Romantic Art

"Twilight Landscape with Windmill and Church" is a captivating work by Swedish artist Albert Larsson, painted in 1891 when Larsson was 22 years old. The painting captures a landscape steeped in the quietude of dusk, with a sky ablaze in hues of red and orange, signalling the end of the day. The silhouettes of trees are rendered with astonishing detail against the twilight sky, showcasing Larsson's early mastery of light and shadow. Dominating the pastoral scene is a traditional windmill, its blades stilled against the sky, alongside the spire of a church that pierces the horizon. These structures, together with the meticulously painted trees, are testaments to the human presence within the natural world, suggesting a harmony between the two. A notable feature is the small water-filled furrow in the field, which catches the fading light of the sky, creating a pathway of reflection leading the eye through the composition. This detail highlights Larsson's skill in using light to draw attention to elements within his paintings. Albert Larsson, born on November 4, 1869, in Malmö and passing on August 31, 1952, in Lund, was an artist deeply influenced by his education in Copenhagen at the Art Academy and later at Peder Severin Krøyer...

Pinckney Marcius-Simons, (American, French, 1867-1909) Signed: Marcius-Simons, (lower, right) " Lost in Her Thoughts ", circa 1890-1892 Oil on mahogany panel bearing the stamp on verso of " H. Vieille e. Troisgros Sueei, 55 Rue de Laval...

A Cart Race Hand colored etching & aquatint, 1788 Signed in the plate (see photo) Published by William Hollande, London Inscribed in the plate with title, artist's name and publication line 'Rowlandson. 1788./ London. Pubd 1789 by Wm Holland No 50. Oxford Street.' Reference: M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VI, 1938) British Museum Satires 7607 Grego, 'Rowlandson', i. 260, Grego II.392 Provenance: Chris Beetles Ltd., London (label), 2003 Jeffrey M. Kaplan, Washington, D.C. (label) Fursten zu Oettingen-Wallerstein, Lugt 2715a, verso (see photo) Condition: Excellent Printed on 18th century laid paper Archival framing by Chris Beetles Ltd., London Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the church... Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the clouds of dust which they have raised, with a row of gabled houses (right) inscribed 'St Giles', terminating in a church spire (left), and probably representing Broad St. Giles. The occupants of the carts are Irish costermongers typical of St. Giles. The foremost horse gallops, urged on by the shouts of a standing man brandishing a club. The other occupants, two women and a man, cheer derisively the next cart, whose horse has fallen, one woman falling from it head-first, another lies on the ground. The driver lashes the horse furiously. The third cart, of heavier construction, is starting. The horses are partly obscured by the clouds of dust, but denizens watch from casement windows and a door. Two ragged urchins (right) cheer the race; a dog barks. "It was said that the amount of copper Thomas Rowlandson etched would sheathe the British Navy. An inveterate gambler, for much of his life Rowlandson had to produce a flood of his comic prints to stay ahead of financial losses.A wealthy uncle and aunt raised Rowlandson after his textile-merchant father went bankrupt. His career developed quickly. He entered London's Royal Academy Schools in 1772, visited Paris in 1774, exhibited at the Royal Academy in 1775, and won a silver medal in 1777. He left school in 1778 to set up in business. Rowlandson's depictions of life in Georgian England exposed human foibles and vanity with sympathy and rollicking humor. During the 1780s he consolidated the delicate style he used for his coarse subjects. He worked mainly in ink and watercolor, his rhythmic compositions, flowing line, and relaxed elegance inspired by French Rococo art...

Dutch School, 19th century signed oil on panel, framed framed: 17.5 x 21 inches panel: 14 x 18 inches provenance: private collection condition: good and sound condition

An auto-didactic artist, Darsney draws inspiration from a variety of sources, including The Boston School and iconic masters such as Vermeer, Rembrandt, and Degas. These artists’ att...

This Watercolor drawing shows a noble hunting society. The duke (?) on horse and several noble ladies accompanying the soctiety. The duke (?) gestures towards a group of hunters on h...

Romantic French pastel portrait of a Spanish beauty by Louis Fortuney. The work is signed bottom right, titled to the back board and presented in a fine carved gilt wood frame under ...

