Figurative Paintings

Reclining Nude Model in Acrylic on Paper Colorful painting of a woman by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). A woman is reclining on a lounge chair, with her head resting against one hand. Behind her, there is a potted plant. Some of the shadows in this piece are shown in reds and oranges, creating a warm feel to the composition. Unsigned, but was acquired with a collection of the artist's work. Paper size: 22.5"H x 28.38"W Katherine Kallick...

Workshop of Jan Brueghel the Younger (1601-1678) & Hendrick van Balen (Antwerp, 1575 – 1632) 17th century Antwerp School The Virgin and Child ...

Nude on Floral Blanket, From Behind in Acrylic on Paper Bright painting of a nude woman by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). A nude woman is sitting on a wicker couch that has been covered with a floral blanket. She is facing away from the viewer, with her head resting on one arm. Unsigned, but was acquired with a collection of the artist's work. Paper size: 22.5"H x 28.38"W Katherine Kallick...

This small yet captivating painting, crafted on a copper plate, dates back to the mid-1600s and was created by a Flemish artist. Subject Matter: The central figure in the artwork is Mercury, easily identified by his symbolic attributes like winged sandals, petasus, and caduceus. Beside him is a likely female figure, characterized by her attire and absence of weaponry. The depicted scene could represent two mythological tales: Mercury and Calypso: This interpretation suggests the artwork shows the moment Zeus sends Mercury to Calypso's island, Ogygia. Mercury is there to order Calypso to release Ulysses, whom she saved from a shipwreck but kept captive. The lush, wooded background and the three distant figures could hint at Ulysses' farewell to Calypso. Mercury and Herses: Another interpretation could be a scene from the love story of Mercury and Herses. The background figures might symbolize the sisters returning from a procession, while the forefront could be the initial meeting between Mercury and the most beautiful sister, Erse. Artistic Inspiration: The painting's landscape and setting are heavily influenced by the early 17th century Northern European art trends, especially the works of Jan Brueghel the Elder. However, the artwork stands apart with its unique luminescence in detailing and a distinctive approach to depicting figures. While the exact origin and artist remain somewhat mysterious, the style and treatment of light hint towards works close to Josse de Momper...

Chinese painter (18th century) - Oriental scene. 57 x 73.5 cm without frame, 66.5 x 82 cm with frame. Oil on canvas, in wooden frame. Condition report: Lined canvas. Good conditio...

Long, Red-Haired Portrait of a Man - Acrylic on Paper in the style of Modigliani A bold contrasting portrait of a red-haired, topless man against a stark indigo background, by acclaimed bluegrass musician Katherine...

This wonderful 17th century Old Master religious oil painting is attributed to Dutch Golden Age artist Benjamin Gerritsz Cuyp. Painted circa 1633 it is entitled The Annunciation to t...

Frank Hill is a professional artist living and working in North Norfolk. He studied art at Waltham Forest School of Art and later at St Martins School of Art. Frank’s professional c...

Oil on canvas. In the depicting scene, three cherubs are play-acting: one of them is wearing a smiling mask and is trying to scare his mate, while the last one is dressed up like a p...

Monochrome Portrait of a Woman in Ink and Gouache on Paper High contrast portrait by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). A woman in a long sl...

Chinese painter (18th century) - Oriental scene with pagoda. 42 x 73 cm without frame, 52 x 80 cm with frame. Oil on canvas, in wooden frame. Condition report: Lined canvas. Good ...

Male Portrait Painting Oil on canvas  No visual signature 9x11 unframed, 11.75 x 13.75 framed

Marianne LOIR (Paris 1705 – Paris 1783) Presumed portrait of Jean-Jacques-Blaise Baloin de Belvèse, Baron de Vennac (?-1781) Oil on oval canvas H. 54.5 cm; W. 46 cm (around 90 cm hig...

Olio su tela. Scuola centro-europea della fine XVIII secolo. La scena racconta un episodio biblico ampiamente riproposto nell'arte pittorica, tratto dal libro di Ester: la giovane i...

An interesting 18th century study of the Madonna in oil, painted in the Cuzco School style. Unsigned. On tin.

