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Art Subject: Photography
Oil Painting of a Woodland Scene in the English Countryside by British Artist
Located in Preston, GB
Oil Painting of a Woodland Scene in the English Countryside by 20th Century Modern British Artist, James Wright Art measures 30 x 16 inches Frame measures 36 x 22 inches This 198...
Category

Late 20th Century Realist Landscape Paintings

Materials

Canvas, Cotton Canvas, Oil

Early 20th Century Carmel Point Lobos and Monastery Beach Seascape
Located in Soquel, CA
Gorgeous, vibrant early 20th century seascape painting of Point Lobos looking toward Monastery Beach, Carmel by Rinaldo Cuneo (American, 1877-1939). Signed "Cuneo" lower right. Presented in a giltwood frame. Image, 11"H x 12"W. Dubbed “The Painter of San Francisco." Well received at the Panama Pacific International Exhibition in 1915. Born in San Francisco, California and raised in the North Beach area, Rinaldo Cuneo was a painter of landscape, still lifes, city views and muralist who, commissioned by the Federal Art Project adminstrators, painted murals in Coit Tower in San Francisco in 1934. His studio and cottage in San Francisco, later in his career, had a panoramic view of the bay from Telegraph Hill. His family were painters including two of his brothers, Cyrus and Egisto Cuneo, and several family members were founders of the Tivoli Opera Company in San Francisco. He served in the Spanish-American War and then studied at the Mark Hopkins Institute of Art with Arthur Mathews and Gottardo...
Category

Early 1900s American Impressionist Landscape Paintings

Materials

Board, Oil

Antique Victorian English oil portrait of a Jack Russell dog
Located in Woodbury, CT
Wonderful head portrait of a Jack Russell dog Edward Aistrop was a painter of dog portraits who worked in the latter part of the 19th century. He was amongst a band of artists who...
Category

Early 1900s Victorian Animal Paintings

Materials

Board, Oil

Camellia IX by Lumi Mizutani - Japanese style painting, flowers, golden, pink
Located in Paris, FR
Camellia IX is a unique painting by Japanese contemporary artist Lumi Mizutani. This painting is made with India ink and pigments on Japanese cardboard, dimensions of the framed artw...
Category

2010s Contemporary Landscape Paintings

Materials

India Ink, Cardboard, Pigment

Dipinto figurativo ritratto femminile orientalista italiano del novecento
Located in Florence, IT
Romualdo Locatelli è conosciuto per i suoi ritratti che riflettono le culture e le tradizioni dei luoghi esotici che ha visitato. Nato a Bergamo nel 1905, ha viaggiato ed esplorato v...
Category

1920s Other Art Style Portrait Paintings

Materials

Canvas, Oil

Near la Samaritaine by Guillaume Chansarel - Urban landscape painting, Paris
Located in Paris, FR
Near la Samaritaine is a unique painting by contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 120...
Category

2010s Contemporary Landscape Paintings

Materials

Ink, Acrylic, Magazine Paper

Collectible Pop Surrealist Portrait on Coin. Czech. Blue and Red "Currency #214"
Located in FISTERRA, ES
This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the recent works from the Curr...
Category

2010s Pop Art Portrait Paintings

Materials

Metal

The other shore by Lumi Mizutani - Japanese landscape painting, gold, pigments
Located in Paris, FR
The other shore is a unique painting by contemporary artist Lumi Mizutani. The painting is made with pigments, India ink on Japanese cardboard, dimensions are 12.1 × 13.6 cm (4.8 × 5...
Category

2010s Contemporary Landscape Paintings

Materials

Ink, Pigment, Cardboard

Near Saint Georges by Guillaume Chansarel - Urban landscape painting, Paris
Located in Paris, FR
Near Saint Georges is a unique painting by contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 100 ...
Category

2010s Contemporary Landscape Paintings

Materials

Ink, Acrylic, Magazine Paper

Near Charlemagne by Guillaume Chansarel - Urban landscape painting, Paris
Located in Paris, FR
Near Charlemagne is a unique painting by contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 100 × ...
Category

