Tempera Figurative Paintings

This tempera is hand signed by the artist "G. Severini" in the lower right image. It is dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Sev...

Modernist reclining female nude figurative painting by an unknown artist (American, 20th Century). This vivid late 20th-century figural piece featur...

On one hot June day, a beautiful Ethiopian girl was playing in Monahov's studio with a sparkling glass prism, watching objects refracted in the room and outside the window.. and at s...

The Dancer is a modern artwork realized in 1970s by Erté (Romain de Tirtoff). Mixed clored tempera on paper. Hand signed on the lower margin. Provenance: Coll. G. Carandente, Roma...

Tempera on canvas & signed on bottom right Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Edu...

An Intriguing 1991 Surrealist painting of downtown Chicago by artist James Mesplé. Oil and tempera on panel. Signed and dated "James Mesplé 1991", lower right; titled on label on ...

Pablita Velarde Two Pueblo Dancers, Santa Clara, 1993 Signed and dated lower right Casein on paper 7 1/2 x 7 1/4 inches Provenance Adobe Gallery, New Mexico Private Collection, Texa...

Original Egg Tempera painting signed by the Artist in the lower right corner.

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Provenance: Achillito Chiesa, Milan Luigi Albrighi, Florence, by 1 July 1955 with Marcello and Carlo Sestieri, Rome, 1969 Private Collection, Connecticut Exhibited: Mount Holyoke College Art Museum, South Hadley, Massachusetts (on loan, 2012) Literature: Carlo Volpe, “Alcune restituzioni al Maestro dei Santi Quirico e Giulitta,” in Quaderni di Emblema 2: Miscellanea di Bonsanti, Fahy, Francisci, Gardner, Mortari, Sestieri, Volpe, Zeri, Bergamo, 1973, pp. 19-20, fig. 18, as by the Master of Saints Quiricus and Julitta (now identified as Borghese di Piero). This fine predella panel depicting the Baptism...

Birth of Venus is a painting artwork, realized by Sergio Barletta in 1991. Tempera and Watercolor on Cardboard Hand-signed on the lower margin. Good conditions. Sergio Barletta...

A rare & important Italian Renaissance tempera on parchment painting, Giuseppe Cesari Il Cavalier d'Arpino (Giuseppe Cesari, 1568-1640), the painting c...

Christ Pantocrator (Closed Book) – Byzantine Icon, Egg Tempera & 24K Gold Artist: Oliver Samsinger. Technique: Egg tempera on gesso and wood, with 24‑karat gold leaf. Dimensions: 43...

The original cover for The Saturday Evening Post, In The Dentist’s Chair, published on October 19, 1957, embodies Ard’s characteristic wit and attention to detail. The young man, still wearing a toy pistol in a holster, seems to have been torn from playing a cowboy with his friends. Having just completed his x-rays, which hang on the wall behind him, the boy awaits the arrival of the dentist to determine his fate. Interestingly, the Post editors empathize with the dentist rather than the patient. The Post describes: “Dentists are to be pitied. How would you like to be greeted by horrified faces like this from morn till night throughout your professional career? Dentists are kindly, humane souls who love their fellowmen, minister constructively to their grinders, and seldom hurt the faint-hearts much while doing it–yet their only reward, besides a fee, is those eternal faces, staring, staring upward as if at an ogre. Next time you go to a D.D.S., smile at him; and if he doesn’t faint, maybe he’ll pull a couple of your teeth for nothing. Kurt Ard...

"Birth of Christ", after a Russian icon of the 15th century. Tempera and gold leaves on gesso, wooden board. Dimensions: (H) 68 x (W) 52 x (D) 4 cm. The Nativity of Christ. This icon, created by the Viennese artist Oliver...

Hunter's funeral is a modern artwork realized in the early 20th Century. Tempera painting on board. Hand signed on the lower margin. Includes frame: 60 x 86 cm

Madame in the blossom garden is an original painting realized by Lucie Navier in the 1931. Original tempera on paper. Very good conditions. Colorful composition representing a f...

Mixed media (tempera, oil) on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Educa...

