Altar Paintings

Sylvia van Opstall Up She Goes 120 x 170 cm Framing is possible The artist Sylvia van Opstall comes from all kinds of "worlds that deal with design and classical painting," the des...

Ippolito Scarsella, known as Lo Scarsellino (Ferrara, c. 1550 - 1620) workshop Holy Family with the Infant St John oil on arched panel 46 x 29 cm. in a small temple frame 75 x 55 cm This interesting work shows us one of the most sought-after iconographic subjects in the Christian tradition, presented here according to an ancient and proven scheme. We see the Virgin, majestic, in the centre of the scene while holding a chubby child, who is offering a small bird to the young St John (tradition has it that it is a goldfinch, one of the symbols of the passion of Christ) to be caressed. Completing the Holy Family, we can see Saint Joseph in the shadows, apart from the loving everyday scene depicted in the foreground, calmly leaning on his walking stick. Regarding the stylistic characteristics of this small panel, it is easy to recognise the influence of 16th and 17th century Emilian painting, which leads us to confirm its traditional attribution to Ippolito Scarsella (circa 1550 - 1620) from Ferrara, undoubtedly one of the most important artists of this pictorial context. It could very well be a trial sketch...

This rather fascinating arrangement of early 17th century miniatures depicts thirty scenes from the life of Christ. The origins of this collection are unknown but it’s likely that t...

This remarkable painting by Ohannes Alkhazyan, a distinguished Russian-Armenian-French artist and a devoted student of Konstantin Korovin, showcases the spiritual magnificence of a r...

"San Marco Interior", original, unique painting, 60x80cm / 23.5x27.5in Shipped stretched ready for display by airmail. This oil painting of the Interior of San Marco Church in Venic...

Oil on Canvas. Tuscan school of the seventeenth century. According to Christian tradition, St. Veronica was, the "pious woman" who, seeing the passion of Jesus carrying the cross and...

By Martha Ochoa Oil on Canvas Canvas Size: 59" x 39" Framed Size: 67" x 47.25" This lovely painting by Martha Ochoa is from the Cusco tradition. The Cusco School was an artistic tra...

Russian Icon, oil on wood, with beautiful cloisonné enamel around. Icon is surrounded with floral motifs decorative insert that is placed into the thick carved wooden frame. Icon is signed verso with dedication to the church that it was made for. c. 1860s 23.5”h x 20.5”w, overall size is 47.5” x 34” Writing on the back of the icon says: "Painted family icon was donated to the church of the name of Pokrova of Virgin Mary with additions of flora and laurel and with 3 saints: Vasiliy the Great, Gregory the Theologian and John Chrysostom by people born at the village of Gubino and later by the merchant Vasiliy Miheev from Saint Petersburg with his wife Tatiana Yakovleva-Miheeva. Done in the memory of completion of this church with stone fence...

Technical Data - Title: "Celebration in the Square" - Artist: Joaquin Tudela y Perales (1891-1970) - Medium: Oil on canvas - Dimensions: 15.7 x 19.6 in - Period: Early 20th...

Christopher Clark's "Mont Saint Michel Abbey" is an original, handmade oil & acrylic painting that depicts an abstracted church interior with a large crowd of people gathered. Chris...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

Henri Lucien Joseph BURON This is potentially Henri Buron's premier work of art. It was exhibited in the Salon des Artistes Française in 1934 having been painted in 1933. The revers...

Saint Jerome in the desert Cercle of Lambert Van Noort (1520-1571, Antwerp) Antwerp School, mid-16th century Oil on oak panel. Dimensions: panel h. 69 cm (27.16 in), l. 52.5 cm (20.6...

Artist: Mihail Sorin Title: Joker Year: 2000 Medium: Oil on Canvas with Wood Frame adorned with Mini Playing Cards Size: 27.5 x 19.75 in. (69.85 x 50.17 cm) Frame Size: 54 x 42.5 x...

