Florida - Landscape Paintings

Governador is a painting made by Evelyne Ballestra, a French contemporary artist. This red tons expressionist painting is inspired from an island near Panama, with its palm trees, vi...

Original painting on canvas. Hand signed on front; titled and dated on verso by the artist. Painting is stretched. Artwork is in excellent condition. Certificate of Authenticity i...

PROVENANCE Alfred J. Fisher Detroit Institute of Arts (bequeathed by the above and sold: Sotheby's, New York, November 3, 1999, lot 17) Private collection (acquired at the above sale...

Surrealist Landscape the Appian Way - One of the earliest Roman Roads. Rich textual surface with impasto paint application. The artist depicts a wide angle and lower angle view and...

Screen print in colors on paper. Hand signed and numbered by Roamcouch. From the edition of 50. Frame size approx 23 x 31 inches. Certificate of authenticity included. Artwork i...

Frederick Haucke creates his own brand of surrealism in the 1941 stunner that was with the famous Perls gallery. The painting is signed lower right Signed and dated verso Verso with Perls Gallery, New York label. work is in original framed Provenance: Millicent Rogers...

This is an original unique oil painting by the artist. Sigfrid Andreas "Sigge" Jernmark (July 9, 1887 – July 12, 1982) was a Swedish painter, cartoonist and decorator. Jernmark recei...

Artist Richard Erdoes is as undervalued as he is overlooked. Rarely does an artwork come on that market that combines sharp-witted originality with mind-boggling technical proficiency. In “Mid-Century Expressway,” Erodes painstakingly draws a birds-eye view of a Norman Rockwell-like town buzzing with activity. He paints far away and close up in one image. Each block has its own charming Americana story unfolding. The closer the viewer gets to each scene, the more detail is revealed. In black and white, the artist describes not only the architecture and infrastructure but also human activity - lot's of it. Erodes’s congested town is humming. Overflowing trains, packed busses, zooming cars, stuffed trucks, frenzied pedestrians and even a marching band is depicted with great whit. But do not worry. Progress is coming and all will be well. Superimposed onto this black and white clogged urban scene is a proposed new highway. It's painted in a punchy green and creates an unexpectedly distinct design. The artwork was most likely done for Fortune Magazine or the like. Notice he Esso Gasoline signs...

This is an original unique oil painting by the artist. Artur Bianchini (October 18, 1869 – February 16, 1955) was a Swedish artist who studied at the Académie Julien in Paris from 18...

A Swedish School oil on panel Trompe L'Oeil painting of a coastal landscape bordered by blossoming flowers. Un-signed. Framed - 20 x 27 Inches Unframed - 15.25 x 22.25 Inches

Post cubist work with the perfect balance of component parts. The work is rendered with meticulous precision. It's quite simply a masterful piece of graphic design. Signed lower c...

This is an original unique oil painting by the artist, Marcel Gatteaux. He was born in London in 1962 and started drawing and painting from an early age. Following studies at Camber...

Klett was an in-demand illustrator in the post-war period of the late 1940's and 1950's. and . His work appeared in many of the newsstand magazines at the time. This work is a pers...

This beautiful semi-abstract harbor scene of a flock of birds is rendered in Martin's signature style

This golden age of illustration work was most likely done for an interior story illustration for the Saturday Evening Post. Joe Bowler paints it in a loose but academically correct ...

Original acrylic painting on canvas. Hand signed, titled and dated on verso by the artist. Canvas size 35.5 x 47.4 inches. Custom framed as pictured. Artwork is in excellent con...

Hane paints a dreamy nocturne - a fusion of earthy and celestial bodies with circling birds around a central vertical axis. Created on assignment for De Beers' highly published A Diamond is Forever" campaign. "A love by the stars was important. Until the right man of the wrong sign put his star on my finger. And I entered his house with my love. The artist created the painting to be the night ... so it appears a little dark in natural light. Best viewed with a top and key light to bring out the colors. For example if you bring the painting outside on a bright day.. the colors will pop. If you view inside of a dark hallway.. it will look sombre with less detail. Again, it's a nocturne. Hane painted the covers of the Collier-Macmillan editions of C.S. Lewis's Chronicles of Narnia books, as well as such Simon & Schuster publications as Carlos Castaneda's The Teachings of Don Juan and A Separate Reality. In 1963, Hane was hired to do a full-page illustration for Esquire magazine; he moved to New York in 1965. He married Elaine Miller...