2010s Contemporary Landscape Paintings

Materials

Ink, Acrylic, Magazine Paper

Near Louvre-Dauphine by Guillaume Chansarel - Urban landscape painting, Paris
Located in Paris, FR
Near Louvre-Dauphine is a unique painting by contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 10...
Category

2010s Contemporary Landscape Paintings

Materials

Acrylic, Ink, Magazine Paper

Camellia VIII by Lumi Mizutani - Japanese style painting, flowers, gold leaf
Located in Paris, FR
Camellia VIII is a unique painting by Japanese contemporary artist Lumi Mizutani. This painting is made with pigments, India ink and gold leaf on Japanese cardboard, dimensions of th...
Category

2010s Contemporary Landscape Paintings

Materials

Gold Leaf

"Elvis", Denied Andy Warhol Silver & Black Pop Art Painting by Charles Lutz
Located in Brooklyn, NY
Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...
Category

21st Century and Contemporary Pop Art Figurative Paintings

Materials

Enamel

Modernist Mid century Swedish tram and figure scene in Fauvist colors
Located in Woodbury, CT
Acquiring a mid-20th-century Fauvist painting by Wilhelm Henning is an opportunity to own a piece of art that captures the vibrant spirit and expressive color palette of the Fauvist ...
Category

1950s Fauvist Figurative Paintings

Materials

Oil, Board

Victorian 19th century portrait of an seated English Flower Seller
Located in Woodbury, CT
Victorian 19th-century portrait of a seated English Flower Seller. This is a very pretty classic English Victorian Genre painting. The style ...
Category

1850s Victorian Figurative Paintings

Materials

Oil, Canvas

A Pompeian Lady
Located in New Orleans, LA
John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...
Category

Early 20th Century Academic Portrait Paintings

Materials

Oil, Canvas

"La seine à Puteaux" - Oil, cm. 55 x 46, 1930 ca
Located in Torino, IT
River,French landscape, impressionist, Seine, Important work exhibited in: Genève, Musée Petit Palais,Cagnes sur mer, Château Musée, Salon de Provence, Musée de l’Emperi. Senn...
Category

1930s Impressionist Landscape Paintings

Materials

Oil, Canvas

Man Dog and Crow , blue stormy waters series
Located in Lafayette, LA
This is a one-of-a-kind small painting, it was a study for a larger series of patterns and color studies. Measuring 8x10, entitled “ Field of marsh grass “. The medium is oil on canv...
Category

2010s American Modern Landscape Paintings

Materials

Oil

Mater Dolorosa Madonna Maria Dolci 17/18th Century Paint Oil on table Old master
Located in Riva del Garda, IT
Carlo Dolci (Florence 1616 - 1686) shop Mater Dolorosa, known as Our Lady of the Finger Oil on oval canvas, 29 x 23 cm. In frame 48 x 43 cm. The painting we present to you depicts ...
Category

17th Century Old Masters Paintings

Materials

Oil

Kate Moss
Located in New York, NY
Listing includes framing, free shipping to continental US and a 14-day return policy. Kate Moss by Annie Kevans 20 x 16 inch paper 16 x 20 inch image Archival pigment print Edition 15 of 50 Signed and edition on the front of the print Frame is in fair condition and is included for free due the condition issues. The print itself is in excellent condition. If you would like the print sent unframed the cost is the same. Please let us know if you would prefer to have us ship the print unframed. Artist Biography - Kevans’ paintings reflect her interests in power, manipulation and the role of the individual in inherited belief systems. She looks at alternative histories and how they relate to current issues and creates what she describes as ‘anti-portraits’ that may or may not be based on real documentation. She believes that, as her work is concept driven, sometimes the actual similarity to the person depicted in the work is irrelevant. This can be seen in her 'Boys' series which is not about portraying dictators as they really looked as children but rather about the notion of the ‘innocent child’ which has influenced images of children in art...
Category

2010s Contemporary Portrait Paintings

Materials

Archival Paper, Archival Pigment, Canvas

1930's French Post-Impressionist Oil Harvest Workers in Golden Wheat Fields
Located in Cirencester, Gloucestershire
The Harvest Workers by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on board, unframed measures: 11 high by ...
Category

