Gigi Mills Figurative Paintings

Serene depiction of an Ohlone Mother and Child walking a forest path by Anton Dahl (Swedish-American). Ohlone Mother and child are walking through the North...

An oil painting of cars parked along the street, coated with snow. Christmas lights sparkle in the yard behind the cars, a modest ranch house leaves the front porch light on, welcomi...

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Auction values Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

Linda Lillegraven's beautiful original oil landscape "Near the Old Tracks" (2023) depicts a serene moment of a western plain at dusk, the dim sunset lighting hanging heavy over vast ...

“Allow Me to Be Your Friend” is a formulation that sounds both like a choice and a risk at the same time. Here, closeness emerges in the moment of acknowledgment - when a person offe...

Malaga Shadows is an Original Painting by Eleanor Woolley. Started Plein Air and finished in the Artist's studio this painting is of Malaga's Old City. It is Very early spring, the s...

Attributed to Henry Scott Tuke (1858–1929) Clipper Ships off Falmouth, Cornwall Oil on canvas Circa 1900 this painting is unsigned. A beautifully atmospheric British marine painting...

Skate Boarder in Times Square New York City, after the Rain, by British Urban Landscape Artist, Angela Wakefield. This unique original is a major work to continue her epic New York S...

With golfing as one of the favourite pastime of urban city life, golfers became the latest subject of my Lowry style paintings. Golfers appear to be randomly scattered on the crisp w...

Michel Brosseau was born in Nantes and has lived in Bordeaux for many years. Both cities are on the Atlantic coast of France and have rich maritime histories, highlighted by prospero...

This striking artwork showcases a vibrant cow, masterfully portrayed using an eclectic mix of colors that blend seamlessly into a vivid abstract background. The cow, a compilation of...

Linda Lillegraven was born at Fort Benning, Georgia in 1948. She received her BA in art from San Diego State University in 1970, and a BS in zoology, also from San Diego State, in 1...