Saint Mark's Basilica Venice Oil Painting Signed, lower left dated, titled verso. Romanesque Bizantine Basilica. canvas 35"x45" framed 46.5 x56.5. Frank LeB...

Crucifixion, cercle of Adriaen Isenbrandt, mid 16th century School of Bruges, cercle of Adriaen Isenbrandt (actif 1510-1551) Oil on oak panel with its original ebonized frame Dimensi...

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...

Ex Voto; Holy Tribute for Saving a Brother. Oil on tin with ink, circa 1925, anonymous Mexican artist with a contemporary custom frame hand-carved by artisan Michael Blatnik. Ex-Vot...

Cornelis le Mair (Eindhoven, July 3rd 1944) is a Dutch painter. As a child, Le Mair already developed a talent for drawing. After completing high scho...

Antonio Tibaldi (Rome, c. 1635 - post 1675) Workshop of Still Life with Armour, Curtains and Sculpture Oil on canvas 53 x 77 cm. - in frame 65 x 89 cm. Beautifully scenic painting ...

This still-life is made by Dutch painter Erik Zwaga. The painter started in the style of the romantic school, Erik Zwaga began to search more and more for his own visual language...

Incredible American school signed realist portrait painting. Oil on panel with gold leaf. Framed. Signed. Image size, 18.5H x 11L.

Francesco Zucco (Bergamo, c. 1570 - Bergamo, May 3, 1627) Crucifixion with saints Oil on canvas, 76 x 60 cm With frame 95 x 79 cm Critical Record Professor Giuseppe Sava The cru...

Finely detailed hand tinted color landscape photograph of Stanford Memorial Church produced by Bear Photo Service (American, 1930s). Photographer is unknown. Numbered 904 bottom right. Displayed in a rustic gilt-toned wood frame with antique glass. Image size: 7"H x 11"W. Stanford Memorial Church is located on the Main Quad at the center of the Stanford University...

Victor Marais-Milton 1872-1948 French Cardinals Playing Cards Signed "V. Marais-Milton" (lower right) Oil on canvas Two red-robed cardinals engage in a friendly game of cards in ...

La obra es de autor anónimo. El retablo va muy bien enmarcado con un marco neogótico del siglo xix en madera estofada y policromada. Medidas del retablo: 88 cm. altura x 56 cm. anc...

The Blood Of Christ, The Milk Of The Madonna, 16th Century circle of Adriaen Isenbrandt (1480-1551) Huge 16th Century Flemish old Master depiction of...

Provenance: Private Collection, New York, until 2022. Martín de Porres was born in Lima in 1579, the illegitimate son of a Spanish-American father, J...

Medium: Oil on Canvas Signature: Signed Lower Right J. C. Leyendecker’s illustrations and advertisements fueled a collective visual memory for the early 20th century American public. Over the course of his career, Leyendecker created 322 covers for The Saturday Evening Post, as well as numerous other magazines, including Collier’s and Ladies’ Home Journal. The only illustrator to eclipse his fame was Norman Rockwell and Rockwell was quick to credit Leyendecker as his mentor and inspiration. This previously unknown work was recently discovered at a small country auction in South Carolina. It is likely an early work by Leyendecker, dating to circa 1900. The sinuous reddish orange flames emitted by the slain dragon recall the steam and vapors found in his later work, including an advertisement for Ivory Soap and a Thanksgiving cover for The Saturday Evening Post. The chiseled features and elegant expressions of the two knights and Christ are similar to those of his many successful advertising campaigns and illustrations. The inclusion of columns and the decorative border also are seen in works ranging from the 1901 Thanksgiving edition cover of Success magazine...

This striking piece, the largest in Turchin's renowned baroque hat series, 'España' is more than just a painting; it is a vibrant storytelling canvas that embodies the essence of Spa...

