Canvas Folk Art

A late 18th century oil on canvas depicting a bull baiting scene In England during the time of Queen Anne, bull-baiting was practised in London at Hoc...

Looking forward, looking back Fritz proctor is an American painter from Niagara Falls, New York. Fritz acquired his BA in Studio Art from the Universi...

Far from referring to the gothic, or melancholic aspect that fascinates some people in these anatomical model, Dominique Yee (b. 1960), a Flemish painter with Chinese roots, has capt...

A fine 19th century oil on canvas figurative painting. Signed, artist unknown. Country of origin unknown, we acquired this beautiful work of art in France. Stunning details. The pa...

Painted black with a red saddle, glass eyes and hairm. Missing one of its stirrups, the stirrup is carved from wood and is hanging from its original thick canvas. The ears which were...

Early example of American sideshow banner art. Painted at the Sunshine Studio in Witchita, Kansas by Geo Bellis. Signed by artist on front and studio name on front and back. This ban...

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

Vintage Indian block printed textiles from the 1940s-1960s have been sewn together in colorful patches with rows of running stitch embellish...

Title: Witchetty Grub Dreaming Artists: Australia Aboriginal Artist Sam Dickensen Medium: Acrylic on canvas Measurement: 53.5" x 48" Stretched no...

Signed William Sheldon Horton impressionist landscape painting. This "Plein Air" artist has majestically captured the purple desert canyons of California. This substantial canvas is ...

This large oil painting is like a mural. It is large and very graphic. It is Signed by Linda and dated 1979. It has to minor old tiny repairs. It has a nice clear coat of artist v...

Oil on canvas of the classical figure Diana holding a bow in a landscape setting with a putti and dogs in vivid colors. French School 18th century  

Frank Vincent DuMond painting. Bucolic setting of a woman in a pastoral scene by a river. She is seated reading and dressed in an Edwardian, early 20th century clothing. Signed lower left. "To My Friend Mr.Kempshall, Frank V. DuMond". Frank Vincent DuMond was one of the most influential teacher-painters in 20th century America. He was an illustrator and American Impressionist painter of portraits and landscapes, and a prominent teacher who instructed thousands of art students throughout a career spanning over fifty years. In a teaching career spanning more than fifty years, DuMond taught thousands of artists at the art students league. His students included Norman Rockwell, Georgia O'Keeffe, John Marin, Frank J. Reilly,Charles Webster Hawthorne,Frank Herbert Mason,Ogden Pleissner, Kenneth Hayes Miller, Louis Bouché, Eugene Speicher,Helen Winslow...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Starring Donnie Yen, "The Bruce Lee of the 90s," "Crystal Hunt" was a martial arts film from Hong Kong made in 1991. Frequently, theaters in Ghana were unable to import official post...

About Alexander Gore, The artist as an observer decided after many years of visiting non-western places of culture to put his memories to use on visible surfaces for people to see...

An original oil on canvas by the renowned artist Peter Howson OBE. The painting is entitled 'Towards Heaven' and was painted in 2000, signed lower right. Peter Howson OBE, was born ...

A large stunning painting from the legendary Amazonian artist Moacir Andrade "A Lenda Do Pacu" (The legend of the Pacu) Acrylic on canvas depicting a central Pacu which is a lar...

Oversized original oil on canvas of a silo with weathervane. Signed upper left, Richard Treaster. Framed in a distressed lightly stained wood frame wi...

Beautiful 19th century, French oil on canvas.

"Prisoner" painting by Philippe Delhom; named after the English television shows that starred Patrick McGoohan, in the end 1960s in Great Britain. Th...

Pair of long late 19th century English advertising signs, probably from a type of market. They have quite a bit of graphic pop having the dark green background with bold lettering in...

This is a very unusual 19th century Irish petite point framed sampler. The piece shows a background of gradating tones of navy to cream in flame stitc...

This representational double portrait of a couple is signed with initials "MN" in the lower left corner, by an unidentified artist. It is a flat, washed out image, perhaps painted by...

Wall Art Decorative Hand painted Oil on Canvas Falling Vessel sculpted Frame LA "Falling Vessel and Pears" three-dimensional Triptych Artist Unknown Dated 92, on the reverse side....