Sir Thomas Lawrence PRA 1769-1830 Portrait of a Young Officer Pastel with touches of black chalk on paper Signed and inscribed on an old label verso: "Be pleased to keep away / from the Damp & from dust / T Lawrence AE 13. / 1783." Wash mount and gilt frame Provenance W.E. Spooner; Anonymous sale, Phillips London, 17 April 2000 lot 196 Sothebys, Old Master & Early British Paintings, 14 April 2011 • London Lot 246 Old label verso describes how this was drawn in 1783 at the age of 14! This is a portrait of an officer from the Irish Volunteers. The Irish Volunteers was a part-time military force raised by local initiative in Ireland in 1778. Their original purpose was to guard against invasion and to preserve law and order at a time when British soldiers were withdrawn from Ireland to fight abroad during the American Revolutionary War. As a young boy Thomas Lawrence lived with his parents who ran a coaching inn near Bath. Clearly talented from this young age, he drew the passing travellers who stopped at the inn and this soldier may have been one such sitter. Lawrence was only 13 years old when he drew this work. To capitalise upon their son's talents, the family later moved to Bath and sent Lawrence to London in 1787 where he entered the Royal Academy schools at the earliest possible age. Works from such an early period of Lawrence's creativity are rarely to be found today. This rare early portrait drawn in Bath shows the level of technical skill that Lawrence had reached at 14 years old. His use of colour and tone to depict flesh and all the subtle variations in the texture and pigmentation of his sitter’s face, powdered hair and clothes show how Lawrence conceived pastel as a form of painting and partly explains how he could have made the smooth transition to oil painting so soon afterwards. When he arrived in Bath from Devizes in 1780, eleven-year-old Thomas Lawrence (1769–1830) was promoted as a natural-born genius like his Renaissance predecessor Raphael. The local press announced the arrival of the boy wonder and his ‘Striking Sketches’, inviting the ‘Nobility and Gentry’ to sit for their portraits. Thomas Lawrence was a prodigious portraitist from the age of just eight, when he began to draw his first portraits in pencil...

'Un fiacre a l'heure... (Emotions Parisiennes)' is an excellent example of the satirical caricatures produced by Honoré Daumier. The title, which translat...

German or Danish School, 19th Century Coastal Scene with boat and fishermen very decorative cabinet piece in a golden frame The painting is very fine and goes with a very nice and so...

Joseph-Auguste Rousselin French 1841 - 1916 Head Study Oil on board, signed with initials and signed verso Image size: 12 x 11 inches This head study provides an unbelievably moving portrait of an androgynous sitter. Employing incredible technique, the artist has achieved the highly finished porcelain skin, thoughtful eyes and pink lips of the sitter with incredible softness. The unfinished quality of the background make the composition of the work particularly satisfying to the modern eye. Loosely sketched dashes and brushy swoops outline the model's head. The mix of finished and more expressive elements reveals the artist's brilliant eye, technique and personality. Artistically, Rousselin does not seem to be influenced by the friendships that he forged with the Impressionists but rather he has remained rather faithful to the academic technique of William Bouguereau, whose studio he also used to frequent. This study is certainly comparable to the work by Bouguereau, specifically his graceful portraits of women. Bouguereau championed the traditional academic style and his methods were taught to him by a pupil of Ingres. Similar academic inspiration is apparent in this work, from the conscious posing of the subject to the evenly laid colours. Indeed, alike the work of Bouguereau this follows the same classical approach to composition, form and subject matter. The Artist Born in Paris in 1841, Rousselin grew up to be a French painter and art collector. From a young age he studied in the workshops of Charles Gleyre and Thomas Couture, here he met the young impressionist generation. His studio peers included Auguste Renoir, Alfred Sisley and Édouard Manet, with whom he forged strong bonds of friendship. It was at his invitation that his two friends Renoir and Sisley exhibited at the Salon of the Society of Friends of the Arts in Pau, a region where Rousselin had family ties. Manet invited him to his family home in Boulogne-sur-Mer where he had him pose in the summer of 1868 for 'Le Déjeuner dans l'Atelie'. Rousselin can be seen in the background of the painting as the man with the cigar, wearing a grey hat...

