Original paintings by Lewis Barrett Lehrman

Paintings described as "framed," are professionally matted, framed, and ready to hang.
Sizes shown are outer dimensions of frame.

Unframed paintings arrive matted and ready to frame. Size shown is image size. Add 6" to 8" to each dimension for framed size. Crating, insurance & shipping (if required) are additional in all instances.

If you are interested in viewing one or more, or if you would like to visit my Scottsdale, Arizona studio to view these and other works in person, please call me, toll-free, at 1-877-471-8718 or eMail me by clicking here.

Having fought its traffic-fraught way east, Delancey Street hands it over to the Williamsburg bridge amid a welter of street signs and noise. A classic New York City scene, here presented in my favorite Oriental painting technique, reflecting the neighborhood's amazing multi-ethnic makeup.

Based upon my photograph of a harbor scene along the Connecticut shore, this painting is one of my favorite excursions into the realm of light and reflections.

This painting was chosen by Scottsdale Charros in 1992 to commemorate the passing of the old (still  fondly remembered) Scottsdale baseball stadium, which was being replaced by a new and larger field. A limited edition of 150 signed, numbered prints quickly sold out. The original painting and a few signed artists' proofs are available.

In 1994, on a country road somewhere in  the south of France, I was entranced by this complex of buildings, and took a load of photos. My prints, however, came back flat and boring, so I painted the view in my memory, rather than in my  unimpressive snapshots. (Arguably the best reason to paint from a photo is only if it's one the artist took... and a subject the artist cares about.)

I first sketched this scene standing under a dripping umbrella on a muddy lane in this village beside the Volga River in Russia. The sketch, watercolored later that day, plus a few photos I took, became the basis of this painting, which, for me, captures the feeling of rural Russia in 1998 -- not much different, I expect, from the Russia my grandparents left over a century ago.

I suppose my inspiration for this painting was that old saying about how you can't compare...

Ultimately, however, it's an exploration of color and texture, and the interaction of these familiar, tactile shapes and their brilliant, contrasting colors.

Something about old barns has always intrigued me. Perhaps because they speak so eloquently of the generations that tended their farms and lived their lives in this corner of New England.

This fine specimen sits beside the road a few miles from our former home and the site of our Gallery At Mill River, in the Berkshires of western Massachusetts.

Painted in my favorite Oriental technique, Lost Childhood is is my meditation upon those pleasures we once enjoyed, long ago, in simpler, more carefree times.

My most successful still-lifes seem to celebrate food. In this instance a fragrant Stilton cheese, a ripe pear, crusty bread, and a fine red wine.