Framed Art

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 24 x 30 Frame Size: 33 x 39 Medium: Oil on Canvas Dated 1972 "Spring Shadows" B...

Artist: Brainwash, Mr. Title: Banksy Thrower Series: Banksy Thrower Date: 2022 Medium: Silkscreen and Mixed Media on Paper Unframed Dimensions: 36" x 36" Framed Dimensions: 42...

Riders Joyce Roybal, (1955) Oil on Canvas, signed lower right Size: 19.75 x 24 in. (50.17 x 60.96 cm) Frame Size: 26 x 29.75 inches

Flowers in the Windowsill French artist, signed oil painting on board, framed dated 1960 framed: 21.5 x 25 inches board: 18 x 22 inches provenance: private collection, France condit...

Jules Pages, American Impressionist Marine, La Rochelle, France oil/canvas signed LL 13 x 16 unframed, 18 x 21 framed. An oil painting on canvas by Jules Pages showing a French scen...

Bander Bee and Trojan, a favourite Hunter and a Fox hound in a Stable Yard Signed and inscribed Oil on canvas THE SOUTHWELL COLLECTION Everett Fine Art is excited to present this...

A Fine depiction of a Sailing Ship in the Hudson River. For this wonderful depiction, Nemethy uses a Fine technique which depicts the figures on the boat in a miniature way. With joyful colors, this piece is bright and peaceful. This painting is signed by the artist lower left and it comes comes housed in a beautiful simple wood frame and ready to be displayed with hanging wire on verso. This painting measures 8 x 14 inches Framed measures 13 x 19 inches PROVENANCE: Lilac Gallery...

In this oil painting , I sought to capture the ephemeral dance of light through vibrant leaves, a tribute to nature's quiet yet profound transitions. The impressionistic strokes conj...

