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Castel View on a Lake - Oil Paint - Late 19th Century

Late 19th Century

View of the Forum Romanum is an original modern artwork realized by the Italian painter Giuseppe Costantini (Nola, 1843 - Naples, 1893) in the seco...

Landscape with Houses is an original artwork realize by Robert Albert Genicot (1890-1981) in 1940s. Oil on cardboard. The painting is in very good conditions, signed by the artist ...

Neoclassic Garden is an original drawing in China ink and watercolor on paper applied on a Passepartout paper, realized by Jules Arsene Garnier (French, 1847-1889), in the late 19th ...

Sketch in The Garden is an original drawing in Ink, Watercolor, and pastel in the first half of the 20th Century. Good conditions. The artwork is depicted through strong strokes an...

Gathering Vraic on a Jersey Shore. c. 1937. Ink and watercolor on 'Castle Linen Tolli & Harvey LD London' countermarked paper. 7 1/8 x 13 1/2 (sheet 12 1/2 x 16 1/4). Good condition, apart from small professionally repaired paper losses at the corners, from previous hinges. Dedicated 'To my friend Harold James Bailey E.B.' and annotated 'To wish you a glad glow of happiness for Christmas and the New Year'. From the collection of the famous Blampied scholar and collector, Harold J. Bailey, who wrote an article, 'Edmund Blampied: Artist and Philosopher' in the Print Collector's Quarterly 24 (1937). Housed in a 15 1/2 x 21 1/2-inch Whistler style gold wood frame. In the left rear section is a Martello or Conway tower, built as a fortiffiction. A Jersey Round Tower Coastal towers stand all along the coast of the island. The British built 22 round towers, one similar square tower, and eight Martello towers towards the end of the 18th Century and in the early to mid-19th Century, but now only 24 remain, including seven of the Martellos. Vraic is a seaweed found in the Channel Islands. The main use of vraic is for spreading over potato fields during the winter. It is then ploughed into the soil before the potatoes are planted in late winter and spring. Vraic was traditionally gathered by horse and cart in Grouville Bay and St Ouen's Bay, and in smaller quantities at Le Hocq and Havre des Pas. The practice continues using...

Charles Paul Gruppé. Loading the Catch [Katwyck Aan Zee] c. 1892. Watercolor. 14 1/2 x 17 1/2 (framed 19 1/2 x 23 1/2). Signed, lower left. Housed in an archival French mat and champ...

If you are interested in African American Art and in Women in the Arts, I will certainly not need to introduce Lois Mailou Jones (1905-1988). Often associated with the Harlem Renaissance, her work can be found in the collections of the Smithsonian American Art Museum, The Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Fine Arts, Boston, Muscarelle Museum of Art, and The Phillips Collection. I am proud to present an original watercolour painting by the artist which dates from the late 1940s or early 1950s. Jones was born in Boston, Massachusetts to a father who became the first African-American to earn a law degree from Suffolk Law School. Jones's parents encouraged her to draw and paint using watercolors during her childhood. She held her first solo exhibition at the age of seventeen in Martha's Vineyard. He career began in the 1930s and she continued to produce art work until her death in 1998 at the age of 92. Her style shifted and evolved multiple times in response to influences in her life, especially her extensive travels. She felt that her greatest contribution to the art world was "proof of the talent of black artists". Her work echoes her pride in her African roots and American ancestry. In 1937, Jones received a fellowship to study in Paris at the Académie Julian, bringing her to France for the first time. The French were appreciative of her paintings and talent and Loïs Mailou Jones was thrilled at the country’s racial tolerance, so different from her reality in the United States. She summered in France annually from 1945 to 1953, sharing studio with her lifelong friend Celine Marie Tabary in Cabris, France. It was during one of these sojourns that the lovely work presented here was created. Our painting depicts the village of Tourettes sur Loup, just north of Nice, in the Provence Cote d'Azur region, about 14 miles from Cabris. Please note its similarities with her painting "Arreau, Hautes-Pyrénées" in the National Museum of Women in the Arts. Her portrayal of the picturesque village nestled in a valley evokes landscape paintings by Paul Cézanne, a stylistic influence she acknowledged. Over the course of the following 10 years, Jones exhibited at the Phillips Collection, Seattle Art Museum, National Academy of Design, the Barnett-Aden Gallery, Pennsylvania's Lincoln University, Howard University, galleries in New York, and the Corcoran Gallery of Art. In 1952, the book Loïs Mailou Jones: Peintures 1937–1951 was published, reproducing more than one hundred of her art pieces completed in France.At the Barnett-Aden Gallery, Jones exhibited with a group of prominent black artists, such as Jacob Lawrence and Alma Thomas. These artists and others were known as the "Little Paris...

Emilio Sanchez (1921-1999) created [untitled] “STREET SCENE WITH FRUIT VENDOR” in circa 1950. This unsigned watercolor and came to us directly from the Sanchez estate. It is stamped on the verso "Estate of Emilio Sanchez." This piece is in good to very good condition and painted to the paper's edge. The paper size is 14.88 x 15.25 inches (37.6 x 38.6 cm). “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...