Workshop of Gio Benedetto Castiglione called the Grechetto (Genoa, March 23, 1609 - Mantua, May 5, 1664) Jacob's departure for the land of Canaan Oil on canvas, 80 x 115 cm - Fra...

Oil on copper. We'd like to thank dr. Guido Jansen for his attribution. On the backside a map of Holland (the painter reused an etching plate) Bramer was known for his genre, reli...

Attributed to Godfried SCHALKEN (Made 1643 – The Hague 1706) Young fischer Oil on panel in one board H. 32.5 cm; L. 25.5 cm Around 1670/75 Related works: - Autograph version with numerous variants, Berlin, Gemaldegalerie, Inv. N°837 - Copy or workshop version of our painting with slight variations but of inferior quality, Germany, sold at Berlinghof Auktionshaus in 2002 The object of this notice is not to produce a biography of Schalken, the reference work by Thierry Beherman published by Maeght in 1988. The goal here is to understand this version of a painting of formidable craftsmanship and to compare it to the work preserved in Berlin with its many variants in order to draw some hypotheses for conclusions Our young angler is a very interesting subject that can be found as early as the 16th century to invoke one of the four temperaments. Not melancholy as one might think at first glance, but phlegmatic character. The interpretation of astrological symbols closely linked peach and phlegm, laziness, slowness, often represented alongside the moon. Here the composition is very clear in this sense. The young man, chin resting on his arm, looks at his modest cane, the cork of which he soaks alongside snails and butterflies located in the Irises. All near a willow under a heavy sky, like a night sky. All the elements are there to give an explanation of the subject and not to leave the spectator in front of a simple genre scene. Let's go back to the willow, a tree that loses its fruits before they mature. It is often considered a symbol of lost youth, a reference to passivity or times of debauchery. Plato advised in his time to banish fishing from the education of children since it is an activity of expectation and not of exercise or reflection. Needless to explain the presence of small slow-moving animals with short lives or flowers… The image speaks for itself! Let's go back to the differences between the Berlin version and ours, of which it must be recognized that the quality is slightly lower and therefore can hardly be given with certainty to Schalken itself. This version has some additional elements compared to ours. In our version, the row of willows cut into trunks located to the left of the composition is replaced by a simple area of reeds that opens up to a luminous sky. The sky is also different by the clouds represented. A white butterfly flying in the middle of the Irises has been removed, as has a large leaf located on the back of the young fisherman at the foot of the willow. Only addition to our table in addition to the Berlin version: a second fish near the earthen pot...

This representation of Saint Michael fighting Satan shows a dynamic composition enriched by the special use of color together with an intense chiaroscuro that serves to give the work a special atmosphere. Areas of intense color are created together with darkness, light and reflections that highlight poses, bodies, as well as flying forms or intense glows. On the central axis that organizes the composition, the triumphant figure of the archangel about to beat a figure, incarnation of evil, stands out. Represented using a sotto in su view, that is, from the bottom up, Miguel's triumphant pose stands out while leaving no doubts about the defeated attitude of the demonic being who appears naked lying on the ground. The formula makes possible to clearly highlight the outcome of the fight, his triumphant figure unfolds occupying a large part of the work, showing a clear attitude of combat, endorsed with the sword that he brandishes in his right, and the shield and armor that cover him. His person is further energized with the great cape that flies, highlighting the pose of his body arched and thrown forward to attack the representatives of Evil. The work, with its color, its chiaroscuro, and its dynamism, is an interesting sample of the neo-Baroque expressions of the 18th Century, the period in which Jacopo Cestaro...

Panel 1 (with boats below arch): 50x37cm; 60x47cm (framed) Panel 2 (with cliffs): 44.5x34cm; 54x44cm (framed) These panels are fine examples of the scagliola technique, perfected by...