This unpublished composition is a recent addition to Adeodato Zuccati’s catalog. The study of this painting by Gianluca Bocchi, an Italian art historian specializing in Italian still lives, is available upon request. This composition is typical of the productions of Adeodato Zuccati, an Emilian painter...

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...

Signed lower right: “Irwin D. Hoffman”.

Original Painting Cathedral Interior New Yorker Cover Proposal 1939 Jesus Church Antonio Petruccelli (1907 – 1994) Cathedral New Yorker cover proposa...

Interior of a Church is an original painting realized by Hermann Corrodi. Original oil on canvas with a contemporary wooden frame included. Hermann David Salomon Corrodi...

There was a time when pausing in a subdued environment dappled with the sunlit jeweled tones of stained glass helped to bring one closer to God. It may still work. Certainly, the Bri...

Excepcional obra del prestigioso pintor holandes Albert Boven (Bruselas, act. sig. xix - xx) Se trata de un oleo sobre tabla de gran tamaño y calidad Representando un bodegon con e...

Maroc Architecture Traditionnelle -12-. Oil painting, acrylic and graphyte on canvas. Morocco is considered, in terms of its architectural heritage, to be one of the richest in the region. Indeed this variety lies in the multitude of influences that the country has known throughout history. Thus, each region is characterized by its own signature. And we wouldn't be surprised if you fell in love with its riads and kasbahs! Everyone agrees that Morocco is the crossroads of the Arab East and the Western Mediterranean, represented by Andalusia and that the different artistic forms of Arab-Muslim art...

Maroc Architecture Traditionnelle -16- is: Oil painting, acrylic and graphyte on canvas. Morocco is considered, in terms of its architectural heritage, to be one of the richest in the region. Indeed this variety lies in the multitude of influences that the country has known throughout history. Thus, each region is characterized by its own signature. And we wouldn't be surprised if you fell in love with its riads and kasbahs! Everyone agrees that Morocco is the crossroads of the Arab East and the Western Mediterranean, represented by Andalusia and that the different artistic forms of Arab-Muslim art...

Descent To Hell, Feasts and The Resurrection, 19th Century Eastern European Icon - Tempera On Panel Fine circa 19th century Eastern European master painting...

One of the most fascinating topics in religion for me remains the theme of the Last Supper. What did Jesus say to his disciples? This is not the first interpretation I have made on t...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

The work shows a fine society that has gathered at a table for a feast. The participants are blowflies, whose bodies shimmer metallically due to their blue, green to golden-green gl...

Medium: Oil on Canvas Laid on Panel Signature: Signed Lower Right The Saturday Evening Post cover, November 12, 1910

Greg Singley , born 1950- Artist Statement: When the sun sets in the desert South West, things appear. This is the nature of what touches me about that la...

Antique European oil on panel, framed framed: 9 x 7 inches board: 7 x 5inches private collection, France the painting is in overall very good and sound condition

Christ, the Great High Priest. Greek-Italian style Icon with silver filigreed oklad. Egg tempera, over gesso on wood with a silver cover, "oklad", with pol...

Christ and John the Baptist, the Apostle Peter, and Saint Augustine of Hippo, triptych After Pinturicchio (1454-1513) Large Italian Renaissance triptych...

Medium: Oil on Canvas Signature: Signed Lower Right Cover of The Saturday Evening Post, June 22, 1929

Medium: Oil Mounted to Board Signature: Signed Lower Right Sight Size 21.00" x 17.00;" Framed 26.00" x 22.00" Titled The Burgrave's Farewell (along top under mat); Image size: 20 1/...

Signed lower right, 'M. Watorski' for Mieczyslaw Watorski (Polish, 1903 - 1979) and painted circa 1950. This Polish history and landscape painter is particularly revered for his doc...

Artist: Alexander Litvinov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 1995 Title: Medieval plot Size: 26.5" x...