Mid-20th Century Impressionist Landscape Paintings

Materials

Oil

The Thames nr Runnymeade - 19th Century Exhibition Oil Painting River Landscape
Located in Gerrards Cross, GB
‘The Thames near Runnymede’ by Henry Dawson R.B.A. (1811-1878). The painting – which depicts an angler fishing on the riverbank under a spectacular evening sunset – is signed by th...
Category

1860s Victorian Landscape Paintings

Materials

Oil

Italian 18th Century Oil Painting Portrait of a Merchant
Located in Cirencester, Gloucestershire
A Venetian Gentleman 18th Century Venetian School oil painting on board, framed framed: 7.25 x 6 inches board: 5.25 x 4 inches provenance: private collection, UK condition: sound bu...
Category

18th Century Old Masters Portrait Paintings

Materials

Oil

"Petite Souris 704" by Marina Dieul, Original Oil Painting, Grey Mouse
Located in Denver, CO
Marina Dieul's "Petite Souris 704", 2024" is an exquisite handmade original oil on panel artwork, measuring 4 x 4 x 1 inches, that comes directly from the artist's studio. This piece...
Category

2010s Realist Animal Paintings

Materials

Oil, Panel

Enthusiasm
Located in Ibadan, Oyo
Painting Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Authenticity.
Category

21st Century and Contemporary Contemporary Figurative Paintings

Materials

Oil, Canvas

Male Portrait Painting
Located in San Francisco, CA
Male Portrait Painting Oil on canvas  No visual signature 9x11 unframed, 11.75 x 13.75 framed
Category

1970s Figurative Paintings

Materials

Canvas, Oil

English mid century oil painting Portrait of cute Corgi dog
Located in Woodbury, CT
English mid century oil painting Portrait of a cute Corgi. Paintings of this breed are very rare and very collected. Kate Gray was a British animal portrait painter during the last...
Category

1960s Modern Animal Paintings

Materials

Oil, Board

Paire de pastels - Ecole française du XVIIIème siècle
Located in ROUEN, FR
Paire de pastels - École française du XVIIIème siècle, jeune fille à la guirlande de roses et jeune fille à la colombe. Dimensions à vue 62 x 52 cm
Category

18th Century French School Portrait Paintings

Materials

Pastel

Portrait du Maréchal de Camps tenant son bâton de Maréchal
Located in ROUEN, FR
ÉCOLE FRANCAISE vers 1700. « Portrait du Maréchal de Camps tenant son bâton de Maréchal ». Huile sur toile dans un encadrement ancien en bois sculpté et doré. H.67 L.56.
Category

18th Century Portrait Paintings

Materials

Oil

École Française Du XVIIIè. «portrait D’une Dame De Qualité Et Son Chien»
Located in ROUEN, FR
École Française Du XVIIIè.  «portrait D’une Dame De Qualité Et Son Chien». Importante huile sur toile dans un cadre en bois doré et sculpté d’époque. H.84 L.67.
Category

18th Century French School Portrait Paintings

Materials

Oil

Fine Antique British Oil Painting Head Portraits of Two Cavalier Spaniel Dogs
Located in Cirencester, Gloucestershire
Head Portraits of Cavalier Spaniel Dogs by Henry Percy, British early 20th century signed oil on board, framed framed: 7 x 9 inches board: 5 x 7 inches provenance: private collection...
Category

Early 20th Century English School Animal Paintings

Materials

Oil

"Golden Ocean Reflection - Rise", Oil Painting by Alexandra Telgmann
Located in Denver, CO
Alexandra Telgmann's "Golden Ocean Reflection - Rise" (2023) is an oil and 24kt gold leaf painting on aluminum, measuring 8 x 8 inches and depicting a surfacing female swimmer with ...
Category

2010s Realist Portrait Paintings

Materials

Metal, Gold Leaf

A dark bay horse standing in an extensive English landscape
Located in Bath, Somerset
A 19th century portrait of a dark bay horse standing in an extensive English landscape by David Dalby of York (fl.1797-1836). Oil on canvas in a giltwood p...
Category

