Art by Medium: Oil

Vintage American modernist abstract oil painting. Oil on canvas. Signed.

Contemporary colorful pastoral landscape by Texas based artist Jacob Spacek. The work features a bright blue shack in the middle of an open field set against a vibrant red sky. Signe...

This is a very colorful and energetic painting by unknown but very competent American artist Ham Morton. It is nicely signed and dated 1957. It could be that the artist used a pse...

A beautiful oil on canvas painting by the French artist, Te Pencke. Pencke was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His work is...

Signed lower right, 'Mark S' for Mark Shepherd (English, 20th century) and dated 1995. Titled on the original Royal Academy exhibition label, verso. This figural work by Shepherd wa...

'The Port of Honfleur', oil on canvas, by Gervais Leterreux (1993). This is a charming painting of the port of Honfleur. Especially known for its old port, Honfleur is characterised ...

Antique American impressionist winter landscape oil painting by Ernest Albert (1857 - 1946). Oil on canvas, circa 1900. Signed. Frame...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Summer Bouquet by MAURICE VAGH WEINMANN (Hungarian, 1899-1986) signed lower right oil painting on board, framed framed size: 30 x 24 inches provenance: private collection, South of...

Italian painter (19th-20th century) - Still life with vase of flowers. 83 x 62 cm without frame, 96.5 x 76.5 cm with frame. Antique oil painting on wood, in a wooden frame (not sig...

The olive tree is one of the earth’s oldest witnesses — a quiet keeper of time. Some have stood for centuries, their roots entwined with the stories of countless generations. Their g...

Mid-Century cubist oil and acrylic futuristic cityscape on canvas. Signed bottom right, artist unknown. Highly colourful and well-composed interpretation of a cityscape of the futur...

Oil on canvas Canvas size: 28.75 x 60.25 inches  Framed size: 36.5 x 67.5 inches Signed and dated lower right, 1940

Bernard Corey’s "Frost and Farmstead" is a Winter Landscape with Barns that captures the poetic quietude of the New England countryside under a veil of snow. Painted in the artist’s ...

#5-2947 Garden Path an impressionist painting on canvas displayed in a gilt wood frame. Signed lower right by P.Russo Neapolitan artist Image size 29.5 H X 23.5 W

Josep Colomer Valls (1970) - Landscape - Oil on canvas Oil size 38x46 cm. Frameless.

Richard K Blades mesmerizing oil painting captures the ethereal beauty of a sunset over a tranquil sea. The sky, painted in vivid hues of orange and crimson, seamlessly blends with s...

Terrace on the Sea is an original painting realized in the 19th century by an anonymous artist. The artwork is a colored oil panting on panel. Signed on the ...

In this work, I embodied a dance of colors and emotions on canvas. Through oil and dedication, surrealism blends with figurative expressionism. I invite viewers into a timeless world...

Vivid late 1970's floral still-life featuring a colorful bouquet by Doro (American, 20th Century), 1979. Signed and dated "Doro 1979" lower left. Unframed. Image size, 24"H x 18"L.

Lindsey Kustusch's "London in Shades of Blue" is a compelling handmade original oil on wood panel artwork, measuring 12 x 12 inches. This 2025 piece is a primary market item, arrivin...

Expressionist abstract oil on canvas by French artist Bernard Duvert. The painting is signed bottom left, dated and titled to the rear stretchers and with exhibition numbers. A magn...

Michaela Jean is an accomplished painter, devoted gardener, and mother from Southern California (USA). Her lifelong passion for art and nature began in childhood, inspired by her gra...

This charming 19th-century British School portrait depicts a young boy standing within a softly rendered landscape. Dressed in a dark, buttoned tunic with a white ruffled collar, the...

Impressionist Style Landscape Painting, Diptych, Swamp, Water, Oil on Panel *diptych of two 36" x 36" x 1.5" panels "A native of New Orleans, Jill Hackney studied painting at The C...

"En Provence" Raymond Allègre (France, 1857-1933) Circa 1900 Oil on wood panel Signed lower left, countersigned and titled on the back 13 1/2 x 9 (30 3/4 x 25 1/8 frame) inches It'...

