Art

English School, circa 1780’s Circle of George Romney (1734-1802) oil painting on canvas, framed framed: 36 x 30 inches canvas: 30 x 25 inches private collectio...

Ornamental Flowers in a Classical Still Life Composition Italian School, circa 1780's period oil painting on canvas: 32 x 42 inches antique gilt frame: 38 x 48 inches condition: over...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Self-Portrait, Year: of Original: 1634, Medium: Etching, Image Size: 5.5 x 4.5 inches, Size: 14 x 11 in. (35.56 x ...

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...

Antique American modernist abstract expressionist painting. Oil on board, circa 1940. Image size, 24L x 20H.

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

Medium: original pochoir stencil print in five colors. Catalogue reference: Dupin 50. Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for the ...

'Mgnaminia' Italian School, 18th century ink and wash drawing on paper, framed within a light oak wood frame (behind glass) image size: 10.5 x 7 inches overall framed: 17 x 13 inches...

Giuseppe Zais (Canale d'Agordo, Belluno 1709 - Treviso 1781) Pendant of paintings - The assault of the brigands / After the assault Oil on canvas, 108 x 42 cm. each In the frame 128...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

4034 Antique Impressionist oil on artist board Set in a vintage carved wood frame image size 11.5x9.5"

Yves BRAYER Rape of the Sabine Women Original etching Printed signature in the plate On Arches vellum 30 x 25 cm (c. 12 x 10 inch) Printed in Haase...

Pablo Picasso, Spanish (1881 - 1973) - Gravure Au Burin 1945, Year: 1945, Medium: Etching, Edition: 50 (edition not marked), Image Size: 8.75 x 13.75 inches, Size: 12.5 x 18.25 in. ...

French School of the 18th century Mythology : Bacchanalia Oil on canvas Unsigned On canvas 43 x 34 cm Presented in a gilded carved wooden frame 58 x 49 cm Very good condition, smal...

Work on wood sold with frame Total size with frame 80x62 cm Paul Chevallier is a French artist from the 19th to 20th century