Thomas Hudson (Devon 1701 - London 1779) Portrait of a senior naval officer, c. late 1740s Probably a captain or admiral; half-length, holding a telescope, with a warship beyond Oil on canvas 91.3 x 71.1 cm.; (within frame) 114.3 x 93.8 cm. (Unsigned) Provenance: Christie’s, London, 22 November 1985, lot 105 (as Thomas Hudson); Private collection, United Kingdom; Haynes Fine Art, Broadway, Worcestershire; Where acquired, private collection, United States, 16 August 1988; Neal Auction, New Orleans, 14 September 2025, lot 302 (as Attributed to Thomas Hudson); Where acquired by Haveron Fine Art. Literature: Bridgeman Art Library, The Bridgeman Art Library (London: The Library, 1995), p. 89 Christie’s, London, Important English Pictures (London: Christie’s, 22 November 1985) Archival: Witt Library, Courtauld Institute of Art (no. 061487); Heinz Archive and Library, National Portrait Gallery, 1725-50, Thomas Hudson: Men Authentic (1) (Box) This attractive and quintessential half-length is exemplary of Hudson’s leading portrait practice, produced in the years immediately preceding his decade-long dominance over the London market, beginning in 1749. The work is stylistically typical of Hudson's prime 1750s output, displaying a deliberate refinement of his technique: namely the emphasis of directional brushstrokes, which sensitively follow the contours of the facial features. However, since the sitter wears civilian dress and not a naval uniform (introduced officially in April 1748), a late 1740s date of creation is most likely. Displaying the merits of Hudson's evolving handling, a distinctive feathery quality is combined here with a striking chiaroscuro effect, which Hudson borrowed directly from Rembrandt. Amalgamating the rich colouring of the Rococo with a mannered Baroque posing, Hudson renders the senior naval officer with a characteristic presence. Resting one hand assuredly at his hip, the finely worked telescope illustrates the officer’s seniority; the warship sailing on the horizon beyond provides further indication of his commanding rank. The telescope is held by a hand modelled with sculptural poise, and the typically Van Dyck manner (seen elsewhere, e.g. Princess Amelia Sophia Eleonore of Great Britain, YCBA B2001.2.246) further illustrates Hudson's studied grounding. The sitter wears civilian clothes, and not the naval uniform first introduced in 1748 (which officers afterwards invariably chose to be shown in). His red waistcoat is of a type popular amongst British officers before 1748, perhaps inspired by French naval uniforms. The officer has previously been suggested as Edward Henry Sartorius, of the prominent naval Sartorius family; however, this identification is improbable on biographical and documentary grounds. Hudson was regularly commissioned by leading naval officers, and produced highly satisfactory portraits praised for their great likeness and genteel swagger. He charged 24 guineas for a standard 50 x 40 inch half-length in the 1750s period, and the present work (somewhat smaller in size) would have cost not much less. Comparable works include those of Admirals of the Fleet George Anson, 1st Baron Anson, and Sir John Norris; Admiral Sir George Pocock; Admiral Sir Peter Warren; Vice-Admiral The Honourable John Byng; and Rear-Admiral Richard Tyrrell. The present portrait is particularly similar in composition to Hudson’s Portrait of a Flag Officer of The White Squadron, which similarly employs the narrative device of a telescope held at a dynamic angle across the composition, with a warship to the left side of the officer’s retracted arm. Thomas Hudson (Devon 1701 - London 1799) Thomas Hudson rose to become the leading British portraitist of the mid-18th century, albeit in close competition with his Scottish counterpart Allan Ramsay. Born in Devon, Hudson studied alongside George Knapton under Jonathan Richardson the Elder (marrying his daughter in 1725, expressly against Richardson’s wishes), and inherited a dignified formality jointly derived from Van Loo. His work is first recorded in 1728, and between 1730-40 he practised in Bath and the West Country, where in addition to portrait commissions, he was employed to retouch and reline old pictures. He returned permanently to London thereafter, and devised a series of stock poses to which he would return with variation throughout his career. Beginning in 1745 with the death of Richardson and the departure of Van Loo, Hudson became the city’s most successful portraitist, and embarked on ambitious defining works such as his Portrait of Theodore Jacobsen ‒ not drastically unlike the continental heights of Pompeo Batoni in conception. Profiting from his success, he relocated from Lincoln’s Inn Fields to a house in Great Queen Street previously inhabited by Van Loo, and one door down from Kneller’s old rooms. An exceptionally productive period began in 1749 which lasted until the late 1750s. Among this output were highly praised portraits of the Prince and Princess of Wales, commissions for most of the preeminent aristocrats, and superlative group portraits including Benn’s Club of Aldermen, and those of the Thistlethwayte, Marlborough and Radcliffe families. Hudson relocated to King Street, Covent Garden, operating a prolific studio operation which resulted in some four hundred paintings ‒ of which at least eighty were engraved. A prodigious assembly of young pupils included Sir Joshua Reynolds (1740-3), Joseph Wright of Derby (1751-3, 1756), Richard Cosway, John Hamilton Mortimer, and the drapery painters Joseph and Alexander van Aken (also employed by Ramsay). As one later reviewer expressed: ‘Hudson, his art may well display to sight / Who gave Mankind a Reynolds and a Wright’ (Miles, ‘Introduction’). The ambitious young Reynolds made many drawings from classical statuary under Hudson’s instruction, and wrote home that, ‘While doing this I am the happiest creature Alive (sic.)’ (Sweetser, p.12). However, he was later dismissed from his pupilage some two years prematurely for refusing to carry a painting to Van Aken’s studio in the rain. It was at this point that Reynolds returned to Plymouth (Devonport), and produced some thirty portraits of the local gentry (including one example presently owned by Haveron Fine Art). Hudson was one of a number of artists who congregated in Old Slaughter’s Coffee House, alongside Hogarth, Ramsay, Hayman, and Rysbrack. Together they supported Thomas Coram’s Foundling Hospital, of which they each belonged to the 600 governors (in whom Hudson met many of his future clients), and promoted the building as London’s first public space of artistic exhibition. He visited the Netherlands and France for five weeks in 1748 accompanied by St Martin’s Lane colleagues, and was arrested with Hogarth for making drawings of the Bastille fortifications. He afterwards stayed in Rome and Naples in 1752 with Roubiliac, meeting Reynolds twice on the return journey. He returned to England and bought a house at Cross Deep, Twickenham (upstream from Pope’s villa), and made an effective museum of the space. He lived there with his second wife, a wealthy widow named Mrs Fynes. Having been involved with early attempts to establish a royal academy of the arts, Hudson exhibited at the Society of Arts in 1761 and 1766, although he had effectively retired from painting by the latter date. His last painting was in 1767, and he died at Twickenham in January 1779 aged seventy-eight. Hudson was also exceptional for the extensive collection of artworks which he amassed during his lifetime. The collection was thoroughly impressive in extent, and included outstanding Old Masters: Breughel, Canaletto, van Dyck, Hals, Holbein, Kneller, Lely, Michelangelo, Parmigianino, Poussin, Raphael, Rembrandt, Rubens, Tintoretto, Titian, Vasari, and Velázquez. His earliest recorded purchase was in 1741, and he spent heavily at the sale of his father-in-law, even buying works jointly with Van Aken. Likewise, at the posthumous 1750 sale of Van Aken, Hudson spent £215 on the second day (nearly half that day’s sale total). As a pupil, Reynolds had been sent to bid for Hudson in Lord Oxford’s sale of 1742, and proudly recalled having been greeted with a handshake by Hudson’s friend Pope at another picture sale. Hudson also collected extensively from within his own generation, acquiring works by contemporaries including Gainsborough, Reynolds, Richardson, Rysbrack, Vanderbank, and his predecessor Van Loo. Following his death, the works were dispersed in two sales at Messrs. Langford, with the finer works sold at Christie’s in 1785 after the death of his second wife. However, his connoisseurship was not without flaw ‒ having outbid Benjamin Wilson for a Rembrandt drawing, Wilson etched and printed a new ‘Rembrandt’ plate...

