Arch Art

The Bridge is an original etching realized by the Italian master Bruno Croatto. Hand-signed on the lower right. '97 Good conditions except for some sma...

Charming drypoint etching of a series of three arched interior doorways by Susan Varjavand (American, 1941-2018). Numbered, titled, and signed ("13/20 Whisperings at a Cross Point Susan Varjavand") along the bottom edge. Presented in a new cream mat. No frame. Image size: 14"H x 11"W Susan Varjavand (American, 1941-2018) was an artist from San Francisco, California. She studied with Patricia Pearce (American, b. 1948) while at the College of San Mateo, as well as with Richard Bowman (American, 1918-2001) and Alan May...

Very rare original Signed E.A. Artist's Proof, color lithograph, "New York", by Bernard Buffet (1928-1999). Circa 1980. A Landscape image by the celebrated French Modernist figurative artist Bernard Buffet, titled "New York". The color litho shows buildings and skyline in New York City, this is a rare image from a series of New York views produced by Buffet. The artwork is signed in pencil lower left "E.A", Artist's Proof in French, from the limited edition numbered prints (which was limited to 150) , it is also boldly signed "Bernard Buffet" lower right. Condition is excellent, we at Bloomsbury Fine...

Veduta delle Rovine di una Conserva d'acqua per la Villa di Domiziano vicino a Castel Gandolfo negl'Orti Lodovisi Image dimensions: 42 x 52 cm. From th...

Vintage photo representing Arch of Janus, located nearby S. Giorgio al Velabro church. The arch is thought to have been a boundary marker rather than a triumphal arch, or it was buil...

S. Maria della Spina Church, Pisa is an original photograph taken in Pisa, Italy, realized by an Anonymous photographer. Titled on the lower. Very Good conditions.

Charming garden landscape with a floral archway by Marnie Dufau (American, b.1947). Signed "M. Dufau" lower right. Presented in a giltwood frame. Image size, 22"H x 20"W. Santa Cr...

Signed lower right, 'Rinaldo Cuneo' (American, 1877-1939) and painted circa 1925. Provenance: Private collection, Illinois. Previously in the collection of Frank E. Cummings. (accompanied by Butterfield & Butterfield documentation) A lyrical, early twentieth-century view of the Seine and this beloved Parisian landmark with laborers and pedestrians shown walking home beneath dramatic sunset clouds. Undated but likely painted between 1911-1913, when the artist was studying in Paris at the Académie Colarossi. Rinaldo Cuneo first studied at the Mark Hopkins Institute under Gottardo Piazzoni and Arthur Matthews. He subsequently furthered his studies in London and, later, at the Académie Colarossi in Paris. Cuneo exhibited with success worldwide, including at the Panama Pacific...

Roman Arch (Arch of Settimo Severo) is an original screen print on paper realized by Italian artist Marco Orsi (1926 - 1999). Hand-signed on the lower righ...

Rome, Palatine Hill is a wonderful etching and dry-point on paper by realized by Cesare Biseo in 1898. Hand-signed and dated with the description on the lower in pencil. In very go...

This beautiful early 20th-century fan design by American-English artist Cyrus Cuneo ROI (1879-1916) depicts a couple with cherubs in an ornamental garden. Cuneo was an accomplished p...

A pretty oil scene showing a rustic pack horse bridge over a clear stream that winds around a ruin, hidden in green woodland. Painted in the manner of John Corcoran, the artist has s...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from...

Piero Sansalvadore (1892-1955) Chithurst Bridge Sussex Signed Sansalvadore. Titled to verso. Oil on wood panel 21.5 x 28cm (8.5 x 11 in) Provenance: Stacy-Marks Gallery, Eastbourne,...

The Sepulchre of Ladislao is an etching engraved by Augusto Fornari, an artist who lived in Rome between 1812 and 1864. The paper sheet presents the signature “Fornari inc.” engraved...

Ruth Anderson Municipal Building, Manhattan, circa 1918 Oil on canvas 25 x 19 inches Ruth A. Anderson was born in Carlisle, Pennsylvania in 1891 and die...

Title: Historic Bristol Church and Cathedral Collection of Four Watercolors by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 5 i...

Signed lower left, in graphite, 'Julian E Garnsey' (American, 1887-1969), titled, verso, 'Notre Dame and Pont de l'Archeveche' and dated 'May 11, 1961'. Old label verso. Born in Ne...

Archival pigment print Signed and numbered, verso 30 x 41 inches 40 x 55 inches 48 x 65 inches (Total edition of 15) This artwork is offered by ClampArt, located in New York City. ...