The painting by John Brett, dating back to circa 1860, is a testament to his artistic prowess within the Pre-Raphaelite movement. Meticulously executed on an Antique Oil On Canvas, the artwork conveys a serene and evocative scene. The frame's dimensions are Width: 22.40″ x Height: 16.75″ with a substantial thickness of 3″, encompassing a picture size of Width: 18″ x Height: 12″. This exquisite painting captures the essence of a cloudy day at sea, seamlessly blending a beach adorned with rugged rocks and gently rolling hills. Commanding the composition is a grand ship, accompanied by a fleet of smaller boats, while birds gracefully populate the skies above. The hues of the grass subtly hint at the season of fall, infusing the scene with a distinct temporal and atmospheric quality. Brett's hallmark meticulous attention to detail and expert handling of nature's nuances are prominently displayed, further showcasing his mastery of the landscape genre within the Pre-Raphaelite movement. The painting bears the distinct signature of John Brett, affirming his personal involvement and dedication to the artwork. This signature not only adds an intimate connection to the artist but also serves as a testament to the historical and artistic provenance of the piece, unequivocally linking it to the accomplished artist. In sum, the circa 1860 painting by John Brett stands as a testament to his artistic prowess. With its serene and masterfully rendered composition, it captures the viewer's imagination through its evocative depiction of a cloudy coastal scene. The meticulous attention to detail, skilled use of color, and the artist's distinctive touch combine to create a work that exemplifies Pre-Raphaelite excellence. John Brett ARA (8 December 1831 – 7 January 1902) was a prominent British artist associated with the Pre-Raphaelite movement, renowned for his meticulously detailed landscapes. Born near Reigate, Brett's artistic talent was nurtured within a creative family; his sister, Rosa Brett...

The Mid-Century mindset As expected, 65 years ago.. people looked at art/painting a little differently. Back then, many artists were concerned with depicting simple and beautiful t...

This is a beautiful one-of-a-kind original abstract painting part of the artist's Ocean series. The piece ships ready to hang and is signed by the artist on the front. This item sh...

This is a beautiful one-of-a-kind original oil painting on wood panel. In the ''Extreme Loafing & Idling series'' the artist tries to evoke a Zen landscape using Haboku (flung/broken...

Step into the world of "Enchanted Barnyard," a captivating Antique Wildlife Art Oil Painting presented on a 39.50 x 27.5-inch Oval Convex Wood Frame. This masterful creation unveils a heartwarming scene within a sheltered animal haven, where two Rabbits, alongside hens, a rooster, and two pigeons, find comfort. With a remarkable eye for detail, the artist breathes life into each animal, capturing their distinct personalities and the interactions that unfold. The Rabbits' velvety fur, the vibrant plumage of the hens and rooster, and the graceful presence of the pigeons are rendered with such precision that you can almost feel the barnyard's gentle rhythm. Nestled within the convex curvature of the frame, the animals and their cozy dwelling exude a lifelike quality that transports you to the heart of this idyllic scene. The entrance, the rustic barrel...