Modern nude study of red-haired woman reclining seated by American painter, Patricia Gren Hayes (b. 1932), 1979. Signed and dated on verso Provenance: Purchased as part of larger collection of artist's work Unframed. Canvas size: 16"H x 20"W. Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez. She started a freelance commercial art business in 1963; copyrighted a National Cartoon, 1976, and served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976-1978. She was a workshop instructor at the San Francisco Woman Artists Gallery, 1977-1985; and was Manager/Owner Stanton Art Gallery, Alameda, CA, 1976-1982. Solo Exhibitions: Berkeley Marina, 1974; Oakland Center for The Visual Arts, "Images of Women", 1979 Group Exhibitions: Oakland's Dept of Education, 1963, Studio One; Alameda County Fair, 1975, 1976, 1978; San Francisco Art Festival, 1969, 1970, 1976, 1977, 1978; San Francisco Museum of Modern Art, 1976, 1977, 1978; San Francisco Women Artists Gallery Exhibition, award winner - 1970, 1977, 1978; Hayward Bay Fair Art Festival, award winner - 1971; Capricorn Assunder Gallery, 1973; Oakland Art Festival, 1973, 1974; Alameda Art Association, 1978; El Cerrito...

Belisario CORENZIO and his workshop (Cyparisse, 1558 – Naples, 1646) Saint Jacques bully at the battle of Clavijo H. 120 cm; L. 98 cm Around 1600 This f...

Rafael Duran Benet (1931-2015) - Sit woman - Pastel Drawing measurements 62x42 cm. Frame measurements 82x62 cm. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter...

Oil size 54x81 cm. Frameless

Painted with gilt wood frame, 58 x 75 cm. is the work of the painter couple Viviano Codazzi (Valsassina 1603-Rome 1670), who specialized as a quadraturist and landscape painter, and...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 24 x 36 Frame Size: 34 x 46 Medium: Oil 1975 "Panhandle Chill" G. Harvey, known...

Vintage 1970's Harbour Scene with Moored Boats & Figures by British Artist, William Stockman (1935-2021) Art measures 31 x 15 inches Frame measures 36 x 20 inches Professionally cleaned and re-framed in a high quality contemporary black moulding with a white insert 20th Century Vintage Original...

Gérard de Lairesse (Liège 1641 - Amsterdam 1711), attributed Circumcision of Christ Oil on canvas, 120 x 102 cm., In frame 138 x 119 cm. The p...

Idyllic landscape with myhological story of Cephalus and Procris Early 17th century Italian school Workshop Of Paul Bril (Antwerp, 1554 - Roma, 1626) Oil on poplar panel: H. 28 cm (1...

Nicolas de LARGILLIERRE (Paris 1656 – 1746) Portrait of a woman, presumed to be Marie-Anne de Bourbon, Princess of Conti (1666-1739) Oil on oval canvas H. 80 cm; L. 61 cm (107 x 91 c...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

Artist/ School: Manner of Guido Reni (1575-1642) Italian Title: The Prophecy of Simeon Medium: oil painting on canvas, unframed Painting: 21.5 ...

A finely detailed oil painting on canvas portrait of an unidentified Russian officer, dating to the 18th or 19th century, unsigned, and housed in a spectacular museum quality reprodu...

Giovanni Francesco Romanelli (born Viterbo 1612; died Viterbo 1662) St. John the Baptist pointing out (revealing) Christ, in the far distance, to Simon Peter and Andrew. Oil on can...

Modern nude study of woman seated in chair by American painter, Patricia Gren Hayes (b. 1932). Red haired women with side view of same woman with asymmetrical composition circa 1970. Unsigned. Provenance: Purchased as part of larger collection of artist's work Unframed. Canvas size: 29"H x 29"W Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez. She started a freelance commercial art business in 1963; copyrighted a National Cartoon, 1976, and served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976-1978. She was a workshop instructor at the San Francisco Woman Artists Gallery, 1977-1985; and was Manager/Owner Stanton Art Gallery, Alameda, CA, 1976-1982. Solo Exhibitions: Berkeley Marina, 1974; Oakland Center for The Visual Arts, "Images of Women", 1979 Group Exhibitions: Oakland's Dept of Education, 1963, Studio One; Alameda County Fair, 1975, 1976, 1978; San Francisco Art Festival, 1969, 1970, 1976, 1977, 1978; San Francisco Museum of Modern Art, 1976, 1977, 1978; San Francisco Women Artists Gallery Exhibition, award winner - 1970, 1977, 1978; Hayward Bay Fair Art Festival, award winner - 1971; Capricorn Assunder Gallery, 1973; Oakland Art Festival, 1973, 1974; Alameda Art Association, 1978; El Cerrito...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...

