Photography Paintings

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...

Baby caring a horse shoe on his shoulders reminiscent of the famous J. C. Leyendecker Baby covers for the Saturday Evening Post. This is a cover illustration/ painting for Collie...

Zane York coaxes and cajoles with a bit of humor which belies a deeper sensitivity. His eye-catching subjects never fail to cause a double-take. In our age of nearly constant visual ...

I was thinking about a song by the Eagles called Hotel California when I was painting this western scene. The first line of the song goes,"On a dark,desert highway..." so I placed my...

Denied Warhol Yves Saint Laurent by Charles Lutz Silkscreen and acrylic on linen with artist's Denied stamp of the Andy Warhol Art Authentication Board. 10 x 10" inches 2008 Lutz's ...

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...

A solitary figure, hat in hand, bows his head in contemplation of what has just taken place or what is about to take place. "Palm Sunday" 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 Palm Sunday, 2022 oil on linen 36h x 24w in 91.44h x 60.96w cm WIL033 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...

Walter Beach Humphrey specialized in painting magazine covers and he eventually did work for almost all of them, beginning with small-circulation publications such as The Zenith, ...

Ina Pesenka, In Brooklyn, rabbi in Brooklyn, Oil On canvas, america 1950's, Israeli artist, Israeli art

Charles Cross by Lu Haskew Oil 16x12" image size Portrait Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price includes...

Distinguished Lady by Lu Haskew Oil 16x12" image size Portrait Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price inc...

Glasses and Goatee by Lu Haskew Oil 14x11" image size Portrait Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price inc...

It's an interesting pattern: the fewer people we have in our lives, the more we are drawn to animals. The social vacuum needs something to fill it with. It seems logical to me. And ...

For the month of December we are offering very special end of year pricing of at least a 20% discount on all of the paintings at the gallery. A few are discounted as much as 50%. If you see a painting that you are interested in purchasing by any of our artists, message us which painting and we will let you know what the special discounted price is for the month of December. For David Edward Byrd Rock and Roll art collectors this is one incredible rare work of art. It is an original painting created by David Byrd based on David's original 1968 first drawing for Hendrix's first 1968 appearance at The Fillmore East. It is featured numerous times in the new coffee table book on David Edward Byrd's art titled "Poster Child" This original painting on acetate of Jimi was painted in 2006. It was based on David's 1968 original drawing of the very 1st version for Jimi's first Fillmore East appearance. When Bill Graham asked David if he can "add the other two guys" to the image, David created the now famous orange poster with all 3 members of the Experience and this first version of the poster was never created until 2006 when we asked David if he could create an original painting based on the very first drawing that he did for the concert. This original painting was exhibited at the Bethel Woods Museum which is on the site of the original 1969 Woodstock Music Festival. This original art was painted in the same exact way that David painted his other painting for the famous Hendrix poster...

Liliane Danino, natural pigments, fabrics on canvas, mixed media, portrait, idealized portrait, woman of virtue, Israeli artist, Israeli art

Oil on paper painting of Calico mountains, Las Vegas

"Portrait of Paolo" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 7/8 x 3 7/8 (16 3/4 x 14 3/4 frame) inches Emin Abbasov is classically...

Acrylic on canvas In China, pandas are very well protected. While many old buildings have to face the reality of being demolished and replaced by new buildings. Historical old build...

John Dalziel Kenworthy portrait of a gentleman . Fine, large and imposing oil on canvas housed in a gilt frame. The sitter is unidentified, he has an aristocratic and characterful lo...

LEAF AND COUPLE is a superbe and vivid original painting on canvas depicting a still life of a fall leaf next to a vintage black and white photograph of a couple in a tender brace. ...

Meghan Gerety lives and works in Marfa, TX and New York City. She received her BA in Studio Art from Barnard College after attending Atelier Clouet in Paris. Her work has been exhibited at Bill Arning Exhibitions, Renyolds Gallery, White Columns, Andrew Kreps Gallery...

