Tempera Paintings

Landscape Abstract Painting - "Landscape interwoven with blue and green" In this unique painting "Landscape Green Blue Woven" by the artist Skadi Engeln, a semi-abstract landscape i...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Signed Lower Right by Artist The Saturday Evening Post Cover, September 23, 1944 A proponent of simplicity as a virtue, Stevan Dohan...

Abstract geometric composition with hints of the female body Date: Circa 1970 Medium: Tempera on thick cardboard Dimensions: H 64 cm x W 50 cm approx. Description: This abstract geo...

China Cup with Pitcher Egg Tempera Realism Strawberries Marbles Framed by realist painter Mark Thompson is 10.5" x 9.75" Notice the figure of the art...

A stylized horse is depicted grazing in an abstract landscape. Most likely, the location is Woodstock, New York, where the artist lived. Signed Lower Right; Framed; Note: titled and signed on verso. Ethel Magafan (August 10, 1916 – April 24, 1993) was an American painter and muralist. Magafan was born in Chicago to Greek parents who had recently immigrated to the U.S. The family soon relocated to Colorado Springs, Colorado, and Magafan's artistic training occurred at the Colorado Springs Fine Arts Center under the tutelage of Peppino Mangravite, Boardman Robinson and Frank Mechau, who hired Magafan and her twin sister, Jenne, to assist on mural projects. In 1937, aEthel won the commission to paint a mural in the U.S. post office in Auburn, Nebraska, making her the youngest recipient of such a commission. It would be the first of seven government-sponsored commissions for the artist. Murals "Andrew Jackson at the Battle of New Orleans, January 8, 1814" E. Magafan, 1943 Under President Franklin Roosevelt's New Deal, several programs were created to employ Americans during the Great Depression. The Magafan twins worked under the New Deal's Section of Painting and Sculpture, a program that hired thousands of artists to paint murals in public spaces, particularly post offices. Ethel and her twin sister, Jenne Magafan, became widely known for their murals painted during the Great Depression. Ethel received her first of seven Government commissions when she was commissioned to produce a painting for the United States post office in Auburn, Nebraska, titled Threshing.Other murals commissioned by the US Government hang in the United States Senate Chamber, the Social Security Building and the Recorder Deeds Building in Washington, D.C., and in post offices in Wynne, Arkansas, titled Cotton Pickers in 1940; in Madill, Oklahoma, titled Prairie Fire in 1941; and Englewood, Colorado, titled The Horse Corral in 1942.Her final mural, entitled Grant in the Wilderness, was installed in 1979 in the Chancellorsville Visitor Center at the Fredericksburg National Memorial Military Park in Virginia, She was a member of the National Academy of Design. Magafan died April 24, 1993, in Woodstock, New York, at the age of 76. References "Collections National Academy Museum". Retrieved 2017-03-08. "Jenne Magafan". Retrieved 2017-03-08. Marlene Park and Gerald E. Markowitz, Democratic Vistas: Post Offices and Public Art in the New Deal. Philadelphia: Temple University Press, 1984. "Browse New Deal projects by State and City". Living New Deal. Retrieved 9 January 2015. "Ethel Magafan Passes Away". New York Times. No. Obituary. April 29, 1993. Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book...

Reflections Egg Tempera Realism Framed 8.5" x 12.5" Reflections Egg Tempera Realism Framed 8.5" x 12.5" is painted with egg tempera by realist painter Mark Thompson . Eg...

Vladimir Glushenkov (1948-2009) (May 21, 1948, Riga - December 26, 2009, Riga) - painter, graphic artist, poet, translator. Vladimir Glushkenkov was born in family with Russian-Poli...

Mid Century Abstract Original Painting - Blue Calligraphy on Crimson Water in Oil and Tempera on Paper Wonderful Bay Area abstract composition by San Francisco's artist Honora Berg ...

Thai Illuminated Manuscript Leaves, 19th century, ink and tempera on paper, five folded leaves together in a giltwood frame. Image: 51.5" H x 16.25" W; frame: 67.5" H x 36.5" W. Prov...