Robert Wood (G. Day) (1889 -1979) San Antonio Artist Image Size: 25 x 30 Frame Size: 33 x 38 Medium: Oil "April" Texas Hill Country Bluebonnets Biography Robert Wood (G. Day) (1889 -1979) A painter of realistic landscapes reflecting a vanishing wilderness in America, Robert Wood (not to be confused with Robert E. Wood) is reportedly one of the most mass-produced artists in the United States. His painting became so popular he was unable to meet all of the demands, and many of his works were reproduced in lithographs and mass distributed as prints, place mats, and wall murals by companies including Sears, Roebuck. He was born in Sandgate, Kent on the south coast of England near Dover, the son of W.L. Wood, a famous home and church painter who recognized and supported his son's talent. In fact, he forced his son to paint by keeping him inside to paint rather than playing with his friends. At age 12, Wood entered the South Kensington School of Art. As a youth, he came to the United States in 1910, having served in the Royal Army, and he never returned to England. He traveled extensively all over the United States, especially in the West, often in freight cars, and also painted in Mexico and Canada. His itinerant existence took him to Illinois where he worked as a farmhand, to Pensacola, Florida where he married, briefly in Ohio, Seattle, Washington, and Portland, Oregon. In 1912, he was in Los Angeles, and in the late 1920s and early 1930s, in San Antonio, Texas, where he lived and in 1928 exhibited in the "Texas Wildflower Competition." From San Antonio, he gained a national reputation for his strong colored, dramatic paintings. Some of that prestige has been credited to his association with Jose Arpa, prominent Texas artist. Wood also gave art lessons, and one of his students was Porfirio Salinas. During this period, Wood sometimes signed his paintings G. Day or Trebor, which is Robert spelled backwards. In 1941 he went to California and painted numerous desert and mountain landscapes and coastal scenes. He lived in Carmel for seven years, and then moved to Woodstock, New York, but he soon returned to California, settling first in Laguna Beach, then San Diego, and finally in the High Sierras, where he and his wife built a home and studio near Bishop and lived until his death in 1979. Robert Wood was born March 4, 1889, in Sandgate, England, a small town on the Kentish coast not far from the white cliffs of Dover. His father, W. J. Wood, was a successful painter who recognized Robert's unusual talent. At the age of twelve, his father enrolled Wood in art school in the small town of Folkstone. He then attended the South Kensington School of Art. While attending art school, Wood won four first awards and three second awards, one each year, a record. In 1910 after service in the Royal Army, nineteen-year-old Wood and his friend, Claude Waters, immigrated to America. Initially, he settled in Illinois and worked as a hired hand on a farm belonging to Water's uncle. He would then strike out on his own, living the life of an itinerant painter. Wood traveled as a hobo, hopping freight trains and selling or bartering small paintings to support him along the way. When times were hard, he worked at whatever job was available. In this manner, he saw most of the United States and fell in love with rural America. By 1912, Wood visited Los Angeles for the first time, arriving on the day of the Titanic tragedy. Later that year, he had met, courted and married young Eyssel Del Wagoner in Florida. The couple moved to Ohio where a daughter, Florence, was born. During World War I, the family moved to Seattle where a son, John Robert Wood, was born in 1919. In the early 1920's, the young Wood family was almost constantly on the move. They stayed for short periods in Kansas, Missouri, California and for a longer time in Portland, Oregon, where Wood's friend Claude Waters had settled. Wood's seemingly endless wanderings disrupted his family life and delayed his development as a painter. However, through his travels he developed an appreciation for the American landscape that would inspire him for the rest of his career. Although aware of the current movement away from traditional realism in American art, he elected to travel that solitary path and remain true to his own vision of American’s grandeur and beauty poetically translated through his landscape and seascape paintings. In 1923, the Wood family discovered the beautiful city of San Antonio, Texas and it was there that he and his family would finally settle. He studied briefly at the San Antonio Art School with Spanish colorist Jose Arpa y Perea (1860-1952), who had arrived in San Antonio that same year. In the latter part of the 1920’s, Jose Arpa’s influence quickly became evident. Wood after several years of experimentation was becoming fine easel painter, capable of great subtlety with a new mature original style. Like Texas painters Robert Onderdonk (1853-1917) and his son Julian Onderdonk (1882-1922), Robert Wood concentrated on the distinctive Texas landscape with its Red Oak trees and wildflowers that covered the hill country landscape. He developed a reputation for his scenes of Blue Bluebonnets, the state flower. In the spring, the Texas prairie is covered with wildflowers, especially in the hill country surrounding San Antonio and Austin. Wood incorporated native stone barns and rough wood farmhouses that added authenticity and romance to his compositions. In 1925, Wood was divorced from his wife. In 1932, he moved to the famous scenic loop on San Antonio's outskirts. While still living in Texas, he took extensive western sketching...

Cecilia "Peach" Taylor (Mrs Reginald B. Taylor) Folk Art watercolor painting of horses titled "White Horse Farm) painted in 1948 A classic example of self taught, American Folk Art d...

A beautiful oil on board depicting Stonehenge, by modern British artist Vivian Bewick. Excellent quality study if the mysterious Bronze Age landmark. Inscribed with artist details o...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

Jimmy Ernst Personal Equation, 1950 Signed and dated lower right Oil on canvas 41 x 39 1/2 inches Provenance: Laurel Gallery, New York Grace Borgenicht Gallery, New York Collection ...

Pierre Gobert (Fontainebleau 1662 - Paris 1744) Atelier of Pair of fine portraits Louis XV, King of France and his wife, Maria Leszczyńska oils on canvas (2), 41 x 32 cm., in frame 53 x 44 cm. It is easy to identify the sitters of this charming pair of portraits in the rulers of France, namely Louis XV of Bourbon, who ascended the throne in 1715 at the age of just thirteen and was nicknamed the 'Beloved', and Maria Leszczyńska, Queen Consort of France and Navarre and daughter of the King of Poland Stanislaus I. The queen is depicted in a three-quarter-length figure, her face smiling and turned towards the spectator. She wears a wig in shades of grey with her hair gathered around the nape of her neck and a diadem on her head, and pendants on her ears. She wears a dress with a wide neckline made of red velvet, brocaded with gold threads, with rich lace sleeves, and a bodice adorned with a jewelled bodice of diamonds and pearls. On the shoulders rests a blue velvet mantle embroidered with the heraldic...

The Martyrdom of Saint Agatha after the painting by his father, Giovanni Battista Tiepolo (see photo) Etching, c. 1780 Signature: unsigned Watermark: Letter A (similar to Bromberg 4...

