Anton Otto Fischer Paintings

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

Contemporary oil on canvas, this very large painting has fine naturalistic detail, with deep sky tones, rich coloring, crisp trees/leaves and lines of lighted meadow reflected in the...

Very Large Landscape Oil on canvas by Henry Bright, Signed by the artist. Exceptional size. Great Wall filler by this accomplished artist...

Rene Genis (French 1922-2004) “Les Parcs” Arcachon Bay, France. Oil on Canvas, framed. Signed lower right, signed and titled on back. Wonderful blues, greens and browns in a shore l...

Gabriel Deschamps (French — 1919 - ?) "Bateaux à quai" / Boats At Berth. Oil on Canvas. Large, well framed piece in very good condition. Frame: 45 1/2” x 26 1/2” x 2 1/2”, Canvas 19 7/8” x 39 1/2”. Gabriel Deschamps was born in 1919 and studied at the École Nationale Superieure des Beaux Arts in Paris. From 1939 he was a State Art Professor and a member of the Paris Autumn Salon...

“Cabo Azul 3” is 43” x 36”. Frank Arnold’s paintings exhibit the highest quality materials for a truly archival piece, created to last generations. Much of Frank Arnold’s work is so...

George W. Drew 1875-1968. Excellent example of his work, housed in a period Louie XIV style frame measuring 20.5 x 24.5in. Painted in early to mid 20th century.

An excellent example of Doragh's best work. The scene is believed to be New Castle, Delaware circa 1920. The painting has been professionally restored. The ...

Marine scene from the deck of a Maine estate (Foxhill). William Beebe considers himself a Creative Realist, using touches of impressionism to go beyond representation. This particula...

Rene Genis (French 1922-2004) “Les Falaise Normande” / The Cliffs of Normand. A sea scape with high cliffs, the beach, and two fishermen. The cliffs are in browns, tans and olives a...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Everyday fishermen life is captured in this wonderful Italian impressionist late 19th century oil painting on thin board titled fishermen ashore. We love the neutral and natural colo...