Provenance: Family of the artist, studio sale. Framing options available upon request. Free US CONTINENTAL Shipping, incl Europe and Asia. Born in Paris, the French painter Paul Lec...

Black and white fine art cityscape - landscape photography. Beautiful courtyard with plants and an old front door, Tuscany, Itlay. Archival pigment ink...

We acquired a series of paintings from Claude Muncaster's studio. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." Claude Munca...

Piero Sansalvadore (1892-1955) Queens’ College Cambridge Signed Sansalvadore. Titled to verso. Oil on wood panel 21.5 x 28cm (8.5 x 11 in) Provenance: Stacy-Marks Gallery, Eastbourn...

A hand-colored lithograph by Joseph Nash of the Frontespice "The Mansions of England in the Olden Time", 1839-1849, printed by Charles Joseph Hullmandel (Pub. London: T. M'Lean, 1839...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

Inscribed lower left: [WEST]FORD BRIDGE / [CA]MBRIDGE VT; signed lower right: SLOANE

Chromogenic Print – Unframed Free Shipping – Ask us foar custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My p...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. Nancy Weir Huntly (1890-1963) Trinity College Bridge Cambridge Oil on canvas; framed in an antique-white-finished frame with gilt slip. Signed ‘Huntly’ 50x61cm Born in India, in Nusserabad, Huntly studied art at the Royal Academy Schools in Dusseldorf. She lived in Welwyn Garden City, in Hertfordshire, with her daughter, Faith Sheppard...

An original realist egg tempera painting by American artist Catherine Koenig created during her travels to Mexico. This work will be featured in the gallery's upcoming exhibition "Dr...

Beams of sunlight streaming through the windows at Grand Central Station, New York City, circa 1930. (Photo by Hal Morey/Getty Images) As an authorized Get...

Chromogenic Print – Unframed Free Shipping – Ask us foar custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My p...

Virtue, Bode–Museum, Berlin 50 x 62.5 inches ed. of 10 $6000 signed and numbered on label, verso Reinhard Görner, with his large format photographs orchestrates the monumentality...

Peri Taylor. Acrylic on Canvas. I wanted to capture the iconic Sydney Harbour Bridge from a slightly different angle , the composition I was looking for came into view as I waited fo...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Christopher Ganz Basilica di San Marco, Venezia, 2020 white ink, chalk & colored pencil on paper 12h x 18w in 30.48h x 45.72w cm CG0079 -ARTIST STATEMENT- ...

Arms, John Taylor (American 1887-1953). SHADOWS OF VENICE - IL PONTE DI RIALTO, VENEZIA. Etching, 1930. Edition of 140 + 14 Artist's Proofs. 10 x 12 inches (Plate), 11 3/8 x 157/8 in...

Mielatz, Charles. IN THE BOWERY. Etching, 1891. Edition size not known. Signed and dated in the plate. 9 7/8 x 7 inches. In excellent condition. Mielatz, taught etching at the Nation...

This striking oil painting depicts an elevated view over The Francis Scott Key Bridge and Potomac River, between Washington, DC and Arlington, Virginia. ...

Riverside View Landscape by Leon Dupin (French (1898-1971) signed verso oil on board, unframed Board : 11.75 x 14.75 inches Provenance: private collection, France Condition: very goo...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Robert Thomson...

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692) King's College, Cambridge Engraving 12 x 16 cm An eighteenth-century view King's College, Cambridge, engraved by Pi...

A lithograph and silkscreen on aluminum by Richard Haas from 1999. A detailed sectional view of the support and suspension structure of the George Washingt...

Roman landscape painter of the eighteenth century - Entourage by Paolo Anesi (Rome 1697 - 1773) River landscape of the Lazio countryside, with the Tiber fl...

THIS WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...

Limited edition print of a brown and white dog sitting outside of Mornington Crescent. Inspired by the game I'm Sorry I Haven't A Clue.  Additional information: Mychael Barratt Wes ...

Anna Archinger The Far Away Princess (Equine Art, Horse, Marwari, India, Rare Breed) Archival Pigment Print on Canson® Infinity Platine Fibre Rag Year: 2025 Image Size: 11.7 x 8.3 x ...

Anna Archinger Marwaris, The Sentinel (Equestrian Photography, Horse, Marwari, India, Rare Breed) Archival Pigment Print on Canson® Infinity Pla...

Rubio Canyon Falls, Mt. Lowe, Cal. shows a waterfall cascading thru a canyon of boulders and trees paralleling a wooden stairway and bridge. This historic image was published by Loui...