Mary Borgman’s work captivates the viewer in several ways. First is their scale. They hang like medieval tapestries, with figures standing as tall as eight feet. There is also their texture – created by using charcoal on Mylar, and the results are richly gestural, with distinct charcoal strokes and eraser marks animating the figure and ground alike. With a flat surface, she creates volume and life. And perhaps the most powerful of all, the viewer is caught be the gazes of the models, who stare forcefully out of the picture. They seem to be examining us every bit as much as we are examining them. These larger-than-life portraits stem from chance encounters that grow into meaningful connections between the artist and her subject. Most are strangers that she approaches on the street. They capture her attention with expressive eyes that show experience and wisdom, distinctive shapes and a casual body language. “I try to honor the people I am drawing by centering them in the format and shooting from slightly below their eye level. I choose an expression that exudes intelligence, self-awareness and complexity. I try to convey their humanness. I want the viewer to feel this person might be someone interesting to know”, says Borgman of her subjects. The intensity with which she conveys the eyes may stem from her many years of communicating in sign language, which is based on sustained eye contact. Borgman loves the directness of drawing. It is immediate, there is no lag time. There is no time waiting for the paint to dry. She works solely in charcoal which she can manipulate to achieve varying degrees of darkness and opacity. It is messy and the artist loves that. Mary Borgman Portrait of Matt Latham charcoal on mylar 60h x 40w in 152.40h x 101.60w cm MBG011 FRAMED DIMENSIONS 62h x 42w x 2.25d in 157.48h x 106.68w x 5.71d cm [This work is custom framed in shadow box style with non-reflective Tru-Vue Museum Glass] Mary Borgman b. October 4, 1959 St. Louis, MO SELECTED EXHIBITIONS 2017 Grand Opening: Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2013 SOFA Chicago 2013, Ann Nathan Gallery, Navy Pier, Chicago, IL Portraiture Now: Drawing on the Edge, National Portrait Gallery, Arkansas Art Center, Little Rock, AR 2012 Portraiture Now: Drawing on the Edge, National Portrait Gallery, Washington D.C. SOFA Chicago 2012, Ann Nathan Gallery, Navy Pier, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2011 Gallery Group Ann Nathan Gallery, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2010 SOFA Chicago 2010: Special Installation at SOFA Café, Navy Pier, Chicago, IL What’s the Buzz on the Playground: Art of Today from St. Louis curated by Mary Sprague...

In this painting, I explored the serenity and depth of oceanic expanses. Using acrylics and resin, I harnessed a blend of minimalism and semi-abstract styles to capture the dynamic u...

Oil on board, signed lower left Image size: 8 ¾ x 12 inches (22.5 x 30.5 cm) Contemporary-style frame Brown was born in 1894 in Salisbury. His father was William Lewis Brown (1864-1...

A charming little realist painting of marbles in a sundae glass. Turned up in our inventory, new and never owned. Custom framed and ready to hang. Measu...

Original trompe l'oeil signed Aaron Bohrod (LL) entitled Walnut Shells Provenance: The Milch Galleries #21 East 67th Street (label affixed to verso) in acrylic on masonite board Im...

Oil (Michael Harding, Williamson and Rublev) on stretched gesso primed cotton canvas. 43â€

Matthew Cook The Artist in Profile oil on aluminum 10 x 8 in. oval MATTHEW COOK b. Toledo, OH, 1987 EDUCATION 2017 MFA, Bowling Green State University...

Depicting the bust of a statue of a child in monochrome. Unsigned.

Unsigned. Provenance: Studio Sale, George Weissbort, 2 June 2024. On board.

A wonderfully atmospheric portrait of a young Benjamin Britten. Britten was a renowned British pianist and composer of the 20th century. Weissbort was introduced to Britten by his gr...

Male Portrait, oil on board. Unsigned. (Provenance: Studio Sale, George Weissbort).

Unsigned. Provenance: Studio Sale. On board.

Self-portrait, oil on board. Unsigned. (Provenance: Studio Sale, George Weissbort).

"Astral" Hyperrealism Oil Painting 47" x 39" inch by Dmitriy Krestniy ATTENTION: Painting ships rolled in a tube. A look through Dmitriy’...