Charles Legrain, (19th century) Two Javanese landscapes Both signed Legrain Ch. and one dated 1857 Both oil on canvas, size: 95 x 114 cm In rich gilt-gesso frame. (2x).

MARIANO ALONSO PÉREZ Spanish, 1857 - 1930 THE SEARCH signed "Alonso Pérez" (lower right) oil on canvas 23 x 12-1/8 inches (58 x 30.7 cm.) framed: ...

Jacob Eduard Van Heemskerck Van Beest (1828-1894) “Avondgebed; Maleidische tripang visschers onder de hoge kust van Celebes” (Ev...

Unidentified Artist (1929) "Woman with an Umbrella Sitting on a Bench" This elegant 1929 oil painting on canvas presents a refined portrait of a fashionable woman seated on a park be...

Paul Albert Girard Paris 1839 – 1920 French Painter 'The Greek Temples of Paestrum' Signature: Signed lower left
 Medium: Aquarelle
 Dimensions: Image size 29 x 49 cm, frame size 41 x 61cm Provenance: Paestum, designated as a UNESCO World Heritage Site, stands as the best-preserved Greek archaeological site in Italy. Situated just south of Salerno, near the picturesque Amalfi Coast, and in proximity to Pompeii, Paestum remains somewhat undiscovered by many travelers. In its prime, Poseidonia thrived, evident in the remnants of city walls, colossal temples, and the overall urban layout. As Magna Grecia expanded and established trade routes, conflicts arose between the Greek colonists and the indigenous Samnite and Lucani tribes. Archaeological findings, however, suggest a period of peaceful coexistence between the Greeks and the Lucanians. This harmony was disrupted in 273 BC with the arrival of the Romans. The Romans, while altering the city's name to Paestum, did not obliterate it. Remarkably, their admiration for the splendidly constructed temples played a role in shaping classical architecture on the Italian peninsula, influencing subsequent Roman development and style. The Romans made additions to Paestum, including a forum, an amphitheater, a temple of their own, and residential structures, some of which still stand today. In 79 BC, the eruption of Vesuvius dealt a partial blow to Paestum, altering its landscape. Despite this setback, the city's survival attests to its resilience and enduring cultural significance. Today, visitors can explore the fascinating remnants of Paestum, a testament to the confluence of Greek and Roman influences, and the architectural prowess that has withstood the test of time. Born on December 13, 1839, in the artistic heart of Paris, Paul-Albert Girard emerged as a luminary in the world of 19th-century French painting. The son of the esteemed painter Pierre Girard, he inherited not just a name but also a passion for the arts that would define his illustrious career. Biography: Born on December 13, 1839, in the artistic heart of Paris, Paul-Albert Girard emerged as a luminary in the world of 19th-century French painting. The son of the esteemed painter Pierre Girard, he inherited not just a name but also a passion for the arts that would define his illustrious career. Paul Albert was a versatile artist, displaying his mastery across various genres – from capturing the essence of everyday life in genre scenes to breathing life into captivating portraits and landscapes. His prowess extended to watercolors, mural compositions, and the rich tapestry of Orientalist paintings depicting scenes from North Africa. In 1857, Paul-Albert embarked on his formal artistic education at the prestigious École des Beaux-Arts in Paris. Under the guidance of eminent mentors such as Jean Joseph Bellel, François Edouard Picot, and Hippolyte Flandrin...

Antique Horse Study "Legs and Rumps, 1838" Wouterus Verschuur l (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

"Harvest Scene With Farmer and Scythe, 1886" is a captivating painting by the Swedish artist Alfred Thörne. Created during his travels through Germany, France, Italy, and Belgium bet...

LIQUID PASSION Photographic print Wood boxed float mounted frame, non reflective glass. Size 43” x 57.3”, $ 8000, Edition 4 of 10 in total (All sizes) Others Sizes in the edition: 33...

MARIANO ALONSO PÉREZ Spanish, 1857 - 1930 ELEGANT FIGURES SEATED IN A PARK signed, located and dated "Alonso Pérez, Paris ´91" (lower right) oil o...

