Medium Paintings

Michael Carson's (US based) "Portrait of Britt Daniel" is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis...

“Light Field I” examines the relationship between structured form and atmospheric color fields. Branches intersect softly diffused areas of color, moving through zones of warm light...

The Shepherd and his Border Collie Dog by John Edwards (English, 1940 - 2020) signed oil on canvas, framed framed: 29 x 23.5 inches canvas : 23 x 18 inches Provenance: private collec...

Antique modernist landscape painting by Jan Matulka (1890 - 1972). Watercolor on paper. Signed. Framed. Measuring 24 by 28 inches overall and 15.5 by 19.5 painting alone.

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

“Aspen, Craig Meadows in Spring” is a luminous circa 1920 oil on canvas painting by Colorado artist Albert Stokes Bancroft, capturing the rolling meadows and slender aspen trees of t...

19th Century Portrait of Seated Lady with Fur Trim Jacket Interior by Indistinctly Signed Artist (European, dated 1887) Signed and dated 1887 lower left oil on canvas, framed in a g...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Georges Henri FAUVEL Canvas Size: 17 x 21" (42.5cm x 52.5cm) Outside Frame Size: Born in 1890 in Havre (Seine-Maritime), France Painter of animals, especially hunting dogs- his b...

Charming King Charles Cavalier Spaniel and her Pups is an oil on old canvas painting in folk English School style. Dates to 18th century, the dogs are in a homestead by a thatched c...

Vinsent G. Stiepevich (1841 - 1910) Russian and American artist. Emigrated to New York in 1878, where he lived in Brooklyn, Vincent Stiepevich was noted for his realist painting style of portrait, figure and genre subjects, especially in Harem and Orientalist* settings. Memberships in New York included the Artists Fund Society* the Brooklyn Art Association*, 1878-82, 1891; National Academy of Design*, 1878-91; Pennsylvania Academy of the Fine Arts* annual, 1885, 1888-91; Boston Art...

Oil Painting on panel realized by Miloslava Vrbova (1909-1991) in the mid-20th century, depicting an elegant reclyned ballerina. Hand signed. Good condition, framed.

"Abstract Rhythms" invites us to explore the visual universe of the artist Juan Carlos Amador, who, through his unique perspective, translates the pulsations of space and the invisi...

Vase of Flowers by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 31.5 x 30 inches Provenance: all the paintings we have by this artist ha...

The work was painted en plein air by Ukrainian artists on the Kinburn Spit. The painting depicts the seaward side of the spit. In the distance stands an old iron pier once used for b...

An exceptional impressionistic depiction of an afternoon along the Jardin des Tuileries, Paris by Jules René Hervé on a summer day with the busy activities of people walking and of f...

Charles Van Den Eycken 1859 – Brussels – 1923 Belgian Painter 'Curious Kittens' Signature: signed lower left and dated 'Ch. Van den Eycken 1900.' Medium: oil on canvas Dimensions:...

Title: Purple Haze Size 24”x 30” Materials: Acrylics, glazes and metallic Canvas : Gallery Heavy Duty Wrapped Signed by the artist on reverse "Energy guides beneath the sea"

William C. Grauer (American, 1895-1985) Scrub and Pines, 1929 Oil on canvas Signed lower right 18 x 20 inches 24.5 x 26.5 inches, framed Exhibited: Cleveland Museum of Art, May Show ...

OLIVIER SCHNEIDER Untitled (Abstract), 1995 32.0 x 32.0 acrylic on paper, mounted on wood board ink signed and dated verso Olivier Schneider delivers a unique and colorful abstract ...

“Hon. George King, 1788” by John Russell (1745-1806) Regarded as Britain’s foremost pastellist, John Russell is well known for his portraits of the wealthy middle class. In particul...

The painting, created on a round plywood canvas, is a unique combination of sculpture and painting. The upper part of the artwork is adorned with a hand-painted botanical pattern usi...

A beautiful, intense painting by one of the greatest Italian avant-garde artists of the 20th century. In this beautiful, poetic work, the great artist Filippo De Pisis (Ferrara, 11 M...

Antique American impressionist coastal seascape painting. Oil on board. In excellent original condition. Handsomely framed in a gold giltwood molding. Excellent condition, ready ...

Jean-Jacques RENÉ Seascape : Animated Beach in Normandy Original oil painting on canvas Hansigned 54 x 65 cm (c. 21 x 26 inch) Excellent condition

Herman Richir Detail of the Young Horsewoman c. 1980s Fine color facsimile 28 x 22 inches, 32 x 26 (framed)

Title: Boats by the Shore Medium: Oil on canvas Size: 23.75 x 31.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: ...

William Hart (1823 - 1894) Pastoral Landscape, 1877 Oil on canvas 9 1/2 x 14 1/2 inches Signed and dated lower left Born in Paisley, Scotland, William Ha...

Signed Upper Left "Tosca" for Tosca Olinski (American, 1909-1984) and painted in 1941. Provenance: Mongerson Wunderlich Galleries, Chicago. Exhibited: New Directions in American Pai...

