Fabric Figurative Paintings

Fashion is a term that is given to enhancing the personal style of clothing. People these days no longer want to dress up casually but they want to add an element of fashion in their...

Original Vintage Oil Painting of Tollymore Forest River Landscape in Ireland, by Modern Irish Artist Denis Thornton (1937-1999). Presented in an ornate dark gold frame. Art measure...

Blushing Roses in a Golden Vase Continental School, late 20th century most likely a pastiche work after an earlier composition oil on canvas, unframed canvas : 36 x 24 inches provena...

A wonderful and idyllic, mid 19th Century summery village scene, where a pretty young girl stands, knitting (perhaps she is secretly waiting for someone?), village women eat and work...

The Tooth-Puller is a superb original oil painting on canvas, realized by an anonymous artist, a follower of Caravaggio, in the first half of the X...

Wonderful Impressionist view of St. Marks Square, Venice. Pam Masco was an American from Massachusetts, and a graduate of the School of the Boston Museum of Fine Arts (1976). She was married to the English artist John Heseltine. Her work is in well-known private and corporate collections and has been shown at the Royal Society of British Artists, the Royal Watercolour Society and other London Galleries as well as in the Provinces. She travelled throughout the U.S.A. and Europe and painted American and European subjects, portraits, landscape and figure compositions, still life and interiors. From 1978 she was involved in drawing, painting, technical painting courses, watercolour and graphic design. She illustrated for major British and American publishers until 1988. Authors include Bruce Chatwin...

Vintage Oil Painting of River Sunset in the Woods of the English Countryside by 20th Century British Artist. Painted using warm orange and green colours creating a unique atmosphere....

Gaëtan Dumas. French ( b.1879 - d.1950 ). Une Trace De Plaisir Ou De Regret. (A Trace Of Pleasure Or Regret). Oil On Canvas. Signed Upper Right. Image size 13.2 inches x 10 inches ( ...

Oil on canvas Su Yu is a Chinese artist born in 1987 who lives & works in Beijing in China. He was an old student of prestigious art teachers as Shi Liang & Chen Danqing at Oil Pain...

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...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Authenticity, guaranteeing its originality and provenance. We offer secure worldwide delivery to any address you specify, ensuring that your purchase arrives in pristine condition. If you require additional shipping options or a bespoke quote from our trusted network of carriers, please do not hesitate to contact us. Our team is here to help you find the best solutions for a smooth and secure delivery experience. Carol Moreno Lara, artistic self-taught painter. Born in Barcelona. Proposal; Embellishes unique and personal spaces through artistic painting. A feisty woman who honors his personal development, she is noble, brave and delivered. He loves to paint and discover his passion for painting from very small. In 2005 he created his own studio Carol Moreno. And since then, he has worked for various corporations: Revlon Group (The Colomer Group), Moet Chandon, Veuve Clicquot, ColaCao and luxury hotel chains. Also contacts interior design studies, design, architecture … that has allowed closer ties with prestigious brands like Lazarus Violán Rosa, Jaime Beriestain...

