Canvas Decorative Art

Spanish Orientalist school, 20th century. "Audience in the Alhambra". Oil on canvas. Measurements: 31,5 x 23 cm; 47 x 39 x 39 x cm (frame). Orientalism was born in the 19th centu...

Signed lower left. A genre scene along a Venice canal with ladies shopping. They stop at a vegetable stall under a white awning. The proprietor is seated doing needlework with her da...

19th century French framed impressionist oil on canvas. Stunning 19th century French framed impressionist oil on canvas. This beautiful French oi...

Francesco Zucco (circa 1575-1627) Gentleman’s portrait Measures: Oil on canvas, cm 120 x 140 The painting analyzed here belongs to the pictorial production of Francesco Zucc...

Oil on canvas English school marine scene eighteenth century On the back part it has a label with a note in ink: coast of Scarborough-England E...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

Antonio Cifrondi (1665 - 1730), Attributed Man with stick - Saint Joseph Measures: Oil on canvas, Cm 115 x 79 - With frame, cm 139 x 103 This canvas is, for stylistic and c...

Stunning continental view possibly venice, Italy. Watercolour on Artists board, last quarter of the 19th century. Depicting Mountainous and Landscape views with three ladies...

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

Vintage Giclee print on canvas of “Oceanide” by Homero Aguilar. Marked BH6 – 3/82 and signed on reverse. “Born in Pasto, Colombia in 1953, Ho...

20th century European "Arab Market" Orientalist style oil on canvas with frame.

Vividly colorful and classically composed, yet loosely painted, this original still life oil on canvas painting of flowers in a vase on a table is a fine example of the work of famous, listed, deceased American Impressionist painter, Louis Ritman...

Oil on canvas painting depicting a four mast sailing clipper; signed lower right: R DAVIES. Marked on reverse: Copy Right Reserved # 01211 RONALD DAVIES ...

Oil On Canvas With The Battle Of Trafalgar 18th Century LARGE 18th CENTURY OIL OF THE ENGLISH SCHOOL ON THE BATTLE OF TRAFALGAR.VERY GOOD QUALI...

Garment district NYC scene by Matthew Popielarz on canvas.

We are delighted to offer for sale this massive original late 19th century extra large Flemish oil painting, signed Q Jihuitog depicting a nice na...

Vintage Italian Wall Painting of an Artists Studio, Signed and dated, J. Annus Rome 1960. The painting depicts an artists studio with an easel in the evening set in Rome. Painting i...

Vintage Michael McGovern ""Foggy Morning"" nautical seascape oil painting featuring sailboats / boats docked at harbor. Circa 2000. Provenance: Estate of J. Frederic Gagel, owner o...

Rare Peter T Quidley nautical maritime seascape oil painting featuring a view from Nantucket's ""Monomoy"" beach that shows a purple sunset over the sailboats in the harbor. Monomoy is a lovely area set on a quiet corner of Nantucket Harbor and only 2 ½ miles from town. Residents enjoy the private beach and views across the harbor of Coatue's barrier beach and wildlife refuge, Great Point as well as Nantucket town and the Yacht Club. This piece was made exclusively for Robert Wilson Galleries by Peter Quidley, and acquired by the Gagel Estate from the gallery. The unique purple canvas is reminiscent of a Rookwood vellum...

Oil on board of a Pastoral Scene with house. Nice impasto style composition. Unsigned and in a solid wooden frame.

