Figurative Paintings

"The New Church and Old Houses in the Hague" is an oil on canvas on cardboard painting made by Vincent van Gogh, c. 1883. The painting size is 13 5/8 x 9 3/4 inches. The framed size ...

Oil on canvas, signed and dated '1879' bottom right Image size: 38 x 59 1/2 inches (96.5 x 151 cm) Ornate Orientalist style gilt frame Carl Werner Carl Friedrich Heinrich Werner wa...

A charming study of the dramatic Cornish coastline with Gurnards Head cliff fort looking over stormy seas. The artist captures the rocky cliffside with an expert hand, showing the st...

Sailing on High Seas British School, 19th century oil on canvas, framed framed: 28 x 40 inches canvas: 24 x 36 inches provenance: private collection, UK condition: very good and soun...

R. Gentile (Italian, c. 1880-1930) *Dates are approximate* "Card Players" Oil on Canvas Signed Lower Left "R. Gentile" 22 x 28 inches (site) 35 x 42 inches (framed) Painted late 19t...

Peaceful Day in the Mountains Hermann Herzog (American, German, 1832-1932) Signed Lower Left 17 x 15 inches 25 x 22 inches with frame A centenarian, Hermann Herzog was known for his...

Victor Gabriel Gilbert (French, 1847-1933) A Playful Afternoon Signed Lower Left 18 x 22 inches 25 x 28.5 inches with frame Victor Gilbert's natura...

Edward Henry Potthast (American, 1857-1927) A Family Outing Signed Lower Left 12 x 16 inches 18 x 22 inches framed A painter most remembered most for his beach scenes of carefree at...

Charles Craig (American, 1846-1931) Tracking the Enemy 20 x 24 inches 26.5 x 30.5 inches with frame Inspired by Western and Indian life, Charles Craig d...

Under Windswept Skies by James Webb (British, 1825-1895) signed lower centre oil painting on canvas, framed framed: 17 x 24 inches canvas: 15 x 21 inches Fine Victorian oil paint...

NUDE BY LAVENDER Size: 40.5 x 33.5 cm Oil on board A gentle and emotive mid-century vintage oil portrait, executed in oil onto board and dated 1943-1946 on reverse. A standing nude...

Signed, titled and dated oil on panel landscape by French impressionist painter Eugene Boudin. The work depicts sailing boats anchored at a port in Venice, Italy. The tall masts of t...

Signed and dated riverscape oil on canvas circa 1870 by Dutch impressionist painter Johan Barthold Jongkind. The work depicts boats sailing on the Dordrecht canal in the Netherlands....

Venetian painter (19th century) - Padua, Caffè Pedrocchi. 37.5 x 48.5 cm without frame, 50.5 x 60 cm with frame. Oil on canvas, in a carved wooden frame. Condition report: Good st...

François Bonvin French 1817–1887 Pair titled 'Le plat rempli de fruits' and 'Le Pot d'étain' Signed and dated F. Bonvin 1866 and F. Bonvin Bruges 1866 Provenance: H.B., Paris; His S...

Bernard Lorjou has painting this subject "Harlequins" many times in watercolors, drawing , oil paintings and later on in the late 60's in acrylic, both on canvas, paper and some on m...

Thomas Burras was an English landscape painter who was mostly active from the 1830's through the 1870's. He painted in a classical English style, showing the influence of the 18th-c...

The Scottish Fisherman British School, late 19th century oil on board, framed framed: 16 x 14 inches board: 11.5 x 9.5 inches provenance: private collection, Scotland condition: good...

Emma Ekwall (1838-1925) Sweden Hide and Seek oil on wood panel signed E Ekwall panel dimensions: 33 cm x 22.5 cm (12.99 x 8.86 inches) frame dimensions: 48 cm x 38.5 cm (18.90 x 1...

Olio su carta applicata a tela. Le quattro opere propongono soggetti pastorali, animati da pastori con i loro armenti e i loro fedeli cani, a volte a riposo sul ciglio della strada...

Oil on canvas, portrait of a lady in moonlight looking to the Heavens, titled ‘He lives upstairs’, (in the house of God). A mysterious painting from an artist who is well known for unusual North African scenes...

Frederick Carl Gottwald (1858-1941) Scissor Grinder, c. 1897 Oil on canvas Signed lower left 24 x 18 inches 28.5 x 22.5 inches, framed Exhibited: Boston, Massachusetts Art Exhibit, ...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check) the actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation. After the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter. The Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk...

