gallery

CAPE ANN HARBOR, 1939

This oil on board painting portrays life in the fishing ports of Cape Ann - the coastal region of Massachusetts encompassing Gloucester, Rockport, Essex and Manchester-by-the-Sea. The area's scenic beauty has inspired artists for centuries. During his time in Cape Ann, Robbins studied under Alfred Gunnar Bjareby (1899-1967), whose influence can be seen in this piece – particul

SELLERS, 1966

Robbins painted a series of works in 1966 while back in his native Boston on an extended visit to see family. Although his main residence at the time was New Orleans, the works he produced during his visit reveal Robbins’ fondness for the New England coast. In this piece, Robbins employs cool colors and still waters to render a tranquil atmosphere, with exquisite detail taken to captu

GLOUCESTER BOATS, 1941

Robbins painted Gloucester Boats in 1941, during his time in Cape Ann in Massachusetts. This piece was produced during the early part of his career and he signed it "Raymond Robbins" before he started using his distinctive moniker "R.F. Robbins." Oil on canvas. Signed and dated lower right. 28 in. x 33 in. (Photo credit: Kaminski Auctions.) 

THE DOCK, 1966

Seascapes served as the subject for many of Robbins' paintings. The artist celebrated the natural beauty of life along the coast and the fishermen who made their living by the sea. In this piece, Robbins skillfully varied the brushwork to add dimension and texture to the composition – from the thin repetitive upstrokes of the grass in the foreground to the long sweeping sidestrokes i

ANCHOR, 1967

A signature New England seaside scene by the artist. Robbins captured a high level of detail when painting this piece – as seen in the ropes and the anchor chain. The fisherman in tradition yellow garb looks to the seagulls flying above – balancing both sides of the composition. Signed and dated lower right. Oil on canvas. Original title unknown. 

DOWN EAST, 1967

Down East is a large panoramic in which Robbins reveals a quintessential New England cove, with its docks, harbor, and local inhabitants of fisherman and loggers engaged in their work. The painting captures an idealized view of local life in the mid 20th century, similar to the subject matter of the great American murals of the 1930s and 1940s. This oil is dated 1967 and is one of t

SUMMER, 1966

A vibrant canvas with rich blues and greens creates an inviting summer setting. The composition Robbins formed in this piece leads the eye to the walking path at center – almost enticing the viewer to walk alongside the gentleman in red. An inviting pathway is a reoccurring theme in several of Robbins’ compositions. So too is the depiction of a solitary figure – suggesting an ongoing t

BOATS ON AN OVERCAST DAY, 1958

Robbins' signature style, theme and brushstrokes are evident in this oil painting of a coastal scene. Robbins’ produced "Boats on an Overcast Day" in 1958 and employed soft, muted colors to portray what is most likely a fishing port in Gloucester or Rockport, Massachusetts, where he once lived and worked. Still in its original frame, the painting is stamped en verso w

BEACHED BOAT

A beached boat after the storm. The composition and color creates a darker rendering of the power of the sea. Oil on canvas. Signed lower left, 24 in. x 30 in. Date unknown. (Photo credit: Neal Auction Company.)

NEW ENGLAND WINTER, 1960

The artist's New England roots are displayed in this coastal winter scene of quiet tranquility after the storm. The cool tones and meticulous detail showcase Robbins' technique for landscape painting in oil colors. Notice the texture of shadows and light along the road in the foreground. It brings richness and authenticity to the piece. Signed and dated lower left. Oil on c

WEST CORNWALL COVERED BRIDGE

A quintessential New England scene with Robbins’ distinctive brushwork depicting what is believed to be the West Cornwell Covered Bridge in Cornwell, Connecticut. The bridge, which is estimated to have been built in 1864, is listed on the National Register of Historic Places, and was a gray weathered color until it was painted red for the first time in 1957. The sign at

MOTIF NUMBER 1, CIRCA 1966

A different take on one of the most painted buildings in America: Motif Number 1 in Rockport, Massachusetts, where Robbins studied under Alfred Gunnar Bjareby (1899-1967) early in his career. Artists traditionally paint Motif Number 1 as the main subject. Here, Robbins displays Motif Number 1 in the background, emphasizing instead the floral arrangement in the window. It 

ROCKPORT, 1963

This drawing depicts the famed Motif Number 1 building in Rockport, Massachusetts – an old fishing shack that artists have painted and drawn as a subject for over 100 years. Like so many artists, Robbins utilized Motif Number 1 often as a subject in his compositions. This piece was executed in charcoal and colored chalk. Robbins often inserted small clues in his work to indicate the 

WHITE PLAINS, 1966

Robbins painted a variety of subjects throughout his career – landscapes, seascapes, cityscapes and still lifes. This watercolor of flowers perched on a table is rich in detail, particularly in the elaborate shadows and movement of text in the newspaper. Within the piece, Robbins playfully inscribes a headline about himself in the newspaper that reads, "RFR is in White Plains." T

YELLOW FLOWERS, 1966

Robbins’ still life paintings often depicted floral arrangements. In this watercolor, the composition of the red vase is located just off center – with the strong shadows from the flowers anchoring the space. Signed and dated lower right. Original title unknown. 

