Cow Figurative Paintings

Figures in an Arcadian Landscape Italian School, 18th century follower of Claude Lorrain (French 1600-1682) oil painting on canvas: 28 x 36 inches framed: 39.5 by 47 inches presented...

The painting transports us to a world where reality and absurdity merge. An old house contrasts against a dark sky resembling an abyss. A cow grazes peacefully, standing out against ...

Oil Painting of Highland Cows in Scotland Loch by 20th Century British Artist Wendy Reeves. Art measures 20 x 16 inches Frame measures 24 x 20 inches ...

Italian painter (18th century) - Arcadian landscape with flock and shepherds. 56 x 70 cm without frame, 63.5 x 79 cm with frame. Antique oil painting on canvas, in a wooden frame. ...

A stunning 19th century English Antique oil landscape with cows resting by a river. Alfred Vickers was a painter of marine subjects and landscapes. He exhibited extensively througho...

"Taking Care of Business" by Clyde Steadman (United States) is a handmade landscape painting that is unframed, but ready to hang.

"Nearly Camouflaged Cow III" is a framed acrylic painting on canvas by Joshua Brown, depicting a closeup of a cow with a prominently pink nose. This playful work features careful bru...

This superb 17th century Dutch Golden Age oil painting has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. Painted circa 1640 it is an Italianate wooded river landscape with drovers and their herd crossing a river with a watchtower beyond. Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. It has Begeyn's characteristic brightly lit cattle and grouping of figures, similar to a comparable painting in the Lichtenstein Princely Collections. The brushwork and details are superb. One can see the influence of his teacher Nicholaes Berchem (1620-1683) and the typical golden glow of the Golden Age painters. This is a stunning 17th century Golden Age oil painting and an excellent example of Begeyn's work. Provenance: With Koetser Gallery, Zurich. Private Collection (Rhine region). Anon. sale, Dorotheum, Vienna, 22 June 2010, lot 357, as by Jacob de Heusch (€18,600). Anon. sale, Christie's South Kensington,18 November 2015, lot 432, as 'Follower of Nicolaes Berchem'; where purchased by the present owner. Note: Begeyn was one of the many 17th-century Dutch and Flemish painters to embrace the Italianate style, populating their decidedly non-Dutch, mountainous landscapes with rustic travellers and picturesque ruins bathed in warm, Mediterranean light. He is thought to have studied under Nicolaes Berchem (1620-1683), a pioneer of this genre of landscape painting, and travelled extensively to Italy, London and later to Germany in 1688, where he lived out his days as court painter to Frederick III, Elector of Brandenburg (later Frederick I, King of Prussia). The present work was previously thought to be the work of Jacob de Heusch (1656-1701), but has been more recently reattributed to Abraham Begeyn by Dr Marijke C. de Kinkelder formerly of the RKD - Netherlands Institute for Art History. A comparable scene, which also includes Begeyn's characteristic brightly lit cattle and a similar figure group, was sold at Christie's Amsterdam, 18 November 2015, lot 110. Another can be found in the Liechtenstein Princely Collections (no.GE 290). Condition. Oil on canvas, image size 21 inches by 18 inches and in good condition. Frame. Housed in a beautiful gilt frame, 28 inches by 25 inches and in good condition. Abraham Begeyn (c. 1637 Leiden - 11 June 1697 Berlin), was a Dutch Golden Age painter. Begeyn was born in Leiden. Though perhaps known mostly for his Italianate landscapes and cattle in the manner of Nicolaes Pietersz Berchem, Begyn was a highly skilled painter active in many genres, who travelled widely. According to the RKD, Begeyn's earliest known work is from 1653, though he was first accepted into the Guild of St. Luke in Leiden in 1655. He stopped paying dues in 1667, because he set off for a trip to Italy. He is registered in Rome and Naples from 1659–1660. In the rampjaar or disaster year, of 1672, he is registered in Amsterdam, and after that he lived in London, where he painted at Ham House, Surrey, together with Willem van de Velde the Younger (1633–1707) and Dirck van Bergen...

The Close of Day Italian School, early 18th century oil on canvas, unframed canvas: 17 x 22.5 inches provenance: private collection, France condition: very good and sound condition

"Prairie Summer" by Lani Vlaanderen is an original handmade oil painting on stretched linen.

Constant Troyon (French, 1810-1865) Le Berger et la Mer (The Shepherd and the Sea), c. 1840 Oil on canvas 32.75 x 50.75 inches 40 x 57 inches, framed This work depicts a shepherd an...

This charming mid-19th-century oil painting attributed to English artist William Traies (1789-1872) depicts a picturesque river view with cascade, figures and cattle. Traies was an a...

