A fantastic George Marinko b. 1908 d. 1989) geometric abstract composition oil painting on canvas, signed lower right; original artist's framing . Also signed and titled  More »

A fantastic George Marinko b. 1908 d. 1989) geometric abstract composition oil painting on canvas, signed lower right; original artist's framing . Also signed and titled verso: "Rouge et Noir." A very important and acclaimed American Surrealist, exhibited at MOMA's 1936 (prize winner) ground breaking "Fantastic Art, Dada & Surrealism." A life-long Connecticut resident; studied under Lewis York & Yale's E. Savage. Well listed: Who Was Who in American Art, Davenport's, Ask Art, etc. c. 1950. Dimensions: 30 1/2" H x 35 3/4" W.   « Less

Chicago Gare Centrale, or Central Station, oil on canvas painting dated 1987. Bruno Villette is a French artist from Montpellier. Hyperrealistic Chicago city scene full of  More »

Chicago Gare Centrale, or Central Station, oil on canvas painting dated 1987. Bruno Villette is a French artist from Montpellier. Hyperrealistic Chicago city scene full of energy, tension, and detail. Measures 161 x 130 cm or 65.5 x 54 inches. Shipping extra. Connecticut residents and buyers picking up in Connecticut add 6.35% state sales tax. Buyers outside the USA are responsible for any taxes,tariffs or customs that might apply. If you wish to see examples of similar items we have sold and/or appraised please go to our affiliate site www.OneofaKindAntiques.com and click the Archives / Homepage logo ***   « Less

An American folk art primitive or naive painting on board of a twilight seascape with a "sleeping maiden," formally dressed, including her gold jewelry. This scene is quite  More »

An American folk art primitive or naive painting on board of a twilight seascape with a "sleeping maiden," formally dressed, including her gold jewelry. This scene is quite striking and unusual, beautifully executed by an accomplished and anonymous painter. The painting is unsigned and in its original, period frame. Probably of New England origin, c. 1820. Dimensions: 11 1/4" H x 15 3/4" W.   « Less

An assembled series of four Grand Tour engravings of various Roman ruins, hand watercolored, each captioned in French (Temple of Isis, Herculaneum, etc.), custom French  More »

An assembled series of four Grand Tour engravings of various Roman ruins, hand watercolored, each captioned in French (Temple of Isis, Herculaneum, etc.), custom French matted & newly mounted in a gilt Louis XVI style frame. France, c. 1800. Dimensions: 12 3/4" H x 13 3/4" W.   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye or the mind, but to inspire reflection and self-examination. Saint George - PF.5957Origin: Russia Circa: 19 th Century ADDimensions: 14.75" (37.5cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination. The Mother of God Pokrov - PF.5958Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 12.5" (31.8cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Tempera on Wood   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination. The Mother of God Pokrov - PF.5958Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 12.5" (31.8cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Tempera on Wood   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination. The Mother of God Pokrov - PF.5958Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 12.5" (31.8cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Tempera on Wood   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination.The Presentation of the Christ Child in the Temple - PF.5961Origin: Russia Circa: 19 th Century ADDimensions: 20.25" (51.4cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Pane   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination.The Transfiguration of Christ - PF.5962Origin: Russia Circa: 19 th Century ADDimensions: 19" (48.3cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less