This meticulously planned, designed, and executed work depicts an ultra-wide angle view of a rock quarry/mine. The viewer looks down at close-up-stylized rock formations and then out at a horizon line with rust-colored mine trestles. Atherton hints at perspective with a broken white line that is wider in the foreground and tapers to a hairline as it recedes to the background. The work was done in 1951 at the height of America's most important art movement: Abstract Expressionism. John Atherton absorbs its influences but retains elements of representation. Atherton was an in-demand commercial artist who worked for most blue-chip clients. It is possible that this was an editorial assignment for Fortune Magazine. At the same time, Atherton was also a fine artist and the work could be an expression of pure creative pursuits. The work looks better in person and one can look at it for hours and not get bored. Look carefully and you may discover a deeper meaning in this painting of precisely arranged rocks. Signed lower right. Brooklyn Museum of Art, New York, sold to benefit the acquisitions program ____________________ From Wikipedia, the free encyclopedia John Carlton Atherton (January 7, 1900 - September 16, 1952) was an American painter and magazine illustrator, writer and designer. His works form part of numerous collections, including the Museum of Modern Art,[1] Whitney Museum of American Art and the Smithsonian American Art Museum.[2][3][4] Early Years He was the son of James Chester Atherton (1868-1928) and Carrie B. Martin (1871-1909). He was born in Brainerd, Minnesota.[5] His father was Canadian born. His parents relocated from Minnesota to Washington State, with his maternal grandparents whilst he was still an infant. He attended high school in Spokane, Washington. Career During his early years he never displayed an aptitude for art; rather, his first love being nature and the activities he relished there, mainly fishing and hunting. He enlisted in 1917, serving briefly in the U.S. Navy for a year during World War I. At the end of the war, determined to get an education he worked various part-time jobs, as a sign painter and playing a banjo in a dance band to pay his enrolment fee at the College of the Pacific and The California School of Fine Arts (now the San Francisco Art Institute). Once there, he also worked in the surrounding studios developing his oil painting techniques. A first prize award of $500 at the annual exhibition of the Bohemian Club in 1929, financed his one way trip to New York City, which helped to launch his career as an artist.[6] Atherton had aspired to be a fine artist, however his first paid jobs were for commercial art firms designing advertisements for corporations such as General Motors, Shell Oil, Container Corporation of America, and Dole. However, by 1936, encouraged primarily by friends, such as Alexander Brook, an acclaimed New York realist painter, he returned to the fine arts. Atherton continued to accept numerous commissions for magazine illustrations; such as Fortune magazine, and over the years he would paint more than forty covers for The Saturday Evening Post starting with his December 1942 design, “Patient Dog.” This picture is reminiscent of his friend Norman Rockwell ‘Americana style’ and captures a poignant moment of nostalgia, where a loyal dog looks toward a wall of hunting equipment and a framed picture of his owner in military uniform. Selected One person Exhibitions Atherton accomplished his first one-man show in Manhattan in 1936. His Painting, “The Black Horse” won the $3000 fourth prize from among a pool of 14,000 entries. This painting forms part of the Metropolitan Museum of Art collection in New York.[7] Atherton achieved recognition in New York City and elsewhere during the 1930s. Having exhibited at the Julien Levy Gallery in New York,[8] his paintings began to be collected by museums; including the Museum of Modern Art[9] and the Metropolitan Museum of Art. His reputation increased with his art deco stone lithograph poster for the 1939 New York World's Fair. In 1941, his design won first place in the Museum of Modern Arts “National Defense Poster Competition”. Selected Public Collections Fleming Museum of Art, Burlington, Vermont Albright-Knox Art Gallery,[10] Buffalo, NY Art Institute of Chicago,[11] Chicago Wadsworth Atheneum,[12] Hartford, CT Brooklyn Museum of Art, New York Metropolitan Museum of Art, New York The Museum of Modern Art,[13] New York Whitney Museum of American Art,[14] New York Pennsylvania Academy of the Fine Arts,[15] Philadelphia De Young Museum,[16] San Francisco Smithsonian American Art Museum,[17] Washington DC Butler Institute of American Art[18] Youngstown, OH The Famous Artists School Founded in 1948 in Westport, Connecticut, U.S.A. The idea was conceived by members of the New York Society of Illustrators (SOI), but due to the Society's legal status, could not be operated by it. SOI member Albert Dorne led the initiative to set up a separate entity, and recruited the support of Norman Rockwell, who was also an SOI member. For the founding faculty, Dorne recruited Atherton, as well as accomplished artists such as Austin Briggs, Stevan Dohanos, Robert Fawcett, Peter Helck, Fred Ludekens, Al Parker, Norman Rockwell, Ben Stahl, Harold von Schmidt and Jon Whitcomb.[19] He collaborated with Jon Whitcomb with the book “How I Make a Picture: Lesson 1-9, Parts 1”.[20][21] Society of Illustrators Atherton as an active member from his arrival in New York. The society have owned many of his works. Ex-collection includes: Rocking Horse (ca. 1949) [22] Atherton, as his peers had many of his works framed by Henry Heydenryk Jr.[23] Personal On November 2, 1926, he married Polly “Maxine” Breese (1903-1997).[24][25] They had one daughter, Mary Atherton, born in 1932. Atherton's often chose industrial landscapes, however found himself spending considerable time in Westport, Connecticut, with an active artistic community, and it became home for him, and his family. He then moved to Arlington, Vermont.[26] Norman Rockwell enlisted Atherton in what was to be the only collaborative painting in his career.[27] He was part of a group of artists including a Norman Rockwell, Mead Schaeffer and George Hughes who established residences in Arlington.[28] Atherton and Mead Schaeffer were avid fly fishermen and they carefully chose the location for the group,[29] conveniently located near the legendary Battenkill River. In his free time, Atherton continued to enjoy fly-fishing.[30] He brought his artistic talent into the field of fishing,[31] when he wrote and illustrated the fishing classic, “The Fly and The Fish”.[32] He died in New Brunswick, Canada in 1952,[33] at the age of 52 in a drowning accident while fly-fishing.[34] Legacy The Western Connecticut State University holds an extensive archive on this artist.[35] His wife, Maxine also published a memoir “The Fly Fisher and the River” [36] She married Watson Wyckoff in 1960. Ancestry He is a direct descendant of James Atherton,[37][38] one of the First Settlers of New England; who arrived in Dorchester, Massachusetts in the 1630s. His direct ancestor, Benjamin Atherton was from Colonial Massachusetts...

