Small Paintings

Abstract Composition British School, monogrammed/ dated lower corner gouache painting on paper laid over card, unframed actual painting: 22 x 15.5 inches Superb - bold - and very co...

This elegant painting, created in oil on canvas, is dedicated to the wondrous beauty and tenderness of spring nature. At the center of the composition is a sumptuous bouquet of pink ...

A fine eighteenth-century portrait of an aristocratic gentleman wearing a smart black coat, white cravat, and white waistcoat. This portrait was acquired as part of a pair; the other...

A photorealist painting of a vintage Lotus Elan S2. This classic British sports car was released in 1964 and has a mid century style and shape that I love! Set in Savannah, Georgia t...

The Favourite Pet English Country House Portrait, lady with Spaniel Dog English, 19th century circle of Alfred Edward Chalon (19th century) oil on canvas, framed framed: 23.5 x 20 i...

A beautiful oil on canvas painting by the French artist Jean Salabet. This exceptional work captures the prime of his career, depicting vibrant flower vendors along the Arc de Triomp...

A charming oil study from c.1907 depicting a modest rural cottage set within a well-maintained plot, featuring neatly trimmed hedgerows and blossoming trees. Carbaat employs an impre...

Born in Gardner, Massachusetts in 1876, painter, writer and teacher Emma Alice (Polly) Parker Nordell studied at the Rhode Island School of Design under Stacy Tolman and Sydney R. Burleigh, Art Students League under Frank DuMond and Robert Henri, Chase School of Art with William Merritt Chase in New York City and at the Academie de la Grand Chaumiere in Paris under the tutelage of Lucien Simon and Emile Menard...

Richard Schmid's "Ruth at the Window" is a stunning female portrait and interior painting, created with oil paint on canvas. This piece is currently framed at 30 x 32", wired and rea...

A warm sunset over Norfolk's Cromer beach. Between Thoughts is a sublime oil painting that captures the mesmerizing tranquility of a sunset over thw North Sea. The horizon is ablaze...

Meet Me by the Wall is an original painting by Mary Scott. This is an abstract painting in a minimal palette of cool turquoise, white and grey hues inspired by the seascape of the ha...

Michael Azgour is an artist and educator whose work addresses the impact of digital imagery on contemporary culture. His paintings combine evocative, expressive representation with g...

A vibrant celebration of nature. This artwork captures a lush bouquet with spontaneous energy. Bright yellow blossoms dance across the canvas. They contrast with crisp white petals a...

Algerian Mid century oil on board landscape by Franco Algerian artist André Boureau a pupil of Othon Freize. The painting is signed bottom right and is presented in a custom patinate...

Title French Expressionist Provence Luberon Poppy Field Oil Painting Ambrogiani Style Key Details Artist: French School, mid 20th century Subject: Provençal landscape, believed to de...

Pierre Coquet - Still life with bottles and an old iron Reference number F287 This is a oil on canvas and wear the stamp of the signature in the bottom right. The painting is not fra...

Title: Summer Lotus Medium: Oil on canvas Size: 19.5 x 19.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2014 ...

color original abstract acrylic painting. While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the same sense that Julius Bissier referred t...

A burst of sunlight captures the essence of a summer morning. This oil and pastel composition celebrates the beauty of simple pleasures. A white spherical vase anchors the scene. It ...

GEORGE PAICE Ypsilanti, Winner of the Great Jubilee Handicap at Kempton Park Oil on canvas, dated 1904 Signed lower left Presented in a decorative gilt frame This accomplished late nineteenth-century British sporting portrait by George Paice depicts the celebrated racehorse Ypsilanti, winner of the Great Jubilee Handicap at Kempton Park. Painted and dated 1894, the work records the successful thoroughbred standing in a stable interior. Ypsilanti is shown in full profile facing left, standing alert yet composed upon a straw-covered stable floor. The horse’s rich bay coat is carefully modelled with deep brown and chestnut tones, enlivened by cool highlights along the neck, back and muscular hindquarters. The upright ears, attentive eye and finely drawn head convey an intelligent and spirited character. A blue-grey horse blanket is draped over the partition behind the animal, introducing a subtle note of colour and reinforcing the stable setting. The pale walls and restrained interior provide a quiet backdrop, allowing the horse’s elegant outline and athletic proportions to dominate the composition. Particular attention has been given to Ypsilanti’s conformation. The long neck, deep chest, powerful hindquarters and slender legs are described with the anatomical understanding expected of an experienced equestrian painter. Paice combines precise observation with a direct and decorative approach, presenting the horse both as an individual animal and as a distinguished winner on the racecourse. George Paice (1854–1925) was a British painter best known for his portraits of horses, dogs and other sporting subjects. Working during the late Victorian and Edwardian periods, he developed a reputation for characterful and carefully observed animal portraits. His paintings frequently depict named racehorses, hunters and family animals within stable, landscape or domestic settings. The work is painted in oil on canvas and is signed and dated by Paice at the lower left. The inscription identifies the horse as Ypsilanti, winner of the Great Jubilee Handicap at Kempton Park, giving the portrait an important connection with British racing history. The painting is presented in a decorative gilt frame with broad moulded corners and a foliate inner border. Its warm, time-softened finish complements the bay colouring of the horse and provides an appropriately substantial setting for the composition. An attractive combination of equestrian portraiture and British racing history, this work would make a distinctive addition to a collection of sporting art, racehorse paintings...

