Crypt Landscape Paintings

Oil on Board realized by Jules Victor Génisson (1805-1860) in the mid-19th Century. Hand signed lower left. Good condition.

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

French painter (18th century) - Joseph in prison. 84 x 105 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pic...

Title: British Impressionist Watercolor of an Atmospheric Stone Archway Passage By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 ...

Interior courtyard scene by Mary Scott (American, late 19th/early 20th C). Two large stone columns support an arch, framing the composition. Between the columns, some of the courtyard can be seen, including a tree and the edges of a grassy area. Across the courtyard, there is a small desk and chair...

In this piece, I've explored the dance between light and shadow, crafting an intimate journey through an architectural passage that beckons with history and mystery. Employing oil on...

Jean La Forgue (French 1901-1975) signed watercolour on paper, mounted in a card frame card frame: 29 x 23 inches painting: 24 x 18 inches provenance: the artists estate, France cond...

"Concert" Early 20th Century WPA Modernism American City Landscape Scene Ashcan The size of the canvas 28 3/4 x 43 1/4 inches. The painting comes directly from the artist's estate. It is signed lower right as well as signed, titled and dated verso. We have available more than two dozen paintings and works on paper from the 1930s - 80s that come directly from the Loew estate. BIO Michael Loew (1907 – 1985) was the son of a New York City baker. After high school, he was an apprentice to a stained-glass maker, and from 1926-1929, he studied at the Art Students League. In 1929, he traveled to Paris, North Africa, Germany, and Italy with a group of artists. When he returned to New York City in 1931, the Great Depression hit Loew unexpectedly, and for the next two years he paid his apartment rent with his paintings. In 1935, he found work with the WPA where he painted murals and partnered up with longtime friend Willem de Kooning in 1939 on a mural for the Hall of Pharmacy at the New York World’s Fair. Their friendship lasted for the rest of their lives. In the mid-30’s he painted in Mexico and the Yucatán documenting the construction of a U.S. Naval airbase on Tinian Island. It was from this airbase that the Enola...

Randy Peyton (1958 - present) San Antonio Artist Image Size: 16 x 12 Frame Size: 19 x 15 Medium: Oil on Canvas " San Fernando Cathedral Moonlight" Biogra...

THIS WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...

Adrien Dauzats (1804 - 1888) Tomb of Edward the Confessor at Westminster Abbey Oil on canvas 76 x 88 cm Provenance: Dauzats sale, n°82 (1 - 4 Feb 1869, Paris, Drouot), its sales stam...

Early 20th Century oil on canvas painting of a garden by M Lagrosk. The painting is signed bottom right. Interestingly to the back stretcher there is a trade stamp for 'Montmartre, B...

Georges-Antoine Rochegrosse French 1859 - 1938 The Palace Courtyard Oil on canvas, signed lower left Image size: 26 ¾ x 19 ¾ inches (68 x 50 cm) Ornate orientalist gilt frame (Image ...

Jean La Forgue (French 1901-1975) watercolour on card, unframed painting: 23 x 20 inches provenance: the artists estate, France condition: very good an...

The Battle Of Sluys (1340), oil on canvas, 16th/17th Century Rare account of the opening engagement of The Hundred Years War (1337-1453) Fine huge antique history painting depictin...

Courtyard with Arched Colonnades and Fountain Simone Forge 1930's French Impressionist oil on board unframed board: 16 x 13 inches Provenance: private collection Condition: great c...

Paul Lecomte (1842-1920) Mother and daughter at a fountain Signed on the lower left Oil on canvas transfered on cardboard 25.5 x 34 cm In good condition In a modern frame : 44 x 52 ...

C.W. Mundy's "Paris, La Seine & The Eiffel Tower" (2024) is an original, handmade oil painting of Paris, with the Eiffel tower out of focus in the distance. About the Artist: C.W....

View Through Archway to Tower and Garden Simone Forge 1930's French Impressionist oil on board unframed board: 16 x 13 inches Provenance: private collection Condition: great condit...

Exhibited: New York Society of Artist Sid Deutsch Owings-Dewey Fine Art It's Skyscraper City: 1918. The artist depicts a simultaneous interior and exerterior view.. Based on Cole...

The Big Closed Gate, 2019 Oil on canvas 51 3/16 H x 39 3/8 W in. 130 H x 100 W The artwork was part of the solo show ONIRIX. ONIRIX is a project about how we remember and interpre...

French school from the mid-19th century Oil on paper 33 x 46 cm (37 x 51 cm with the frame) Inscription on the verso "Avon"

"Under the Bridge" by Bertrand Mogniat-Duclos (French 1903-1987) signed oil painting on board, framed painting: 9.5 x 14 inches framed: 13.5 x 18 inches A very beautiful French Pos...

Mid Century Ravello Amalfi Coast Original Oil Painting - Villa Cimbrone La Cripta Wonderful perspective of the Gothic Arches of Villa Cimbrone's Crypt ...

Work on canvas Molded frame in plaster and gilded wood 49 x 39 x 6 cm

Work on cardboard Beige wooden frame 67.5 x 86 x 4 cm

Modernist Mosque, Vintage Abstracted 1970s Architectural Landscape by Connie Cowper Modernist abstracted architectural landscape of a mosque by Constance Cowper (American, 20th Century). This 1970 oil...

Workshop of Francesco Battaglioli (Modena, c. 1710 - Venice, after 1796) Baroque palace architecture with elegant staff and swans Oil on canvas...

Arched Cloister with Gothic Vaults and Garden Simone Forge, 1930's French Impressionist oil on board unframed board: 16 x 13 inches Provenance: private collection Condition: great c...

ABOUT THE ARTIST MARTA RYNKIEWICZ is a Polish contemporary artist (born in 1983). She studied painting with Professor Henryk Czenik and graphic arts with Professor Jerzy Krechowic...

Jeannette Milam Jones (1903-1999) San Antonio Artist Image Size: 11.5 x 14.25 Frame Size: 16 x 19 Medium: Oil "Mission San Jose" Biography Jeannette Milam Jones (1903 - 1989) The following information is from Susan Soderstrom, whose family was a neighbor of the artist in San Antonio, Texas and who found this information about Jeanette Jones among her deceased mother's papers. "A native of Uvalde, TX, window of Lucian T. Jones, Sr., and Mother of Lucian T. Jones, Jr. and Bruce Milam Jones. She studied with Harry Anthony de Yong, Henry Lee...

“Golden Altar” by Catherine Picard-Gibbs is a expressionist interior church scene. This evocative 24 x 20 x 1 7/8 inch oil on canvas painting depicts a golden encrusted altar. The te...

Oil on canvas

Oil on Canvas

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 Realists since 2006. He paints everyda...

An atmospheric and moody night time scene in oil showing Victoria, London under street lights. The artist has initialed and dated to the lower right. On canvas.

Unsigned. Location inscribed on the reverse. Presented in a distressed wooden frame. On canvas board.

The work Blue Chapitel, explores the relationship between architecture and color, highlighting an architectural fragment: the column and the capital. The work uses in this case a gre...

"Patio de los Leones" Artist: Borja Fernandez Medium: Oil on Canvas Size: 63.75" x 45"

Oil on canvas board. Signed and dated lower left. Unframed. Salvador de Regil’s 1951 surrealist oil painting transports viewers into a mesmerizing dreamscape where architecture and ...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...