G.Wabarwick

Huge Classical Floral Still Life Oil Painting of Mixed Pale Flowers in Urn

Artist/ School: British School, signed 'Masson' lower right corner. Title: The London Skyline. We believe the view shows the Tower of London to the far left and Southwark Cathedral ...

Ornamental Still Life with fruit, flowers and birds Italian School, 19th century oil painting on canvas, unframed size: 31.5 x 47 inches condition: relined canvas and in very good and presentable condition provenance: from a collection here in England. A very beautiful and decorative oil painting on a huge scale, depicting this classical landscape scene, with ornamental birds...

Artist/ School: Italian School, 20th century Title: Grand classical still life composition with tulips, ornamental bird against a background of st...

Artist/ School/ Date: French School, 17Th century Title: classical lady in a landscape setting Medium & Size: oil painting on canvas: 28 x 17 inches, unframed. Condition: the ...

German School, early 20th century oil on canvas, framed framed: 33 x 27.5 inches canvas: 30 x 25 inches private collection, UK the painting is in overall very good and sound conditio...

Artist/ School: French School, 19th century Title: Classical Still Life with ornamental flowers and fruit. Medium: oil painting on canvas,framed Size: framed: 17 x 20 inches c...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

Flowers - Italian oil on canvas painting. Italy, 2007, Roberto Suraci, cm.80x60 Gold leaf gilded wooden frame available on request. Roberto Suraci's still life depicts a profusion o...

The circle of Bernard or a follower of Bernard. Likely from the early 18th century. Signature lower center "J Bernard Fecit" Framed size: 42 x 37 inches

JUAN DE ARELLANO Spanish, 1614 - 1676 Cesta de Flores signed Juan de Arellano (lower lright) oil on canvas original period carved, gilt and polychr...

Still life - Salvatore Marinelli Italia 2007 - Oil on canvas cm. 50x100 Salvatore Marinelli's painting is a still life with black and white grapes, peaches, melon, a basket of pomegranates and figs. Objects and light are intensely studied and are painted with wonderful tenderness with variety of fruits. Marinelli is inspired by one of the many works by Adriaen Coorte...

Lombard school of the eighteenth century Margherita Caffi (Cremona 1647 - Milan 1710), circle Still life of outdoor flowers oil on canvas (61 x 89 c...

Scipione Compagni, or Compagno (Naples, about 1624 - after 1680) Fantastic landscape with the Crucifixion of Christ on Mount Calvary Oil painting on canvas cm. 47 x 62 with antique frame cm. 63 x 78 cm. We present with great pleasure this rich representation, executed in the second half of the seventeenth century, whose stylistic and composition features reflect the stylistic features of the Neapolitan lesson: the warm colors, the lively chromatic range, the quick but precise brushstrokes are elements that lead us, in particular, to the hand of Scipione Compagno. It fits fully into the classic production of the Neapolitan painter, characterized by compositions filled with numerous figures, assembled with great formal elegance, where the painter re-elaborates the mannerist suggestions but in a theatrical key and consequently reaches an extremely refined Baroque vision of the narrative. The reminiscences with the painting of Filippo Angeli are evident, but above all the similarities with Domenico Gargiulo, known as Micco Spadaro, distinguished by elegant and precious chromatic accords, and with some references to Roman painting of the early seventeenth century. In the work, in fact, references to Roman and Neapolitan classicism are observed, with the bright and bright palette that we can trace back to the painter's mature works. The painting, characterized by a multitude of characters, shows the scene of the Crucifixion on Mount Calvary, where the three crosses stand out against the background illuminated by a clear light, in an almost otherworldly atmosphere of a mountainous river landscape in front of the city of Jerusalem. in the distance. Watching the dying Christ tortured we can see the three Marys, with the Virgin in red dress and blue cloak, surrounded by other women and soldiers, some of them on horseback, one of whom holds a spear with which he inflicted the wound in the side of Christ. In the foreground, again, numerous men, women and children, who attend the scene of the Crucifixion. The bright and clear colorism of the work in question is typical of Neapolitan painting...

Victor Muller Almost Blue Oil on canvas 62 x 47 cm Framed in this antique frame 83 x 68 cm Frame (width 10,5 cm) is included. The outstanding painter Victor Muller gets his inspira...

Painted in the style of the 17th century Dutch painter Alexander Andrienssen, this painting is of a glass vase on a wood surface filled with flowers. The artist's careful attention ...

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

Italian 17th Century The cat and the canary Oil on canvas 37.1/4 x 50 in. (94.6 x 127.5 cm.)

Still life painting of fruit in a basket Continental, c. 1800 Frame: Height 81cm, width 91cm, depth 7cm Canvas: Height 57cm, width 69c...

English School, circa 1827 A gentleman’s vices the newspaper dated ‘Sunday December 23 1827’ (upper left) oil on canvas 20 ¾ x 24 ½ in. (52.7 x 62.3 cm.) frame 25 ⅝ x 29 ¼ in. (65.1...

JUAN DE ARELLANO Spanish, 1614 - 1676 Cesta de Flores signed Juan de Arellano (lower lright) oil on canvas original period carved, gilt and polychr...

Juan Sánchez Cotán (1560 - 1627) was one of the most important still life painters in Spain and beyond. He developed a certain type of still life with...