Continental US - Figurative Paintings

Carl Smith is an American artist who has been living in Berlin, Germany, since 2001. He works with a combination of silkscreen printing, collage, and resin to create his urban inspired artworks. In his art Smith explores the area between Pop Art and Surrealism. Each carefully constructed artwork is a unique compilation of images and text brought together to create an interesting juxtaposition that excites the viewer. The surface of this 16 inch square artwork is covered with a smooth layer of clear, glass-like resin, which enhances the colors and adds depth to the imagery. The sides are finished natural wood, and it does not require framing. It is signed by the artist on the back. A certificate of authenticity issued by the gallery is included. Convenient local Los Angeles area delivery. Affordable Continental US and international shipping is available. Smith combines his own photographic material with drawings and other fragments of narrative imagery. He works with several layout combinations before creating a finished composition. Through his use of strong visual cues, he tells slightly absurd and humorous visual anecdotes. The process of making these narrative works is what Smith refers to as, 'Drawing with Pictures'. Carl Smith is originally from Santa Fe, New Mexico, and studied art at Cooper Union in New York. He has exhibited his work in France, Germany, Norway, Holland, USA and England in numerous solo shows or as a member of a four man team called TABI. His works have been represented by Kunstwarenhaus Zurich since 2000 and Artspace Warehouse Los Angeles since 2010. He was chosen as one of five artists who exhibited at the Berliner Liste, invited to exhibit in the 2012 Paris Mac art fair as a featured guest of the organizers. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2022 Slow Graphics, Museum Sremski, Srem Poland 2021 “Like a Song”, solo exhibition at Kunstraum B, Kiel Germany 2020 Miedzynrodowy Festiwal Grafiki, Muzeum Sremskie, Poland “Urban Prelude”, Berlin, Germany 2019 “Slow Graphic Days”, Myszkowshi Galeria, Poznan, Poland “Suspended Moments” Knack43, Berlin, Germany Affordable Art Fair New York “Berlin Express”, Galleri Schaeffers Gate 5...

"Per aspera ad astra" is Latin for "through difficulty to the stars." A friend asked me to read a religious text. The opening chapter talked about "God's enemies." I thought, God has...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Carlos Bruscianelli's "Marble in a Martini Glass" is an original, handmade oil painting on panel that measures 24 x 18 inches unframed and is ready to hang. About the Artist: Carlos...

Signed lower center, "Mancini"; additionally signed verso and painted circa 1975. Figurative oil in crimson, vermilion, jade, and deep blue, showing a young woman wearing a hat with...

"Olde World Charm" by Deb Komitor (United States) is a handmade landscape oil painting that is ready to hang. Deb Komitor was born and raised in Ohio and now resides in Colorado Sp...

Hayley Lever Winter in St. Ives Signed lower left Oil on canvas 8 1/2 x 11 1/4 inches Hayley Lever’s versatility has worked against his posthumous reputation. He was never associat...

A whimsical oil painting depicting a Courtyard Scene with a cafe of figures in France by Luigi Cagliani. As an Italian Impressionist artist, most of Cagliani's works were produced in...

"Ostuni II/Puglia/Italy" by Heiko Mattausch (Germany based) is an original oil painting that depicts a corridor lined with white buildings and blue sky peeking through. I am a pain...

This painting is currently on display at the Zimmerman Gallery in Carmel, CA Abstract with a figurative bias; the best of opposing worlds unified with pastel color delight, soft yet ...

Cuban-American artist Frankie Alfonso creates interwoven paintings using lively colors and spontaneous, well balanced compositions. His work is best described as a style of automatic writing were he manipulates simple lines to make complex arrangements of balance and harmony. His style is a mix of cubism, cartoon animation, surrealism, graffiti and abstract expressionism. This original one-of-a-kind artwork is 48 inch tall by 36 inch wide. The sides of the colorful artwork are painted as a continuation of the front and it does not require framing. This painting is signed by the artist on the front. Convenient local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping. A certificate of authenticity issued by Artspace Warehouse is included. Alfonso began drawing at an early age. He first found inspiration in comic books and enjoyed drawing his favorite super heroes from an unconventional perspective. As a teenager he started to experiment with oils, acrylics and took his passion for art to the canvas. Even after painting for over 20 years, he still pushes the boundaries while experimenting with mixed medias, including oil, acrylic, gouache, and spray paint. Alfonso attended art school in Tampa, Florida and travelled Europe for several years in search of inspiration and his own unique voice in art. Alfonso used his in depth studies of European Masters and was inspired by Picasso, Braque, Klee, Dali, Basquiat, De Kooning and Matisse. The joyful expressions of his artworks resonate with positive light and inspire creative thinking and innovation. His works have been represented by the seller, Los Angeles and exhibited in Florida and California. They have been collected throughout the US. Exhibitions 2016 Artspace Warehouse, Los Angeles, CA 2014 Artspace Warehouse, Los Angeles, CA 2014 Axiom Contemporary...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about feeling, she creates magic and captures the moment by infusing her art with strong emotive qualities. Zabel communicates each scene with precision. Her work evokes the Impressionists, but depicts modern love and adventure. Couples stand at bar top tables...