Rooted in introspection and emotional nuance, Xenia Gray’s figurative mixed media works capture the quiet tension between solitude and connection. Her paintings often depict the huma...

Artist: Henry Perronet Briggs, Attributed to, English (1793 - 1844) Title: Juliet and Her Nurse with the Page Peter from Shakespeare's Romeo and Juliet Year: circa 1820 Medium: Oil o...

Title: High Up Medium: Oil on canvas Size: 30.5 x 23.25 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painti...

"Grey November" is a 2023 original oil painting on board, created by T. Allen Lawson. Depicted is a western plain leading to foothills, overcast by a large and brooding deep grey sto...

Portrait Of A Young Girl Wearing A Pink Bow & Shawl, 19th Century Samuel Luke FILDES (1843-1927) sales to $350,000 Large circa 1900 portrait of a young girl, believed to be the...

Michael Carson's (US based) "Stolen" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of...

Vice-Admiral Lord Horatio Nelson by John Edwards (British. 1940 - 2020) signed oil on canvas with board backing, unframed canvas : 30 x 24 inches Provenance: private collection, UK C...

Spanish School (18th Century), A Rare Portrait of Juan Procopio de Bassecourt, count of Santa Clara, governor of the island of Cuba between December 1796 and May 1799. The lighthouse...

Jose Vives-Atsara (1919-2004) San Antonio Artist Image Size: 30 x 24 Frame Size: 38.75 x 32.75 Medium: Oil on Canvas Applied by Palette Knife Dated 2001 "Flowers" Biography Jose Vives-Atsara (1919-2004) His list of Pallbearers says it all. They were not just buyers of his art they were some of his closest friends. Pallbearers: E. Glenn Biggs, James M. Cavender, III, Tom C. Frost, Jr., James W. Gorman, Jr., George B. Irish, Joseph R. Krier, Robert L. Mooney and H. Bartell Zachry, Jr. Jose Vives-Atsara was born April 13, 1919, in Villafranca del Penedes near Barcelona, Spain. A native Spaniard, he developed a love of painting at an early age, and by age 11 had committed himself to becoming an artist. He studied at Colegio de San Ramon and had his first one-person show at age 14. The Spanish Civil interrupted his idyllic young life as he was forced to serve in the Communist Army, and then was imprisoned, suffering many hardships. Soon after the war he married Emilia Hill Domenech, and in 1947 set out to move with his wife and child aboard a tramp steamer to the United States. Unfortunately, immigration quotas did not allow them to move directly to the United States, and it was eight years before they achieved that goal. During this interim before obtaining temporary visas, he and his family lived first, in Caracas, Venezuela and then in Mexico City, Mexico. The family settled in San Antonio, Texas, where he had made friends on a previous visit. He and his wife and children gained citizenship in time for their first Christmas in the United States. He became such an exemplary immigrant citizen that officials of the U.S. District Court for the Western District Court regularly invited him to share his thoughts and advice for living in America with newly naturalized citizens Vives-Atsara also developed a close relationship with the Incarnate Word College, becoming, over the years, both a professor of art, and Artist in Residence. As a painter, he depicted many local scenes including San Antonio missions and the San Antonio River. For special guests such as Pope John Paul II, heads of state, and royalty from foreign countries, he was commissioned to provide paintings as gifts. His paintings were also commissioned for Frost Bank and the San Antonio Chamber of Commerce. For his vibrant oil paintings, he used only nine colors, mixed in a variety of ways. They have been described as both realistic and impressionistic. "Vives-Atsara believed that art is a reflection of the artist's soul, if this is true; his paintings reflect a beautiful, bright spirit." (Richardson) Jose Vives-Atsara died in San Antonio on January 13, 2004 and is buried there in Sunset Memorial Park Mausoleum. Jose Vives-Atsara was born in Vilafranca del Panades in the Catalonian region of Spain on April 30, 1919. As a small boy he loved to sketch with pencil and paper. He began painting at the age of eleven. His first one-man show came at the ripe old age of fourteen. From that time on, painting has been his love and his way of life. Jose studied art at Saint Raymond College and School of Fine Arts in Barcelona. He is quick to admit that his most inspirational teacher has been nature itself. Mr. Vives-Atsara came to San Antonio in 1956 where he has established his art career. His use of a palette knife in painting allows him to blend rich pure pigments to achieve his goal of creating a powerful statement of color directly on the canvas. This style is intended to produce works that are distinctively 'Vives-Atsara'. Vives-Atsara is represented in public collections including the Museum of Modern Art, Spain; Fort Worth Art Museum, Texas; His Royal Highness Juan Carlos...

This intimate domestic scene depicts a contemplative woman in traditional dress seated in a rustic kitchen interior. Behind her, the wall is adorned with Delft tiles in classic white...