William Bailey’s still life paintings present seemingly everyday objects, including bowls, pitchers, and cups, in groupings that conjure the familiar world while offering a metaphysi...

Shulman, Morris (American, 1912-1978). UNTITLED. Casein on paper, circa 1951. Signed, lower left. 14 1/2 x 21 3/4 inches, framed to 23 x 30 inches. In excellent condition. Shulman st...

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...

This original painting is hand signed by the artist "Scheiber H" in the lower left corner, and dated "1940" below the signature. Exhibited: Hugo Scheiber - Bela Kadar, Galerie Le Mi...

"A Space for Two", Space for love and passion. Part of "Nude in Interior" series. Original work on colored paper, with blue ultramarine tempera on red colored paper, inspired by Mat...

Joanna Rusinek (1979) Polish contemporary painter. Diploma at the Academy of Fine Arts in Gdańsk in 2007 at the Graphics Studio under the supervision of prof. Jadwiga Okrassa. Annex...

As the Days wash over Me‐ Egg Tempera ‐ Tempera Prepped Aluminum panel ‐ 12 x 24 is by E. Melinda Morrison who lives in Fort Worth Texas. Also posted are other paintings available b...

Icon of Our Lady of Jerusalem. Egg tempera on gesso and over a wooden board. Dimensions in centimeters: 42 x 34 x 2 cm / In inches: 16.54 x 13-39 x 0-79 " Author: Oliver Samsinger...

The Room of Metamorphosis is an original contemporary artwork realized in 1998 by the italian artist Leo Guida (1992-2017). Original mixed colored tempera. Study of colors for the ...

"Unter freiem Himmel" (2024) by Susanne Zuehlke (b. 1962) is a vibrant composition characterized by bold geometric shapes in vivid primary colors. The piece features dominant blocks ...

"Blessed" Part of "Nude in Interior" series. Original work on colored paper, with pencil and blue ultramarine tempera on red colored paper, inspired by Matisse...

Jacqueline Pavlowsky was born in 1921 in Vincennes to Russian and Polish Jewish parents who had immigrated to France. After the war, she started her studies of chemistry, while at th...

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

Fred Wessel's "Giana (Fibonacci Revisted)" is a stunning egg tempera painting on gold leaf. Created in 2019, this piece depicts a young woman, looking inquisitively over her shoulder...

Mid-century tempera painting on paper in warm orange tones of parent with child by French artist Clairet, 1956. Signed and dated lower right. Original artwork on paper displayed on ...

Francesco Zuccarelli (Pitigliano 1702 - Florence 1788) - River landscape with shepherds and herds. 31 x 46 cm without frame, 47.5 x 57 cm with frame. Tempera on paper, in a gilded ...

One of a kind painting by Noche Crist (1909- 2004). Noche Crist was an American artist born in Romania. Painting is made with casein on plaster on wood. Catalogue of a postumous ret...

Memento mori, memento vive: Garland with Heron and skull. Technique: tempera on canvas. Signed below: G. Borgogelli-Ottaviani, probably refers to the Italian aristocratic family, wi...

Skull with Sacred Writings and Tablets of the Law is a superb and colorful tempera on cardboard, realized in 1766 by an anonymous artist of ...

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...

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...

Angel's Trumpet

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. John Barnicoat MA ARCA (1924 - 2013) Untitled abstract composition (1968) Tempera on board 27 x 26 cm Initialled and dated lower right. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College...

Oil and tempera on cardboard

This original impasto painting was created on a high-quality canvas (30/40 cm) with a palette knife, using environmentally friendly oil colors with natural pigment and Tempera. Colo...

Beautiful painting in gouache technique depicting a distinguished young lady. The noblewoman presents a pose of rare elegance, with one hand resting on a planter and the other holdin...