Full sun in Claude Monet’s garden [2021] Original Acrylic on canvas Image size: H:80 cm x W:60 cm Complete Size of Unframed Work: H:80 cm x W:60 cm...

A fine pair of huge Italian 18' century Capriccio with Classical ruins, tempera oil on canvas . Atr.Pietro Paltronieri, il Mirandolese (Mirandola 1673-1741 Bologna). Measurements ...

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...

Auguste-Alexandre Hirsch (Lyon, 1833 - Paris, 1911) Scene in Arab town Oil on canvas, 65 x 52 cm With frame 83.5 x 70 cm French painter Auguste-Alexandre Hirsch (Lyon 1833-Paris ...

Le vieux pont, Brantôme, Dordogne by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches) Signed and titled lower left, Paulémile- Pissarro. 1918. An ext...

Cityscape The new bridge. Oil on canvas, 60,5x70,5 cm Artwork was exhibited: Exposition d'Art Moderne-Belge Barcelone Mai 'a Novembre 1929

"Thomaston, Maine" is a 15 x 13.5 inches, watercolor townscape, signed in the lower left, and framed behind glass. Ranulph Bye was born in 1916 in Princet...

Henri van Daalhoff 1867-1953 I Dutch Girl with Hoop Signed (lower left) Oil on canvas This radiant landscape by the Dutch artist Henri van Daalhoff exemplifies the artist's master...

TECHNIQUE PHOTO-PAINTING The technique used was defined as PHOTO-PAINTING by the art critic Silvia Pegoraro of Ravenna Italy and was an Artist's invention in 1994. In fact, since 1964 Dario Cusani had been working with photography and painting which had never been united. In 1994 I returned to Naples, the city where I was born and had been missing for 10 years after moving to Rome in 1984. I returned to see the MIRACLE achieved by the G7 with the Presidents of the most powerful countries led by Bill Clinton, US President. It was a wonderful visit to my city reborn in its ancient splendor! I took over 5,000 photos of the squares and monuments of Naples with my Nikon. I returned to Rome and had all the photos printed and put them on various tables and assembled all the various pieces. I immediately realized that parts were missing which I completed with paint. A spontaneous gesture with which I had unconsciously achieved a great innovation: I had combined the REALITY of photography with the DREAM represented by painting. Silvia, my muse who knew me well, when I showed her the first work IMPERATING MALE (R:0176) that I had done she said to me: "Dario you have united the TWO WORLDS of your life: that of your childhood with the sensitivity of the dreamer with the concrete one that they gave you taught your parents with education, studies (degree in Economic Sciences) and work started at 15 years old in your family's copper industry. These formative years had distanced myself from those of childhood when I studied the piano and dreamed of becoming an orchestra conductor. I also drew and painted with my imagination in search of the affections I was missing.  In fact my parents were busy in the factory (copper production) rebuilding Italy destroyed by the recently ended war. I then refined PHOTO-PAINTING which developed into DIGITAL PROCESSING having replaced the BRUSH with the MOUSE to fill the gaps left by the photography and complete the REALITY which with painting became another FANTASTIC reality. PLACES OF MEMORY Cities This work is part of the "research" PLACES OF MEMORY Cities revisited by me in a fantastic way. In fact I use my exclusive PHOTOPAINTING technique with a photographic element to which I add painting (oil or acrylic) to create a NEW REALITY. REIGNING MALE (R:0176) NAPLES ITALYThe construction of the Castel Nuovo, also called Maschio Angioino, began in 1279, under the reign of Charles I of Anjou. Due to its strategic position, the new castle was not only a royal residence, but also a fortress. The Castle is located in the center of Naples and by the sea and only in 1600 was no longer home to the Kings when Naples was conquered by the Spanish. In fact, a few steps away was built the Royal Palace to accommodate the viceroys as representatives of the kings of Spain until 1734, when Charles of Bourbon became king of Naples and made it its official seat. Then with the conquest of Naples by the Habsburg emperors it became their home. Given its importance I wanted to give the Male an imposing look that soared towards the sky. In 1994 I took the photos and started to mount the central ones of the carved marble portal...

Not only a famous old New Orleans mansion on Prytania Street, but now an institution dear to the hearts of many New Orleanians -- an all-girl school that goes back over a hundred years. This is a large, nicely-framed oil on canvas of the main building of the Louise S. McGehee school by David Dillard, who came out of the famous Newcomb College art program that goes back to the Woodwards, Newcomb Pottery and the southern art renaissance. The provenance is the Jean Bragg Gallery, the preeminent gallery while in existence for traditional New Orleans art...