Recognized Dealers Paintings

GLORIA STUART (1910 – 2010) WATTS TOWERS, 1971 Oil on canvas, signed lower right, 24” x 50 ½”. Gloria Stuart, an Academy Award nominated actress was also a painter, illustrator and printmaker. She most recently portrayed Rose in the blockbuster film “Titanic”. She was a Santa Monica native. In 2013 The Los Angeles Museum of Art, LACMA exhibited a nearly identical painting looking from the south, the same size and frame. Last 5 photos show the example at LACMA. One shows theirs in a distant room with a major Thomas Hart Benton painting in the foreground A VERY IMPORTANT MULTI-LEVELED DOCUMENT OF LOS ANGELES AND HOLLYWOOD CULTURAL HSTORYi The following is from her obituary in the Los Angeles Times upon her death in September 2010 at the age of 100 Gloria Stuart, a 1930s Hollywood leading lady who earned an Academy Award nomination for her first significant role in nearly 60 years — as Old Rose, the centenarian survivor of the Titanic in James Cameron’s 1997 Oscar-winning film — has died. She was 100. .......She devoted much of her time to designing and printing artists’ books (handmade, letter-press printed books in limited editions, with her own artwork and writing). Her work is in the J. Paul Getty Museum in Los Angeles, the Metropolitan Museum of Art in New York City, the Victoria and Albert Museum in London and other museums. Stuart, a founding member of the Screen Actors Guild who later became an accomplished painter and fine printer, died Sunday night at her West Los Angeles home, said her daughter, writer Sylvia Thompson. Stuart had been diagnosed with lung cancer five years ago. “She also was a breast cancer survivor,” Thompson said, “but she just paid no attention to illness. She was a very strong woman and had other fish to fry.” In July the actress was honored at an “Academy Centennial Celebration With Gloria Stuart” at the Samuel Goldwyn Theater in Beverly Hills. “She was a charming and beautiful leading lady in the ‘30s, and I never understood why her career didn’t go further at that time,” film historian and critic Leonard Maltin, who interviewed Stuart on stage at the event, told The Times on Monday. As for Stuart’s high-profile comeback in “Titanic”: “She was thrilled by the attention that that performance brought her and really wanted to win that Oscar. I thought she hit just the right notes in that performance. She was wry and engaging.” As a glamorous blond actress under contract to Universal Studios and 20th Century Fox in the 1930s, Stuart appeared opposite Claude Rains in James Whale’s “The Invisible Man” and with Warner Baxter in John Ford’s “The Prisoner of Shark Island.” She also appeared with Eddie Cantor in “Roman Scandals,” with Dick Powell in Busby Berkeley’s “Gold Diggers of 1935” and with James Cagney in “Here Comes the Navy.” And she played romantic leads in two Shirley Temple movies, “Poor Little Rich Girl” and “Rebecca of Sunnybrook Farm.” But mostly she played what Stuart later dismissed as “stupid parts with nothing to do” — “girl reporter, girl detective, girl nurse” — and “it became increasingly evident to me I wasn’t going to get to be a big star like Katharine Hepburn and Loretta Young.” After making 42 feature films between 1932 and 1939, Stuart’s latest studio contract, with 20th Century Fox, was not renewed. She appeared in only four films in the 1940s and retired from the screen in 1946. By 1974, “the blond lovely of the talkies” had become an entry in one of Richard Lamparski’s “Whatever Happened to” books. Writer-director Cameron’s $200-million “Titanic” changed that. Stuart played Rose Calvert, the 100-year-old Titanic survivor who shows up after modern-day treasure hunters searching through the wreckage of the sunken ship find a charcoal drawing of her wearing a priceless blue diamond necklace. Stuart’s performance as Old Rose frames the 1997 romantic- drama that starred Leonardo DiCaprio as lower-class artist Jack Dawson...