Simon Bull, British (Born 1958) Hand Embellished Giclee on Canvas "Whisper" (white flower) Hand signed Lower Left, Numbered 283/350 on Obverse side. Measures 16" x 16" image, frame measures 24-1/8" x 24-1/8" Simon Bull (born in March 1958) is an English-born artist living in America. Early years and education. Simon Bull was born in Bedfordshire, England. The second of four children. His father, Ian Bull served as an officer in the Royal Army Chaplains’ Department of the British Army. Ian’s extensive military postings stationed the family around the world in Guyana, Hong Kong, Germany, and Northern Ireland. Simon went to boarding school in Yorkshire, attending Ripon Cathedral Choir School from 1965 to 1969 and in Surrey, at the Royal Russell School from 1969 to 1976. In 1976 he took a one-year Foundation course at Gloucestershire College of Art and Design and went on to graduate in 1980 from Leeds Polytechnic with a BA (Hons) degree in Fine Art. He studied printmaking and Fine Art under Norman Webster and Norman Ackroyd RA. His time at Leeds was marked by his interest in and study of the masters, such as Henri Fantin-Latour, Jean-Baptiste-Simeon Chardin, and Rembrandt; he wrote his dissertation on watercolorist John Sell Cotman. In his graduating year he exhibited his etching Jackie at the Royal Academy Summer Exhibition and his works were acquired by Leeds City Art Gallery. His art is currently represented exclusively, by his own company Simon Bull Studios of Carmel CA and MEUSE gallery on Carmel’s Ocean Avenue. Simon Bull Studios contracts with and supplies a network of fine art galleries around the world including Cutter & Cutter Fine Art, Park West Gallery and others. He has been represented in the UK by, London Contemporary Art and DeMontfort Fine Art; as well as in the USA with Media Arts Group. His worldwide licensing agent is Art Brands Group. In 2007 he was invited to create a series of paintings that celebrated the life of Muhammad Ali. Many of these works are now on permanent display in the Muhammad Ali Center in Louisville, Kentucky. He has spoken on behalf of the Muhammad Ali Center at the Vancouver Film Festival for the premiere of the movie Facing Ali. In 2009 he was commissioned to paint US President Barack Obama by boxing legend Muhammad Ali. His two joint portraits of Barack Obama and Muhammad Ali were unveiled at the Kentucky Bluegrass...

Bruce Crane Autumn Landscape Signed lower right Oil on canvas 16 x 24 inches Bruce Crane Was born in New York City, he studied with Alexander H. Wyant before attending the Art Stud...

Peregrine Heathcote’s paintings conjure a world of intoxicating glamour and intrigue, slipping across the boundaries of time to fuse iconic pre-war design with modern conceptions of ...

The Guildhall, Worcester English School, mid 20th century indistinctly signed verso oil on canvas canvas: 20 x 24 inches provenance: private collection, UK condition: very good and sound condition The Worcester Guildhall was originally built as a meeting place for Worcester merchants around 1227. As with many other guildhalls, it became the centre for civic administration, a role it maintained after the merchant guild had disappeared. The present Worcester Guildhall is a superb Queen Anne building, begun in 1722 by Thomas White, a pupil of Sir Christopher Wren. White was badly paid for his efforts, and he died in poverty in 1738, bestowing the money he was owed on the Worcester Royal Infirmary. The city finally paid its debt in 1753. The exterior of the Guildhall is brick, dressed with stone. White himself is said to have carved the figure of Queen Anne over the entry, as well as those of Charles I and II, a reminder of the city's long history of royal support. The interior is superb, boasting exceptional period decoration. The Tourist Information Centre is now located in the Guildhall. HISTORY In 1227 Henry III granted the citizens of Worcester a royal charter granting them the right to establish a guild of merchants. The guild was responsible for controlling trade in the city, but their meeting place gradually became the main centre of administration for city government and acted as a courthouse. So, in effect, the Guildhall was the town hall, and though the city guilds have long since vanished, the Guildhall name lives on. The medieval guild merchants would not recognise the building that faces onto High Street now. Their guildhall was a large timber-framed building, occupying the same site, with a piazza for shops fronting the street, courts of justice at each end, and a prison to the north of the building. Part of the prison was a cell called 'the peephole', which gained a notorious reputation. There was a gaoler's house, and attached to it an alehouse from which the gaoler sold ale at extremely high prices to any prisoner who could afford the cost. In 1717 the city administration decided on a new Guildhall, and they knew just who to call; upon to build it. Thomas White was not an architect in the way we think of it today, but a stonemason. In 1705 he had carved a statue of Queen Anne to stand in front of the medieval Guildhall and was made a Freeman of the City. The total cost of the fashionable new red-brick building was £3727. The Corporation only put forward £800, and the rest had to be raised by public subscription. The centre section of the new Guildhall was finished by 1724 and has remained almost unchanged since then. The central facade is a wonderful example of early Georgian style, with three bays flanked by Corinthian pillars. Over the entrance is a huge carving incorporating the Hanoverian royal arms. White's earlier statue of Queen Anne was placed in a niche over the door, and on either side were statues of Charles I, depicted holding a church, and Charles II, with an orb and royal sceptre. On the rooftop are figures of Labour, Peace, Justice, Plenty, and Chastisement. North and south wings were added within a few years of the central block. The south wing was used as a judge's lodging when the assizes were taking place, but throughout the rest of the year it housed a coffee shop. The most striking external feature of the Guildhall is a set of iron gates...