Benvenuto Tisi, il Garofalo (Garofalo, Rovigo 1476 - Ferrara 1559) workshop/follower Madonna with Child and Saint Joseph Oil on canvas 125 x 90 cm - In frame 143 x 109 cm. I...

Ahzad Bogosian Hills and River acrylic on canvas 30h x 50w in 76.20h x 127w cm Framed Dimensions 31h x 51w x 2d in 78.74h x 129.54w x 5.08d cm AZB159 Ahzad Bogosian SOLO EXHIBITIO...

An exceptional, scarce serigraph by Corita Kent from 1966-67 titled “To Do A Common Thing Uncommonly Well Brings Success”. Like many of Kent’s works, this image features a famous qu...

This mural study is part of our exhibition America Coast to Coast: Artists of the 1930s San Pedro Post Office: History of Writing Mural South, Preliminary Mural Maquette right panel...

Antique American impressionist winter landscape oil painting by Ernest Albert (1857 - 1946). Oil on canvas, circa 1900. Signed. Frame...

Peintre et Modele Etching and aquatint on Rives wove paper, 1966 Signature stamp lower right (see photo) Annotated in pencil lower left: "epreuve avant acierage" (see photo) One of t...

Confidences is an modern artwork realized by a mid-20th century Artist after Pierre Auguste Renoir. Mixed colore oil painting. Includes frame: 70 x 7 x 57 cm The artwork is from o...

Leonora Carrington (British-Mexican 1917 - 2011) was a painter, writer, and key figure in Surrealism whose work explored the sacred, the mystical, and the magical in everyday life. B...

Giverny, 1888 Oil on canvas, 11 x 14 inches (27.9 x 35.6 cm) Framed dimensions: 18 5/8 x 22 1/4 inches Signed and dated lower right: John Leslie Breck 88 Provenance Private collect...

Landscape, 1940, oil on canvas, 24 x 20 inches, signed, dated and titled verso: “Marcel Cailliet ’40 – S.C.” and “Marcel Cailliet Landscape”; likely exhibited at the annual juried st...

This early 18th-century Dutch oil painting, produced around 1720, reflects the enduring influence of the Amsterdam school and carries forward one of the Dutch Republic’s most cherish...

ARTIST: Anthony Atkinson (1920-2015) English TITLE: "Pastoral Landscape" SIGNED: lower Right MEDIUM: oil on canvas SIZE: 57cm x 47cm CONDITION: excellent DETAIL: Painter, teacher an...

OIL PAINTING Antique 19th Century Fine Quality Piece Gold Gilt frame OLD MASTER OIL PAINTING BRITISH SCHOOL 19th Century in a Gold Frame Description. 19th century Piece “Good C...

This striking original vintage oil painting on canvas captures the dramatic energy of the sea. Against a turbulent sky of layered blues and storm‑laden clouds, a majestic sailing shi...

Mural Study for "History of Water" American Scene Modernism Social Realism WPA Thomas Hart Benton (American, 1889-1975) "Water Story" (Study for The History of Water) Tempera and o...

This whimsical and sophisticated painting was realized by the esteemed contemporary painter, Hunt Slonem in 2013. It presents a stylized rabbit in profile, rendered with loose and ex...

Antique American abstract expressionist painting. OIl on canvas. Framed. Signed.

French school, 17th Century Portrait of the Marquise de Grugieres Oil on canvas 26.1/4 x 21.5/8 in. (66.7 x 54.8 cm.) In a gilded composite frame, later production (possible early 1...

Unknown and unsigned painting of a bright beach scene with bold colors and 1980's inspired shapes. Image Size: 47.5 x 35.5 inches Frame Size: 50 x 3...

In The Studio in Suspension, Sophie Dumont reimagines the atmosphere of a working artist’s studio, where canvases, color fields, and subtle objects appear to hover in a poised, quiet...

‘Melancholic Sappho’ by Arthur Hill RBA (1841-1908). The painting – which depicts the celebrated poet of Ancient Greece appealing to the Goddess Aphrodite, with the Parthenon on the ...

Antique Italian modernist landscape oil painting. Oil on board. Signed. Framed. Provenance from a Brooklyn, NY collection. Measuring: 23 by 33 inches overall. Handsomely framed in d...