* No US duty or taxes to pay on this item * A beautiful mid 20th century Swedish oil on canvas self portrait of an artist wearing a beret. Very decorative work in the cubist style w...

Signed lower left, 'Nell Walker Warner' (American, 1891-1970) and painted circa 1925. Born in Nebraska, Nell Walker Warner graduated from Lexington, Missouri, Women's College in 191...

Title South of France Pine Trees Landscape Oil Painting French Mid Century Key Details Artist/School: French School, indistinctly signed and inscribed verso Medium: Oil on canvas Si...

Untitled (Houses in the Hills), 1946, watercolor on paper, signed and dated lower right, 14 x 20 inches (image), 24 x 30 inches (frame) Dorothy Sklar was a popular and prolific Los ...

This surrealist painting by Toni Hamel features a Group of Seven piece and focuses on the theme of climate change. In this imaginative painting, Toni Hamel sends a powerful message ...

This work explores the tension between help and choice. It reflects a state of stillness, where staying becomes a choice rather than a limitation. The piece questions why we sometime...

Artist: Szabolcs Bozo Title: Maci (Teddy Bear) Medium: Acrylic and Oil on Canvas Size: 19.75 x 15.75 inches (50 x 40 CM) Year: 2021 Notes: Hand Signed, Titled and Dated on Verso. Almine Rech...

This captivating landscape painting vividly depicts a serene lakeside scene, dominated by towering, rugged mountains. The mountains boast a patchwork of muted greens, grays, and brow...

Mid-20th century Impressionist scene, French landscape with cottage The painter was active around the middle of the 20th century, painting landscapes, portraits, and city scenes. ...

Artist Comments
This painting captures one of those fleeting moments that somehow stay with us long after it has passed. A child is fully absorbed in imagination, creating an e...

Color, composition, and feeling are deeply invested in this artwork to capture the pure essence of existence. It stands as a celebration of life, translating fleeting moments of happ...

A serene mid-century oil landscape by Clarence Durham depicting a mountain lake near Estes Park, Colorado (Rocky Mountain Landscape), set against the dramatic backdrop of the Rocky Mountains. The composition captures a quiet, reflective moment in nature—still water, evergreen pines, and distant peaks rendered in a balanced, atmospheric light. Painted in oil, the work reflects Durham’s American Impressionist approach, with structured brushwork and a natural, muted palette of forest greens, soft blues, and warm earth tones. The scene is detailed enough to feel grounded in place, yet loose enough to maintain a sense of openness and calm. This is the kind of Western landscape designers consistently use to bring softness and natural depth into a space. It introduces atmosphere without visual heaviness, making it highly adaptable across interiors—from rustic and mountain homes to more modern, collected environments. Created circa 1950, this original oil painting reflects Clarence Durham’s focus on Colorado’s mountain landscapes, particularly the Estes Park region, which he returned to frequently in his work. Titled on reverse, "Jenny Lake...

Magic Carpet Ride, Contemporary Cubist Figurative Landscape A striking contemporary cubist oil on canvas figurative landscape painting by San Francisco artist Michael William Eggle...

An original circa 1920 oil on canvas by American artist Albert Byron Olson (1885–1940), “The Shining Angel of Remembrance.” This evocative early 20th-century painting depicts a coupl...