Central Park NYC Mid-20th Century American Scene Modernism WPA Realism Cityscape Adolph Dehn "Central Park: People, Rocks & Hills" Casin on board 22 x 30 inches Signed and dated '5...

This superb British 1930's modern art tempera painting is by noted interwar artist Blair Hughes-Stanton. Painted in 1936 it is part of the myth se...

Date: 1951 Medium: Gouache and Tempera on Board Dimensions: 10.25" x 12.50" Signature: Signed Lower Right The Head and the Heart, American Magazine story illustration, September 1951

Few artists have mastered the use of pigments in the way that Sax Berlin has and his delicate touch with them imbues this painting with warmth and love. The dark inked lines surround...

Siamese Cat with Kittens by Orovida Pissarro (1893-1968) Egg tempera on linen 39 x 48 cm (15³/₈ x 18⁷/₈ inches) Signed lower right Orovida and dated lower left 1934 Provenance J Ankri, 8th October 1967 Literature K L Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, (doctoral thesis), Oxford, 1992, Appendices, no. 51, p. 56 (illustrated) Exhibition London, The Leicester Galleries, Paintings by Orovida, February 1935, no. 6 Women’s International Art Club, 20th February - 13th March 1937, no. 273 London, Redfern Gallery, Ten Years of Work by Orovida, 5th-28th May 1938, no. 7 London, The Royal Society of British Artists, Summer Exhibition, 1947, no. 281 (possibly the etching) London, O’Hana Gallery, Paintings, Drawings and Coloured Etchings: Orovida, 3rd-18th October 1957, no. 13 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

This 19.7" x 27.6" framed tempera, acrylic, and oil pastel work on paper by Tbilisi, Georgia-based multidisciplinary artist Erekle Chinchilakashvili depicts two distinct profiles of ...

L. Dano Keys (Chickasaw, 1919-1980) Heritage of a Chief, 1970. Tempera on blue paper, 12 x 16 inches. Signed and dated by artist, lower right. Original matting and labels. No fr...

Mixed media (tempera, oil) on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Education...

Fred Wessel's "Fritillaria Imperialis" is a stunning egg tempera painting on gold leaf. Created in 2023, this piece features a stem of Fritillaria Imperialis, resting in an ornate go...

Fred Wessel's "Dahlia Icon" is a stunning egg tempera painting on gold leaf with coral cabochons. Created in 2021, this piece features a freshly bloomed stem of a white lily flower, ...

Fred Wessel's "Four Lilies" is a stunning egg tempera painting on gold leaf with coral cabochons. Created in 2024, this piece features the aforementioned lilies in full bloom, sprout...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Measurements ...

Aditya Basak - Untitled - 36 x 30 inches (unframed size) Acrylic & Tempera on Canvas ** This work will be shipped in a roll form. "Through the medium of the fantasy, Basak probes...

Oil and tempera on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Education Iwamizawa ...

Marzio Tamer occupies a unique position in contemporary painting. Few artists working today have developed a visual language in which extraordinary technical mastery and a profound k...

Mintu Naiya - Lady - 11 x 8 inches ( unframed size ) Wash on Paper ** Shipped in roll form. About the Artist & his Art work : Born : November, 1976. Education : Graduate from Calc...

The Archangel Michael (after the one by Rubliev in the Tretyakov Gallery-Moscow). This icon is an original work by the Viennese iconographer Oliver Samsinger. According to the artis...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

Oil and tempera on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Education Iwamizawa ...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Scared is an original painting realized by Sergio Barletta. Applied on passepartout: 65 x 50 cm. Hand-signed on the lower left. In very good conditions, except for small ripping a...

UN Poster Design American Scene Mid 20th Century Modernism WPA World Peace Jo Cain (1904 – 2003) We Are All Members of the Human Race: UN Poster Proposal 21 x...

Euthycles is an original painting artwork in mixed media, tempera and watercolor on paper, realized by the Greek-French artist Alkis Matheos . Very good...

Image dimensions: 23.5 x 17 cm. Prince is an original artwork realized by Esy Beluzzi in 1956 Original painting on paper. Hand-signed and dated in blue pen on the lower right corner: Esy 56. Mint conditions. Beautiful artwork presenting the incipit of a story. The writing, similar to an ancient...