Eugene Camille Fitsch Am./Fr., 1892-1972 - Signed lower right. Framed dimensions 20 3/4" x 34 7/8" framed Provenance: Studio of the Artist to Private Collection Boston, Massachuse...

An early example of Abstract Expressionism executed in 1955 during the movement's heyday and it's period of peak inventiveness. However, this work is still rooted in representation. The dark area the runs along the base of the picture is the ground and to the left, right and center there are black structures that represent trees. The work is very tactile and is composed of globs of paint that grow out from the surface and form a thick impasto. Rich vibrant saturated blues, reds and oranges create optical drama. The work look better in person. frame: 29 x 39 1/2 inches , Provenance: Kennedy Galleries The Currier Gallery of Art...

Out of many come one. A huge back mountain is formed out of scores of gas spewing smokestacks. The foreboding back mass fills most of the pictorial area. As one gets closer to the canvas, the complexity of the mass if revealed in low on contrast as we see the diverse variety of the stacks with accompanying petrochemical architecture. Above the stacks, plums of air pollutants like sulfur dioxide and nitrogen oxides rise gracefully into the atmosphere. The artist focuses less on the by-product of the stacks and more on his giant pollution machine that he has so astutely rendered. The work is mostly monochromatic but the artist has indicted a red tonality of a sunset/sunrise that offsets the charcoal blacks and grays. ______________________________________________ Submitted by Tamarind Institute Ian Davis...

Exhibited: The North Carolina Museum of Art , October, 1967 Exhibited: November 5th to December 4, 1977 Titled: Study for Gomorrah, 1944 His work is in the collections of: Philli...

A vibrant example of the artist's precisionist style where a tight semi-abstract geometric composition is inspired by architecture and is reduced to simplified geometric shapes with...

Hector Garrido is an American book cover illustrator. He illustrated numerous science fiction, horror and adventure book covers, including all the covers for the Baroness series of pulp novels, and covers for the Destroyer series. He also illustrated romance and gothic novels, and Nancy Drew and Hardy...

Nordfeldt's misty and moody monochromatic modernist landscape is reminiscent of Marsden Hartley. Signed lower right. The plaque reads B.J.O Nordfeldt "Moon in Mist - The painting l...