Wonderful Spanish landscape of a humble farm in Rota, Cadiz, Spain with horses, a cow with two herons, one of which is on cow's back by San Francisco artist John Sackas (American, 1910-2004), circa 1950s. Signed lower Left "Sackas" and verso Rota Farm House Cadiz" "John Sackas" . Verso has location, attribution and full artist's biography. Presented in gilt-toned carved wood frame. Image size: 14"H x 18"W. Born in New Jersey on May 22, 1910. John Sackas studied at the San Francisco Art Institute (1934), Chouinard Art School in Los Angeles, Corcoran Gallery of Art, and California School of Fine Arts, Jerry...

The oil paintings of the contemporary Dutch artist Paul Jansen invites the viewer to look beyond the standard picture within the frame. It feels as if the ...

Gilbert Munger Near Bourron, France, circa 1886 Signed lower left Oil on panel 13 x 18 inches Gilbert Munger was born on April 14, 1837 in Madison, Connecticut. He showed interest ...

Raging Bull 6 ♛ This artwork is already collector by using old commercial ads from 1938. Powerful bull running. Dripping creates movement. Technique: oil, acrylic, and ink on o...

The Horse & Cart French School, late 19th century circle of Camille Pissarro (French 1830-1903) oil on canvas, framed framed: 18 x 24.5 inches canvas : 12.5 x 20 inches Provenance: p...

Flip Gaasendam Dutch Cows on the Salt Marsh 75 x 120 cm Oil on Canvas This painting is framed (included in price) 80 x 125 cm This painting is made by Flip ...

Classical Landscape Continental School, late 20th century signed oil on canvas, framed framed: 34 x 43 inches canvas: 27 x 34 inches provenance: fr...

A rare figurative for this well-listed California artist of a Nevada mining town landscape with prospector and burro by George Sanders Bickerstaff (American, 1893 - 1954), circa 1920. Signed lower right corner. Presented in patinated gilt-toned wood frame. Image size: 24"H x 30.5"W. Frame size: 32.5"H x 38"W. Bickerstaff was active/lived in California, Arkansas. George Bickerstaff is known for Landscape, coastal views, still life, western painting. Landscape painter. Born in Marianna, Arkansas on April 12, 1893. Bickerstaff was a self-taught artist except for a brief period at the Art Institute of Chicago. He led a peripatetic existence before moving to California in 1922. His early years were spent in San Diego, Los Angeles, and Van Nuys. He exhibited often in the latter with Paul Lauritz. A prolific oil painter of mountain and desert scenes, his landscapes often include eucalypti as well as rolling hills of California wildflowers...

Italian painter (18th century) - Landscape with shepherds at rest. 44 x 61 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good condition of the...

The oil paintings of the contemporary Dutch artist Paul Jansen invites the viewer to look beyond the standard picture within the frame. It feels as if the ...

This captivating early 19th-century painting of an interior farm scene by Abraham Cooper, circa 1830, is a testament to the artist's skill in capturing ...

This superb Dutch Old Master oil painting is attributed to Pieter Bodding van Laer. Painted circa 1635 during the Dutch Golden Age the composition depicts a number of figures and ani...

This painting by Gustaf Brandelius, a 19th-century Swedish artist, evokes the pastoral tranquility and rural life of the era. Brandelius was not only a painter but also served in the...

"The Blind Woman" by artist Miles Cleveland Goodwin is oil on canvas, and measures 72 5/8 x 44 5/8 inches. Including the artist-made frame, the overall dim...

English Impressionist landscape with sheep in a field by a Victorian house with a blustery sky. Solomon was an early 20th-century painter of landscape and town scenes from the first...

This painting is by Dutch Impressionist painter Erik van Elven. This young artist likes to paint in the style of the Dutch Masters, but also has deve...

The painting captures a serene moment on the foothill plateau, just as the day is beginning to wake up. The mountains are still wrapped in a soft blanket of morning fog, giving the s...

The oil paintings of the contemporary Dutch artist Paul Jansen invites the viewer to look beyond the standard picture within the frame. It feels as if the curious animal really reach...

The New Arrival Colin Impey (20th Century), British signed oil on canvas, unframed dated 2018 canvas: 16 x 20.5 the painting is in overall very good and ...

Artist/School: 19th Century English School Title: Milking on a riverbank with church beyond Medium: oil on canvas, framed Size: 19 x 23 ...

The pronounced technique is the first thing that strikes you when viewing the works of Jan Grotenbreg (1946). It is innovative and unique. The result of...

The oil paintings of the contemporary Dutch artist Paul Jansen invites the viewer to look beyond the standard picture within the frame. It feels as if the ...

Wonderful and outstanding example by one of England's known and much-loved 18th and 19th-century painters. Morland was an English painter who became one of the most popular artists o...