LADY IN CHARCOAL, 1955

Robbins' originality shines through in this charcoal drawing with his highly inventive approach to portraying the human figure. This piece consists of nothing more than a series of repeating X marks in charcoal and white chalk... bringing the shape to life in a striking style. While known mostly for his landscapes and cityscapes, Robbins' did exhibit his drawings of the human

LE RENDEZVOUS, 1954

Le Rendezvous is a departure from Robbins' classic oil paintings. This piece was produced using woodblock on paper – a method of printing that traces its origins to antiquity in Asia. The strong dark lines in Le Rendezvous are bold and dramatic – delivering an illuminating visual. The lamppost is the heart of this composition, and the dominating lines flow from its glow. The sig

NIGHT LIFE ON A CITY STREET, 1964

Painting with his characteristic brushwork, Robbins captures the atmosphere of a pulsating city along Bourbon Street in the French Quarter of New Orleans with the famed "Dan's Pier 600" in the background where Al Hirt played nightly during the 1950s and early '60s. The artist's choice of rich reds throughout... including the deep sky... speaks to the eclectic mix o

END OF THE RAINBOW, 1947

Here we see a departure from Robbins' traditional style of realism. The rainbow seems out of place, and acts almost as a dark commentary on life. The artist took a colorful cultural symbol most often associated with joy and wealth, and juxtaposed it against a dark sky, a tattered woman and a well-worn house. The atmosphere is gloomy… and the title further suggests a darker 

WASHING, 1967

The artist produced a series of works in the late 1960s depicting evening scenes throughout the French Quarter of New Orleans where he lived from the 1950s until his death. Here, we see life outside the Washing Well on Bourbon Street in a wonderfully alluring charcoal drawing that is rich in detail and serene in tone. Notice the puddle along the street and how Robbins constructed the 

JAX, 1969

Robbins' handling of light was noted by art critics over the years – and light is a central element in this piece, which was executed in charcoal and white chalk on black paper. Robbins effectively captured the shadows and movement created by light in this French Quarter evening scene. Inscribed along the storefront banner is a Jax Beer sign – a reference to the historic Jackson Brewery, 

ST PHILIP STREET, 1969

A charcoal drawing along St Philip Street in the French Quarter with the city's distinctive architecture present in the balcony railing. Robbins often eliminated detail when drawing and painting people in his pieces as seen in this drawing. His "intelligent elimination of detail" was noted by Alberta Collier, the art critic at The Times-Picayune newspaper, who wrote that Robb

THE ALPINE, 1969

A quite evening on a clear night outside the former Alpine Bistro at 620 Chartres Street in the French Quarter of New Orleans. Signed and dated lower right. Painting on board. 16 in. x 20 in. (Photo credit: Neal Auction Company.)

WINDOW SHOPPING IN THE RAIN, 1969

A solitary figure browsing artwork in the window on a rainy evening. Notice the delicate use of light and lines to reveal the rain. Signed and dated lower left. Painting on board. 20 in x 16 in. (Photo credit: Neal Auction Company.)

PIRATE'S ALLEY, 1969

Robbins juxtaposed light with dark in this evening scene of the legendary Pirate’s Alley in the French Quarter of New Orleans. Artists often paint Pirate’s Alley with rich vibrant colors. Robbins’ depiction is notably different in tone and atmosphere. The strong light from the side is the commanding element in this composition – revealing a shadow figure in the foreground whose

THE BALCONY, 1969

Punches of white illuminate the darkness in this evening scene in the French Quarter of New Orleans. Unlike many of Robbins' cityscape scenes, there are no people portrayed in this piece. Yet the light shining from the window allows the viewer to imagine the daily routine of life inside the home. Signed and dated lower right. 20 in. x 16 in. (Photo credit: Neal Auction Company.)

THE WALKWAY, 1969

Most notable in this French Quarter evening scene is Robbins' use of color in the woman's jacket – a contrast to the overall black and white elements in this piece. Through the soft use of yellow, it's clear Robbins' purposefully directed the focus of the composition to the woman as she walks. Signed and dated lower left. 20 in. x 16 in. (Photo credit: Neal Auction Company.)

THE LONG WALK, 1969

Capturing scenes of everyday life has long been a principal theme for many realist painters, and Robbins follows that tradition in many of his works including this piece, where we see an elderly man walking softly along a quiet street in the French Quarter. The composition focuses in on the gentleman… and leaves the viewer to interpret the moment and meaning captured here. Signe

NEWT'S, CIRCA 1960s

Robbins produced a series of works in the 1960s depicting evening scenes throughout the French Quarter of New Orleans that were similar in style and theme as the one here. This piece was exhibited at the Raymond Burr Gallery in Beverly Hills, California. This photo was sent to us from the current owner, who inherited the piece in 1996 from his grandmother. She originally purchas