Nude woman is an artwork attribuited to Edgar Stoebel (1909-2001).  81 x 45 cm; no frame. Oil painting on canvas. Good conditions. 

Artist/ School: English School, signed and dated 1903 lower corner. Title: The Winding River Medium: oil painting on canvas, unframed. Size: painting: 18 x 24 inches Provenance...

A beautiful oil painting on canvas by the French artist Georges Gerbier, depicting a tremendously vivid and alive street scene from Paris in the 20th Century with a view of "Palais G...

Self-portrait with mouth open is an artwork realized by Francesco Clemente in 2002. Mixed colored oil painting on canvas. The artwork included authenticity certificate on photograp...

Dutch Vessels Morning Light by C.W. Smith (British, early 20th century) signed oil on canvas, framed framed: 15.5 x 21.5 inches canvas: 12 x 18 inches inscribed verso Provenance: pr...

This late 19th-century French portrait depicts a distinguished gentleman on horseback, elegantly dressed in a green riding coat, gray trousers, and a black top hat, exuding aristocra...

Tanvi Pathare Memories of Seville Contemporary Florence still life painting 45 x 60 cm oil on linen (frame included in price) size with frame: 55 x 70 cm Tanvi Pathare from India a...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Vintage Oil Painting of Remote Cottage in the Dramatic Mountains of South Africa, by South African Artist, Marthinus la Grange (1920-1999) Art measures 14 x 10 inches Frame measur...

In a bid to find myself strength amidst an inferiority complex. I realized that, whether as an individual or as a nation, What we call strength and weakness, yellow, black and white...

Wonderful mid-century abstract figurative by North Carolina artist Charles Chapin (American, 20th Century), 1964. signed and dated lower right (Chapin 8/64). Condition: Excellent. Image size: 38"H x 28"W. Presented in painted slat rustic frame. Framed size:: 39"H x 30"W x 1". Charles Chapin received his BA from North Carolina and was associated with the Chapel Hill...

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Auction values Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

Title: The Bridge Builder Abstract Colorful Original Authentic Striking Invest Joy Love Figurative Beauty This series expresses the road to freedom and liberation, with Karnish's u...

18th Century Military portrait of a young officer in Napoleonic period military dress. The painting is not signed but the subject is Major Alexander Brown. The work is oil on canvas later mounted on board and presented in a fine 'Regence style' carved gilt frame. There are labels to the back referring to the subject, 'Major Brown of Trinity' and a framers trade label from Edinburgh. A magnificent and imposing portrait of a young military officer in the prime of his life. His red uniform adorned with fine buttons, fringed epaulettes and high gilt collar. His ruddy complexion offset by his stylish hair, a quiff and swept forward to the sides as was the fashion at the time. Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish painter, especially known for his portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. He painted successfully in a wide variety of genres, including historical scenes. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter". He was Principal Painter in Ordinary to King William IV and Queen Victoria. Apart from royal portraits, his best-known painting today is probably The Chelsea Pensioners Reading the Waterloo Dispatch of 1822 in Apsley House. Sir David Wilkie was actually admitted in 1799 (despite only being 14) through the influence of the Earl of Leven...

Steven H. Rehfeld (American, born 1954) "San Francisco" 2023 Oil Paint, Canvas, Stretcher Bars The artist signed the back of the painting. "San Francisco" by Steven H. Rehfeld offer...

The veranda - the morning light, the silence and the feeling of absolute happiness, it's a special kind of zen that reminds me of my childhood when I used to step on the wooden floor...

In Chicle de Sal I, (Salted Chewing Gum), María Magán transforms a crumpled condom into a hyper-realistic oil painting that mimics the appearance of a chewed piece of gum. Framed in ...

