Academic Art

Artist: Ara H. Hakobyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Acrylic on Canvas Year: 2016 Style: Impressionism Subject: Young People on the Rocks Size...

Artist: Ara H. Hakobyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2013 Style: Impressionism Title: The Sunflowers Seller Size: 15.5" x ...

Artist: Ara H. Hakobyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2017 Style: Impressionism Subject: In the Garden Size: 22" x 28" x 0....

Harold Dearden (British, 1888 – 1962) Farm helpers sorting a farm crop Set of four watercolours 16.3/4 x 17.1/8in.

The Apothecary’s Account is an original oil on panel by Francesco Brunery (1845–1926), signed “F. Brunery” lower right. From a private collection in Paris, it is offered in very good...

Louis Eugène LE ROUX Paris, 1833 – Paris, 1905 A Young Girl from Concarneau in Her Home Oil on canvas Signed and dated lower left “Eug. Le Roux / 1868” 56 x 35 cm (76 x 55 cm with fr...

George Weissbort (Belgian / British, 1928 – 2013) Strawberries Oil on canvasboard Signed and dated ‘G Weissbort 1974’ (lower right) 18.1/4 x 20.1/8 in. (46.3 x 51 cm.) George We...

Coastal landscape painting by Giovanni Casadei, "The Water Tower." Oil on panel. Framed dimensions 12.5 x 17.5 inches. Casadei’s approach to painting is to communicate to the viewer ...

Walhalla - Ratisbona 2003 C-print Signed, titled, dated and numbered edition of 5 on artist's label on verso. 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x ...

Title: Original French Anatomical Study of Horse's Pelvic Girdle Artist: Robert Ladou (French, 1929-2014) Medium: Pencil on Paper Size: 19.75 (Height) x 12.75 (Width) Signed: No Cond...

Title: Original French Anatomical Pencil Study of Horse’s Limb Artist: Robert Ladou (French, 1929-2014) Medium: Pencil on Paper Size: 20 (Height) x 13 (Width) Signed: No Condition: G...

Title: Original French Illustrations of an Equine Skeletal and Dental Structures Artist: Robert Ladou (French, 1929-2014) Medium: Pencil and Pen on Paper Size: 19.75 (Height) x 25.75...

Title: Original French Anatomical Study of a Horse's Shoulder Artist: Robert Ladou (French, 1929-2014) Medium: Pencil on paper Size: 20 (Height) x 13.5 ...

Title: Original French Anatomical Study of a Horse's Limb Artist: Robert Ladou (French, 1929-2014) Medium: Pencil on paper Size: 20 (Height) x 13.75 (Width) Signed: No Condition: Lig...

Title: Original French Study of Children Watching Horses Cross a Bridge Artist: Robert Ladou (French, 1929-2014) Medium: Ink on card Size: 6.5 (Height) x 14.75 (Width) Signed: No Co...

Edmund Dulac (French, 1882 – 1953) A welcome refreshment Black crayon with a touch of white chalk Signed ‘E Dulac’ (upper right) 8.7/8 x 11 in. (22.5 x 28...

COUSIN Charles (1807-1887) Venice With Characters Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 76 X 60 cm Dim frame : 96 X 83 cm COUSIN Charles (1807-188...

Edward Percy Moran Portrait of a Woman Signed lower right Oil on canvas 30 x 20 inches Provenance: The Madison Gallery, Atlanta Percy Moran was the son of marine painter Edward Mo...

Pietro Bazzanti (1842-1881) specialized in allegorical and genre subjects as well as copies of Antique and Renaissance sculpture. Regarded as one of the most talented sculptors of h...

Title: Immaculate Conception Author: Anonymous Period: 20th Century Technique: Oil on canvas Dimensions: 25.6 x 21.3 in Signature: "Karmel" (lower right) Condition: Good Descr...

Signed lower right. Louis Charles Moeller was a master of American genre painting. His meticulously detailed, highly finished paintings of late Victorian interiors received consider...

James Carroll Beckwith Portrait of Arthur W. Smith, Esq., 1909 Signed and dated upper left; signed, titled, and dated on the reverse Oil on canvas 30 x 25 inches Provenance Private ...

Jules Salles-Wagner (French, 1814-1898) A Large and Impressive French, 19th century oil on canvas "The Water Carrier Lady" depicting a standing and posing young peasant girl holding ...

Maurice DENIS (1870 - 1943) The Woman in the Green Coat, 1918 Lithograph On vellum 47 x 36,5 cm (c. 18,5 x 14,3 inch) INFORMATION : Edited by Louis Rouart in Paris, from a drawing ...

Silver print Stamped in black ink, verso This artwork is offered by ClampArt, located in New York City. Josef Breitenbach (1896-1984) was a German photographer and member of the Su...

Maurice DENIS (1870 - 1943) Young Woman Dressing Before Going to Prom, 1918 Original lithograph enhanced in pastel Unsigned On light cream tinted vellum 49 x 31,5 cm (c. 19,2 x 12,4...

Maurice Quentin DE LA TOUR (1704-1788) Portrait of Mademoiselle Fel Heliogravure after a pastel by the artist Engraved by J. Chauvet Printed signature in the plate On vellum, 50 x 3...

Oil on canvas with its original frame.