Uruguayan artist Leonardo Aguirre creates visually animated surreal scenes in a theatrical environment. Aguirre rearranges whimsical components into unexpectedly harmonious ways of surreal settings that could only exist in an alternate dimension. The idea of a colorful atmosphere with everyday recognizable signs and elements allows the art aficionado to imagine scenes one day and discover another story the next day. His work is a post-constructivist style that has roots in the legacy school of Torres-García. This one-of-a-kind 39-inch high by 47-inch wide original artwork is stretched, wired, and ready to hang. The sides are painted. It does not require framing and is signed by the artist on the front of the artwork. A certificate of authenticity issued by the art gallery is included. Free local Los Angeles area delivery. Affordable U.S. and global shipping is available. Aguirre's architectural training is evident in his expert use of planes of color and precise brushwork to construct immersive, surreal environments that transport viewers to alternate dimensions. His whimsical rearrangement of everyday objects and recognizable signs creates unexpectedly harmonious settings that are visually stunning and emotionally evocative. Aguirre's artworks invite viewers to explore his mini-universes and discover new stories with each visit. Aguirre was born and lives in Montevideo, Uruguay. His works have been exhibited in Italy, Uruguay, Belgium, the UK, Argentina, Chicago, and Los Angeles. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2022 “Celebrating Latinx Artists”, Artspace Warehouse, Los Angeles, CA 2021 “Light On Your Feet”, Artspace Warehouse, Los Angeles, CA 2020 “Hidden Keyholes”, Artspace Warehouse, Los Angeles, CA 2018 Artspace Warehouse, Los Angeles, USA 2017 Art for the People Gallery, Austin, Texas, USA 2016 Artspace Warehouse, Los Angeles, USA 2015 Bohemian Art Gallery, Montevideo, Uruguay 2015 Rhizome Gallery, Las Vegas, USA 2014 Chicago Art Space Gallery, Chicago, USA 2014 10 años Trifecta Gallery, Las Vegas, USA 2013 Chicago Art Space Gallery, Chicago, USA 2013 Galeria Pueblo Garzón, Uruguay 2012 Trifecta Gallery, “6191”, Las Vegas, USA 2011 Golf Club, Montevideo, Uruguay 2011 Colectiva Bolosano Arts Hotel Piazza Mazzini 35 2010 Castells Art Gallery, Montevideo, Uruguay 2010 Nuestro norte es el sur Venice, Italy 2010 Ristoranti Cultural Space “il Simposio”, Trento, Italy 2010 Trifecta Gallery, Las Vegas, USA 2009 Mvd Art Gallery, The Famous Grouse, Montevideo, Uruguay 2009 Wallione de Bruxelles (Grand Place), Belgium 2009 Lido de Venezia Muestra Colectiva, Italy 2009 Agosto Torri del Benaco, Italy 2009 Palazzao della gran Guardia, Verona, Italy 2009 Museo Rawson, Pedro Meyer, Luis Camnitzer 2009 Lla Patagonia, Argentina 2009 Woburn Gallery Studios, United Kingdom 2008 Basilicata Collective Show, Italy 2007 100 Años Punta del Este...

Gaston BALANDE (1880-1971) Picture Size: 21 x 29" (52.5 x 72.5cm) Outside Frame Size: 29 x 37" (72.5 x 92.5cm) Antique oil painting on canvas A wonderful example of Balande's work ...

A striking study depicting a woman walking along the beach in a long flowing dress. She has her back to the viewer, walking towards a hazy horizon. Signed to the lower right. On canv...

Beautiful colorist Alf Sundstrom oil on canvas painting of moonlight over a Stolphärbre in Sweden 1923. Wilhelm Alfons (Alf) Maria Sundström was born April 16, 1888 in Nansta, Gävle...

Title: Seaside Town Medium: Oil on canvas Size: 23 x 19 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painti...