Francis Coradal-Cugat, 'Richard Wagner', etching, c. 1928. Signed, titled, and numbered ‘2/50’ in pencil with the artist’s inked fingerprint beneath his signature. A fine, richly ink...

Tanvi Pathare Memories of Seville Contemporary Florence still life painting 30 x 30 cm oil on linen (frame included in price) size with frame: 38 x 38 cm Tanvi Pathare from India a...

soft pastel on toned archival sanded paper signed and dated bottom left this work is part on an ongoing series bt the artist depicting women with floral bouquets

Neapolitan gouaches appeared in the eighteenth century when tourism in the Naples area was developing: the discoveries of Herculaneum and Pompeii made this city a mandatory stop on the Grand Tour, the journey made by wealthy Europeans to complete their education. Generally small in size for ease of transport and affordable in price, these gouaches were the ideal travel souvenir that these tourists of the early days were bringing back to capture the idyllic landscapes they had discovered during their journey and to share them with family and friends upon their return at home. The Bay of Naples and the eruptions of Vesuvius are the favourite themes of these views. Here we have a view of the Ovo Castle, which was rebuilt on the island of Partenope, in the middle of the Bay of Naples and about a hundred metres from the shore by the Normans in the 12th century on antique ruins...

Auguste Legras (1817-1887) Portrait of a young man in profile, signed lower right Charcoal, red and white chalks on paper 45 x 31.5 cm Framed : 52 x 39 cm This particularly evocati...

Beautiful drawing by Jean-Baptiste Valadie, hand-signed, museum frame

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist. The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

Very decorative trapezium-shaped wooden panel with floral motives. The painting is slightly damaged here and there, as can be seen on pictures. Wear consistent with age.

Antoine Georges Rochegrosse 1859-1938 French "La Sultane" Oil on canvas Signed upper right Canvas: 18 7/8" high x 25 1/4" wide Frame: 31 1/2" high x 37 5/8" wide Georges Rochegrosse was one of the most prestigious painters of his time. Adulated and covered with honors, he was nonetheless an archaeologist. He painted great reconstructions of classical antiquity but also more intimate and sensual...

In Love With Spring Rustic Flowers Art Embellished Giclee on Canvas 40H X 60W State-of-the-art HAND EMBELLISHED ∽ MUSEUM QUALITY ∽ DISPLAY READY Giclee Reproduction Each limited edi...

Unidentified Artist (19th Century) "Portrait of Marie Louise" This exquisite 19th-century miniature portrait depicts a refined young woman, identified as Marie Louise, dressed in a...

Signed lower left, 'P. Lagiere' (French, 19th century) and dated, '1868'. After 'La Jeune Courtisane', 1821, by Xavier Sigalon (French, 1787–1837), held in the permanent collection o...

Author: Rosendo González Carbonell Title: Mother and Child Technique: Oil on canvas Style: Figurative with elements of Romanticism and Realism Dimensions: 24 x 20 inches (26.4 x 22 i...

Swan Scalabre "Jour de Fête I" Oil on Wood 6 x 4.5 in Born in the Alpes de Haute Provence region of France in 1977, Swan Scalabre investigates the silent gaze placed on women, port...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

This beautiful 19th century framed engraving "Scarborough" by W. Chapman is based on an original painting by the renowned British artist J.M.W. Turner. It was published in London by ...

Unknown Artist, French School 18th Century, Circle of Mallet? Scene taken from the Decamerone. Old Master Drawing

Ventura A. Pérez (1992) is one of the most seductive artists on the contemporary Spanish scene. After earning a doctorate in contemporary art from the University of Vigo, he moved to...

Hanger Books Signed lower right. Robert Berran has been a prolific romance and historical book cover illustrator since the 1970s.

Dutch Watercolour classical building portrait by Tineke Goedhart. The painting is signed and dated bottom left and resigned, dated and located on t...