Astounding painting and carving on wood panel by the “Hound of Heaven” artist Robert Gammell. Created 1947. This beautiful work features rich color, gold accents and incredible detail. Signed lower right “R.H. Ives Gammell” and dated ‘47. The subject comes from the imagination of the artist and is titled “Lady of the Seven Sorrows.” The work measures 34 1/2"h x 11 1/4"w and is considered to be one of the artist’s “Puppy Panels.” The ornate frame measures 38 1/2"h x 15 1/2"w x 1 1/4"d. The weight is 9 ½ pounds. A label is attached to the verso listing the work as being an entry for the 1967 Grand National Show with the American Artists Professional League in New York. This detailed and beautiful painting is a work to be treasured. More Information Robert Hale Ives Gammell: After completing his major allegorical sequence, the Hound of Heaven, Gammell felt compelled to revisit certain themes and figurative compositions in later years. His original plan was to display the smaller panels, or "Puppy Panels" as he affectionately called them, between the larger Hound panels. Robert Hale Ives Gammell (1893-1981) was a prolific professional painter working in Boston, Provincetown, and Williamstown, Massachusetts. During the sixty-five years of his career, Gammell painted murals, portraits, landscapes, and still lifes, but the pieces which excited him most were the allegorical works drawn from his imagination. In his diary Gammell wrote that he was “fascinated by the drama of man in his relationship to the forces of the universe and of his own nature.” Over the years he experimented using ancient myths and rituals as well as contemporary symbols in his attempts to articulate images of man’s terror, wonder and yearning in the face of a century of upheaval. Excerpt from Elizabeth Ives Hunter, the God-daughter of R. H. Ives Gammell and the daughter of his assistant, Theodore W. J. Valsam. R. H. Ives Gammell believed in the practice and standards of art should rest on the Gold standard established by the 19th-century French system of learning, as practiced by the Ecole des Beaux-Arts and Academie Julian of Paris. His personal mission was to follow that tradition, so he established his own Studio working with a handful of students at a time. His book ‘Twilight of Painting’ would help define a way back to those lofty goals for future artists, reflecting the uncompromising levels of quality that he embraced, and maintained. Robert Hale Ives Gammell was born to wealth in Providence, Rhode Island and spent the majority of his artistic life in Boston at the Fenway Studios and in Williamstown, MA, where he died in 1981. In 1910, Gammell studied briefly with William C. Loring and Wm. Sergeant Kendall before training in 1913 at Boston's Museum School with Philip Hale, F.W. Benson and Edmund C. Tarbell for a few months. Gammell then went to Provincetown, MA to study with Charles Hawthorn and then to the Academie Julian in Paris and the Academie Baschet until the end of 1914. He was tremendously influenced by the teachings of Tarbell and the work of Joseph DeCamp and William M. Paxton. He was so influenced by the Boston School he vowed to hand down their teaching traditions to generations of students and he did exactly that. Some of the painters who are "Gammellites" are Samuel Rose, Thomas R. Dunlay, Robert Cormier, Richard Lack, Gary Hoffman, Stephen Gjerston, Robert Douglas Hunter, David Lowrey, David Curtis...

Anonymous Design for Triptych Above Altar British, c. 1920s Gouache 38×28.5cm Christ Pantocrator stands in the middle of the design, surrounded by the four evangelists (Saints Matthew...

Sylvia van Opstall Mirror Room 120 x 120 cm Framing is possible The artist Sylvia van Opstall comes from all kinds of "worlds that deal with design and classical painting," the des...

Cathedral Entrance by Bernard Labbe (French mid 20th century), stamped verso original gouache/watercolour painting on artist paper overall size: 26 x 23 inches condition: very good a...

This 31.5" x 39.4" acrylic on canvas landscape painting by Ewa Miazekk-Mioduszewska depicts the deteriorating structure of a small chapel with a black rectangular scaffolding structu...

A 12” x 19” x 5” Magical Realism Acrylic Portrait Painting executed on Vellum with Found Objects by artist Christopher Polentz. A certificate of authenticity will accompany the piece...