Early 19th Century English School Animal Paintings

Materials

Oil, Canvas

Le Nouvel Envol de l'Oiseau The New Flight of the Bird Oil on Linnen In Stock
Located in Utrecht, NL
Le Nouvel Envol de l'Oiseau The New Flight of the Bird Oil on Linnen In Stock - Size Painting Without frame: 100 x 100 cm Popping with color, Corneille’s Expressionist paintings...
Category

1970s Contemporary Animal Paintings

Materials

Canvas, Oil

Milford
Located in Boston, MA
Artist: Slonem, Hunt Title: Milford Date: 2023 Medium: Oil on Wood Unframed Dimensions: 10" x 8" Framed Dimensions: 16" x 14" Signature: Signed Verso Edition: Unique Provenanc...
Category

2010s Contemporary Paintings

Materials

Oil

EXHIBITED American Hudson River COW School Landscape Stream with Cows
Located in New York, NY
William Hart (1823-1894), a Scottish-born American painter and member of the Hudson River School, famous for his oil paintings of atmospheric landscapes and cattle. His works are inc...
Category

Late 19th Century Hudson River School Landscape Paintings

Materials

Oil

Antique French Portrait of a Lady Signed & Dated 1915 oil on wood panel
Located in Cirencester, Gloucestershire
Portrait of a Lady French artist, signed and dated 1915 oil on wood panel board: 13.75 x 10.5 inches provenance: private collection, France condition: some scuffing to the edges from...
Category

1910s French School Portrait Paintings

Materials

Oil

METCALF American Impressionist Landscape Watercolor
Located in New York, NY
Willard Metcalf (1858-1925) was an important American Impressionist, member of the American Watercolor Society, and teaching at Cooper Union and the Art Student's League. This comp...
Category

Early 20th Century American Impressionist Landscape Paintings

Materials

Watercolor

Russian / French FINE REALIST Original Oil Painting STILL LIFE OF FLOWERS Orchid
By Lev Tchistovsky
Located in Cirencester, GB
ARTIST: Lev Tchistovsky (1902-1969) Russian / French TITLE: "Still Life Of Orchids" SIGNED: lower right MEDIUM: oil on board SIZE: 41cm x 36cm inc frame CONDITION: very good DETA...
Category

Mid-20th Century Realist Still-life Paintings

Materials

Oil

Summer Meadows Wild Flowers by River, Original Victorian Oil Painting
Located in Cirencester, Gloucestershire
Summer Meadows Victorian oil painting by Thomas James Purchas (British 1855-1930) with name plaque to frame oil painting on board, framed within ornate scrolled gilt frame framed: 10...
Category

Late 19th Century Victorian Landscape Paintings

Materials

Oil

Still Life of Flowers in a Marble Vase
Located in Wiscasett, ME
Harold Clayton British, (1896 - 1979) Still Life of Flowers, Oil on canvas, signed Measuring 24" x 26" including the frame. Provenance: MacConnal-Mason, London, UK (label reve...
Category

Mid-20th Century Victorian Still-life Paintings

Materials

Oil

Winifred Humphrey Vintage Modernist Impressionist Still Life with SIAMESE CAT
Located in New York, NY
Winifred Humphrey, an early 20th century female English painter and founding member of the St. Ives Society of Artists. This exquisite oil on canvas depicts a cozy domestic scene w...
Category

Early 20th Century Impressionist Still-life Paintings

Materials

Oil

Large French Impressionist Male boy Swimming Landscape Beach
Located in New York, NY
Léon Giran-Max (1867-1923) was a French Impressionist painter and student of Claude Pissaro famous for his vibrant landscapes. He exhibited at the Salon des Indépendents and became a...
Category

Late 19th Century Impressionist Paintings

Materials

Oil

American Female Realist PANORAMIC Landscape HARVARD Cambridge
Located in New York, NY
This 1940s American Realist landscape painting of Harvard College in Cambridge, Massachusetts shows people walking along the Charles River with the panoramic view red brick buildings...
Category

Mid-20th Century American Realist Landscape Paintings

Materials

Oil

Fine 18th Century English Oval Oil Painting Portrait of Young Gentleman in Park
Located in Cirencester, Gloucestershire
Portrait of a Young Gentleman English School, second half 18th century oil on wood, framed framed: 22 x 19 inches wood: 19.5 x 16.5 inches provenance: private collection, UK conditio...
Category

