Wallace Bassford Paintings

This oil painting on canvas, created by an artist from the 17th Century Flemish School, depicts one of the most significant scenes from Greco-Roman mythology: Aeneas saving his famil...

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...

This museum quality old master oil on canvas formal portrait painting depicting the family of the Count Zanardi is signed by the artist- the female painter Lucia Casalini Torelli- and published in a book dedicated to Casalini Torelli’s workshop and academy. This palatial masterpiece artwork comes directly from the ancient Villa Maraini Guerrieri - Palidano di Gonzaga (Mantua), an historic Italian heritage building owned by the descendants of the family portrayed for more than two centuries, until 1998. The big scale of this oil on canvas masterpiece painting states the relevance of Lucia Casalini Torelli as a painter. The present artwork is a formal family portrait painting that aim to introduce the characters depicted according to their social role in the society. The noble family is all gathered under a loggia overlooking a park, the landscape in the background is partially covered by a beautiful red cloth on the right side. The father stands up and holds the hand of his eldest son, proudly introducing his future heir. The son wears a light-blue dress and red boots, he is depicted in a serious pose holding a black tricorn hat under his arm and a rapier sword on his belt. The mother wears an elegant gold and dark green brocade dress, she is sitting with her youngest daughter on her knees while her second son is by her side. The little daughter wears a lovely long red and dress with white lace and holds an apple on her hand. The son stands next to his mother and is dressed in a brown priestly clothes. This palatial old masters piece was probably painted in 1740 due to the similarities with Cardinal Doria’ s portrait, now on display at the Doria Palace Museum, the official residence of the Prince of Genoa. The painting features original canvas (“prima tela”) and antique original patina, it is in excellent overall condition considering the age, use and its large scale. A formal detailed condition report and the results of the inspection with the UV lamp accompanied by photos is available on request. As well as for its exceptional quality and quite perfect state of conservation, this painting is particularly important and even more valuable both for the artist who painted it and for its absolutely exclusive provenance. Lucia painted the most prominent and powerful noble families of her time, the location of these paintings is unknown to the art market as it is extremely likely that the portraits are still kept in private collections. Furthermore, Lucia was one of the most appreciated artists of her time, so important that she was admitted as a member of the academy at a time when women were forbidden to attend these studies. In 1706, Felice Torelli...

This artwork depicts a rural landscape, with cows in a prairie, a fence in the foreground, a farm in the background, and fall colors. Yves Calméjane usually uses light impasto techn...

RAFAŁ GADOWSKI (born in 1973) Studied at The European Academy of Arts in Warsaw Faculty of Painting, as well as at the Faculty of Graphic Art at the Cracow Academy of Fine Arts. He...

This artwork depicts a rural landscape in winter, covered with snow. The cold weather can almost be felt through the frozen sky. Yves Calméjane usually uses light impasto technique...

A sawah landscape, Sumatra Signed and dated 'Sonnega '54' (lower right), and annotated 'Voor Jan de Bas 1-1-1970 / R de Bas' (on the reverse) oil on canvas, 50,5x60,5 cm Provenance: - Collection Pieter de Bas (1909-1979) Mr de Bas was head of the MULO school and acting head of the HBS school in Medan. Thence by descent to the present owner. Exhibited: - Hotel de Boer, Medan 1954, where acquired by the first owner. The light I observed everywhere was of a special quality, fluorescent blue, shone from nowhere but radiated from every point, oddly with great depth and intensity. The light in an entirely different dimension came from nowhere and went nowhere shimmering with the glow of a bright blue jewel. The most important thing I discovered was of being omnipresent and able to understand everything at the same time, yes I could fathom creation completely. Auke Sonnega, born March 9, 1910 in Leeuwarden, known as the painter, primarily of young Balinese men and women. Originally raised in the reformed denomination, the parents of Auke apparently practised theosophy and their children, including Auke were taught these principles. The talent for drawing revealed itself at an early stage which in 1926 lead to a 4-year study of textile design at the Academy for Art and Craft in Amsterdam. He completed the academy in 1930 and worked in a carpet factory in Twente until 1934 and then followed in his sister Aafje’s footsteps leaving the Netherlands to go to the Dutch East Indies where in 1935 he started working as a graphic designer with an advertising bureau in Batavia. He was able to travel through Java and Bali on the motorbike that he brought with him from Europe, and was paid for his travelogue, enhanced with his own photo’s which appeared in several Dutch newspapers and magazines. In the 1930’s two Europeans, Walter Spies and Rudolf Bonnet...

Oil on canvas by Amedee de La PATELLIERE, France, 1928. Eclipse with four characters. With frame: 63x54 cm - 24.8x21.25 inches ; without frame: 41x33 cm - 16.15x13 inches. Format 6F...