Narrative artist Robert Riggs captures a highly-charged scene of an Indian firewalking ceremony. Firewalking is part of a religious ritual and is associated with the mystical powers...

Blueprints into Reality - Full-page ad for United Engineers that ran in Fortune Magazine, March 1958, and other business magazines. As Fred Taraba stated, this image is symbolic of optimism and potential. Work includes the original issue of Fortune Magazine with the ad in which United Engineers mentions Stanley Meltzoff. "Here Stanley Meltzoff dramatizes with tools and massive concrete forms...

This is a masterfully rendered and brilliantly designed scene from the Arabian Nights. page 33 from Random House. We are not sure if this is by Gustaf Tenggren. ( Gustaf Tenggren At...

The Board measures 13.5 x 12.5 Ernest Hamlin Baker is one of America's greatest artist that no one has ever heard of. Take a look at his full body of work. If you haven't noticed, Er...

A Fiery Hell is depicted as a volcano that spews flames and lava dust into the air. According to the Peter and Harrison Ellenshaw Family Archive, this work was shown to Stanly Kubrick for a Paradise Lost, movie concept. Peter had created matte paintings for Kubrick's Spartacus in 1960 and they continued their professional friendship for years to come. Peter did some collaboration with TRON in 1982. Unfortunately, the movie concept for John Miltons, Paradise Lost, was not brought into production. An erupting volcano is also an powerful metaphor for many human conditions. Ellenshaw (1913–2007) was a highly regarded matte painter and special-effects creator whose filmography includes Old Yeller (1957), Swiss Family Robinson...

Provenance: Illustration House, New York, Framed in a simple and modest metal frame. This is a brillant post-Cubist work by Dutch-American illustrator Charles Verschuuren...

Exhibited: New York Society of Artist Sid Deutsch Owings-Dewey Fine Art It's Skyscraper City: 1918. The artist depicts a simultaneous interior and exerterior view.. Based on Cole...

Architectural oil painting on canvas of Heydon Hall executed in a rustic naive style with contrived aging and presented in a maple frame. Signed Dan Dunton.

Stormy seascape

Antonio Rodriguez Morey Paisaje con Rio Oil on a plate 8,5 in framed 15 in Frame included Antonio Rodriguez Morey (1874- 1967) was born in Havana on March 4, 1874. He studied at the San Alejandro Academy where Valentín Sanz...

Most likely for a Magazine like Redbook, Cosmopolitan and Good Housekeeping, Ladies Home Journal or Woman's day Lorraine Fox is Hall of Fame member of the Society of Illustrators She...

Frame Size: Width: 46″ x Hight: 39″ Frame Thickness: 6″ Picture Size: Width: 35.25″ x 27.75″ French School: Masters of Artistic Expression The French School of art emerged as a p...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Semi-abstract landscape. Mixed media with oil on canvas.

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Oil on canvas laid on panel

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Acrylic painting on canvas with raised textured paint. Hand signed lower front by Janos Kardos. Canvas size 20 x 16 inches. Frame size 23 x 19 inches (black floating frame). Art...

Acrylic painting on canvas with raised textured paint. Hand signed lower front by Janos Kardos. Canvas size 24 x 20 inches. Frame size 27 x 23 inches (black floating frame). Art...

Original painting on canvas. Hand signed on front by the artist. Painting is stretched. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable of...

Looking Into a Neighborhood , Dear Paul This is an intriguingly charming work by an overlooked and brilliant mid-century female artist - illustrator, and educator. Lorraine Fox. ...

ATT Ad from the mid 1980's

Jennifer JL Jones (b. 1971) Summer Sings VIII, 2024 Painting on Paper 16 x 16 in

Jennifer JL Jones (b. 1971) Summer Sings V, 2024 Painting on Paper 16 x 16 in

David Hayes (1931 - 2013) Study for Landscape with Marsh, 1986 Gouache on paper 22 x 30 in

"Keep Calm and Dive In, 2022 Acrylic, Oil, Spray Paint on Woodcut