James Henry Cafferty Landscape and Figures (New Jersey or Long Island), 1845 Signed lower right Oil on canvas 21 x 17 1/4 inches Provenance The artist John L. Schoolcraft, Albany, N...

Samuel S. Hoskins Statement on Snow in Winter: Delving into the symbolism of winter, I painted a figure dressed in black, embracing the harvest of autumn. In my perspective, winte...

Joseph McGurl's "Far Away" is an original, handmade oil painting that depicts a vast landscape of valleys and mountains in the distance under the orange and yellow glow of sunrise or...

Ralph Rosenborg (American, 1913-1992) Mountain Weed with Two Clouds, oil on jute canvas, canvas is hand signed recto and verso, artists label and Snyder Fine Art gallery label, The p...

With exquisite detail and sparkling color, this portrait of a young woman is a remarkable example of reverse glass painting. Lending the finished work a subtle three-dimensional effe...

Classical 19th century French Nude of a lady in the Barbizon Forest landscape. Richet spent much of his adult life in Paris. It was there that he met and became a student of Jules L...

Our Gallery acquired the estate of a Northern California artist, Thelma Terrell. Terrell lived in Oakland and was an illustrator and professional graphic artist. "In The Park...

Elena Burykina's "Transfiguration" (2023) is an original, handmade oil painting on panel. Artist Statement: Close Helmet with Mask Visor in Form of a Human Face German ca. 1515 Helm...

Alexandra Manukyan's "Resplendent" is an original, handmade oil painting that depicts a female model holding her hand to her cheek as glittering gol...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Dubi Arie (born Poland, 1939) "A Song in the Garden" Original mixed media on paper painting, Hand signed and dated lower left. This piece depicts people dancing, including a King ...

We are proud to present for the first time in more than twenty years, the paintings of Austrian/American artist Gustav Rehberger (1910–1995). G...

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...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

Born in 1961, Alexej Ravski exhibits in France, Germany, Belgium, The Netherlands, the United States, Belarus and his native Russia. Alexej’s painting is dynamic in its form and pea...

Suchitra Bhosle's "Restful Moments" is an original, hand made oil painting that depicts a partially nude woman napping with a black cat nestled on top of her. About the Artist: Su...

Still Life with ham, oil on canvas signed a wonderful example of the artist's work, from the Collection of Bass Museum Of Art. Canvas size 16 3/4 x 22 1/5 framed 23 x 29. Edmund Pick...

Jim Beckner's (US based) "Money to Loan" is an oil painting that depicts a unique red Money for loan sign on a busy city block Artist statement: Jim Beckner’s art vibrates with the...

"Warm Farm Land, " is an original, handmade oil painting, by Samantha Buller, that depicts a pastoral setting with a red tractor and blue skies. Samantha Buller currently lives in ...

Suchitra Bhosle's "Romantic Spring" is an original, handmade oil painting that depicts a couple relaxing in dappled sun light. About the Artist: Suchitra Bhosle is an India-born artist based in California. Suchitra paints in a representational realistic style drawing inspiration from 20th century naturalist painters. She embraces impressionism to depict everyday representational scenes. Suchitra excels at capturing and expressing the mood of her subjects, often in contemplative classical settings. This lends a timeless yet intimate quality to her paintings. Though primarily a portrait and figurative painter, she has recently been painting urban and architectural subjects. Suchitra is represented in leading fine art galleries across USA including Santa Fe, Washington D.C., Carmel and Houston. Her paintings have won awards at international juried shows hosted by The Portrait Society of America, Oil Painters of America and American Impressionist Society.

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

This charming portrait is a statement piece for any space. The two elegantly handsome sitters are brother and sister and are accompanied by their loyal dog. With 18th and 19th century British portraiture, it's the sitters' attractiveness that makes a painting desirable and drives price. There are lively brush strokes with impasto in the trees The nameplate identifies the sitters as Robert & Marianne Lawrence-Townsend - The Family of Lawrence-Townsend were originally descendants of the Lawrence Family of Wiltshire who inherited the name Townsend along with an estate, Steanbridge House near Stroud in Gloucestershire. Robert would appear to be the son born in 1797, educated at Eton and Christ Church, Oxford, former Captain in the British Army and who became a Magistrate for Gloucester. Condition is good with some old repairs. painting beckons with vibrancy. Presents very well and is best viewed with a top key light. Private collection and perhaps Phillips Auctioneers New York 1995 per letter. Framed Size 66 x 43.5 x 4 W.R. Peddigrew, Western Cardiff, South Wales Provenance: The Estate of Mrs. Eleanor Goddard Daniels, Worcester, Massachusetts. Sotheby Parke-Bernet, New York, June 1981 The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Originally this work was attributed to Sir William Beechey...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

This artwork "Landscape" in an oil painting on canvas by noted American artist Frederick Ernest Swedlun, AKA: Ernest Fredericks (1877–1959) It is sig...