Italian Modern Abstract Work on Paper Color Field Non-Objective European Mid-Century - "Gonage" Dorazio completed "Gonage" in 1949 when just after the artist had been awarded a stipend by the French government and admission to the Academy Beaux Arts. There he met George Braque who became great friends but also an influence on Dorazio, of which "Gonage" is a living testament. "Gonage" actual size of the drawing measures 12 x 9 1/2 inches. It is signed on the lower right. The work is affixed to a 19 x 15 inch board which includes the artist's signature and date. There is a torn table on the lower left entitling the piece "Gonage". Provenance follows this piece as a gift in 1950 to the artist-colleague Luigi Lucioni, who then gifted it in 1955 to his friend, the uncle of the current owner who has owned the work since 1988. Bio Born in Italy, Piero Dorazio studied architecture in Rome. At the same time his first abstract works were executed. In 1947 he received a scholarship from the Ecole Nationale Supérieure des Beaux Arts in Paris, where he contacted Modern artists, who lived in Paris. He founded the galleries "Age d'Or" in Florence and Rome to represent avant-garde arts in Italy. During a one year stay in the USA he got acquainted with leading artists of Abstract Expressionism such as Marc Rothko...

This is a very stylized and powerful portrait by the noted artist Frank Anderson Trapp. It is dated 1940, and is very much in the modern style of French painters Ferdinand Leger...

Zincograph on Vélin Bouffant paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Non Vouloir, 1942. Published by Éditions Jeanne Bucher, Paris; printed...

Day and Night - Arabic Calligraphy is a precious manuscript with Islamic sacred verses in an ancient calligraphy style. One page, one-sided, in Arabic, the original sheet ( cm 17x 11) is in excellent condition and under plexiglass, with an ivory-colored passepartout and framed in a ebony frame (cm 34.5 x 2.3 x 28.5). The script is in black ink with some words in red ink. The composition of the manuscript includes four-part: the left and the central part of the sheet belongs to bigger words, on the top of the sheet are written small words which are interwoven and quite challenging to read, for the below part of the sheet and the right side of the composition, the situation is the same. It seems the small words present the praying, left side of the sheet decorative circled phrases. In the main and big part of script, we can see some words of “Lail Ol- Nahar” and “Men Azaben Nar”, which refers to differences of Day and Night made by God, and avoidance from “Fire Of Hell”. The words in red ink are also “Allah” And “Muhammad” which demonstrate manner of a calligrapher to show his true belief by make a difference in color. Calligrapher creates beautifully this script which just “His God, Allah” and “Prophet Muhammad” are in red ink and through color are separated from words in black ink. Calligrapher has covered the sheet with all holy words of praying and has not left any empty space, which has made this remarkable piece of art adorable. In this precious piece of art, calligrapher intended to present the whole world as the sheet of calligraphy: “How the world is full of this holiness and there is no empty space without sign of Almighty God...

Beatrix Sherman Hialeah Park Race Track, Florida, 1947 Signed lower right Oil on canvasboard 16 x 20 inches Beatrix Sherman (1894-1975), who changed her first name from Beatrice by...

This lovely Italian Old Master portrait oil painting is by Domenico Maria Sani. Painted circa 1732 the sitter is of Maria Anna Vittoria (1718 - 1788), daughter of Philip V and Elisabetta Farnese, who in 1729 married Joseph prince of Brazil and king of Portugal...

Portrait Of A Stallion, 18th Century by William Williams (1727-1791) sales to $60,000 Large circa 1770 portrait of a Stallion race horse in an open landscape, oil on panel by Willi...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.25 x 8.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

Lithograph and stencil on vélin pur fil paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Varende, Rodin, 1944. Published by Éditions ...

Very nicely painted American school modernist painting. Oil on canvas. Signed. Nicely framed. Image size, 16L x 20H.

Oil Painting Pair circle of by George Romney "Portraits of a Lady and Gentleman" 1734 - 1802 Romney was a leadway society portrait painter of the Georgian ear...

Circle of Jean Honore Fragonard (French 1732–1806) An Exceptional Painting of Three Putti and Fire, circa 1795. Masterfully painted in the late ...

Rafael de Soto - Village street - Oil on canvas Oil measurements 41x33 cm. Without frame.