An exceptionally fine quality example of a pair of framed Still Life of fruits Oil Paintings on Artists board by well documented English Artist William Hughes, third quarter of the Nineteenth Century. Complete with good giltwood frames, one is signed lower left W. Hughes and dated 1863  Both paintings with similar views depicting Still Life of fruits to include Apples, Pears and Black Grapes  Condition: Good condition recently professionally cleaned and ready to hang. Old trade label CHAS H WEST Framemakers in Primrose Hill, London.  Height: (entire including frame) 13.75" (35cm). Width: (entire including frame) 17.5” (44.5cm).   Location: Dublin City, Ireland.  Affordable fixed charge Worldwide Store to door shipping offered.  Provenance: Burling Paintings Art Gallery, Burlington Gardens, Mayfair, London.   William Hughes (1842-1901) was a still life painter, father of Sir Herbert Hughes-Stanton. He was a pupil of George Lance and W.H. Hunt.  Hughes exhibited at the Royal Academy between 1866 and 1901 as well as at the British Institute, Suffolk Street and the Grosvenor Gallery.   Titles at the R.A. include “The Baron’s Dessert” and “For the Feast of the Tournament”. A major work, a set of large bird paintings...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Signed lower right and with the title on verso. A winter river landscape with bands of white and blue for the snow and river. Conifer forests are along the river banks. Measures: 1...

Oil on canvas with covered wagons heading west in an open prairie. Signed lower right. Sight measures 23 1/2" wide and 17 1/2" high. Frame measures 27 1/2" wide and 21 1/2" high. ...

Sascha de Puchala abstract of Roosters. Heavy impasto textural piece of two cocks fighting. Signed lower middle. One small tear. See photos.  

Abstract Painting by Barbara Beretich (1936-2018). It is entitled Silver Wide and depicts a moder abstract landscape. It is artist signed and was painted in 1985. Additional infor...

Framed oil on canvas "Extrication" depicting Savannah Lanes, Jeff Markowsky. Measures: Unframed 48" x 48" Jeff Markowsky’s paintings begin with an intimate and direct relationship to nature through painting outdoors in the open air (en plein air). From these oil sketches Markowsky investigates and extrapolates the power of large abstract shape relationships in the studio through a more synthesized internal process. Born in Prince Albert, Saskatchewan, Canada, Markowsky’s education as a painter began in graduate school with Gregory Crane and then with Frank Mason at the Art Students League in New York City. You will often find him in the summers hiking the Appalachian Trail or traveling on a plein air painting excursion while camping out in his truck. Markowsky recently won the Grand Prize at the 3rd Annual Saint Augustine Plein Air Festival in 2019. He was the 2018 Grand Prize winner of the Lighthouse...

Original oil painting by multi award winning artist, Paul Gaston Ambille. Born in 1930 and died in 2010. He studied at the prestigious Ecole des Beaux Arts de Paris. His works are ve...

A sixth-generation Floridian, Doug Whittle received a BFA in painting from the University of Florida in 1984. After graduation, he spent two years as a Peace Corps volunteer in centr...

Philippe Andrianne Oil Painting on Canvas in a Gilt Frame. Oil painting on canvas with a liner and gilt wooden frame.

1940's Oil Painting on Canvas of Rural Scene. Rural scene oil painting on canvas in a gilt wooden frame.

This oil painting shows a daily 18th century scene of the Grand Canal in the city of Venice, with the Campanile in the background. The soft colors and warm gold tones are accented by the calm water and sky. The painting is signed, and the strokes...

A light-brown, green antique Austrian Baroque oil on canvas painting by Franz Xaver Hornöck in a hand crafted original black, partly gilded wooden frame, in good condition. The vinta...

Victor Olsen sunset scene of sailboats oil on canvas. Classic nautical scene. Nicely framed. Victor Olson (1925-2007). Unsigned on front but from his Redd...

Fantastic pair of late 20th century paintings by Ira Yeager (1938-2022). "Unseigneur Francois" and "La Duchesse de Modena" oil on canvas paintings measurin...

English orientalist school; late 19th - early 20th century. "Slave market". Oil on canvas. Presents stamps on the back. Measurements: 26,5 x 36 cm; 27 x 37 cm (frame). The orien...

Colored print applied on canvas with wooden frame, modern decorative work from the 80s. Print depicting a mythological subject, copy of the famous painting by Francois Boucher, Rinal...

