Henri-Joseph Castaing Paintings

Wonderful American modernist portrait painting. Framed. Oil on canvas. Image size, 20H by 16L.

Contemporary modernist American portrait oil painting. Oil on canvas. Signed. Measuring 20 by 40 inches.

Nicely painted American school modernist portrait. Oil on canvas. Framed. Ready to hang excellent condition.

Frederic Cabanas (1954) - Pitussi - Oil on canvas Oil measurements 92x65 cm. Without frame. ​ Frederic Cabanas Multifaceted artist, painter, sculptor, musician, photographer, wr...

This large oil on canvas portrait was painted by Caroline Hutchinson circa 1955. It depicts a lady reclining on a sofa and is painted in an Impressionist palette and manner. A beauti...

The sitter, seated in a yellow silk gown trimmed with a pink bow playing the cello, is believed to be the artist Balthazar Denner's eldest daughter Catharina (1715-1744), after his marriage to Esther Winter in Hamburg in 1712. She is also recognisable in another portrait of the Denner family in the Hamburg Kunsthalle, painted circa 1740 by the artist's son, Jacob Denner (1722-1765). Oil on canvas in a period giltwood frame. Provenance: Private collection, Northern Germany Professor Helmut Borsch-Supan, Berlin, confirmed the authenticity of the painting after examining it in 2013. The painting will also be included in the forthcoming catalogue raisonnée of the artist, by Ute Mannhardt. Balthasar Denner...

Ignacio Gil Sala, was a painter, bohemian character, adventurous and intrepid traveler who knew how to capture his eyes to that world with his painting. A...

This charming ex Christie's Victorian Orientalist oil painting is by noted French exhibited artist Lucien Laurent Gsell. The painting dates to around 1900 and portrays a beautiful yo...

Certainly a family of artists, such as, of course, Amadeu (1912-2004), known for a long artistic career, as a teacher of several generations of painters and as an artistic popularize...

Boldly colored portrait of a woman on a sofa by Nealon A. Mundt (American, 1939-2015). A woman is reclining on a dark blue sofa, with a pink wall in the background. The woman is wearing a white top and a pink skirt, with a red bandana on her hear. Her skin is rendered in a fauvist style, mixing bold yellows and greens with skin tones. There are paintings hanging on the wall behind the sofa. Signed and dated in the lower right corner. Titled, signed, and dated on verso. Presented in a wood frame with a linen fillet. Canvas size: 24"H x 36"W Nealon Mundt...

This most charming oil painting is attributed to the circle of noted British Impressionist artist Philip Wilson Steer. Painted circa 1900 this lovely Edwardian Impressionist paintin...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates, he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery the next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...