Artist: Slonem, Hunt Title: Cross Hatch Hutch Date: 2022 Medium: Oil on canvas Unframed Dimensions: 48" x 48" Signature: Signed by Artist on Verso Edition: Unique Hunt Slonem...

Contemporary oil on canvas, this very large painting has fine naturalistic detail, with deep sky tones, rich coloring, crisp trees/leaves and lines of lighted meadow reflected in the...

Famous Edinburgh scene with the foggy Castle on the Mount from the North Bridge, and a bustling city scene below. Impressionist style, dating to mid 1920s/1930s, presenting a glimps...

In "Owner," Rudolf Kosow captures a tender moment of connection that is as powerful as it is subtle. The main subject of the painting is a large black Lab, soulful dog, its fur textu...

Man 1, 2021, 120x55 cm

Boats Arriving at the Harbour by Fanch Lel Size: 15 x 18 inches (height x width) Oil painting on board , unframed Condition: Good condition overall with minor surface handling marks ...

“The Horse Race" #50 A Pierre Bosco, (1909-1993) Oil n canvas Signed lower right 12 x 15 inches “The savage art of Bosco bears its rudeness and its mystery. It is an art of pure ex...

Division of the Spoils in a Military Encampment Entourage of Willem Cornelisz. Duyster (Amsterdam 1599 – 1635) Not signed. Dutch school, late 17th – early 18th century Oil on oak pa...

Richard Andres (American, 1927–2013) Sailing, 1973 oil on canvas signed lower right, signed and titled verso 58 x 72 inches Exhibited: Cleveland Museum of Art, May Show 1973 Richard...

Jeanine Donkers Until the final bloom 40 x 40 cm ( framed included in price) Measurement with included frame: 44 x 44 cm Oil on wood panel Jeanine Donkers' paintings offer a world ...

Alte Fischerhütten (1949) by Max Pechstein is an oil on canvas in which the artist transforms a humble cluster of weathered fishing huts into a study of light, form, and atmosphere. Broad, rhythmic brushstrokes delineate the worn timbers and thatched roofs, while a sky streaked with lavender and rose imbues the scene with a quiet, almost meditative luminosity. Pechstein's bold outlines and flattened perspective are tempered by a late-career restraint, allowing the simple geometry of dunes, huts, and sea to resonate with an almost timeless calm. The artwork is signed lower right, "HMPechstein 1949" and signed verso, "Alte Fischerhütten 1949 HMPechstein” Provenance: Private Collection, Europe Lempertz, Cologne, June 15, 1966, lot 531 Selected Artists Galleries, New York, acquired by 1970 Private Collection, New York, acquired from the above Private Collection, by descent from above Phillips, New York, Wednesday, November 15, 2023, lot 123 Private Collection, acquired from the above Literature: Aya Soika, Max Pechstein The Catalgoue raisonne of oil paintings, Volume II 1919–1954, Munich, 2011, no. 1949/12, p. 490, illustrated Hermann Max Pechstein was born on December 31, 1881, in Zwickau, into a working-class family headed by his father, a textile-mill craftsman. Drawn to art early on, he apprenticed as a decorative painter from 1896 to 1900 before enrolling at Dresden’s School of Applied Arts and, from 1902, studying under Otto Gussmann at the Royal Academy of Fine Arts. His academic grounding—unique among his future peers—laid a solid foundation for the bold, expressive work that would follow. In 1906 Erich Heckel invited Pechstein to join Die Brücke, the pioneering Expressionist collective, and he quickly became one of its most active members. Exposure to ethnographic wood carvings in Dresden in 1905 spurred his first woodcuts, and travels to Italy (1907) and Paris (1908)—where he befriended the Fauvist Kees van Dongen—expanded his palette and compositional daring. After relocating to Berlin in 1908, he co-founded the New Secession in 1910, serving as its chairman and gaining acclaim for richly colored prints inspired by Van Gogh, Matisse, and the Fauves. With the outbreak of World War I, Pechstein’s peripatetic life took him from internment in Japan to service on the Western Front in 1916. In the revolution’s aftermath, he aligned with radical socialist art...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Fal...