18th Century English School Figurative Paintings

Materials

Oil

ARTHUR WARDLE R.I. (1864-1949) original ENGLISH Antique oil painting WILDFLOWERS
Located in Cirencester, GB
ARTIST: Arthur Wardle R.I. P.S. (1864-1949) British TITLE: "Tangled Ground" SIGNED: gallery label verso for Abbott Holder London MEDIUM: oil on card SIZE: 75cm x 58cm inc frame C...
Category

Early 20th Century Impressionist Landscape Paintings

Materials

Oil

Swiss Mountains by A. Zosso - Oil on canvas 46x55 cm
Located in Geneva, CH
Oil on canvas sold with frame Total size with frame 58x67 cm Signed A. Zosso (artist unknown from the gallery) Dated 1951
Category

1950s Modern Landscape Paintings

Materials

Oil

Evening Glow by the River, 1917
Located in Stockholm, SE
This evocative pastel painting by Victor Jernbergh, dated 1917, captures the serene and enchanting scene of a river at dusk. The central composition is dominated by a lone pine tree ...
Category

1910s Symbolist Landscape Paintings

Materials

Paper, Pastel

Captive Audience, Oval Landscape, Child, Giraffe, Tree, Blue, Light Yellow
Located in Kent, CT
A peaceful landscape scene is set in shades of blue with pale yellow and ivory in this oval encaustic (pigmented beeswax) painting with oil, pigments from Morocco and India, volcanic...
Category

2010s Contemporary Figurative Paintings

Materials

Mixed Media, Encaustic, Panel

Original Victorian Oil Painting Summer Woodland Pathway Landscape Gilt Framed
Located in Cirencester, Gloucestershire
The Woodland Path Victorian oil painting by Thomas James Purchas (British 1855-1930) with name plaque to frame oil painting on board, framed within ornate scrolled gilt frame framed:...
Category

Late 19th Century Victorian Landscape Paintings

Materials

Oil

Personnage
Located in LE HAVRE, FR
Antonio SEGUI (1934-2022)  Personnage, 1973 Pastel on paper mounted on canvas Size : 78 x 57 cm Signed and dated lower right Provenance: Private collection, Paris Work in perfect con...
Category

1970s Modern Figurative Paintings

Materials

Canvas, Paper, Oil Pastel

Closure
Located in Ibadan, Oyo
Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Abou...
Category

21st Century and Contemporary Expressionist Figurative Paintings

Materials

Canvas, Oil

Wura (Gold)
Located in Ibadan, Oyo
Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Abou...
Category

21st Century and Contemporary Expressionist Figurative Paintings

Materials

Oil, Canvas

The Madonna with Christ Child & St. John Fine 18th Century Italian Old Master
Located in Cirencester, Gloucestershire
The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...
Category

18th Century Old Masters Figurative Paintings

Materials

Oil

Enigmate Radiance (A portrait of Grace and Virtue)
Located in Ibadan, Oyo
Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. An e...
Category

21st Century and Contemporary Realist Portrait Paintings

Materials

Acrylic, Canvas

When I live my Dream - 21st Ct Contemporary Painting of Boy with Bare Chest
Located in Nuenen, Noord Brabant
David van der Linden 'When I live my dream'' 60 x 70 cm (Framed 70x80 cm, frame is included in price) Oil on wood panel David van der Linden is a...
Category

2010s Contemporary Figurative Paintings

Materials

Wood Panel, Oil

Fine Early 19th Century Classical Italian Oil Capriccio Lake Landscape Old Ruins
Located in Cirencester, Gloucestershire
The Italian Landscape English artist, early 19th century circle/ follower of Joseph Mallord William Turner (British 1775-1851) oil on wood panel, framed in a delightful antique walnu...
Category

Early 19th Century Old Masters Landscape Paintings

Materials

Oil

Young Woman and the Sea
Located in San Luis Obispo, CA
Contemporary American Artist Mark Beck is considered one of the country’s top realism and landscape painters. With a unique vision and decades-long career, he is well known for his i...
Category

2010s American Modern Figurative Paintings

Materials

Acrylic

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