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Ken Auster
André Balyon
Simon Balyon
Evgeny & Lydia Baranov

John Berry

Suchitra Bhosle

Brian Blood

Lovemore Bonjisi

Jackie Bowker
John Paul Braman

Rizimu Chiwawa

Dmitri Danish

Marcel Demagny
Stuart Dunkel

Cathrine Edlinger-Kunze

Mark English

Ann Fleming

Randy Ford

Jose Antonio Fuentes

Mark Geller 

Marty Goldstein

Lindsay Goodwin

Georgetta Grabovschi

Dan Graziano

Michael Gumbert

Peter Gwisa
Corinne Hartley

Carolyne Hawley

Katherine Houston

Jeff Jamison


Christian Jequel

Laurie Kersey
Mostafa Keyhani
Milt Kobayashi

Andre Kohn

Michele Kortbawi-Wilk
D.Edward Kucera

Sinisha Labus

Jeff Legg

Jhenna Quinn Lewis

Joseph Lorusso

Matthew Lovein

Anna Marinova

Tony Milici

Clark Mitchell

Alfredo Navarro

Agnes Nyanhongo

Moses Nyanhongo

Mark Pettit

Pietro Piccoli

Ramon Pujol

Bette Ridgeway

Wayne Salge

Leslie Sandbulte
Marilyn Simandle
David Smith
Michael James Smith

Gregory Stocks

Thomas Swanston

Jaanika Talts

Daniel Van der Putten
Kent R. Wallis
Edward Norton Ward

Charles White
Leonard Wren









Leslie Sandbulte

"The Secret Lining"

"Three Graces"

"French Lady with Geese"

"Red Scarf"


"An Unexpected Wind"


"Rose Garden"



"Lush Landing"

"A Soft Place to Land"

"Aunt Birdie"


"Beach Girl"


"Sister Celebration"




"Salsa Dancers"


"A Shoulder to Lean On"


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Art represented on this page is subject to prior sale.
Additional art is available from this artist.
Please contact the gallery in order to get the latest information.


Leslie Sandbulte


“The element of design is primary to me. Models are often

posed after the surrounding framework is established. I

seek ideas from Japanese art and the block prints of such

French Impressionists as Vollard (the printmaker), Toulouse

La Trec and Casset.


I choose to keep my palette minimal, keeping the focus on

design. The muted combinations of hues that can be found

in Asian art are key. Forms are carved out with intense,

exaggerated dark values. “Neutrals” are often strange

unexpected colors giving a reflective glow to the skin in an

allaprima manner. Brush strokes are allowed to be thick,

buttery and honest.


There is a spirit that I seek of those busy city moments of

waiting, thinking and daydreaming in the bustle of a hurried world.

By having the subjects flow off the borders of the canvas,

 I can create a feeling of intimacy by drawing in the viewer. The

relationship between figures I leave unresolved,

so that the viewer is left with something to

think about, as he becomes a participant in the scene.”

- Leslie Sandbulte


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