Ali Ghassan's "Black Cow" is an original, handmade oil painting that depicts a black and white cow with a yellow ear tag with a blue sky background. Abou...

Margaret Maitland Howard. English ( b.1898 - d.1983 ). Pan, God Of Nature, Playing Panpipes. Oil On Canvas. Signed Lower Left. Image size 22.6 inches x 18.1 inches ( 57.5cm x 46cm ). Frame size 26.8 inches x 22.2 inches ( 68cm x 56.5cm ). Available for sale; this original oil painting is by the English artist Margaret Maitland Howard and dates from the 1930s. The painting is presented and supplied in a sympathetic contemporary frame (which is shown in these photographs), mounted with new fixtures. The canvas has been lined and mounted on a newly constructed custom made stretcher. The painted surface has benefitted from cleaning and conservation, all of which was performed on our instruction, supervision and approval. This vintage painting is now in very good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower left. Margaret Maitland Howard was an accomplished and versatile English artist whose works spanned the early to mid-20th century. Known for her evocative and often mythologically inspired oil paintings, Howard’s work reflects a deep engagement with classical themes and her knowledge of nature, and the human form. She was also proficient working in watercolours and pastels and an accomplished sculptor. Margaret, who was always known as “Marjorie” was born in Friern, Barnet, London on 31 July 1898, the daughter of artist and civil servant Henry James Howard. She grew up at Sutton, Surrey, where she spent most of her life. She spent many years living and working from St. Katherine’s, Malgrave Road, Sutton, Surrey. She was educated privately, at the Byam Shaw and then attended the Vicat Cole School of Art, completing her studies at the Royal Academy Schools, where she won five silver medals and other awards. She was also the recipient of a British Institute scholarship and extension and won the 1926 prize for her portrait work at the National Welsh Eisteddfod in Swansea. She exhibited paintings at the Royal Academy, showing at least ten works of classical and biblical themes at Summer Exhibitions between 1923 and 1935. She was one of the early group of women who painted nudes, a practice which was considered somewhat risqué and vulgar in the early twentieth century. She also exhibited at other leading galleries and in the provinces and consistently pursued her art despite the challenges posed by the societal norms of the time. Howard had a significant professional career for a woman of her generation. Just after World War II she was appointed draughtsman to the Institute of Archaeology at London University where she worked from 1948 to 1960. This is now part of University College, London. Here, she worked as an illustrator and sculptor, creating models for Professor Frederick Zeuner to use in his lectures. She also illustrated one of his important books (Zeuner, F.E. Dating the Past, London: Methuen). She also created the bust of Gordon Childe, now in the Institute’s Library. After her retirement from the Institute of Archaeology she collaborated with Ian Wolfran Cornwall on his series of books about the prehistoric world. In 1956, whilst working for the British Institute for the Study of Iraq, she moved to Balawat and supervised the archaeological work at the site of an ancient Assyrian city in northern Mesopotamia. She subsequently prepared drawings of the Balawat Gates, which was significant and technical work. In addition to illustrating various books on ancient history and anthropology, Howard was also known as an illustrator of fictional books, producing an illustrated edition of the Fables of Aesop that was published by John Lane at The Bodley Head in 1926. She also illustrated Elizabeth Ward...

Circle of Thomas Sidney Cooper (British 1803-1902) Milkmaids and livestock in a rural landscape oil painting on panel, framed framed: 14 x 18 inches board: 12 x 16 inches provenance:...

Summer rustic scene depicts an idyllic picture of country life in which harmony and happiness reign. The muted, slightly blurry colors convey the artist's inner world and mood, while...