Chiura Obata Nasturtiums, circa 1940 Signed and stamped lower left Watercolor on paper 15 x 9 5/8 inches Born in the Okayama prefecture of Japan, Chiura Obata was adopted by his uncle, an artist. As a child he was trained in ink painting, and at 14 he was apprenticed to the painter Murata Tanryo in Tokyo. He also studied with Kogyo Terasaki and Goho Hasimoto. In 1903, Obata moved to San Francisco and began working as an illustrator for The New World and The Japanese American, two of the city's Japanese newspapers. He also did work as a commercial designer. Obata helped establish the East West Art Society in San Francisco in 1921, which sought to promote cross-cultural understanding through art. This goal was reflected in his embrace of the Nihonga style, which fused traditional Japanese sumi-e ink painting with the conventions of western naturalism. He spent much of the 1920s painting landscapes throughout California, and among his favorite subjects were mountain landscapes. In 1927, he visited Yosemite and the Sierra Nevada, creating over a hundred paintings and sketches of the high country. Obata stayed in the USA until the death of his father in 1928. Between 1928 and 1932, he worked in Tokyo as a painter and transformed his California landscape watercolors...

Thomas Hudson (Devon 1701 - London 1799) Portrait of a Notable in his Study Oil on canvas 124 x 102 cm. In antique frame 142 x 120 cm. This fascinating portrait is a valuable te...

Eve Nethercott, American (1925 - 2015) - Still Life with Teapot (P6.43), Year: 1947, Medium: Watercolor on Paper, Size: 16 x 12 in. (40.64 x 30.48 cm), Description: Arranged ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Outstanding early 18th-century portrait of a seated Spaniel dog in a landscape with an array of fruits. Attributed to the work of Tobias Stranover. ...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Robert Vale Faro, 'Hold that Tiger', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '91' and '15/16' in pen. A fine impression, with fresh colors, on heavy, coated, off-white wove paper; the full sheet with margins (13/16 to 1 1/2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 14 x 9 3/8 inches (356 x 239 mm); sheet size 17 x 11 1/4 inches (432 x 285 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal of Chicago. The Brooklyn Museum mounted a show of Vanguard artists' work in 1946, which subsequently toured several other institutions in the United States. Faro's visionary graphics from the 1940s are a sophisticated blend of Abstract Expressionism, Surrealism, and Indian Space...

Judith With The head Of Holofernes, 17th Century School of CARLO MARATTA (1625-1713) Large 17th Century Italian Old Master oval depiction of Judith With The Head Of Holofernes, oil...

Tu que no puedes from "Los Caprichos" is an original artwork realized by the Spanish artist Francisco Goya and published for the first time in 1799. The work is an etching and aquat...

Work on canvas Dimensions with frame 58 x 66 x 5 cm This painting depicts three massive draft horses, majestically posed in an open field, under a soft, cloudy sky. The artist captur...

Original pencil signed Grant Wood lithograph, "February," created 1940. A fine impression and one of the most important of the 19 lithographs created by the painter of "American Goth...

'Plan et Elevation d'un Buffet en Niche' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. From Roubo's 'L'Art du ...

Title of the Artwork: Hunting Still Life Artist: Josep Serrasanta (1916-1998) Technique: Oil on canvas Dimensions: 39.37 x 31.89 in Date: 1949 Artistic Movement: Romantic Realism wit...