Elena Burykina's "Don't Panic" (2025) is an original, handmade oil painting on panel. Artist Statement: Visored Bascinet Italian ca. 1425-50 This particular form of helmet, with its...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Konstanty Szewczenko (1910-1991), signed oil Judaica Oil Painting, Chassidic Rebbe, Polish. Frame: 17 X 15.25 Image: 11.5 X 9.5 Konstantin Shevchenko studied at the Institute of Fine Arts in Warsaw in the years 1927 - 1928. Then, in 1932 he studied painting under the guidance of Kowarski and Pruszkowski at the Warsaw Academy of Fine Arts. Practiced easel painting, mostly judaic hassidic rabbi portraits, genre scenes. Among others, a portrait Moscicki, Rydz - Rydz, and after the war Rokossowski.He worked as a set designer. In the years 1934 - 1935 was production designer Variety Theatre. He collaborated with publishing houses with illustrations. He exhibited in Warsaw, Poland, Vienna, Austria and New York. In 1947 he took part in Exhibition Independent Artists Group) and abroad (solo exhibition at the Gallery G. Tomalsky in New York, 1964) . He is one of many great Jewish Polish artists that included Leopold Gottlieb, Maurycy Gottlieb, Henryk Hechtkopf, Leopold Pilichowski, Isidor Kaufmann, Lazar krestin, Alois Heinrich Priechenfried and Itshak Holtz. His works are in the collection of the Museum of the Polish Army. He was an Polish, Austro-Hungarian painter of Jewish themes...

James William Cole English, 19th century Children Playing Dress-Up Oil on canvas Signed and dated lower right A finely observed Victorian genre scene depicting two young children ...

Jean Charlot Fresco style painting in plaster on board in the original artist made frame. Titled on a label on the verso: "Bed Time.” In excellent condition. Signed by the artist upp...

'Seaweed Harvester II', 2021 is a gorgeous painting of two men gathering seaweed on the beach. The multiple blues of the sky and sea are reflective of the ephemeral time and moment t...

Portrait of a clown in three quarter view, with expressive brushstrokes and use of color by Marjorie Blake (1920-1994). Unsigned, but was purchased with...

Signed with initials M.P. (lower right); inscribed Article III. "Irrigation" water let in on a field of alfalfa (in the lower margin) Written on back "February of 1902. Hot Springs,...

“Boardwalk” is a robust 30 x 40 x 1.5 inch oil painting on canvas by Anita Loomis that offers a playful and dreamlike abstract seaside view. With her own highly developed style of pa...

Materials: Graphite and hand-sewn beads on primed linen MONICA ZERINGUE received her Masters of Fine Arts from the University of New Orleans in 2006, and her BA in 1993. In 1999 she...

Framed 40 X 28 sight 32 X 20.5 inches. Bears his address verso Via Innocenzo n.57 Roma. (Rome, Italy Titled: L'Ultimo "Clown" Hand signed lower left and bears artists name verso. ...

Julie Beck's "Idols, Not Masters" is an oil painting on canvas panel that measures 18 x 18 inches framed and is ready to hang. Artist Biography: Julie Beck was born and raised in We...

Fred Wessel's "Sienese Icon (Tropical Trinity)" is an egg tempera painting with gold leaf, cultured pearls and tiger eye gems on a panel. This piece measures 28 x 28 inches and is re...

Signed lower right 'Dante' for Giglio Raphael Dante (American, born 1916), titled verso and painted circa 1940. Raphael Dante first studied at the Academy of Rome prior to moving to...

Using the striking imagery that is abundant in the California landscape, queer artist Kory Alexander creates dreamy paintings that are flooded with vibrancy and movement. Kory consid...

Born in Hungary in 1899 Joseph Waidinger was educated in fine art before moving to Paris to work in 1924. "Lola" is original oil on canvas, signed, and dated 1929. A true genre painting, as an elegant art deco woman sits in a cafe, perhaps waiting for someone...

Original oil on canvas folk art painting by the well known Mexican artist, Agapito Labios. Signed lower right. Circa 1935. Condition is very good. ...

Fred Wessel's "Angel Trumpets, Morning Dew" measures 22.5 x 21.25 inches in its elegant frame and is ready to hang. About the artist: A two week trip that I took to Italy in 1984,...

Artwork by the Spanish artist BALAGUER Signed And Certified Perfect state BALAGUER , Alex ( Barcelona 1968 ) During early childhood, Àlex Balaguer began to sketch motorcars symbolic ...

#5-01 Large Scale Persian Hunt, circa 1920's oil painting on canvas depicting hunting scene, displayed in a wood-gesso frame.Image size 39 H X 59.5 W Arti...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Artist: Anatoly Borisovich Tarabanov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2011 Style: Abstract Figurative Title: Memories Size: ...

Tea at Sunset Vibrant Oil On Canvas, Signed and title. Born 1945 in Poland, lives and active in Canada. His work was exhibited in galleries and Museums of Fine Arts in Canada.