represented by Krause Gallery in NYC

Thelma Appel Mount of Olives, 2010 Acrylic and Oil on Canvas Hand signed and titled on verso Artist's hand made frame included This painting was exhibi...

Seated woman in a pink suit strong yet warm color consistent with the artist's palette. It is painted on jute a coarse type of burlap mounted on a cradled wood board . Framing recomm...

Richard E Howard (1912 - 1996) Massachusetts. Medium: Gouache / Paper Frame Size: 19.5" x 19" Size: 13" x 13 " Condition:great, no visible damage Provenance: ...

ABOUT Born in 1967, Piussi was raised in Florence where he studied at the Istituto d’arte, majoring in sculpture and painting and completing his artisti...

ABOUT Born in 1967, Piussi was raised in Florence where he studied at the Istituto d’arte, majoring in sculpture and painting and completing his artistic education at Milano’s Brera Art Academy. He lives in Florence, pursuing painting, bas-reliefs in terracotta and in bronze, and bronze sculpture. Piussi presents an ideal, almost childlike world which can be found below everyday events, a step outside the flow of time, yet still a part of contemporary life, with a nod to Alex Katz and David Hockney. The drama, or lack thereof, is played out in simplified, almost abstract spaces. Pure in intent, Piussi’s oeuvre are inspired by the Early Renaissance. Snapshot images of a world reduced to its essence, the apparently comic-book style has echoes of Giotto, Paolo Uccello, of medieval illuminations. Rather than mimicking the appearance of nature, Piussi reaches for its essence, without distracting details. Women stand on the shore of quintessentially peaceful seas, self-contained, at ease, unwitting replicas of classical goddesses - a proud diver echoes Neptune holding a trident. “Queen Kong...

This price includes that the painting is stretched and framed. ABOUT Born in 1967, Piussi was raised in Florence where he studied at the Istituto d’arte, majoring in sculpture and ...

3787 Antique folk art oil painting Image size 17x23.5" Folk art wood frame

ABOUT Born in 1967, Piussi was raised in Florence where he studied at the Istituto d’arte, majoring in sculpture and painting and completing his artistic education at Milano’s Brera ...

"With shades of Pierre Bonnard’s Parisian street vistas and Edward Hopper’s New York shopfronts, American impressionist Cindy Shaoul’s oil paintings depict the much-loved locales and...

This is an oil painting done from life with the artist's young son''s large stuffed red Elmo in repose in front of the mirror. The painting is both tender and bold. It captures one...

5-3253a Oil on canvas od the streets of Paris set in a vintage wood frame Image size 9.5x8"

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

A charming depiction of an interior scene with piano. A cozy impressionistic scene with warmth and feeling. Whimsical details through out and beautiful brushwork. This piece captures...

This painting depicts an impressionistic scene of a summer day at the Jardin De Tuileries in Paris with beautiful brushwork and whimsical colors. The work is a following of Jules Her...

Surrealistic, stylized magic realism oil painting of oversize bird and 2 people

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

Figure Study for Silent Running #4 David Stern (Germany, b. 1956) Acrylics on canvas 38 inches by 48 inches Hand signed by artist, certificate of authenticity available Colors: Purpl...

Untitled, 1951 Oil on canvas 19 7/8 x 24 in. Framed: 28 1/2 x 32 1/2 x 1 1/2 in. Signed and dated lower left

Mystery European Artist Untitled, c. 20th Century Oil on canvas board 31 x 22 3/4 in. Framed: 36 1/4 x 28 x 1 1/2 in. Signed lower right

Marion Maas (American, b. 1930) Peggy - Brown + Gray, c. 1980s Oil on canvas Framed: 24 1/8 x 30 1/8 x 1 1/2 in. Signed lower right Titled verso on stretch...

Mystery Artist Untitled, c. 20th Century Oil on canvas 22 x 30 in. Framed: 28 3/8 x 36 x 1 in. Signed lower right Provenance: Former Humala Pontas collection