William Henry James Boot 1848 - 1918 Kirkstall Abbey Oil on canvas, monogrammed lower right and dated 1876 Image size: 24 x 36 inches (61 x 91.5 cm) Exhibited Royal Academy, 1878 no. 692 Much like his contemporary, John Atkinson Grimshaw, Boot appears to have been influenced by the Pether family who were renowned painters of nocturnes. He was a book illustrator as well as a renowned oil and watercolour artist, producing engravings for the London Illustrated News and Art Journal. He wrote 'Trees and How to Paint Them' in 1883. Boot was born in Manchester. He exhibited at the Royal Academy from 1874 to 1884, showing mainly English and Continental landscapes. He is known to have travelled extensively in Germany, France and North Africa. Boot was a member of the Royal Society of British Artists and of the Arts Club, who listed him as a "painter and writer on Gothic architecture". Boot also painted domestic genre and interior scenes but tended to concentrate on landscapes. Boot lived and married in London. He is buried with his wife in Hampstead. The subject of this painting, Kirkstall Abbey in Yorkshire, was a place Boot often visited. Three figures to the right gaze admiringly at the view, with the moonlight reflected on the path they stand on. THIS PAINTING IS IN THE 'MOONLIGHT IN PAINTINGS AND WATERCOLOURS' EXHIBITION CURRENTLY SHOWING AT DARNLEY FINE ART...

Signed, verso, on attached fragment, 'L. Verite' for Lucien Henri Alphonse Verite (French, 1866-1926) and painted circa 1890. Verite studied at the École des Beaux-Arts in Paris bef...

Eugène Deveria Paris, 1805 – Pau, 1865 Oil on canvas 41 x 33 cm (46 x 38 cm with frame) Signed at the top "Eug. Deveria" Beautiful giltwood frame Fair condition Eugène Deveria often...

This is a pair of framed 19th century tinted lithographs with hand-coloring entitled "Gallery Over the Hall, Knowle, Kent" and "Terrace Bramshill, Hants" by Charles Joseph Hullmandel (1789-1850) after drawings by Joseph Nash (1809-1878), from "Mansions of England in the Olden Time", published in London in 1839-1849. Nash's publication consists of a series of views of Tudor domestic architecture, which Nash said depicted "the most characteristic features of the domestic architecture of the Tudor Age, and also illustrating the costumes, habits, and recreations of our ancestors." The scenes of the aristocratic ladies and gentlemen (including Henry VIII and Queen Elizabeth I), who are depicted inhabiting the rooms of these great houses, were taken directly from the portraits on the walls. Charles Joseph Hullmandel, was involved in the creation of these lithographs. He was a famous British lithographer, who invented the "lithotint" process, which he named and patented in 1840. This technique, allowing for greater nuance and value gradation than pure lithography, was an ideal means of expression for Nash's historically rich and picturesque depictions of Tudor mansions and their inhabitants. Hullmandel is also remembered for creating many lithographs from the paintings by J. M. W. Turner. The "Gallery Over the Hall" depicts a great hall with children playing with skittles (wooden pins resembling bowling pins), a doll and what looks to be a St Charles spaniel, while a lady in Tudor attire watches over them next to a massive stone fireplace. Adults are watching from in the distance while a man bows...

Little Devils Bridge over the Russ, above Alt Dorft Swiss From: Liber Studiorum Etching and mezzotint, 1809 Signed in the plate by JMW Turner and Charles Turner who applied the mezz...

Attributed to Friedrich Voltz (1817–1886) – Bucolic Cattle Scene Artist: Attributed to Friedrich Voltz Period: 19th Century Medium: Oil on Canvas Dimensions: Framed: 35 x 40 cm Artw...

Fine drawing in pencil, oval format. Circle of Angelika Kauffmann. The subject is not clear. It is Amor with his arrows and perhaps Venus with a sp...

Color offset lithograph Made for an exhibition at the Galerie Maeght Paris, 12 April - 20 May 1983. Image in great condition, marginal defects

Eugène Joseph Verboeckhoven Waasten 1798 – 1881 Schaarbeek Belgian Painter 'The Little Donkey' Signature: signed lower left and dated 'Eugene Verboeckhoven 1856' Medium: oil on pan...

The Birth of Venus is an early renaissance oil on canvas painting by the Italian artist Sandro Botticelli, executed during the mid-1480s. It ...

