Some of Bob's Still Life paintings


This page is dedicated to Louis Askew


Click on these images to get a detailed view.

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the 'tomato painting'

the 'broken glass painting'

A student brought a bag of props to the studio, and broke the wine glass when she put the bag down. She was going to toss it, but when I looked at how the break looked, I kept it, because it was perfect. The weird thing is that that same week I had bought a small box of wine glasses and I was breaking them one at a time to get the exact kind of break I wanted, to no avail. So, when I saw this accidental break was exactly what I was trying to get, I kept it. Actually, I kept it for 10 years before I got around to actually painting the painting.

the 'dark still life'

This painting was done experimenting with a lead based liquid medium that was made by some friends of mine back in L.A. They were trying to duplicate the 'Black Oil' used by some of the great Masters in Europe, such as that alien 'Rembrandt'. It came out pretty good. The medium worked fine, but they stopped making it because they'd rather paint than sell oil painting mediums. Wise choice.

This is a terrible photo of a fantastic painting. I'm hoping to be able to get a real professional photo or scanning of this done soon. This work is truly bloody wonderful.

Another bloody great masterpiece!

Bloody marvelous painting.

Look at this gem. Just look at it!

One of my angles is 'Chardin'. He is/was one of the best. I admired and studied his paintings for years, and then decided to do one like him. This is it. I sold it to a guy who collected art. He was one of the 'disenfranchised youth' of Beverly Hills, yuppies who had inherited lots of stock, but no cash, and were too scared to cash in their stocks because they knew they'd never be able to get any more. Tough life. But, he did buy this painting.

This painting is very special to me. Back in L.A. I used to do shows with a very good buddy, Louis Askew. He and his wife Cynthia picked this painting. Cynthia didn't think too much of me, for good reasons, but she told Louis, 'Boy,  he sure can paint!'

Louis is very, very special, and played a part in my life when no one else paid attention. He painted like a fiend. He had MS, and he was imprisoned in a wheel chair. The effort he had to go through to even lift up his paint brush was enormous. He was too weak to be able to clean them, or to even squeeze paint from his tubes,  but he painted these great big paintings!! He had a van, I had a body, so we did shows together all across the LA county, from Malibu to Pasadena to Beverly Hills to Studio City, Huntington Beach, Redondo Beach, Marina Del Ray. We did them all. He is forever in my heart. As a matter of fact, I think I'll dedicate this page to him!

This was the first 'big' sale I ever made, $500.00 US A compositional masterpiece, if  I say so myself.


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A real sexy lady bought this painting at a show in Beverly Hills. She said it reminded her of something that she couldn't/wouldn't talk about. Hmmm... She was quite happy to get it. I would have liked to have heard the story, although from the way she was dressed, I suspected I had a pretty good idea about what the story was about.

This was another experiment in the 'Black Oil' that my friends made for me. It was the last I had.


I did this painting to learn how to do some very specific layering of paint and washes. It came out really really good. It was bought by a family in Beverly Hills. There home was so full of art, they had no space for it. They wanted to put it over the mantle, but they had a paintng there by a good friend whose spouse had passed away, and so they were hesitant to change them. So, they went out and bought a big expensive easle for the corner of the room, and put this one on it! Looked great! They even put a light on it. I think the easel cost more than my painting.

This painting was a lot of fun. It was an experiment in my ability to 'visualize' something that was not there, and to put it there. It was just a setup on a piece of masonite, so I   'made up' the wall and little alcove and the boards. Sold it in the next show. The people who bought it bought it because it reminded them of their grandmother, who had just passed away. They really liked it, probably because it rung such a personal bell for them, as well as the fact that it is pretty good.


This is a special little painting. The family I mentioned earlier who had bought that painting and had to figure out where to put it, well, the next year at a show in Beverly Hills, they came to my spot. Their daughter had just turned 16, and they told her she could have any painting in the show she wanted. After going through the whole show, about 2000 artists, she came back and picked this one. Her dad told me about it later. It was a real compliment.

Still lifes...who cares? What else have you got?

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And another, but with a crummy photo.

One after another.

This painting sold a lot for me. It was grabbed up while still on the easel, and others who saw it and wanted it and couldn't have it, gave me deposits on the next paintings I was going to do. I think I sold three paintings without yet having even sketched them out. That was a good feeling, selling paintings to people who knew they wanted them before I did them.

This painting was the very first one I did of a certain style of painting. It is also one of my favorites.

Gems. Some day some one will sell one of these for a lot of money.

This painting was stolen from a home in Malibu. If you ever see it, let me know. I'd like to look at it again.

Brilliant! I did this painting in three hours. It was a major break through for me in the use of colours and layering. Usually I'd spend 50 hours on a painting, and this one was just as good.

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