20th Century Oil on Canvas Signed Mattia Traverso Interior Scene Painting, 1930

1930

Antique Italian painting from 18th century. Oil artwork on canvas depicting biblical subject Joseph and and Potiphar's Wife of good pictorial hand. Beautiful measure and pleasant fur...

Spanish painting from the mid-20th century. Oil on canvas, glued on masonite, painting depicting Maternity, Woman with child in her arms of excellent pictorial quality. Painting of g...

Antique French painting from the late 17th century. Oil on canvas, first canvas, artwork depicting a sacred art subject, Adoration of the Shepherds, of good pictorial quality. Painti...

Antique Italian painting from the second half of the 17th century. Artwork oil on canvas depicting the mythological subject Rape of Europa of excellent pictorial quality. Painting of...

Signed lower left Elizabeth Higgins (Canadian, b. 1960) Elizabeth Higgins describes herself as an abstract figurative and landscape painter. Everything around her serves as a potential subject, an inspiration to begin a painting. Fidelity to the landscape, the figure, or the still life is relative, as she isn’t interested in literal depictions; instead, it’s the abstract relationships of these shapes and colors, the abstract pictorial design that drives her work. Higgins’ paintings are rooted in the tradition stemming from Courbet, Derain, Bonnard, Matisse, Morandi, German Expressionism, and the Canadian Group of Seven (also known as the Algonquin School of landscape painters, 1920–1933). She is influenced by the work of her artist-teachers Paul Resika—himself a student of Hans Hofmann—and Robert De Niro, Sr. (1922-1993), as well as the paintings of contemporary artist Peter Doig. Her artistic evolution stretches across this continuum. It is the “in-between”, the hovering between representation and abstraction, that interests her, not the labeling effect of details; instead, she aims directly at the spirit of the painting—of making something come to life. John Goodrich wrote in her catalog essay, “Elizabeth Higgins’ direct brushwork and simplified forms suggest an energy, but crucially, reveal a painter who knows the power of color…” Elizabeth Higgins was born in Toronto, Canada, in 1960. As a Helena...

The Country House Interior British School, 19th century oil painting on canvas, framed canvas: 21 x 17 inches framed: 24 x 20 inches conditon: very sound, presentable and good. Frame...

Leo Schutzman (1878 - 1962) The Marriage Proposal, circa 1958 Oil on canvas 24 x 20 inches Signed lower left Leo (Kyle) Schutzman (1878-1962) developed ...

Harry Leslie Hoffman (1871 - 1964) The Artist's Wife (Beatrice Pope) at the Loom, circa 1915 Oil on canvas 30 x 32 inches Housed in a period Newcomb-Macklin frame Provenance: Estate of the artist Private Collection, Massachusetts This painting depicts the artist's wife at the loom, producing textile versions of Hoffman's underwater paintings. The screen shown behind Bea is an underwater scene also painted by Hoffman. The study of this painting is held in the collection of the Wolfsonian Museum in Florida. Harry Leslie Hoffman was born in Cressona, a small community in Pennsylvania's Schuylkill Valley. His mother was an amateur artist who encouraged her son to pursue a career in the arts. In 1893, Hoffman entered the School of Art at Yale University and studied with John Ferguson Weir, the son of Robert Walter Weir. After graduation in 1897, Hoffman moved to New York to continue his studies at the Art Students League. He also traveled to Paris and took classes at the Académie Julien. In the summer of 1902, Hoffman attended the Lyme Summer School of Art, in the town of Old Lyme on the Connecticut coast. The school was headed by Frank Vincent Dumond and was located in a boarding house owned by Florence Griswold. The school eventually grew into an artists' colony and a center for American Impressionism. When Hoffman first arrived as a student, he was not permitted to stay in the house which was designated for the professional artists only. However, his outgoing personality soon won him many friends at the colony. In 1905, Hoffman settled in Old Lyme and worked as a full member of the artist colony. He was particularly influenced by Willard Leroy Metcalf, an Impressionist also working in Old Lyme. Fellow artists later fondly recalled Hoffman's antics at the Griswold house, which included playing the flute and banjo, tap-dancing, singing humorous songs, and performing magic tricks. In 1910 Hoffman...