Paul Albert Girard Paris 1839 – 1920 French Painter 'The Greek Temples of Paestrum' Signature: Signed lower left
 Medium: Aquarelle
 Dimensions: Image size 29 x 49 cm, frame size 41 x 61cm Provenance: Paestum, designated as a UNESCO World Heritage Site, stands as the best-preserved Greek archaeological site in Italy. Situated just south of Salerno, near the picturesque Amalfi Coast, and in proximity to Pompeii, Paestum remains somewhat undiscovered by many travelers. In its prime, Poseidonia thrived, evident in the remnants of city walls, colossal temples, and the overall urban layout. As Magna Grecia expanded and established trade routes, conflicts arose between the Greek colonists and the indigenous Samnite and Lucani tribes. Archaeological findings, however, suggest a period of peaceful coexistence between the Greeks and the Lucanians. This harmony was disrupted in 273 BC with the arrival of the Romans. The Romans, while altering the city's name to Paestum, did not obliterate it. Remarkably, their admiration for the splendidly constructed temples played a role in shaping classical architecture on the Italian peninsula, influencing subsequent Roman development and style. The Romans made additions to Paestum, including a forum, an amphitheater, a temple of their own, and residential structures, some of which still stand today. In 79 BC, the eruption of Vesuvius dealt a partial blow to Paestum, altering its landscape. Despite this setback, the city's survival attests to its resilience and enduring cultural significance. Today, visitors can explore the fascinating remnants of Paestum, a testament to the confluence of Greek and Roman influences, and the architectural prowess that has withstood the test of time. Born on December 13, 1839, in the artistic heart of Paris, Paul-Albert Girard emerged as a luminary in the world of 19th-century French painting. The son of the esteemed painter Pierre Girard, he inherited not just a name but also a passion for the arts that would define his illustrious career. Biography: Born on December 13, 1839, in the artistic heart of Paris, Paul-Albert Girard emerged as a luminary in the world of 19th-century French painting. The son of the esteemed painter Pierre Girard, he inherited not just a name but also a passion for the arts that would define his illustrious career. Paul Albert was a versatile artist, displaying his mastery across various genres – from capturing the essence of everyday life in genre scenes to breathing life into captivating portraits and landscapes. His prowess extended to watercolors, mural compositions, and the rich tapestry of Orientalist paintings depicting scenes from North Africa. In 1857, Paul-Albert embarked on his formal artistic education at the prestigious École des Beaux-Arts in Paris. Under the guidance of eminent mentors such as Jean Joseph Bellel, François Edouard Picot, and Hippolyte Flandrin...

"Highlands Cow" by Dawne Raulet is a striking original painting that beautifully captures the majestic presence of a Highland cow against a rich, dark background. With remarkable det...

Fine 19the century landscape by member of the renowned Williams family of artists, George Augustus (1814-1901). George Augustus was the son of Edward Williams (1781-1855), whose wife...

English painter (19th century) - Bulls at the stream. 35 x 54 cm without frame, 44.5 x 62.5 cm with frame. Oil on panel, in a gilded wooden frame. Con...

Wonderful 20th century German landscape with harvesters working on the farmland, bringing in the harvest. Hohenberger was landscape painter from the middle to latter part of the 20...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 2007 Title: Antique Motive Size: 17" x ...

Ali Ghassan's "Vaca" is an original, handmade oil painting that depicts a black and white cow with yellow and blue graffiti in the background. About the ...

Henry George Keller (American, 1868-1949) Cattle Series Study, 1901 Oil on canvas Signed verso 22 x 26 inches 28.5 x 33 inches, framed Keller, a leading painter in Cleveland, was born at sea, off Nova Scotia on April 3, 1869. His earliest training was in Karlsruhe, Germany under Hermann Baisch (1846-1894), then at the Cleveland School of Art...

This artwork titled "Les Eboulements" 1981, is an oil painting on board by noted Canadian artist Terry Tomalty, b.1935. It is signed, titled and dated at the lower right corner by th...

Eugène Joseph Verboeckhoven, a luminary of 19th-century Belgian art, wielded his brush with unparalleled mastery, capturing the timeless allure of pastoral landscapes and noble anim...

Twin Calves, San Rafael looking to Mt. Tamalpais -Turn of the Century Landscape by Gordon Harrower Coutts Charming and significant turn of the century landscape painting of two calv...

'Savvy', original oil painting on canvas 60 x 50 cm, 2025 Excellent condition.

In "Escapee", a huge ceramic figure of a bambi runs away from its owner in the middle of a strange and threatening landscape. This painting depicts a completely absurd situation that...

Leading them Home English School, mid 19th century oil on board laid on canvas, framed framed: 18.5 x 15.5 inches painting : 14 x 11 inches Provenance: private collection, the City o...

Wonderful signed oil on panel cattle and figures in landscape by French impressionist painter Jean-Francois Raffaelli. The work depicts oxen being loaded onto ships in Honfleur, France en route to England. Signature: Signed lower right Dimensions: Framed: 18"x16" Unframed: 9"x8" Provenance: Exhibition Jean Francois Raffaélli held at Galerie Simonson, 19 Rue Caumartin Paris - October 1929 (number 44) Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

Diptych - signed on bottom right Helen Uter is an established Franco-American painter with international exposure. Heavily influenced by Edward Hopper, she creates works that explo...

Frank Walters (British, late 19th century) - Highland Cattle at the Lake. 51.5 x 76.5 cm without frame, 57 x 82 cm with frame. Antique oil painting on canvas, in a gilded wooden fr...

Pastoral Landscape Dutch painter, 18th century oil on canvas, framed in antique frame framed: 22 x 25 inches canvas: 18.5 x 22 inches Provenance: Private collection, France Condition...

Title: French Mid 20 Century Pastel Landscape of Rolling Hills with Horse and Red Barn by Anne Marie Migette Perard (French 1902-1977) Medium: Pastel on unframed paper Size: 19.75 in...