Carl Gutsch Art

Oil on canvas with its original frame.

Beautiful oil on canvas from the end of the 19th century figuring the portrait of a young woman. The painting is signed Y Pol on the bottom left . The artist in his performance perfe...

Modern, academic style portrait painting on canvas of a young athletic male oil on canvas, 26 x 17 inches in antique wood frame This vertical, contemporary portrait painting of sin...

‘Hera’ by Eduard Niczky (1850-1919). The painting - which depicts the Greek queen of the gods in golden diadem and yellow robe - is signed by the artist and hangs in a newly commis...

Academic style figurative painting of two men in trousers and suits with naval flags by Mark Beard aka "Bruce Sargeant" "Boy in Suit", painted in the late ...

Academic style figurative painting of two men hunting in a mountain landscape with bow and arrows "Archers", painted in the late 90's - early 2000's for Abercrombie and Fitch's flag...

Academic style figurative oil painting of two muscular football players Painted by Mark Beard as Bruce Sargeant Oil on canvas, signed upper right 20 x 16 inches unframed, 26 x 22 in...

Academic style figurative oil painting on canvas of two men dressing in a ski lodge "Dressing in the Lodge," Painted by Mark Beard as Bruce Sargeant (pseudonym in homage to the fashion photographer, Bruce Weber, and figurative painter, John Singer Sargent) Made in the late 90's - early 2000's for Abercrombie and Fitch's flagship store in Milan, Italy Oil on canvas, signed upper left 82 x 34 inches unframed, 88 x 40 inches in black painted wood frame with wire backing Excellent condition, ready to hang as is This vertical, figurative painting of two men dressing in a ski lodge was painted by Mark Beard under his fictitious artistic persona, Bruce Sargeant. Painted in a modern Academic style, the handsome men are captured in winter attire set in an Alpine mountain landscape...

Academic style figurative painting of two male archers by Mark Beard aka "Bruce Sargeant" "Archers", date unknown, painted for Abercrombie and Fitch's flagship store in Milan, Italy 79 x 66.5 inches unframed, 86 x 73 inches with a black painted wood frame Signed "Bruce Sargeant", upper right Excellent condition, ready to hang as is This vertical, figurative painting of two young men bow hunting...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

Academic style figurative painting on canvas of a family and red tractor against a classic American farm field "Prosperous Family", painted by Mark Beard under his fictitious persona, Bruce Sargeant 84 x 58 inches unframed, 91 x 65 x 3 inches with a gold painted wood frame Excellent condition, ready to hang as is This Academic style figurative oil painting on canvas was painted by Mark Beard as Bruce Sargeant, a pseudonym in homage to the fashion photographer, Bruce Weber, and figurative painter, John Singer Sargeant. Here, the artist captures a blue collar American farming family in their field with an old red tractor. The man and woman stand stoically with their young child, dressed in simple white garments, perhaps to symbolize their purity. Rolling mountains...

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...