Artist: Mark Catesby (English, 1638-1749) Title: "Putorius & Pseudo Phalangium (The Pole-Cat) (Skunk)" (Plate/Tab 62) Portfolio: Natural History of Carolina, Florida & the Bahama Islands *Monogram signed by Catesby in the plate (printed signature) lower right Year: 1771-1810 (third edition) Medium: Original Hand-Colored Etching on cream J. Ruse handmade paper Limited edition: Unknown Printer: Unknown Publisher: Benjamin White, London, UK Framing: Recently framed in a black and gold moulding with 100% cotton linen fabric matting Framed size: 21.63" x 25.19" Sheet size: 13.75" x 21.13" Platemark size: 10.25" x 13.75" Condition: UV staining to sheet and mat stain in margins. Some soft handling creases. In otherwise good condition Very rare Notes: Provenance: private collection - Miami, FL. Comes from Catesby's famous two volume portfolio "Natural History of Carolina, Florida & the Bahama Islands" (1771-1810) (third edition), which consists of 220 hand-colored etchings. "J. Ruse 1800" watermark lower right. Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands is generally credited as the first published work to provide illustrations and descriptions of North American flora and fauna. From 1722-1726 Catesby, an English naturalist, ranged over South Carolina, Georgia and the Bahamas sketching and collecting specimens of native plants and animals. Skunks are North and South American mammals in the family Mephitidae. While related to polecats and other members of the weasel family, skunks have as their closest Old World relatives the stink badgers. The animals are known for their ability to spray a liquid with a strong, unpleasant scent. Biography: Mark Catesby (24 March 1683 – 23 December 1749) was an English naturalist. Between 1729 and 1747 Catesby published his Natural History of Carolina, Florida and the Bahama Islands, the first published account of the flora and fauna of North America. It included 220 plates of birds, reptiles, amphibians, fish, insects, mammals and plants. Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands is generally credited as the first published work to provide illustrations and descriptions of North American flora and fauna. From 1722-1726 Catesby, an English naturalist, ranged over South Carolina, Georgia and the Bahamas sketching and collecting specimens of native plants and animals. Little is known of Catesby's early life. He was born in eastern England in 1683. Although Catesby does not appear to have attended university or studied for the Bar, he was sufficiently educated to write clear English and Latin. His interest in and knowledge of plants may have derived from his uncle, who maintained a botanical garden. Catesby also appears to have benefited from an acquaintance with John Ray, a leading English naturalist of the 17th century and the co-author of an early classic study of birds...

COLD WINTER SPECIAL...$825....FRAMED. Rare 1940s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of model BOB GIBE. Photograph is 8 x 1...

Title: The Italian City Artist/ School: English/ Italian School, late 18th century; a Grand Tour work. Medium: pencil drawing. Size: 6.75 x 9.75 inches Provenance: from a priva...

Giacomo Guardi (Venice 1764 - Venice 1835) circle of - Port landscape with architectural capriccio and British galleon. 72 x 96 cm without frame, 90 x 114 cm with frame. Ancient oi...

Jacques-Francois Delyen (1684-1761), Court Painter of King Louis XV. A Magnificent Pair of Palatial "French Royal" Allegorical Paintings "Aurora and Diana" "Night and Day" A truly ...

Paris, France by Henri Miloch (1898-1979) signed and double sided watercolour and gouache painting on artist's paper, unframed sheet 12.5 x 15.5 inches Nicely executed study over ...

Piedmontese painter of the eighteenth century Pendant of paintings Landscape with wild boar hunting scene Landscape with pastoral scene Oil on canvas, 66 x 132 cm, framed 68 x 134 We show you this pleasant pendant of paintings, characterized by a clear atmosphere and a delicate chromatic harmony, in perfect harmony with the rocaille taste of the Savoy capital of the full of the second half of the 18th century, and can be compared to a Piedmontese painter, presumably active in Turin in that period. The first work, with a pastoral and Arcadian character, shows a small group of shepherds, intent on guarding their animals: the romantic theater that sees a shepherd on horseback singing a song to cheer the rest of the companions to make the scene affected. In the second work, however, the composition is centered on the lively and rich group of figures of hunters who, armed with swords and spears and with the help of hunting dogs, surrounded the wild boars. The style of our two canvases, as well as the type of subject represented, evokes the compositions of Vittorio Amedeo Cignaroli (Turin, 1730 - 1800) with the illustrative tradition repeatedly addressed by the author, the main landscape painter of Piedmontese Rococo, as recalled in the canvases made for the Palazzine di Stupinigi and Racconigi. His technical ability and his rigorous craft earned him the esteem of the Savoy court and consequently of the Piedmontese nobles. His workshop expanded considerably due to the numerous commissions, inducing him to avail himself of the help of a considerable number of workers, apprentices and professional painters who deal with the landscape, figures or costumes according to their specialization, so it becomes difficult to establish whether a work is a workshop or an independent painter. Paintings of this format and of these subjects, often made in groups, were commissioned to be placed in palaces or in small Piedmontese and Lombard castles. Shape and size would suggest that the canvases were originally placed as over the door...

Hudson River School Style - The Homestead and Grist Mill 1942 In the Hudson River School style by A (K) Mathieu (American, 19th-20th C). Harvest time at the Homestead with a hay wago...

Handball In Central Park (1948) Limited Estate Stamped - Grande XL (Photo By Slim Aarons) A group of young men playing handball at a court in the 95th Street playground, Central ...