Frederick W. Becker Art

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...

Vintage Lithograph Johnny Friedlaender: 1912 - 1992 circa 1968 Very nicely framed with gold frame and linen mat. Ready to hang. Frame Size: 21" W x 23 3/4" H Visible Image Size: 14" W x 17" H "Johnny Gotthard Friedlaender (1912-1992), printmaker and painter, was born in Pless, Prussian Silesia (Germany) on June 21, 1912, the son of a pharmacist. He moved to Breslau in 1921 and, in 1928, he enrolled at the Breslau Art Academy where he attended master classes taught by Otto Mueller, a member of Die Brücke. During his academy years Friedlaender worked in lithography and etching. In 1930, he moved to Dresden, where his work was included in group exhibitions at Galerie J. Sandel and, in 1936, he traveled to Czechoslovakia, Switzerland, Austria, France, and Belgium. Friedlaender and his young wife fled the Nazi regime in 1937 settling in Paris as political refugees. In 1938 and 1939, Friedlaender worked at the literary weekly magazine Marianne on Paul Chadourne's recommendation. From 1939 to 1943 he was interned in a series of concentration camps. After the war, the Friedlaenders returned to Paris in 1945, in 1947 he became a member of the Salon de Mai, and in 1950 he became a French citizen. "Friedlaender worked for various journals and focused on etching as his main medium of expression. He became one of the great innovators in color printmaking and a school formed in Paris around his work as a painter and printmaker. From his Paris atelier Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain...

A handsome vintage equestrian print depicting George Frederick (1871), one of Britain’s most celebrated thoroughbreds of the 19th century. The horse, shown in full profile against a ...

Justin Pollmann "Memory Exercise" 2020 Inkjet Transfer Collage, Monotype 19.5"x17.5" inches The inkjet transfer images are made by collaging transfers of inkjet prints to the pape...

Antique English Framed Chromo Lithograph of Painting by Henry Holiday, Circa 1900's. Beautifully Painted: "The Meeting of Dante & Beatrice"

A poster belonging to Erik Nitsche's third series for General Dynamics, promoting its Convair Company. Founded 1952, General Dynamics hired Nitsche a...

Richard Hunt untitled (Paper Piece 3) 1978 published in an edition of 50, of which, this is number 37. Edition designated in pencil lower left corner recto. Sign "R Hunt...

Vintage Lithograph Roger Bezombes: 1913-1994, French pencil signed and numbered circa 1950's Frame Size: 25 1/2" x 31 1/2" Visible Image Size: 20" x 26 1/2" " Painter, printmaker,...

Original Vintage Poster in bright and crisp colors by the Dutch graphic design legend Wim Crouwel, advertising rather the museum's collection of works by...

“BS Trust” is 36” 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 sourc...

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...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...