• Portrait of a Man, 1923
  • La Sybille, 1891
  • The Starry Night, 1889
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Seacoast at Kurzeme, 2011 - Vezur
  • Madame Pompador, 1915
  • The Sleeping Gypsy, 1897
  • Standing Girl in a Plaid Garment, 1909
  • Big Red Buste, 1913
  • Man with a Pipe (aka The Man from Nice), 1918
  • Café Terrace at Night, 1888
  • When The Grass Was Greener, 2011 - Vezur
  • Harvest Time, 1878
  • Judith and the Head of Holofernes, 1901
  • Mother And Child Aka Madonna, 1908
  • Adele Bloch Bauer I, 1907
  • Deauville, The Basin, 1892
  • Agony, 1912
  • Old Riga, 2011 - Vezur
  • The Midday Nap, 1894
  • Caricature Self Portrait, 1889
  • Passion for Dance, 2011 - Vezur
  • Summer Evening, 1886
  • Two Tahitian Women, 1899
  • Nabis Landscape, 1890
  • The Veteran in a New Field, 1865
  • Two Little Girls On The Beach, 1895
  • Adam and Eve, 1526
  • Poppy field in Giverny, 1885
  • Flying people, 2011 - Vezur
  • The Woman Friends, 1917
  • Head Of A Woman With A Hat, 1907
  • Riga at Night, 2011 - Vezur
  • Stehend Karyatide, 1913
  • Golden autumn, 2011 - Vezur
  • Study of a Head, 1913
  • Yellow Circle, 1926
  • Marine bleue, 1893
  • The Large Bathers, 1906
  • Morning in a Pine Forest, 1889
  • Columbus Avenue, Rainy Day, 1885
  • Conversion, 1912
  • Midsummer Festival, 2011 - Vezur
  • Tree of Life, 1909
  • Orange Trees, 1878
  • Dance Festival, 2011 - Vezur
  • Ligo Evening, 2011 - Vezur
  • The Vines, 1902
  • View Of Venice Fog, 1881
  • Blue Dancers, 1899

Autumn, 1877

Autumn, 1877

Winslow Homer

By the mid-1870s a mysterious woman with red hair appears for the first time in Homer's watercolors and oil paintings. Slowly he comes closer to the subject of his desires. From depicting her doing chores on the farm, tending a sick chick and collecting eggs. He continues drawing even closer to his subject. Eventually she becomes the subject alone, backgrounds disappear and props are reduced to a minimum. By 1877 he produces one of his most intimate works, The New Novel, a work that speaks of not artist and model, but lovers. And just as suddenly after his portrait titled Autumn of 1877 she disappears completely. We can't expect any word about this phase from a man who wouldn't even talk about his more public life. All we do know is that after this period the women in his works appear stiff wooden and faceless. By the time he was painting women in Cullercoats, England he was using wooden manikins as models for his female subjects as if just working closely with a female model was too painful for him to contemplate.

The painting will be delivered unstreched, rolled in protective & presentable case.