Acrylic on paper Pierre-Alain Michel is a Swiss painter born in 1959 who lives & works in Delémont in Switzerland. In 1989 he was enrolled at the School of Fine Arts in Basel an...

This piece titled "The Nightmare Began Just Like Any Other Dream" is an original artwork by Angela Rio and is made of acrylic on masonite framed in artist-m...

Susan Kiefer Subtle Interchange Oil on Canvas Year: 2022 Size: 24x16x1.35in Signed by hand COA provided Ref.: 924802-1055 Though born and raised in Kansas City, artist Susan Kiefer...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique; this is not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by...

Oil on canvas, 24 x 19 inches overall, 20 x 15.75 inches image size. A modernist still life. Cubist elements as well. Signed lower right and presented in an a modernist frame. ...

A striking 20th Century oil showing a young couple engaged in a passionate and fiery flamenco. The man raises his hands in a dramatic clap and the young woman swirls her red skirts a...

Title: Mid Century French Abstract Expressionist Black Ink Gestural Painting Medium: Black ink/ gouache painting on paper, unframed French, circa 1950's Size: 23.5 inches x 15.75 (he...

A original oil painting showcasing the vibrant beauty of blooming peonies. Every brushstroke reflects the texture and softness of the petals, combining modern realism with classic bo...

Blue Iris. Stillife, Oil on Canvas, Floral, Flowers, Iris, Horisontal, Rectangular, Impressionism, Interior, Blue, Green, Medium. This painting was created in 2025. It's a rectang...

Cubist Angular Construction of a Town by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE signed oil on canvas, unframed canvas: 18.5 x 15 inches Provenance: all the paint...

A fine pair of antique Italian oil on panel paintings Nature Morte of two pairs of gamebirds, in the Trompe-l'oeil style, by Michelangelo Meucci (1840-1909), signed & dated Firenze 1...

Cecile Hertz-Eyrolles (1875-1974), Portrait, oil on board. Unsigned. Well presented in a distressed frame. On board. Image size: 44.5 x 36.5cm.

On offer is a striking mid-century theatrical surrealist work by the Chilean artist Fabio Lemus, who was active during the mid-20th century. STYLE: Lemus was noted for his whimsical...

House in the Forest, Mid-Century German Landscape with Trees, 1937 Verdant mid-century landscape of a small mountain house nestled in thickly wood...

Colorful Abstract Painting on Canvas - Bold Geometric Art, Matisse Inspired Wall Decor, Vibrant Handmade Acrylic Art, Striped and Floral Pattern Art Acrylic Painting on canvas One o...

Contrapuntal (4/19) is a unique acrylic on canvas, gloss finish painting by contemporary artist James Lumsden, dimensions are 50 × 50 cm (19.7 × 19.7 in). The artwork is signed, sol...

Impactful abstract monotype of abstract figures in black over a bright orange background, circa 1960. Signed lower right. Original artwork on paper displayed on a white mat with a g...

Bring the intoxicating, sweet fragrance of a spring garden straight into your home. This magnificent original oil painting captures a lavish, overflowing bouquet of deep purple and v...

Painting size without frame: 15"x20 1/2" Painting size with frame: 21"x26 1/2" Period Foster Brothers Frame Painting is signed lower right. A lively boardwalk scene by Theresa Ber...

Artist: Anita Murphy Medium: Oil on Canvas Date: 1952 Dimensions: 23 x 17.5 inches (canvas) Provenance: Private Collection Condition: Very good and sound condition Signature: Signed ...

Artist/ School: English School, circa 1950-50's. Signed, 'R. Harland' lower corner. Title: Portrait of a seated lady within an interior setting. Medium: oil painting on canvas, fra...

Ernani Silva, Brazilian - Mother and Child, Medium: Acrylic, Collage and Enamel on board, signed in marker lower right, Size: 10.75 x 21 in. (27.31 x 53.34 cm)

Antique American seascape oil painting . Oil on canvas. Framed. Measuring: 19 by 16 inches overall, and 16 by 12 painting alone. Signed verso. Excellent condition, ready to hang and...

A wonderfully bold abstract composition rendered in rich organic greens. Evocative, fluid forms intertwine to create a visually compelling and harmonious composition, balancing movem...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Gordon Ham (20th century) New England Winter, ca. 1940. Oil on unstretched canvas panel, 14 x 17 inches. Measuring 17 x 20 inches framed. Signed lower right. Vertical cracking ...