Title: Virgin Mary and Child Jesus Artist: Francisco Ribera Gómez (1907-1990) Technique: Oil on canvas Dimensions: 31.9 x 25.6 inches (unframed) Date of creation: 1942 Style: Classical Academicism with Renaissance influences Description of the Artwork The painting depicts the Virgin Mary holding the Child Jesus in a tender and intimate moment. Warm colors, primarily reds, greens, and soft flesh tones, enhance the devotional nature of the scene. The use of golden halos, symbolizing sanctity, along with serene and realistic expressions, directly connects with the Renaissance pictorial tradition. The style belongs to classical academicism, characterized by a balanced composition, meticulous drawing, and a masterful use of chiaroscuro to give volume and depth to the figures. The detailed rendering of the flesh tones and draperies amplifies the spirituality and solemnity of the piece, evoking the works of great masters such as Raphael and Murillo. Artist's Biography Francisco Ribera Gómez (1907-1990) was a prominent 20th-century Spanish painter known for his depictions of religious scenes, female portraits, and costumbrist works. Trained at the Royal Academy of Fine Arts of San Fernando, Ribera Gómez received numerous accolades and was regarded as one of the great exponents of Spanish academicism. His work combines a rigorous technical foundation with luminous sensitivity and an idealized sense of beauty. Influences and Comparisons Francisco Ribera Gómez's work can be compared to other academic and religious artists who share a similar aesthetic: Bartolomé Esteban Murillo: In the emotional and approachable treatment of religious themes. William-Adolphe Bouguereau: For the idealization of human figures and technical mastery. Raphael (Raffaello Sanzio): For harmonious composition and the depiction of the Virgin Mary. Within the Spanish tradition, his style recalls Eduardo Rosales...

Piccadilly Circus in the City of London at Night with a Red London Bus, by Contemporary Urban Landscape Artist, Angela Wakefield Art measures 24 x 24 ...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

America Martin "Homage to Cezzanne's Card Players Men with Words Hats and Cards" Oil & Acrylic on Canvas 60 x 70 Inches 61.5 x 71.5 In Framed Signed painting by America Martin. Ex...

French Landscape Impressionistic Riverscape Painting by Modern French Artist, Georges Charles Robin (1903-2003). View of the River Seine, France, during the snow melt. Oil on Canvas, Signed on the lower right (faintly). Presented in an authentic period frame with canvas slip. Art measures 29 x 23 inches Frame measures 36 x 30 inches (approx.) Born in Paris in 1903, Georges Charles Robin was a student of Paul Michel Dupuy...

A meditation on the three graces of Greek mythology )known as the charites, they were goddesses of charm, beauty, and creativity. The subject can be seen as an allegory of the gift. ...

Abraham Janssens (Antwerp, Belgium, 1573 - Amsterdam, the Netherlands, 1632) Title: The Gypsy Medium: Oil on canvas Dimensions: without frame 116 x 94 cm – with frame 148 x 122 cm Co...

Bart Koning Fowl 155 x 150 cm Oil paint on canvas (2023) This unique piece in style of all other paintings by German- Dutch painter Bart Koning you could call a still-life painting...

Original art by Daria Kusto. Acrylic , acrylic spray on canvas Shipped rolled in a tube, From Spain.

Daniela Astone Couple #4 50 x 40 cm Oil on wood Daniela Astone works and lives in Florence. For years she was a teacher on the famous Florence Art Academy. Since 2022 she fulltime works as a painter. Her works are all around the world in great collections. For our exhibition 'A Female Gaze' Daniela Astone made a series of paintings where the female aspect of her life is the main subject. This series contains a series of seven paintings where you see a dancing couple. Female- male couples and male-male/ female-female couples. The Currator of Galerie Bonnard says about the paintings by Daniela Astone: The classical structure and narrative paintings show a technique that is special. Her style is virtuoso and her subjects narrative. The keys are loose and subtle. For this artist, standing in front of a painting means...

The French Gentleman by Paul Goubil (French mid 19th century) signed and dated 1855 oil on canvas, framed framed: 30.5 x 25 inches canvas: 29 x 24 inches Provenance: private collecti...