This contemporary abstract painting is by Fiona Ackerman. Vancouver-based artist Fiona Ackerman’s singularly unique visual language has attracted an international audience. Her oeuv...

Jan Olis was a master best known for his depiction of genre scenes while he also produced a number of portrait paintings. He worked in a style reminiscent of and was surely influence...

Doves in various shades of blue and white create perched lines atop a small black repetitive figure resembling the face of a spider monkey, known throughout Slonem’s oeuvre as "Guard...

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...

A Colorful 1956 Gouache Titled "Sunday in Torromolinos, Spain" by Samuel Butnik. Artwork size: 18" x 25". Archivally matted to: 24" x 30". Biography...

Edward Moran (1829–1901), an English-born American artist based in Philadelphia, was renowned for his marine paintings and depictions of U.S. maritime history. Influenced by James Ha...

Les Tuileries by Georges Manzana Pissarro (1871-1961) Oil on canvas 38 x 55 cm (15 x 21 ⁵/₈ inches) Signed with estate stamp lower left, Manzana Pissarro Executed circa 1900 This wo...

Hunt Slonem "Purple Heart" Bunny A single rabbit gestured in purple on a matching Diamond Dust background with Diamond Dust in a vintage frame. Unframed...

John White Alexander's graceful depictions of beautiful women earned him critical acclaim both in Europe and America. However, his career did not get off to an easy start—Alexander b...

Provenance: Private Collection, Cranston, Rhode Island (by the 1950s?); by family descent until sold at: Bill Spicer Auction, North Kingstown, Rhode Island, 26 January 2011; where a...

John Cordrey (c.1765-1825) A light chaise and four signed 'J.Cordrey/1793' lower left Oil on canvas Canvas Size 13 x 17 in Framed Size 15 1/2 x 20 1/2 in John Cordrey (active c. 179...

Hunt Slonem "2 Blue Diamond Dust" Bunny Couple A pair of rabbits gestured in blue and white on a dark blue Diamond Dust background in a vintage frame Unframed: 14.5 x 11.5 inches Fr...

A Colorful, Dynamic 1930s Modern Boxing Scene by Notable Chicago Artist, Francis Chapin. Artwork size: 2 3/4 x 4 inches, oil on Masonite on original mount, framed in striking perio...

​Impressions of past lives, perceptions of future lives. The Records series carries that mystery. Simple and profound since its deed does not happen on the surface. Although it manif...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% Rue à Sannois by Maurice Utrillo (1883-1955)...

Hunt Slonem "Red Rover" Single Bunny A single rabbit gestured in black on a red background in a vintage frame Unframed: 8 x 6 inches Framed: 11 x 9 inches *Painting is framed - Plea...

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

The exquisite still life can be paired with another still life with peaches (symbolising spring and autumn) also published on 1stdibs. Gianluca Corona expresses the values of the m...

Hunt Slonem "Red Tanagers" Birds on Striped Background A group of eight birds gestured in red and black on a scored, multicolor background. Unframed: 10 x 8 inches Framed: 15 x 13 i...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

A Ballynakill Woman. c. 1926. Oil on canvas. 30 x 25. Housed in an elegant gold leaf frame. Signed 'Brockhurst' in green paint, in the blanket, lower right. Provenance: Provenance...

​Whether they are symbols, dreams or marks of the life of each of us. The artist's work often features heads, floating bodies, trees, dollar signs, cars, laurel branches, and symboli...

Hunt Slonem "Silver Ascension Travel Tomorrow" Blue and Silver Butterflies Multiple butterflies on a textured, reflective metallic background Unframed Hunt Slonem is a well-renowned...

Henri Pierre Fortier, Untitled (Autumn Landscape), gouache, c. 1940s. Signed in ink. Inscribed 'To my Friend CLINTON R. MULFORD'. A fine, painterly watercolor, with rich, layered colors, on heavy dark brown drawing paper with approximately 1/4 inch margins; an unfinished figurative sketch...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Woodland Interior Oil on canvas 21 7/8 x 14 3/4 inches (55.6 x 37.5 cm) Framed dimensions: 32 7/8 x 26 inches Signed lower left: Wm. T. Richards Provenance The artist; James Bayard ...

