Jules Delaunay

French Military on Horseback

1893

Medium: Oil on Panel Signature: Signed "H. Pyle" Lower Right and Inscribed Indistinctly On the Reverse "At the same time he extended toward King Louis the ...

Medium: Oil on Canvas Laid on Panel Signature: Signed Lower Right The Saturday Evening Post cover, November 12, 1910

Medium: Oil on Panel Signature: Signed Lower Right An FFA student with his father receiving a check for his first delivery of steers to the Omaha stockyard.

Date: 1923 Medium: Oil on Panel Dimensions: 24.00" x 36.00"

Medium: Oil on Panel in Three Parts Dimensions: 66.25" x 71.75" Signature: Signed and Dated 'Howard Chandler Christy/1929' (the third panel, lower right)

Medium: Oil on Wood Panel Signature: Unsigned This Stan Laurel and Oliver Hardy illustration was used as a traveling show sign.

Adoration of the shepherds, Cercle of Ambrosius Francken, Early 17th century Antwerp school Oil on oak panel: h. 55 cm, w. 43 cm (21.65 in x 16.93 in) 17th c. ebonized and moulded f...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by t...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

Henk Helmantel probably does not need an introduction to a lot of worldwide art lovers. After all, the artist from Westeremden even has its own museum. ...

Cornelis le Mair (Eindhoven, July 3rd 1944) is a Dutch painter. This Romantic painter is famous because of his 17th century paintings. As a child, Le Mair already developed a talen...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...