Rudolf Klinsbogl Klingsberg Portrait Paintings

Modern, academic style portrait painting on canvas of a young athletic male oil on canvas, 26 x 17 inches in antique wood frame This vertical, contemporary portrait painting of sin...

Alice Coutts A Tesuque Indian and Baby, New Mexico, circa 1910 Signed lower left Oil on canvas 20 1/4 x 12 1/4 inches Provenance Scott Tevis, Santa Barbara, California A native of...

Francois Martin-Kavel (1861 - 1931) was active/lived in France. He was a profiling painter of woman, especially orientalism His auction records have exceeded over $20,000 Such a ...

Late 19th century painting done after an 1890 Newsboy Plug Tobacco advertising card titled "The Last Look." At the time, a customer could trade in 10 paper tags that came with the to...

Samuel S. Carr Harvest Signed lower left Oil on canvas 16 x 12 inches Samuel S. Carr was an American pastoral and landscape painter. Originally from England, he trained at the Roy...

French realist artist of the 19th century oil painting on board, unframed board: 12.5 x 10.5 inches provenance: private collection, France condition: ...

Margaret Longstreith Baugh Woman with Violets, circa 1901 Signed lower right Oil on canvas 26 3/4 x 13 3/4 inches Provenance Walker-Cunningham Fine Art, St. Louis, Missouri, 2007 Pr...

Academic style figurative oil painting of a handsome football player against a country landscape 'Ready to Play', Painted by Mark Beard as Bruce Sargeant (pseudonym in homage to the...

Academic style figurative painting on canvas of a family and red tractor against a classic American farm field "Prosperous Family", painted by Mark Beard under his fictitious persona, Bruce Sargeant 84 x 58 inches unframed, 91 x 65 x 3 inches with a gold painted wood frame Excellent condition, ready to hang as is This Academic style figurative oil painting on canvas was painted by Mark Beard as Bruce Sargeant, a pseudonym in homage to the fashion photographer, Bruce Weber, and figurative painter, John Singer Sargeant. Here, the artist captures a blue collar American farming family in their field with an old red tractor. The man and woman stand stoically with their young child, dressed in simple white garments, perhaps to symbolize their purity. Rolling mountains...

Edward Percy Moran Portrait of a Woman Signed lower right Oil on canvas 30 x 20 inches Provenance: The Madison Gallery, Atlanta Percy Moran was the son of marine painter Edward Mo...

Sarah Anne Freeman Clarke Interior Scene with Lady and Two Children, 1883 Signed lower right Oil on canvas 32 x 27 inches Sarah Anne Freeman Clarke was born in Massachusetts in 180...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...