Richard Henry Brock (1871–1943) often known as "Dick" Brock, was born on July 21, 1871, in Colney Hatch, London. His family moved to Cambridge shortly after his birth, where his fath...

Denied Warhol portrait of German Artist Joseph Beuys Silkscreen Painting on canvas by Charles Lutz Silkscreen and acrylic on canvas with artist's Denied stamp of the Andy Warhol Art...

Michael Tole says of his work… This painting reimagines the moment when Cleopatra contemplates suicide after her battlefield loss to Octavian. In this revisionist history, Cleopatr...

'The Brewing Storm' by Ignacio Trelis, with oranges, reds and pinks. The landscape has a dreamlike quality, giving the piece an otherworldly feel. The b...

Oil on canvas, framed to Guild of Framers Museum Standard. 17â€

John Riley 1646 – 1691 Portrait of William Chiffinch (c.1602-88) Oil on canvas Image size: 30 x 25 inches Original frame Another version of this can be found in the Dulwich Pictur...

Important period red chalck watercolor pencil drawing with neoclassical subject. Depicting the Atilius Regulus departing for Carthage. Atilius Regulus was a Roman statesman taken pri...

Sir George Clausen A BRETON FISHERMAN Later inscribed: "To Trythallen Rowe in Friendship / George Clausen 1892 / 28th Sept" Oil on canvas laid down on board Frame 46cm x 37cm Image ...

This work sells itself. Just look at it, and an elaborate explanation is not required. There is virtually no one alive who can paint a picture like Crockwell. Crockwell offers the viewer a complex and inventive composition by showing two wonderful portraits in the foreground and, beyond a broken wall...

Cheryl Ladd in the role of Princess Grace Kelly of Monaco. Cover illustration for TV Guide, February 5-11, 1983. Richard Amsel had a brilliant ...

Medium: mixed media (oil, acrylic, cold wax, paper) on canvas Size: 12 x 12 in Year of completion: 2024 "The earth changes The way we speak to each other has changed As for a...

George Weissbort (1928-2013) - Mid 20th Century Oil, The Artist At Work

Rudolf Kosow’s Last Leaves is a hauntingly poetic oil painting that blends contemporary figurative painting with surrealism and symbolic composition. A young girl, her face rendered ...

Artist Rose Freymuth Frazier presents "Pollinators" - two figures dressed in flowered suits, their faces obliterated by a swarm of butterflies fl...

Acrylic on canvas Carlos Gamez de Francisco is an American artitst with Cuban origins born in 1987 who lives and works in Fort Myers, FL, and Louisville, KY. He has received numerou...

Richard Gibbons' painting "Golden Eyes" shows a portrait of a beautiful young woman. Her piercing gaze brings the viewer in for a closer look. Her sultry, yellow eyes are intoxicatin...

An infinite #2 pencil is depicted within eight square trompe l'oeil floating frames on a blank background. "Ouroboros" refers to the ancient symbol of the snake eating its own tail, ...

A fine pastel still life with a bowl of fruit by Icelandic-American artist Louisa Matthiasdottir (1917-2000). Born in Reykjavik, Iceland, Louisa was known for her portraits, self por...

In this work, I have captured the deep bond between humans and animals in oil. The careful composition and soft colors reflect the tenderness and mutual trust. The girl gently feedin...

‘Far Places Were Once Within Me’. Oil on canvas, approximately 11â€

"Dos Madres (Two Mothers)" by Ernest Gutierrez, 2000, oil on jute, signed. 22" x 20" art 33" x 31" framed Ernesto Gutierrez was born in Lima, Peru in 1939, his father a Spaniard, a...

Clément Auguste Andrieux (Paris 1829 – Samois-sur-Seine 1880) The Open-Air Painter Graphite on paper H. 16.5 cm; W. 24.5 cm visible Sale stamp lower right Provenance: Studio sale, 1...

Acrylic on heavyweight paper :: Painting :: Modern :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: Signat...

Original cover for The Progressive Farmer magazine, published March 1961

Janusz Szpyt was born in 1960, he is a Polish painter. He graduated from the Graphic design faculty and painting from the Academy of Fine Arts in Krakow. 1983 onward, he became the m...