This huge Italian 19th century armorial painting features the coat of arms of Montini, a noble Italian family that has among its ancestors the Archbishop of Milan, later known as Pope Paul VI. The large oval canvas has a brown and red background, the latter shaped like a shield, in which six mountains (from the etymology of the surname) and three white fleur de lis are painted. This big scale palatial oil painting...

Oil on canvas by Paul Clement (1906-), France, 1967. Bories-en-Provence near Gordes. Measurements : with frame: 106x87 cm - 41.7x34.25 inches, without frame: 100x81 cm - 39.4x31.9 in...

This Italian 19th century oil on alabastrer painting depicts an opulent interior in full ancient neoclassical Pompeian style with people festing. The figurative inner scene is painted on a rectangular alabaster slab and housed in a wonderful giltbronze frame resting on casted arrow feet. This is a single section of a bigger surtout de table. You can now use it as a decorative centrepiece on a table or on a console or turn it into a wall decoration. We can provide framing options in this case. The characters enjoy a rich banquet in an elaborate interior, the room renderings...

Oil on canvas by Edouard Goerg (1893-1969), France, 1958. Life is always the same. Acquired in 2017 from the personal collection of Edouard Goerg. Measurements : with frame : 62.5x53.4 cm - 24.6x21 inches, without frame : 55x46 cm - 21.7x18.1 inches, format 10F. Signed "E.Goerg" (see photo). Preserved by the painter, then by his family since his death in 1969, this painting appeared in 2017. Entitled "Always life begins again", it is a crepuscular work. Testamentary one could say, so much the statement which is made there is definitive. The fact that he kept it until his death tends to consolidate this vision. Far from the empty looks and death faces of the rebellious era of sarcastic expressionism, the terrifying and compassionate testimony of the Spanish war, and the post-WWII flower women, we are dealing here with a a form of reasonable abdication, but honest. This idea that although everything changes, nothing changes. Changed times, actors, ideas, the same comedy occupies the society. Having given up the idea of ​​changing the latter, Goerg accepts the fact that the only alternative is to stay there or get lost. But stay afloat with his values, completely independent, whatever the cost is. This work is similar to La Vie Recommence of 1935, reproduced on page 54 of Gaston Diehl's book devoted to the painter (Éditions de Clermont, 1947). On the latter, the artist depicts his vision of life, from birth to death, made of hope, fear, cruelty, resignation and fatality. 23 years later, Toujours La Vie Recommence shows us the road traveled by the painter. It is no longer a matter of denunciation, but ultimately of acceptance of reality and the difficulty of staying there yourself. The admirer of Hieronymus Bosch gives us an inspired composition. The hand of God, the only expression of physical beauty in this work, comes down from heaven to give life. Symbolically, it holds an egg that dispenses the element from which the human protagonists find their birth, and in which they move and tangle more than they impose. Beautiful allegory of society. Four characters, two women and two men evolve in this societal marigot. The man in the foreground, ruddy face, evolves with ease. His body is supple, flexible, adaptable. The woman on the left observes him with admiration. Obviously, this man is in his place and causes rapture. The right man with massive shoulders and wrapped, shows a physical maladjustment to the activity he is doing. He struggles to stay afloat, his face expresses effort, even exhaustion. But he assumes. He does with what he has, with what he is. The other woman shows him the greatest indifference. What is not the case of the demonic archangel (recurrent in the works of Bosch) with the stunted body, who leads the dance and holds this character, we understand the painter, under his control as to have fun. As this character cannot change bodies, Goerg cannot change values. He does it with. Had he not said to the critic Roger Brielle: "Independents, sensitive and just men, that's what we must strive to stay in this world in disarray". Goerg will have come to narrative expressionism to give us a balance sheet allegory of his deep self and his condition. Édouard Goerg is one of the major artists of his generation. Coming from a Champagne family, he was born in Sidney, Australia, in 1893, during a professional stay of his father. After passing through London, he arrives in Paris at the age of seven. At twenty, between 1913 and 1914, he studieds painting at the Académie Ranson with Maurice Denis and Paul Sérusier. He travels to Italy and India. Mobilized in 1914, he is sent to Artois, then to Argonne. From 1920, he exhibits at the Salon des Independants, then at the Salon d'Automne where he joins with Laboureur. At Berthe Weil, in 1924, he participates in the exhibitions of the Gromaire group, a prelude to a series of exhibitions in Paris (Berthe Weill, Bernheim Jeune), as in Brussels (Le Centaure). Goerg illustrates books including Table of the beyond by F.Boutet. In 1928, he meets Paul Guillaume who exhibits his works in Boston and the Art Institute of Chicago. He continues to show his works, satires of the bourgeois manners, at Bernheim Jeune, then at Lucie Krogh. In 1934, he travels to Belgium and Holland where he paints surrealist paintings that will be exhibited at Jeanne Castel. In 1935-1936, he meets Aragon, who opened the doors of the houses of the cultures created by the Association of Writers and Revolutionary Artists. The Spanish war and the Second World War mark it deeply. He must protect his daughter and his Jewish women...