Signed in red, u.l. Oil on canvas mounted to Masonite 38 x 90 inches Contact gallery for price. This work is offered by ClampArt in New York City.

Outstanding late 19th century English Impressionist landscape, with a horse and cart in a village. Described in 1893 by George Moore as "our greatest living landscape painter," Will...

A very well-painted Dutch 19th century marine scene. The small boat is full of men who are rowing hard to get to the larger vessels, possibly to either take goods on or off the large...

Signed figures in landscape oil on board by Australian-American impressionist painter Richard Hayley Lever. The work depicts brightly coloured sailing boats in the harbour of St Ives...

MOUNTAIN MONASTERY Size: 74 x 52.5 cm (including frame) Oil on canvas A large and captivating mid-century modernist geometric abstract painting, executed in oil onto canvas. The co...

Oil on canvas by Jules Gouillet (1826-1907), France, 1907. Architectural and Floral Composition. This exceptional oil on canvas by Jules Gouillet, a renowned French artist born in Ve...

Giovanni Segala (Murano 1662 - Venice 1717) - San Giovanni. 70.5 x 108.5 cm without frame, 89 x 127 cm with frame. Ancient painting on canvas, in an ancient contemporary frame in c...

Portrait of an Elegant Lady British School, late 19th/ early 20th century - circa 1900 oil on canvas, framed in oak wood frame framed: 30 x 26 inches canvas : 24 x 20 inches provenan...

Giovanni Domenico Ferrucci (Fiesole, Italy, 1619 – Lucca, Italy, post 1669) Title: The Death of Cleopatra Medium: Oil on canvas Dimensions: without frame 85 x 70.7 cm – with frame 10...

A beautiful oil on canvas painting by the French artist Andre Franchet. He was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His work is...

A strong modernist oil painting depicted in the 1950s by Russian, American painter Helen Stein. Mostly known for her abstract figures on canvas, this piece...

Monogrammed lower right, 'DM' for David Monies (Danish, 1812-1894) and dated 1849. Provenance: By descent in the family of the sitter, Peter Andreas Löser (1834–1857). Framed in a su...

This delightful painting by the renowned Victorian genre and landscape artist Henry John Yeend King captures the serene charm of the English countryside. Depicting an idyllic riversi...

A large & important Orientalist oil painting by Nasreddine Dinet (born Alphonse-Etienne Dinet) France 1861-1929. The painting depicts two young North African Berber (Amazigh) women, a tender "rights of passage" portrayal of one young naked woman placing a robe over another. Possibly a cermony for puberty or marriage, both young women are wearing traditional Berber silver anklets & wrist bangles and traditional Berber tattooes. Dinet painted several versions of this and other paintings of Berber people, the painting is of large size and is housed in the original carved & gilded frame. Condition is very good, this very beautiful painting is ready to hang on your wall. The painting at sight without frame 44" x 32" Nasreddine Dinet ( Alphonse-Étienne Dinet ) was born in Paris and was a French orientalist painter he was one of the founders of the Société des Peintres Orientalistes [Society for French Orientalist Painters]. He became so enchanted with Algeria and its culture, that he converted to Islam, and was proficient in Arabic. In addition to his paintings, he translated Arabic literature into French. Born in Paris, Alphonse-Étienne Dinet, was the son of a prominent French judge, Philippe Léon Dinet and Marie Odile Boucher. In 1865 his sister Jeanne, who would become his biographer, was born. From 1871, he studied at the Lycée Henry IV, where the future president Alexandre Millerand was also among the students. Upon graduation in 1881 he enrolled in the École nationale supérieure des Beaux-Arts and entered the studio of Victor Galland. The following year he studied under William Bouguereau and Tony Robert-Fleury at the Académie Julian. He also exhibited for the first time at the Salon des artistes Français. Dinet made his first trip to Bou Saâda by the Ouled Naïl...

19th century French scene of Lovers walking in a Garden, in 17th century costume original frame Wonderful 19th century classical Genre scene, painted with great skill and delicasicy . The artist has captured the meetiung of the two lovers...