Carlos Ochagavia (1913-2006) " After the Bath", 1999 painting. Dimensions with frame: 100 x 74.5 x 4cm.

Mid Century Modern Picasso style Abstract of a face by E.Ruff 1945. Amazing composition and color. Nice gilt frame. One small tear can be repaired.

Art Deco painting in oil on canvas illustrating a young nude woman, pensive, half lying down, in front and the face resting on her right hand. Her skin is clear and she wears a short hairstyle in the fashion of the 30s. A certain light emanates from this work which takes up a classic theme of Western art: the female nude. This Art Deco painting is not signed but can be linked to the work of the French...

"The Mules" Oil on Canvas Painting. Oil painting of a rural scene in a parcel-gilt wooden frame.

A large scale abstract mixed media painting on canvas by Chicago artist Maxine Snider, 1990s. Signed en verso. Maxine Snider is a Chicago artist and d...

Magnificent pastel on canvas representing two little girls of the 19th century city bourgeoisie. The frame is in wood gilded with leaf and beautifu...

Wonder woman blast is a pop Art piece by Anabel Ruiz. Her art is mixed media with paint on Wonder Woman comics. Signed in the bottom left corner.

Monogrammed JG lower right. A view of an Italian street with shop fronts in the late afternoon with shadows falling across them. Painted in lovely ochers, b...

Large Oil With Flowers Signed By Terence Alexander VERY DECORATIVE OIL ON CANVAS BY TERENCE ALEXANDER, CIRCA 1950. MEASURES 146X115 AND 122X91 CM

Oil Painting on Canvas by Garcia de la Peña with Landscape and Horse Measurements with frame: 76x101x3,5cm.

Very vivid Still Life Jean Jacques Foulon was a Belgian painter. He was born in 1923 in Kraainem and died in Brussels in 1980. J.J. Foulon was educated at the Academy of Fine Arts in...

French Oil Painting on Canvas of Violets. Floral still life oil painting on canvas in a stained wooden frame.

Decorative oil with boat 20th century. Decorative oil on canvas with the theme of ships of the 20th century first half. Good state of preservation: measures: 87x62 and 77x52 cm.

An Italian pair of stretched canvas paintings from the 19th century. These antique wall decorations from Italy each have painted canvas stretched over an arch-shaped wood frame, nearly 4 feet in width. The paintings are Neoclassical in design featuring an urn with flame at center, symmetrically framed within an abundant display of scrolling acanthus leaves. A gold tone ribbon fabric with nail-heads outlines the outer edges of each framed piece. These 19th century Italian Neoclassic arched wall ornaments would add the grandeur of height hanging above a pair of window or door casings...

Moody portrait painting Large impressionist painting, oil on canvas portrait study of a moody male, circa late 20th century.

Large oil on canvas by Terence Alexander-British Large oil on canvas by Terence Alexander-British elegant oil on canvas from the 50s signed by Terence Alexan...

Impressionist Oil 20th Century ELEGANT 1950s FRENCH IMPRESSIONIST OIL. UNREADABLE SIGNATURE. GOOD CONDITION. TITLE: POETRY - MEASUREMENTS: 86X64 AND 73X50 CM

Vintage oil painting entitled “Highland River” by Aaron Gill in a Gilt frame.

Original oil on canvas landscape painting of cows in pasture. Artist: Poul Steffensen (1866-1923). Signed in monogram P.ST. Canvas in good condition...

Early 21st century, a pair of framed giclee prints from the "Mustang Series" by Dominique Samyn (born 1952), Belgium and USA. The work with the horse looking to the right is titled "...

19th century Moonlit landscape Measures: Oil on canvas, 67 x 51.5 cm With frame 75 x 59 cm Signed lower left “Luigi Giavazzi” The landscape illuminated by the nocturnal light of the moon that illuminates the sky depicts a collision between natural elements: if on the one hand we find the luxuriant hilly landscape with the rocks covered by shrubs and the grotesque tower with the lion of San Marco...