Sir William Blake Richmond KCB, RA, PPRBSA 1842 - 1921 The Shepherd Egg tempera on wooden panel, signed with initials bottom left Image size: 8 ¼ x 5 ½ inches Period gilt oak frame A newly discovered work by the artist. Sir William Blake Richmond KCB, RA, PPRBSA was an English portrait painter, sculptor and a designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul's Cathedral in London. He was the son of the portraitist George Richmond RA and studied at the Royal Academy Schools in the early 1860s. Influenced by his father and by Sir John Everett Millais, he is best known for his mosaic decorations below the dome and in the apse of St Paul's Cathedral in London. His father, George Richmond, was one of 'the Ancients' who were a group of artists who formed around the visionary artist and poet William Blake. Samuel Palmer was an other of the ancients and a close friend of the family. Our painting could have been inspired by George Richmond’s engraving 'The Shepherd', 1827, but in our panel the shepherd is turned round facing away, and is playing a flute instead of resting on a staff. But the sheep and other elements are there. It is also suggestive of Welby Sherman's engraving after Samuel Palmer of the same name and date, but here the shepherd is sitting but like ours turned away. William Blake's is an altogether happier image given the figure is playing to his sheep. Our painting is playing with some of the same ideas and feels like the same sort of period, and the ‘fresco’ like chalk ground is interesting, as is the pen and ink finishing on the tempera. All three are strongly influenced by Blake's illustrations to Thornton's 'Virgil'. The shepherd and his flock are clearly based on Thenot and his sheep in the Frontispiece to Thornton. Blake Richmond wrote:"If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of my father's contemporaries, Calvert, Blake and others, whose shadows are substance still to me" [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling op. cit p. 28]. Richmond was given private art lessons by John Ruskin before attending the Royal Academy for three years. After that he spent a number of years in Italy, where an encounter with a shepherd called Beppino, 'a splendid speciman of a Sabine Shepherd', could also have gave him the inspiration for the painting we show here. Richmond recalls how he met Beppino on the hillside, and was invited to share the shade of the shepherd's capanna, a wooden hut. 'What a place! In an instant of time I was back into the age of kings, and I knew Romulus had lived and am sure that he lived in a hut exactly like this one'. That night Richmond dined at Beppino's hut 'on roast kid, hard bread dipped in Roman wine, goat's cream and white ricotta'. The shepherd had such an impression on Richmond that he sought him out on a return visit to Italy some years later, but was saddened to hear that Beppino 'had joined his fore-fathers in the shades'. He was moved to write the following, which perfectly expresses the mood of this painting and his tribute to a fleeting companion: 'Little events of this kind unite past times with present, create and emphasis continuity of human instincts, which seem to defy time and make travel so intensely interesting and invigorating to a citizen of this world. One need not go to the palace, far otherwise, or to cities and towns to discover the kernal of enduring civilisations. One finds it, if one wills to do so, in the backbone of the world, an ancient peasantry who have watched and still watch the progress of the stars'. Richmond was influential in the early stages of the Arts and Crafts Movement in his selection of bold colours and materials for the mosaics in St. Paul's Cathedral and in his collaboration with James Powell and Sons...

Fred Wessel's "West Hartford Canna" is a stunning egg tempera painting on gold leaf. Created in 2022, this piece features a beautiful single stem of an orange Canna Hybrida lily, among its large leaves and stem. Painted underneath is a Victorian stone...

As the artist states about this painting: "I first photographed this farm because it had one of the last living Elm trees in our area. Most began dying in the 70's and there are very...

'Tapetenzunge’ by Fides Becker Acrylic and Eggtempera on Canvas, 115 x 85 cm, 2017 Fides Becker The leading theme of the artist’s interventions is the staging of temporality, trans...

SURREALIST STILL LIFE Size: 29.5 x 34 cm (including frame) Tempera on board A brilliantly executed and characterful surrealist still life composition, executed in tempera on board, ...

Some time ago Evgeniy Monahov chatted with a good friend about which of the Hermitage Leonardos he like best - the Benois Madonna or the Litta Madonna....

Fred Wessel's "Modesty" is a stunning egg tempera painting on gold leaf. Created in 2016, this piece depicts a young woman in a simple patterned gown, looking down and embracing hers...