Hunt Slonem "Maxim" Single Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 10 x 8 inches Framed: 13.5 x 11.5 inches *Paint...

A large, dynamic Mid-Century Modern summer landscape painting with female bathers by noted Chicago artist, Rudolph Pen. A wonderful example of the artist's uniquely expressive figur...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. 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...

Maurice de Vlaminck’s Le Viaduc de Saint-Germain-en-Laye (circa 1910-1911), an arresting oil on canvas framed in ornate gold, captures the industrial elegance of a viaduct west of Pa...

The process of creating a painting leaves a series of created elements and randomly they become the starting point for the next piece. It is a process of adding and removing; always ...

"Winter Sunset" is an Impressionist scene of homes along a snowy river and quarry landscape, painted by American artist Albert Van Nesse Greene. The painting is a 32" x 34" oil on ca...

This series of paintings is part of a visual journey into our relationship with forests, jungles and the sacred Tree of Life. Through painting and sculpture, Gregory Robin conveys t...

This graphic painting by John Scott deals with images associated with the devil and war. Growing up in Windsor, Ontario, in the 1950s during the Cold War, John Scott experienced the...

Hunt Slonem "Manor" Pink Diamond Dust Bunny A single rabbit gestured in pink and white on a matching background in a vintage frame Unframed: 10 x 8 inches Framed: 15 x 13 inches *Pa...

" The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with express...

Woodland Scene, 1885 Oil on canvas, 38 x 50 inches (96.5 x 127 cm) Framed dimensions: 49 3/8 x 61 3/8 inches Signed and dated lower left: W Bliss Baker 1885 Provenance Albert E Clue...

Dashes of charcoal and black dance on a fiery red ground in this emotive acrylic painting by Lynne Fernie. Lynne Fernie is a Toronto-based artist, OCAD University honors graduate an...

Donald Grant (1924-2001) Horses in a paddock Signed lower left Oil on canvas Canvas size - 24 x 36 in Donald Currie Grant was born in 1930 in North Shiel...

"Hunting Dogs with Geese" is a 26 x 21.5 inches, oil on canvas landscape of two dogs on the trail by the river. The canvas is signed "B Lanoux" in the lower left. B. Lanoux is a lis...

Devon Farm Oil on canvas, 40 x 48 inches (101.6 x 121.9 cm) Framed dimensions 52 1/2 x 44 3/4 inches Signed lower right: Schofield Provenance Private collection, New York, until 202...

Exquisite & beautifully painted Portugese painting of "Fisherman at the Shore, Nazarre" by artist Gustavo Ferreira. Nicely framed in a gold-toned frame. Artwork size: 19 3/4" x 23...

Lane Timothy was born and raised in the small town of Missoula, Montana where at a very young age he discovered a love of art. Lane sold his first paintin...

Donald Grant (1924-2001) Horses in a paddock Signed lower right Oil on canvas Canvas size - 24 x 36 in Donald Currie Grant was born in 1930 in North Shie...

This contemporary and colourful abstract tondo painting is by artist Sylvain Louis-Seize. Lime green and purple pop from the canvas in this new tondo (circular painting) from Canad...

Horizontal bars of blue, maroon, cherry red, pink, lemon yellow, burnt orange and green communicate on a soaked sand-coloured ground in the two panels that form this 9-foot square acrylic diptych painting on canvas. The rhythm of the spaces between the short lengths of colour creates a dialogue of movement that leads the eye upwards through the large picture plane. About the inspiration for the work, the artist wrote: "This is one of the rare paintings that I saw clearly in a dream and painted almost exactly as I saw it. It relates back to the four-panel work, Lock-Up (1972), done a couple of months earlier, where I used the physical break between panels as an edge to anchor some colour bars. In Phoenix, some bars are anchored while others float within the larger ground colour." This painting was included in the exhibition catalogue Milly Ristvedt-Handerek: Paintings of a Decade (1979). Milly Ristvedt, RCA, began her career in Toronto in 1964 after studies with Takao Tanabe at the Vancouver School of Art. In Toronto, during the 1960s and 1970s, she was making and exhibiting large-scale paintings alongside a small but defined group of non-figurative painters who, like Ristvedt, had planted...