(Comes professionally framed in a solid maple floater frame, ready to hang) Artist's Statement "This series of intensely colorful paintings was begun a couple of years back in reaction to the gray oppressive weight that had descended like a pall on the American scene. I wanted to make paintings about nothing but pure delight, in honor of the fact that beneath the fog of germs and political antagonism, we still eat, laugh, love and if we're wise, acknowledge how spectacularly fortunate we are -- at least for now, in this time and place, despite the problems. For me, the colors, forms and brushstrokes here feel exuberant without suggesting an unnerving chaos. I have purposely used unlikely color combinations that despite their dissonance seem to work together. I don't feel this is a time to be making brooding works that reflect the problems we are working our way through; we all know about this. On the contrary, I think it's a time for art...

Antique American impressionist flower still life signed oil painting. Oil on canvas. Signed. Framed. Image size, 25.5L x 21.5H.

“Fragments (II)â€

Work on canvas Dimensions with frame : 63 x 71.5 x 4.5 cm Country landscape in Summer This captivating work depicts a peaceful landscape with a remarkable mastery of nuances of color...

The Woodland Stream French Barbican artist, late 19th century/ early 20th century indistinctly signed lower corner, oil painting on board, unframed board: 24 x 29 inches Provenance: ...

Hans Paap (German/American, 1890-1967) Signed: HANS PAAP. 1947 (Lower, Left) " Rep. Dominicana " (Right of Signature) " Nativo Tropical ", circa 1947 (Lower, Center) (Tropical Na...

Title: Pensive Woman Artist: Frederic Lloveras Herrera (1912–1983) Year: 1980 Technique: Oil on canvas Dimensions: 28.7 x 23.6 in (73 x 60 cm) Support: Canvas, unframed Signature: Si...

A Radiant, 1950s Mid-Century Modern Studio Portrait of a Seated Female Nude Model. Painted in a sensuous color palette of wonderfully expressive reds and cool creams, the painting e...

The Cavalry Skirmish Flemish School, mid 17th century circle of Lambert de Hondt (Flemish, 1620-1665) oil on panel, framed Framed: 21 x 27 inches Board: 16 x 22 inches Provenance: private collection, France Condition: very good condition, with old repairs and thinning in places. This painting, attributed to the circle of Lambert de Hondt (Flemish, 17th century), depicts an intense battle scene, typical of Flemish military compositions of the time. Lambert de Hondt was known for his battle scenes, landscapes, and hunting scenes, often filled with dynamic action and fine detail, and this work clearly reflects his influence. The artwork portrays a cavalry skirmish with soldiers in traditional 17th-century military dress, including red tunics...

Lush watercolor landscape by unknown artist Erazo (20th Century). In a small village, a lone figure walks down the street, away from the viewer. A large, snowcapped mountain rises dr...

Well painted 1950's mid-century modern English portrait of a black nude woman seated on a chair. The artist was a portrait and figure painter active during the 1950s-1960s Oils on ...

Mid century figurative landscape of a nude female figure with tree at El Capitan, Yosemite, California by Margaret Wherry Ziegler (American, 1909-1989). Signed "M. Ziegler" lower right. Displayed in a rustic new silver gilt frame. Image, 24"H x 12"W. Margaret Wherry Ziegler was born in Cincinnati, Ohio on November 27, 1909. At a young age she traveled with her parents to the Philippines, Japan, India, Italy, Greece, and Europe. She studied art at the Cincinnati Art Academy, Minneapolis Art Institute, the University of the Philippines, and the California College of Arts and Crafts. While in Japan she studied Japanese brush painting...

The Hill Top Perched Village in Provence by Louis HONORE (French, b. 1891) signed lower right oil on canvas, original Montparnasse style frame framed: 22 x 25 inches canvas: 15 x 18 ...

This colorful and powerful seascape might help to brighten your walls and room. It is of Bass Rocks in Gloucester Massachusetts. Artist Helen Marie Stockton used bold turquoise col...

David Hockney A Bigger Book, Art Edition B, 2010 Signed dated and numbered at the bottom of the sheet iPad drawing in colours on archival paper, with the accompanying book 70 × 50 cm...

Artist: Peter Max, German/American (1937 - ) Title: Statue of Liberty Year: 2009 Medium: Acrylic and Mixed Media on Paper, signed lower right Size: 11 x 8.5 inches Frame Size: 32 x 2...

19th / 20th century painter Work on canvas Brown wooden frame 64 x 75 x 3 cm

Antique American modernist abstract oil painting by Adele Becker (1929-2021). Oil on canvas. Framed. Signed.

Aerei ,blu,carta di giornale 1933,Italia, Sicilia Siglato in basso a destra M.F. Certificato di archiviazione all'archivio Michele Falanga L'opera viene venduta con certificato di a...

Peter Stephens Quadrivium 65, 2024 acrylic and collage on paper 30 x 22 in image size: 12 x 16½ in (ste025)

As a French Impressionist artist, most of Harry Deditch Dansky works were produced in the Mid-20th Century. He was known for his vibrant compositions and with a passion to portray li...