An oil on panel view of a Christmas tree in a landscape heavy with snow by Boggio. The painting is signed bottom left. A charming view of a snow scene, a Christmas tree its branches...

Signed lower left, 'P. Lagiere' (French, 19th century) and dated, '1868'. After 'La Jeune Courtisane', 1821, by Xavier Sigalon (French, 1787–1837), held in the permanent collection o...

Enhance your collection with the internationally renowned Bernard de Claviere's captivating dog painting, "Two Borzois." This romantic dog painting beautifully showcases two ele...

Antique German porcelain plaque signed 'Haak' German, late 19th Century Frame: Height 42cm, width 36cm, depth 3cm Plaque: Height 28.5cm, width 22.5cm, depth 0.5cm This fine and detailed German porcelain plaque depicts a man and a woman in medieval dress...

Country girl - Angelo Granati Italia 2011 - Oil on canvas cm. 90 x 70. This is his reinterpretation of painting "Young Shepherdess" by gratest old master William Adolphe Bouguereau. ...

  Peasant Girl And Little Lady With Toys. Europe, Romantic Era, Mid-19th Century This mid-19th century painting, done in oil on canvas, belongs to the Romantic era. It portrays a t...

Angel woke up 90x80 cm

James Montgomery Flagg lived with gusto. He epitomized the public concept of the handsome, bohemian artist, surrounded by beautiful models, dashing off pictures with sheer exuber...

Otto Wilhelm Eduard Erdmann was born in 1834 in Leizpig, Germany. He is best known for his fine interior and genre scenes, often including figures. This original oil is a prime examp...

Wilhem van Gloeden ( 1856-1931 ) " la beauté de l'innocence " Le célèbre Baron Wilhem van Gloeden nous a laissé des beautés intemporelles sur ces papiers à l'albumine , sépia du XI...

A moody mid century landscape painted in neutral, sepia tones featuring an abandoned building by Joseph Bodner (American, 1925-1982). Signed "Bodner" in ...

Aleksandra (Ola) Pawlikowska born 1988, Warsaw, student of the Faculty of Graphics at the Academy of Fine Arts in Warsaw. In the years 2007-2012 she studied Art History at the Univer...

Restrained landscape with a child playing with a cat by an unknown artist. Although nearly monochromatic, there is exquisite details in the foliage in the foreground. to the left. In...

This exquisite painting by the artist Otto Lindberg (1880-1955) is a mesmerizing depiction of a spring sunset. Crafted in 1952, this piece stands as one of Lindberg's final paintings...

Picking Roses French School, late 19th century oil on canvas, unframed canvas: 22 x 18 inches provenance: private collection, France condition: good and sound condition

Untitled #10 (female bust), 2016 from Los Infortunios De La Virtud series Antique porcelain bust with the intervention of oil, gold, silver, lea...

French School 19 th Century Portrait of a young man Signed (signature not deciphered) on the lower right Pencil, black chalk and heightenings of white and red chalks on paper Oval vi...

Leon-François Comerre 1850-1916 French The Ballerina’s Loge, circa 1900 Oil on canvas Signed lower in the center Canvas: 29 1/2" high x 23 1/2" wide ...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

SPANISH SCHOOL, 19th CENTURY ARTIST UNKNOWN oil on canvas 10-1/2 x 7-5/8 inches (26.5 x 19.3 cm.) framed: 15-1/2 x 12-1/2 inches (39 x 31.5 cm.) PROVENANCE Spanish Collector, Madrid...

This oil painting is on 12x12x1.5 gallery wrapped canvas and it's done in a style of romantic surrealism. The sides of the canvas are painted white and will be shipped ready to hang....

Théodore Géricault 'Cheval de Mecklembourg' (Mecklembourg Horse), lithograph, 1822, 2nd state of 4, Delteil 47. Signed in the matrix 'Gericault', lower left. Published by Godefroy En...

Painting of a Mountain in Lake District England by 20th Century British Landscape Artist, James Wright. Signed, Original, Oil on Canvas, housed in a beautiful ornate gold frame. Prov...