Still Life with Blue Bottle and Pear

Oil on canvas, 14 x 26inches

$10,500

Still Life with Polished Brass Container

Oil on canvas, 14 x 28 inches

$10,500

"While taking nothing away from the rest of his fine qualities, taking for granted, for example that he draws well, the two things to me that most distinguish Robert Douglas Hunter's work are his color and his design.  At any show his work stands apart. really I should almost say alone, due to his remarkable sense of color harmony.  It is also and nearly inevitably precise as well as subtle in both two dimensional design and object grouping.  The mastery of these concepts is virtually lost today and one could find no better model for their study even among the 'greats.'"

Paul Ingbretson, President, The Guild of Boston Artists

Arrangement with a Dusty, Dark Bottle

Oil on canvas, 20 x 30 inches

$12,000

Arrangement with a White Ironstone Bowl

Oil on canvas, 14 x 28 inches

$8000

"I had been one of Robert Douglas Hunter’s dealers and one of his collectors for years.  But it was not until 2008 when I curated a half-century retrospective exhibition of his paintings at the St. Botolph Club in Boston, that I began to understand why I was so drawn to his work.  In the course of writing the introductory essay for the exhibition catalogue, I realized that Hunter’s highly developed compositional skills -- combining in a perfect synthesis color, values, and linear patterns -- did much more than simply keep the viewer’s eye moving over the two dimensional surface of the canvas.  This movement inevitably led the observer back over and over to a “hot” spot which became the center of gravity of the painting without at the same time halting the previous pleasurable examination of various points of interest afforded by the entire surface of the canvas. This is what Hunter means when he talks about working toward a “total sense of unity.”  His paintings function like mandalas, and enable us as viewers to enter into Hunter’s own meditational stance in his process of creation.  For me personally, both with his still lifes and his landscapes, Hunter is painting what T.S. Eliot called “the still point of the turning world”, where the “dance” is.  Hunter’s greatest asset is his mysticism, not simply his technique, as he paints the Dance."

Julian T. Baird, Ph. D., Collector and Retired Gallery Owner