The Virgin of Tijvin (after a Russian icon in the style of the 18th Century). Egg tempera and gold leaf on gesso over wood. Measurements in centimeters: 45 x 36.5 x 3 cm / In inch...

Les Oiseaux du Loch The Birds of Loch Surrealist Creature Landscape Contemporary Gérard Willemenot was born on February 11, 1943. World War II and his father's deportation to Mautha...

Egg tempera on canvas, Molding frame Frank Suplie is a German artist born in 1950 lives and works in Berlin, Germany. He is a member of the Painters Association of the North German ...

Medium: Tempera on Board Illustration of a baseball player's dusty crash to a field base as seen out of the corner of a television set.

Tempera, ink & egg emulsion Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Education Iwamiza...

L'Auto-Stoppeur Surrealism Landscape Skeleton Skull Contemporary Gérard Willemenot was born on February 11, 1943. World War II and his father's deportation to Mauthausen had a profo...

Tuscan Mannerist figurative painting depicting the 4 Cardinal Virtues, tempera on canvas and paper in guilloché wood frame and marbled painting (102 x 81 cm). The virtues are depicte...

Artist: Mary Fish Title: Transmutations: A Study of Systems Substitution Year: 1980 Medium: Ink and Tempera on Paper, signed Size: 33.5 x 56 in. (85.09 x 142.24 cm)

Mixed media (tempera, oil) on canvas Miyuki Takanashi is a Japanese artist born in 1961 who lives & works in Sapporo in Japan. She is graduated from Hokkaido University of Educa...

Christ on the cross is a modern artwork realized in the style of George Rouault in mid-20th Century. Mixed colored watercolor and tempera. Includes frame. Fair conditions

This charming rural winter scene of ice skaters fully displays Norman Rockwell's America, but it was painted by female artist Charlotte Joan Sternberg. She combines the mid-century A...

Mechanical mask. Cardboard, tempera, 56x47 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born in Ri...

In the garden. 1970s Cardboard, tempera, 59x59 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born i...

15th Century Maestro della Pala Sforzesca Title: Ecce Homo Medium: Tempera on Panel Dimensions: without frame 64.9 x 53.2 – with frame 82 x 70 x 5 cm Beautiful "cassetta" frame in e...

Original fresco tempura painting. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered.

The present illuminated folio page contains a fine miniature depicting three figures hunting while on horseback, an image meant to accompany a historic epic. During the medieval period, hunting was an important pastime of male nobility throughout the Islamic world. The Quran itself explicitly endorses hunting and the use of animals to aid in capturing prey: "Lawful to you are foodstuffs that are good to eat and any game that, at your wish, is captured by beasts of prey which train as you do dogs, according to the method that Allah has taught you, after you have spoken the name of Allah over it." (Q 6:4) Muslim princes and nobles enjoyed the chase of the prey via horseback, using bow and arrow, crossbows, and blowpipes to capture their prey Horseback riding itself trained young men in the necessary skills for armed combat and warfare, developing their speed and strength. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

This work celebrates the customs and folklore of Indigenous People / Eskimo native life. Illustrator Gianni Benvenuti shows a partially clothed Eskimo man lying on his back in a tran...

Tempera mixed with gum arabic and alcohol on Renaissance Panel ( composite wood panel ) Robert Riggs was a gay man. Being gay in American during the 1940's time was something not to flaunt in public. Rigg's had to communicate his underlying feelings in more symbolic ways. Throughout Riggs' oeuvre, one sees continuous references to strong hunked out manly men and vulnerable boys. It is a core element of is iconography and is described in a powerful graphic style. In “Prospector firing Rifle,” there is a Dick Pic. Riggs is clearly making a sexual statement about the moment of climax. The long, straight rifle explodes and is captured at the moment of its peak climax. Meanwhile, the two bags of gold clearly resemble the other part of the male anatomy. Riggs was a thoughtful and meticulous visual thinker, and nothing in any of Riggs’s compositions was haphazardly placed. In tribute to the artist’s suppressed feelings, I have given this work a second title “Happiness is a Warm Gun...