Jacques STELLA (Lyon, 1596 – Paris, 1657) Judith and Holofernes Oil on slate H. 23.5 cm; L. 24 cm Son of François Stellaert, a painter of Flemish origin who settled in Rome in 1576, then in Lyon, Jacques Stella was born in this city in 1596. Around 1619, he left for Florence where he worked for Cosimo II de Medici. He probably already met Nicolas Poussin and Jacques Callot there. Stella left Florence for Rome in 1622 or 1623, where he befriended Poussin, who arrived in 1624. Stella became famous in the world of Italian amateurs for his small paintings painted on precious supports: marble, agate, lapis, slate, as well as by his engravings and drawings. In 1634, having received offers from the King of Spain, he left Rome in the suite of Marshal de Créqui, French ambassador. He passed through Venice, stopped in Lyon in 1635, then in Paris. Retained by Richelieu who took him into his service, he settled in the capital of the kingdom. Covered with favors, he benefited from accommodation in the Louvre and a considerable pension. He later received the Collar of the Order of Saint-Michel, a rare honor for an artist...

Scream. Canvas, oil, 100x150 cm Ivars Muizulis (1936) 1956 – Graduated from the Liepaja Art College, Department of Sculpture 1956 – 1960 – Studied at the Art Academy of Latvia, Pa...

Antique oil on canvas painting depicting Venus and Adonis. The painting depicts in a sublimated atmosphere the death of Adonis, the young man loved by Venus, who was mortally wounde...

This important eighteenth-century painting can be attributed to the exquisite production of the Neapolitan school of the first half of the eighteenth century. Indeed, the splendid w...

Early 17th century. Immaculate conception. Virgin with child and dragon. Technique: oil on wooden tablet. Painting from the school of central Italy : Tuscany or Umbria or Marche. ...

An ancient fable. 1971. Oil on canvas, 100x150 cm Ivars Muizulis (1936) 1956 – Graduated from the Liepaja Art College, Department of Sculpture 1956 – 1960 – Studied at the Art Aca...

Olio su tela. La scena racconta l'episodio biblico del libro dell' Esodo in cui il piccolo Mosè, che la madre aveva affidato al fiume all'interno di una cesta per salvarlo dalla str...

Modern interior/figurative painting of red-haired woman "Hayley" seated in sunroom by American painter, Patricia Gren Hayes (b. 1932), Circa 1975. Signed on verso, "Hayley" written on edge Provenance: Purchased as part of larger collection of artist's work Unframed. Canvas size: 30"H x 440"W. Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez. She started a freelance commercial art business in 1963; copyrighted a National Cartoon, 1976, and served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976-1978. She was a workshop instructor at the San Francisco Woman Artists Gallery, 1977-1985; and was Manager/Owner Stanton Art Gallery, Alameda, CA, 1976-1982. Solo Exhibitions: Berkeley Marina, 1974; Oakland Center for The Visual Arts, "Images of Women", 1979 Group Exhibitions: Oakland's Dept of Education, 1963, Studio One; Alameda County Fair, 1975, 1976, 1978; San Francisco Art Festival, 1969, 1970, 1976, 1977, 1978; San Francisco Museum of Modern Art, 1976, 1977, 1978; San Francisco Women Artists Gallery Exhibition, award winner - 1970, 1977, 1978; Hayward Bay Fair Art Festival, award winner - 1971; Capricorn Assunder Gallery, 1973; Oakland Art Festival, 1973, 1974; Alameda Art Association, 1978; El Cerrito...

Oil on Canvas. Northern European school of the 18th century. The large scene, set in a northern landscape of dense vegetation under blue-blue impervious peaks, depicts the climax of ...

Oil on oak board, coming from an important historical Florentine collection. The collection started by an ancestor of the family who was in Vienna in 1798 and then in Wurzburg until ...

