Lodovico Zambeletti Art

This charming late 19th-century watercolour by British artist E Wood depicts a beautiful 15th/16th century farmhouse near Godalming in Surrey, England. As chickens rummage for food ...

This is an exclusive handprinted limited edition cyanotype. "Azure Clouds" is an cyanotype of the semi-abstract patterns of clouds in the sky, showing shad...

This is an exclusive handprinted limited edition cyanotype of a beautiful Aloe plant. Details: + Title: Jurassic Aloe Leaves + Year: 2022 + Edition Size: 100 + Stamped and Certifica...

This is an exclusive handprinted limited edition cyanotype of a beautiful Palm Tree Leaf. Details: + Title: Palm Tree Leaf Over Blue Sky + Year: 2021 + Edition Size: 100 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

This early 20th-century watercolour by Belgian artist Victor Wagemaekers (1876-1953) depicts a view across an open field towards several cottages. It’s an accomplished naturalistic work. Here we see the characteristically flat farmland of the low countries. A wide view with a distant vanishing point. Note the rendering of the furthest trees in near-white as they disappear from view. And the smoke gently rising from the cottage chimneys. Wagemaekers was a realist and sought to capture nature as it was - in a traditional style inspired by the Flemish old masters. He was part of a movement known as ‘Le Sillon’, comprised mainly of students from the Brussels Academy. This group of traditionalists were anti-impressionism and looked back towards the glory days of Flemish artistry. His naturalistic views were usually captured in the broad fields around Brussels, particularly in Grimbergen. Signed lower right and held within a period frame. Victor Wagemaekers trained under Franz Courtens (1854-1943) and his works are held in several public collections including at the Royal Museum of Fine Arts, Antwerp, Museum Taxandria and Jakob...

The idyllic atmosphere of this local dock scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Dock Scene)” is typical of a small town dock scene from Michigan where Culver lived or from places as far away as Maine, but what makes it important is its easy familiarity: water, gulls or terns, slanting wood shanties, scruffy dirt patches and course grasses. It is not idealized, but does set the tone of fresh air, the scream of birds and the sun on water. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

Lovely 19th century watercolor painting with an angler in a mountain stream landscape painting, this is signed William Bradley with a place and date on the lower left hand corner. Mists fall over the central mountain rising above the stream with rocks and boulders. A mountain ridge is on the left, and trees above boulders on the right. William radley Lamond was a self taught artist flourishing from mid to late 19th century. This would be a later work by this artist. The attribution is based on the period, the style the landscape subject and signature. The painting is presented in an attractive new wooden frame with fresh glass...

Charles Lewis Fussell (American, 1840–1909) Abandoned House on Country Road Watercolor on paper, 14 x 23 7/8 inches FRAMED: 31 1/4 x 39 1/4 inches Sig...

This is an exclusive handprinted limited edition cyanotype of a beautiful "Blue Upright Desert Cactus". Details: + Title: Blue Upright Desert Cactus + Year: 2022 + Edition Size: 100...

The idyllic atmosphere of this country scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Winter Road)” is a quiet country scene depicting a road leading into the distance either going to or coming from a local farm. The snow does not particularly seem fresh suggesting a melt and the coming of spring. This piece has been professionally reframed with acid-free matting and conservator glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles...

WILHELM KUHNERT German, 1865 - 1926 LION ON THE MOVE signed "Wilh. Kuhnert" (lower left) Watercolour on cardboard 6-1/2 X 10-1/2 inches (16.5 X 26.5 cm.) framed: 14-1/4 X 17-3/4 inches (35.8X 44.8 cm.) PROVENANCE Private Collection, Munich, Germany Private Spanish Collection, Madrid Friedrich Wilhelm Kuhnert (September 18, 1865 – February 11...