Signed Barbizon figures in landscape pastel on paper circa 1885 by French painter Leon Augustin Lhermitte. The piece depicts a first communion ceremony, with girls in white dresses and headscarves walking through a village as elder women look on. A wonderful piece in the artist's distinctive style. Signature: Signed lower left Dimensions: Framed: 27"x31" Unframed: 20"x24" Provenance: Arthur Tooth & Sons - London (label verso) Léon Augustin Lhermitte was the son of a school teacher. He painted from a very early age and settled in Paris in 1863, enrolling in the École Impériale de Dessin. His teacher was Lecocq de Boisboudran. In the early days of his career he earned a living doing illustrations for boxes of sweets and the catalogues of the cabinet-makers of the Faubourg St-Antoine, as well as publishing houses. In 1879 he went to Great Britain, to which he returned frequently. The same year he met the art dealer Paul Durant-Ruel who exhibited his works. He was one of the founders of the Société Nationale des Beaux-Arts, of which he became vice-president. Lhermitte initially produced charcoal drawings which revealed his deep feeling for nature. His first attempt, Banks of the Marne near Alfort, caused a sensation. Following this he executed canvases, showing himself to be a fine landscape artist and a skilful draughtsman. He painted scenes from rural life almost exclusively and benefited from exceptional interest generated by the prizes awarded to the works of J. F. Millet. But although he was very much affected by the work of the painter of Angelus, he himself sought only the pictorial element and not a synthetic translation. Many other French masters of the period share his completely objective vision, for example Bastien Lepage, Roll, J. C. Cazin and Rafaelli. Like them, he put into practice very early on the technique of 'clear painting' made fashionable by the pursuit of Impressionism. But this group of artists borrowed from this method only those elements which appealed to public taste, and ignored chromatic elements. Lhermitte also paid the price for the easy success of those early days. His peasants, which found general favour with the public at the time, nowadays seem rather feeble alongside Camille Pissarro's renderings of the same subject. However, in order to pass judgement on an artist such as Lhermitte, it is necessary to understand the era in which he worked, the era in which Realism was the only acceptable approach. It was in the atmosphere of the 'Théâtre Libre' of Antoine and the novels of Maupassant, Zola and their imitators that this type of art developed. In this context, Lhermitte is recognised as having painted the life of the peasants with great powers of objective observation and great insight into types and physiognomies. Nothing escaped his implacable eye and his bold and vigorous hand was guided by a lucid mind. The simplest elements of nature take on an air of true grandeur in his painting, despite their romantic and sentimental aspects. He is highly regarded both in France and in other countries by art lovers who look for nothing more than an attractive subject expertly painted. Among his most noteworthy works, outside those in museums, are: Les Halles, Washing the Sheep, Haymaking Time, and his large decorative panel...

Vincent van Gogh 1853-1890 Dutch Tête de paysanne à la coiffe blanche Oil on canvas laid down on panel A striking and evocative example of Vincent van Gogh’s early portraiture, Tête de paysanne à la coiffe blanche showcases the artists’ powerful ability to capture both the likeness and the essence of his sitters. Rendered in thick, deliberate brushstrokes, van Gogh paints his sitter with an unbroken forward gaze. The composition's tertiary palette conjures a dimly lit evening setting, accentuating the dramatic lighting of the subject's solemn face. The woman’s white headpiece...

Hendrikus van de Sande Bakhuyzen (The Hague 1795-1860) A winter landscape with hunters on a path along a stream Signed and dated 'H vd S. Bak...

Portrait of a Family English School Mid 19th Century oil on canvas, unframed canvas: 28 x 36 inches provenance: private collection, Midlands, England condition: very good and sound c...

A fine 19th Century oil scene in the manner of Joseph Wright, showing a stable interior with two horses feeding at a hay box. A stable hand enters the st...

Otto Theodore Gustav Lingner, Oriental female nude dancing with a sword, Dimensions without frame 80 cm x 136 cm Measures with frame 102cm x 157cm An outstanding work of art by Ott...

An attractive, late 19th Century French School figural oil showing a line of light-hearted cherubim dancing joyously against a backdrop of ...

Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...

This painting (oil on canvas 97.5 x 63.5 cm; 104 x 71 cm with frame) represents a crucifixion. The white body of Christ stands out in the center, surrounded by the Virgin Mary and Sa...

This folk hand-painted panel, laden with meaning, was originally an interior painted panel of a large storage cabinet. The panel is painted with ...

This refined and sophisticated still life painting was realized in Italy, circa 1950, by the esteemed Italian artist Romano Campagnoli. Executed in oil paint on canvas, the still lif...

'Wading in the River' by Benjamin Williams Leader. A 19th century landscape painting of figures and baby wading in a river. Surrounded by lush greenery. This highly detailed painting...

Charles John de Lacy (1856 – 13 December 1929) was one of the foremost British marine artists of his period. He was especially known for his warship imagery an...

Oil on canvas framed American Navy sailboat with Illegible signature trace

‘Between Us’ is an Impressionist Figurative painting by Robert Gemmell Hutchison R.S.A. It is highly evocative of the Scottish Coast, a hopeful and optimistic oil painting. Hutchinson was born in Edinburgh in 1855 the first son of a brass-founder. After first training as a seal-engraver he was encouraged to pursue oil painting and trained under James Campbell Noble at the Trustees Academy on Picardy Place. He set up his own studio at 1 India Buildings (at the top of Victoria Street...