Modern unfinished portrait of handsome man in dress uniform by American painter, Patricia Gren Hayes (b. 1932), circa 1970. Unsigned. Provenance: Purchased as part of larger collection of artist's work from the estate of Larry Miller Unframed. Canvas size: 30"H x 36"W. Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkel...

Oil on Canvas. Southern Italian school of the 17th-18th centuries. The scene , full of characters, sees standing in the center, well-defined in the details of armor, crest, as well a...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

The Lion of St. Mark Venetian Old Master, mid 18th century circle of Giovanni Battista Tiepolo (Venetian, 1696-1770) ink and watercolour drawing on paper mounted on a card frame, unf...

Still life with red flowers is an artwork realized by Claude Decamps, mid-20th Century. Oil on canvas.  25 x 20 cm. Hand signed in red in lower margin. Good conditions!

Figurative study of women by American painter, Patricia Gren Hayes (b. 1932). Blonde long hair women wearing overalls, side view of same woman and another side view study of a brunette, circa 1970. "Gren Hayes" on verso stretcher. Provenance: Purchased as part of larger collection of artist's work from Larry Miller Fine Art. Unframed. Canvas size: 29"H x 29"W Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez. She started a freelance commercial art business in 1963; copyrighted a National Cartoon, 1976, and served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976-1978. She was a workshop instructor at the San Francisco Woman Artists Gallery, 1977-1985; and was Manager/Owner Stanton Art Gallery, Alameda, CA, 1976-1982. Solo Exhibitions: Berkeley Marina, 1974; Oakland Center for The Visual Arts, "Images of Women", 1979 Group Exhibitions: Oakland's Dept of Education, 1963, Studio One; Alameda County Fair, 1975, 1976, 1978; San Francisco Art Festival, 1969, 1970, 1976, 1977, 1978; San Francisco Museum of Modern Art, 1976, 1977, 1978; San Francisco Women Artists Gallery Exhibition, award winner - 1970, 1977, 1978; Hayward Bay Fair Art Festival, award winner - 1971; Capricorn Assunder Gallery, 1973; Oakland Art Festival, 1973, 1974; Alameda Art Association, 1978; El Cerrito...

Vintage Impasto Impressionist Winter Landscape Painting of a Misty Morning at a Reservoir in the Peak District National Park in Northern England, by 20th Century British Artist. Art measures 33 x 21 inches Frame measures 39 x 27 inches (framed in a hand-painted vintage wooden moulding in magnolia) This is a rare early atmospheric work in impasto oils from 1971, using muted pastel colours, in very good original condition. There is an evocative sense of the light beating down onto the water in this Winter Landscape painting. Reframed in a vintage wooden moulding painted in magnolia, signed and dated on the front of the canvas, with full authentication. Born in Birmingham in 1948, Rex Preston...

This important eighteenth-century painting can be attributed to the exquisite production of the Neapolitan school of the first half of the eighteenth century. The whole scene is mar...

Mythological-themed painting (unframed 35.5 x 28 cm) depicting the episode of Diana and Actaeon from Ovid's Metamorphoses. The goddess is depicted sitting in discreet attire, the bow...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

We are delighted to present a significant piece from the Dutch School, most likely dating back to the late 17th century. This captivating painting showcases the dynamic force of nature with three ships vigorously navigating through stormy waters. The foreground is a scene of nautical struggle, as figures are depicted working intensely with the sails, steering, and bracing against the tumultuous sea. In the serene background, the silhouette of a quaint town emerges, with spires from churches and the outlines of various buildings is visible. This juxtaposition of the calm town against the chaotic foreground serves as a powerful reminder of the unpredictability of life and nature. Dominating the canvas, the sky occupies two-thirds of the painting, filled with brooding clouds that occasionally break to reveal patches of blue. The presence of birds adds a dynamic element to the otherwise ominous atmosphere. While the artist remains unknown, the work is quintessentially Dutch in its execution, with meticulous attention to detail and a profound understanding of maritime life. The painting's oval shape is quite distinctive and is complemented by a suitably antique octagonal black frame, which adds to its historical charm. This piece is a testament to the mastery of Dutch maritime painting...