Colin Fraser is a contemporary Scottish painter, who is recognized for his intricate still lifes, interiors, and landscapes. He was born in Glasgow, Scotland in 1957 and received tra...

The work, tempera on canvas in a great state of conservation, is part of a series of four big paintings of various authors documented in origin in the Villa La Zambra in Sesto Fioren...

Lalu Prasad Shaw - Bibi - 15 x 22 inches Tempera on Board, 2020 (Unframed & Delivered) Style : Known widely for his highly stylized portraits of Bengali women and couples, Lalu Pras...

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...

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...

Berto Lardera (1911-1989). Collage, 1958. Paper, cardboard, paint. 29 x 40.5 inches; 31.5 x 42 inches framed. Signed and dated lower right. Bears origina...

Armony in blue and red is an original artwork realized by Clement Nicolas Kons in 1920s. Original mixed colored tempera. The artwork is glued on ...

Wonderful rustic landscape of ghost town Bodie, California titled, "The Old Trunk, Bodie" by Darwin Musselman (American, 1916-2010). Presented in a wooden frame. Egg tempera on Masonite, painted at his studio on Sequoia Drive in Fresno in 1972 (verified and authenticated by the son and estate, letter included). Signed "Darwin Musselman" lower right. Titled "The Old Trunk, Bodie" and signed "Darwin Musselman" on verso. Image size, 12"H x 24"W. Darwin B Musselman was born in Selma, California, in 1916 and began his art education at Fresno State College, from which he graduated in 1938. He then attended the Art Center School in Los Angeles, where he studied with the portrait artist, Stanley Reckless...

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, ...

The Lonely Road (1940) Tempera on panel 12" x 16" 19 1/2" x 23 1/2" x 1 1/2" framed Hand-signed "Palmer '40" lower center. Provenance: Midtown Galleries, New York, NY (labels verso...

"Sea Shore" (2024) by Susanne Zuehlke (b. 1962) is a tranquil and evocative painting that captures the essence of a coastal landscape. The canvas features a harmonious blend of blues...

Interior of a Dacha is an original painting in tempera on paper realized by Leonid and Rimma Brailowsky. Hand-signed on the lower right. The state of preservation of the artwork i...

Optical Composition is an original artwork realized by the Italian contemporary master, Carlo Montesi in the 1970s. In good conditions. Tempera, oil p...

Fred Wessel's "Iris (Revisted)" is a stunning egg tempera painting on gold leaf. Created in 2014, this piece depicts a young woman, looking inquisitively over her shoulder. The gold ...

Fred Wessel's "Dahlia Icon" is a stunning egg tempera painting on gold leaf with coral cabochons. Created in 2022, this piece features a freshly bloomed stem of an orange Dahlia flow...

19th Century large Thangka depicting Buddha. Framed.

Autumn Landscape, by 1958, tempera on Masonite, 24 x 36 inches, signed lower left, exhibited: 1) 133rd Annual Exhibition of the National Academy of Design, New York, NY, February 20 – March 16, 1958 (Henry Ward Ranger Purchase Prize); and 2) Henry Ward Ranger Centennial Exhibition, National Academy of Design, New York, NY, September 25 - October 12, 1958, #133 (see Levin, Meyer, Illustrative Paintings Gathered for Ranger Show at National Academy, St. Petersburg Times, October 13, 1958 (“There’s a warm, low-keyed picture of golden fields, with distant structures, called “Autumn Landscape,” by Robert Vickrey, whose magic realism is felt in so “regular” a subject.”), literature: 1) Watson, Ernest William, Composition in Landscape and Still Life, Watson-Guptill Publications, New York, 1959, pp. 24, 155 and 157 (illustrated); and 2) Vickrey, Robert and Cochrane, Diane, New Techniques in Egg Tempera, Watson-Guptill Publications, New York, 1973, p. 111 (illustrated); ex collection National Academy of Design Reflecting on his art, Robert Vickery...