A Vibrant, Colorful, 1950s Mid-Century Modern Pool Hall Scene by Notable Chicago Artist, Francis Chapin. Artwork size: 6 3/4" x 8 1/2", Oil on Masonite, Framed size: 11" x 12 1/2"....

Andre Hambourg was born in Paris in 1909. At the age of 17, he entered the École Nationale Superieure des Arts Decoratifs where he studied sculpture under Paul Niclausse for four yea...

Antonio Gritón (Mexico City, 1953) Lives and works in Mexico City. Antonio Griton is a visual artist and tireless promoter of Mexican culture. He captures a visual discourse that r...

A rich black ground undulates at the horizon where it meets geometric passages of crimson, ochre, grey and peach in this acrylic canvas by Otto Rogers. A calligraphic swoop of brushe...

A Delightful Mid-Century Modern Painting of Mother and Child by Noted Chicago Artist, Francis Chapin (Am. 1899-1965). Artwork size: 5 3/4 x 4 Inches (Framed size: 9 3/4 x 8 1/2 inc...

This contemporary abstract mixed media composition is red in colour. The enigmatic and lyrical artwork of Shireen Kamran is rooted in her own spiritual journey and her rich Pakistan...

John Emms (1841-1912) "Bobs", a collie Oil on canvas Signed and dated 1901 lower right Inscribed 'Bobs' lower centre Canvas Size - 24 x 30 in Framed Size - 31 x 36 1/2 in Provenance The Collection of Charlie Watts. Charlie Watts, the legendary drummer of The Rolling Stones, was renowned not only for his musical prowess but also for his profound affection for animals, particularly Collies. He and his wife, Shirley, resided at Halsdon Manor in Devon, where they managed a stud farm for Arabian horses. Their estate was also home to numerous dogs, reflecting their deep commitment to animal welfare. John Emms was a British artist best known for his dynamic and characterful paintings of dogs, especially working breeds like foxhounds, terriers, and collies. Born in Blofield, Norfolk, in 1843, Emms developed a deep connection to the countryside and rural life, which became the heart of his artistic inspiration. While he painted horses and hunting scenes, it was his dog portraits that brought him enduring recognition. Emms had a remarkable ability to capture the individuality and spirit of each animal, portraying them not just as pets or working animals, but as noble and expressive beings. His brushwork was confident and lively, and he often painted dogs with a sense of pride, intelligence, and dignity. Among the many breeds he painted, collies held a special place. Emms portrayed them with great sensitivity, often emphasizing their alert expressions, soft coats, and loyal nature. His collie paintings...

Benjamin Williams Leader (1831-1923) Morning sunshine at low tide Signed 'B.W. LEADER' lower left Oil on board Painting Size 12 x 17 in Framed Size 19 x 24 in Provenance With The Ma...

Hunt Slonem "Untitled" Pink Bunny A single rabbit gestured in black on a light pink background in a vintage frame Unframed: 10 x 8 inches Framed: 14.5 x 12.5 inches *Painting is fra...

A pretty, mixed floral bouquet fills the canvas with joyful colour in this still-life painting by Pat Service. The Canadian artist explored the traditional art form in the 1990’s but...

John Frederick Herring Snr (Surrey 1795-1863 Kent) "Feeding Time" Signed and dated 1850 middle right Oil on canvas Painting Size - 16 x 16 in John Frederick Herring Sr. (1795–1865) ...

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of ...

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...