"The Days Bag" by ROBERT CLEMINSON (British, 1864-1903) signed oil on canvas, framed framed: 24 x 32 inches canvas: 16 x 24 inches provenance: private co...

Yuri Krotov Yuri Krotov was born 1964 in Grivenskaya Cossack Settlement, Krasnodar Territory, located close to the Azov Sea. At the age of 8 he met a local painter G.A. Polugaev who...

Verdant Hills by Bernard Labbe (French mid 20th century) original oil on artist paper size: 19 x 26 inches condition: very good and ready to be enjoyed Description: This expressive ...

Oscar Lycke was a Swedish artist from Sundsvall. He is best known for his impressive colourful landscape paintings in a national romantic and realism styl...

Kobi Raz (Israeli, born 1959) "Breathe" 2023 Oil Paint, Mixed Media, Canvas, Stretcher Bars The artist signed the bottom left of the painting. About the Artist: Kobi Raz, one of Isr...

ARTIST: Guy Roddon (1919-2006) British TITLE: "French Cafe Street Scene" SIGNED: lower left MEDIUM: oil on board SIZE: 80cm x 70cm inc frame CONDITION: excellent DETAIL: Painter and teacher, born in London. After Bryanston School he studied at Goldsmiths’ College School of Art with James Bateman and Clive Gardiner, 1937–9, then at the Byam Shaw School of Drawing and Painting, 1939–40, with Ernest Jackson, and drawing at La Grande Chaumière, Paris. During World War II he served in Royal Engineers before transferring to the Camouflage Unit, which included Frederick Gore, Oliver Messel, Roland Penrose and Claude Rogers. Roddon spent part of the war stationed in the Old Assembly Rooms, Norwich, as a camouflage instructor alongside Messel and Penrose. From 1948–50, he taught at Goldsmiths’; from 1960–1 was commissioned to paint The Stations of the Cross and Resurrrection for St Thomas More, Patcham; from 1960–3 moved to Paris; rented Edwin John’s studio in Tite Street for 10 years; and began a series of portraits, sitters including the novelist L P Hartley, composer John Ireland...

Venus. 2006. Oil on canvas, 66x183 cm Realistic woman act on drapery Normunds Braslinsh (1962) Born 1962 in Riga, Latvia 1980–1986 Latvian Academy of Art, Painting Department 1973–...

Morning Drama oil/panel image 8 x 10 unframed, 14.5 x 16.5 framed is an oil painting on panel by award winning contemporary artist Michael Budden that showcases a dramatic sunrise se...

This pastoral landscape painting depicts a rustic farmstead nestled among trees, with weathered buildings featuring reddish-brown roofs set against rolling countryside. The artist em...

Henri Pearson (French, 19th Century) Harbour Scene with Fishing Boats and Figures on the Shore Oil on wood panel, circa 1880–1890 This evocative harbour scene by the French painter H...

US buyers pay no import tariffs on this item. This early 19th-century oil painting by English artist W.S. Cooper (act. 1832-1834) depicts a bay hunter and groom in a landscape with ...

Artist: Slonem, Hunt Title: Emerald Isle Date: 2025 Medium: Oil on wood Unframed Dimensions: 30" x 24" Framed Dimensions: 33" x 27" Signature: Signed by Artist on Verso Editio...

6053 Two lovers italian monochromatic oil painting Set in a ornate frame Image size 35.5x23.5" Signed lower left

Rocks & Trees Oil/Board 12 x 16 image unframed, 18.75 x 22.75 framed Signed lower left although hard to read. No restoration housed in a reproduction frame. The painting is in beauti...

Title: "Mediterranean Flowers" Artist: Josep Miquel Serrano i Serra (Barcelona, 1912 – Sitges, 1982) Technique: Oil on canvas Dimensions: 36.2 x 24 in (92 x 61 cm) Date: Circa 1970s ...

This is a beautiful oil painting of an array of flowers in a vase in front of dark background. Reminding us of old master paintings, this is a brand new painting full elegance and ti...