William Woollett (1735–1785) William Woollett was one of the most accomplished British engravers of the 18th century, renowned for his precision and his ability to capture the paint...

French school early 20th century  View of the Grosbois castle and a portrait study. Black ink, black ink wash and watercolor on paper Signed lower right (indistinct, see photo) 27 x ...

Edouard Detaille (1848-1912) A trophy of arms, 1885 11.5 x 20 cm Pen and ink with heightenings of white gouache on paper Signed and dated 1885 lower right and annotated "Armée française...

"Summer Splendor" invites the viewer into an intimate moment with a single pink peony in bloom. With no background to distract, the focus rests entirely on the delicate rhythm of pe...

PERELLE Family (17th Century) Landscape with a Bridge and Fishermen Original Engraving Signed in the plate On laid paper, 15.5 x 28 cm INFORMATION: This family of artists, led by G...

Mona Alizon Edmonds (British, circa 1944) Black and tan terriers Watercolour on paper Signed, inscribed and dated ‘Black and tan terriers (minature) Dogs and Bitch. AM Edmonds. 19...

Franck Bailleul is a French painter born in 1964 who lives & works in Abbeville, Normandy, France. He has exhibited nationally as well as in the United States and China. His wor...

Work on paper Total dimension with the passe-partout: 63 x 48 cm

Work on paper

Work on paper

Christopher Felver Rauschenberg Photo, 2003 Signed, dated and titled on verso Photography 13 3/4 x 10 3/4 inches Provenance Estate of Carolyn Brown, New York 2025. Mary Caroline (...

Work on paper

Work on paper Stamp of the O. Vautier workshop Dimension of the passe partout frame 52.5 x 38 cm Otto Vautier is a renowned Swiss painter, born in 1863 i...

Work on paper with a white wooden frame and glass. The total size with frame is 45,5 x 54,5 cm Stéphanie Guerzoni is a Swiss and Italian painter born April 15, 1887 in Vienna (Aust...

Work on paper Stamp of the workshop of O. Vautier Dimension of the passe-partout framing 52.5 x 38 cm Otto Vautier is a renowned Swiss painter, born in 1...

Work on paper Stamp of the workshop of O. Vautier Dimension of the passe-partout framing 52.5 x 38 cm Otto Vautier is a renowned Swiss painter, born in 1...

Artist: Marshall Goodman, American XXth Title: Fagin Teaching Boys to Steal (Oliver) I Year: circa 1960 Medium: Watercolor on Paper, signed in ink Size: 17 x 23 inches Frame: 21.5 x ...

Hortense DURY-VASSELON (1860-1924) Still Life with Roses and China Jewel Box Oil on canvas signed and dated 1905 low left DIm canvas : 63 X 50 cm Di...

A very fine Italian oil on canvas titled "The Solo Violinist" by Luigi Da Rios (Italian, 1844-1892), depicting an interior 18th century room scene of a single violinist player; withi...

Daniel Ricketson House, New Bedford, 1903 Ink wash on paper, 7 x 5 inches (17.6 x 12.5 cm) Framed dimensions: 13 1/2 x 11 1/2 inches Signed and dated lower right: RSwain Gifford / 19...

Eugène VERBOECKHOVEN Warneton, 1798 – Schaerbeek, 1881 Oil on wood panel 42 x 33.5 cm (58 x 50 cm with the frame) Signed, dated and located lower right “EJ Verboeckhoven / 1826 / à G...

Frank Adams (British,1871-1944) “Pray, Mistress Mouse, / will you give us some beer?”/Heigho! Says Rowley, / “For Froggy and I are/fond of good cheer”. / With a rowley powley/Heigho!...

English school, 18th Century Figures at a mill Gouache on paper 4.5/8 x 7.1/2 in. (11.8 x 19 cm.)

Among Falguière’s greatest works, his figure of the huntress Diana emerged as a masterpiece, the bust of which stands out as one of the most successful and recognizable idealized hea...

French School 19th Century, Studies of horses and a rider two drawings in the same frame 7 x 11 cm (oval) and 7 x 9.8 cm pencil on paper Condition : The oval one on the left with f...

Corwin Knapp Linson Frawg Hollow, West Virginia Signed and titled lower left Oil on canvas 24 x 28 inches Provenance The artist Artist's family by descent Corwin Knapp Linson was ...

Louis I of France as a Roman Emperor, in profile to the right Chiaroscuro woodcut, 1631-1633 Unsigned (as usual) After a drawing by Hubert Goltzius (1526-1583)...

Elizabeth Zanzinger's (US based) "Current" is an oil painting that depicts a lone figure in a golden field with clouds holding a floral fabric agai...

Franck Bailleul is a French painter born in 1964 who lives & works in Abbeville, Normandy, France. He has exhibited nationally as well as in the United States and China. His works e...

The base marked "A. Mercie" and "506 F. Barbenienne, Fondeur, Paris" ad "A. Collas" "Reduction Mecanique." The dazzling David, a prolific subject amongst sculpture artists beginning...

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

Unknown/Unidentified Artist, "Untitled: Solo Seated Nude Twist", Signed Figurative/ Nude Watercolor Painting on Paper, 18 x 14, Late 20th Century Colors: Black, Brown, Orange, Yellow, Turquoise, Green, Purple, Red *Unidentified/ Unknown Artist signature...