The Little Ballerina - Figurative Drawing in Pencil on Paper Delicate drawing of a ballerina from the back by an unknown artist (20th Century). With ...

Portrait of a Young Girl, with her Pet Dog on the Steps of her Country Home English School, circa 1870's oil on board, framed in antique gilt swept frame. framed: 25.5 x 21 inches b...

This large contemporary assemblage by Swedish artist Bo Sällström has a strong visual character. It is a assemblage with volume that has an intriguing thr...

Artist: Salvador Dali Title: The Pagoda Portfolio: The Hippies Medium: Color etching on Japon paper Date: 1969 Edition: XV/C Frame Size: 31" x 26 1/2" Sheet Size: 26" x 20" Image Siz...

Portrait Of A Man, 17th/18th Century after Franciabigio (1482-1525) Large 17th/18th Century Italian renaissance portrait of a Florentine Man, oil on canvas. Excellent quality and c...

Cornelis Van Leemputten Werchter 1841 – 1902 Schaerbeek Belgian Painter 'The Shepherd with his Flock – Le berger et son troupeau' Signature: signed lower right 'Corn. Van Leemputte...

bullfight original expressionist acrylic painting. Framed During its first exhibition in Paris, the French press catalogs it like "The Catalan Sorolla". Honorary Member of the MECOA...

Flowers in Interior French School, circa 1950's indistinctly signed upper corner oil on board, framed framed: 23 x 20 inches board: 18 x 15 inches provenance: private collection, Fra...

Antique American abstract expressionist painting. OIl on canvas. Framed. Finely painted with wonderful color palette.

An atmospheric, tonal farm scene by artist Joseph Lane. Image size: 25" x 30". Framed size: 29" x 34". Joseph Lane was born in Austin, Texas in 1900. ...

Work on canvas oil on Canvas : 61 x 50 cm - With Frame : 80 x 69 cm This oil on canvas depicts a sumptuous bouquet of flowers in a vase on a stone table. The style is classical, evo...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

This artwork titled "The Windmill" 1641 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Signatu...

Erich Kruger (1897-1978) Floral Still life Oil on canvas Pink poppies + Hydrangeas 23.5 x 331.5 unframed, 37.5.x 25.5 framed

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

Landscape is an original modern artwork realized by Ardengo Soffici in 1930s. Pencil on paper. Hand signed lower right. Includes frame.

Italian painter (18th century) - Arcadian landscape with flock and shepherds. 56 x 70 cm without frame, 63.5 x 79 cm with frame. Antique oil painting on canvas, in a wooden frame (...

Sailing Boats French School, 20th century oil on board, framed inscribed verso framed: 20 x 24.5 inches board: 17 x 21 inches provenance: private collection, France condition: very g...

Nashville at Sunrise Oil on canvas, mounted to archival resin board Signed by the artist lower left Provenance: Estate of the artist By decent A gorgeous Indiana Impressionist oil painting, done "plein air" (on location, outdoors) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop, Griffith was a member and president of the Chicago Palette and Chisel Club. He made his first trip to Brown County...

Wassily Kandinsky
 Bunt im Dreieck, 1965
 Lithograph in colours on Arches paper
 Signed in the plate
 50 x 37.5 cm
 Sheet: 64 x 45.7 cm Framed: 69.2 x 56 cm

Ludwig Hans Fischer (1848–1915) – "Colombo" (1889) An exceptional original watercolor by Austrian artist Ludwig Hans Fischer (1848–1915), titled "Colombo" (1889). This vibrant and m...

Luminous early 20th Century seascape of Capri on Amalfi Coast by Albert Wenk (German, 1863-1934), 1913. Signed and dated lower left corner. Cond...

A charming depiction of Snow in New York City on Fifth Avenue with figures walking a dog. A cozy impressionistic street scene with colors of cobalts, light pink, whites, cadmium red ...

Very impressive mid 20th century cubist abstract. Oil on canvas. Framed.

Artist: Slonem, Hunt Title: Marlyne Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14.5" x 12.5" Signature: Signed by Artist on Verso Edition:...

Three Trees by Clive Patterson. Original Acrylic on board painting of a very green abstracted landscape scene. The picturesque town of Picton is truly a maritime centre for the Sout...

Pascal Jarrion was born in 1961 in Perpignan, France, a region known for its Catalan culture as well as its influence on artists before him, including Picasso, Van Gogh, and Maillol....

This scene sets place on the land of a small farm in late summer. In the foreground an angler casts his line into the river running between the small farm house and the wheat field. ...

Artist: Charles Cobelle, French (1902 - 1994) Title: Monument Year: circa 1960 Medium: Acrylic on Canvas, signed l.r. Size: 24 x 30 in. (60.96 x 76.2 cm) Frame: 28.75 x 33 inches