Children at the Seashore By Josef Israels (1824-1911) Unframed: 9" x 15" Framed: 17.5" x 23.5" Signed Lower Left Born in Groningen, Holland, in 1824, Josef Israels was brought up in the traditions of the Jewish faith and destined for the rabbinate. His interest in drawing grew stronger with age however, and in 1840 his father finally relented, sending him to Amsterdam. There he spent his days working in the studio of Jan Kruseman and his evenings painting at the Royal Academy under Jan Pieneman, both leading portrait painters. In Paris, Israels studied a short time with the historical painter Francois Picot...

Rudolf Ernst 1854-1932 Austrian Spinning Yarn Signed and dated “R. Ernst 86” (lower right) Oil on panel Austro-French Orientalist painter Rudolf Ernst showcases his aptitude for the genre in this skillfully executed oil on panel. In it, two exotically dressed...

Well painted English 19th century Victorian antique marine scene. The style of the piece is typical of the mid-19th-century marine painters such as C.M.Powell, Robert Salmon, and George Webster...

FABIAN DE LA ROSA Filipino, 1869 - 1937 "FILIPINO GIRLO COMING DOWN THE STEPS" signed & dated "F. de la Rosa, 1894" (lower right) oil on canvas 42-3/4 x 23-3/4 inches (108 x 60...

FABIAN DE LA ROSA Filipino, 1869 - 1937 FILIPINO FARM WORKERS IN HORSE CARRIAGE signed & dated "F. de la Rosa, 1894" (lower left) oil on canvas 42-3/4 x 2...

Woman, Liberty, Inside, Eclecticism, Romanticism, Impressionism, Work of artistic interest abiut 130 years old, it will take about 30 days for export permits Ernest Jean Joseph GODFRINON (1878/1926 ) Belgian Impressionist Born at Elsene in Belgium in 1878, Godfrinon studied at the Academies of Ixelles and Brussels, and was primarily regarded as painter of landscapes, still lifes and intimate genre scenes. He exhibited one of his paintings ‘Begonias’ at the Galerie des Tout-Petits over the winter of 1925 – but aside from this specific detail little is known of his exhibition career. Godfrinon was a member of ‘Le Sillon’ group and his work has subsequently found its way into the collection of the museum of Sint-Joost-ten-Node in Charlier in Belgium – the painting is titled ‘La Serre...

Artist/ School: T. C. Buttery (British, exhibited 1825-1829) Title: The Village Stream Medium: oil on panel, framed Framed: 13.5 x 16 inches Board: 10 x 12 inches Provenance: private collection, East Anglia...

Provenance: Leicester Galleries, London, 1956 Austin Desmond Fine Art, London

Attributed to George Morland. 19th Century English Antique, Two Country farmers drinking beer in a landscape. Wonderful early 19th-century original oil on canvas. A classic 'Morland' composition as the painter was a big fan of English Pub scenes...

Bean Picking, New Jersey, 1890 By. Frederick Rondel (1826-1892) Signed Lower Right Unframed: 21.5" x 35.5" Framed: 32" x 46" Frederick Rondel, born in Paris in 1826, came to America...

Very pretty19th century portrait of a young girl and her Spaniel. The piece is from the middle part of the 19th century when Victorian high-style paintings were at their most sough...

Nicolas Louis François GOSSE (Paris, 1787 - Soncourt, 1878) Louis XI kneeling in front of Saint François de Paule Oil on canvas 68 x 90 cm He was a pupil o...

Claus Meyer was a German painter active during the turn of the 20th century. He is best known for his warm depictions of everyday life from the Medieval and Northern Renaissances per...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...

Attributed to Ukita Ikkei (1795-1859) Hanging scroll painting of the American ship commanded by Commodore Matthew Perry in Uraga Bay, annotate...

CELSO LAGAR Spanish, 1891 - 1966 THE CLOWN signed and dated "Lagar 52" (lower right) gouache on cardboard 10-5/8 x 8 inches (27 x 20.5 cm.) PROVENANCE Private French Collector Cel...

Still Life is an original Oil on Canvas realized by Felice Carena in 1952. Hand signed and dated. Very good condition. Felice Carena Turin 1879 - Venice 1966 He studies with Giaco...

Artist/ School: French School, circa 1890, circle of Henri de Toulouse-Lautrec (French 1864-1901) Title: Elegant Figures dressed for an evening out, typical of the Belle Epoque Styl...

Lucca Landscape is an original oil on canvas applied on plywood, realized by Antonio Longhi in 1952. Hand signed lower right "Antonio Longhi 52". Provenance: Don Chisciotte...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...