Fabulous French abstract lion painting found at an antique fair in the South of France. Great color palette of blues, greens and oranges creating this s...

XVII century Mexican Painting by Arellano. "EL BENERABLE SIERVO D DIOS Fray Antonio de S. Pedro de la Sagrada Religion N. S. de la Merced" Signed: Arellano fecit

1950s original oil painting on canvas with a monkey nurse treating a patient in a hospital bed. The painting is by an unknown artist as it is not signed, ...

Powerful realistic oil on canvas of Native American signed Braun in a carved in a black wood frame.

Mid Century painting of man at hot dog stand. Thought to be near central park NYC in the 50's. Oil on canvas board. Signed in lower right corner STERN '5...

Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick law Olmsted, th...

Maurice Savin (French 1894-1973). "Les baigneuses." Oil on canvas, circa 1940. Signed. More images available upon request.

'Six Tubas' Bold Modernist work by Western New York artist,,,James Miller,, c.1960,,Wonderful use of color,,texture and space,,,

Portrait painting of an African American woman with flowers in her hair. Canvas size is 16" x 20". Beautiful colors and rich texture of the brush strokes. The artist, "Miller", is na...

Whimsical painting of children at play in the park. Oil on canvas board. Signed in lower right corner STERN '60. Framed in rustic Mid Century painting. Last two photos show this piece next to another painting by the same artist. Please see the Hot Dog Stand...

Vividly painted American sideshow banner with larger than life subject matter. Painted by the self-titled Czar of Bizarre, Johnny Meah. Both banners are signed. The Harold huge banner is cleverly signed with the "H" in the legs of Harold's huge chair.

A mine Landscape, probably Mexico, by the woman painter H. F. Arriola **This painting does not belong to the Mexican heritage**

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

About Alexander Gore The artist as an observer decided after many years of visiting non-western places of culture to put his memories to use on visible surfaces for people to see....

Fantastic "Plenty For Two" sideshow banner painted by Snap Wyatt. Great manageable size.

This Post Art work, title "Het Venster"of Cesar Bailleux, born in 1937 is a symphony of color. The application of paint and the colors remind the vitality of the work of the Cobra m...

Mid-Century Modern painting by Andrei Hudiakoff.

Large surrealist outsider oil painting executed by Francis W Cowell, circa 1949. Titled "THE UNCIVILIZED". Buffalo Society of Artist, 54th annual exhibition. Interesting subject, ama...

"Now You Are One of Us" by Joan Gardner in 1984, beautiful vivid colors and thick texture. This is a large scale artwork. Gardner is a multi-media artist based in Connecticut. Joa...

This American portrait descended through same family from 1830s until July 2012, when I acquired it from executor in Oregon. Early family had lived in New England. It is unusual to h...

"Ottobre in Cantina" Painting, oil on canvas by Italian artist Sergio Agostini, Rome, 1960. Signed on lower left with sticker from original exhibition at Galleria L'88 on Via M...

This palate knife oil of Notre Dame Cathedral was done in the midcentury.

Italian painting from the second half of the 17th century. Oil artwork on canvas depicting a mythological subject taken from Virgil's Aeneid, Aeneas with his father Anchises and his ...

Antique painting from the Caravaggio school of the 17th century. Oil artwork on canvas depicting a fascinating subject, card players. For the tavern setting it recalls the Flemish au...

French painting from the first half of the 20th century. Artwork oil on canvas depicting cherubs with grisaille style garland, of good pictorial quality. Painting adorned with a wood...

Dutch school of the second half of the 17th century. Great oil artwork on canvas depicting a portrait of a nobleman of excellent pictorial quality. Painting referable to the painter ...

Genoese school of the 17th century. Oil on canvas painting depicting a dramatic religious scene, the crowning with thorns. It is the moment of Christ's passion following the flagella...

In 1938, when he was just 24 years old, James Vullo’s first exhibition opened at the Albright Art Gallery. Vullo began drawing around the age of eight. He loved the city, especially ...

Italian painting from the second half of the 17th century. Oil artwork on canvas depicting the Apostle with a book identifiable as Saint Paul or Saint Luke. Painting attributable to ...

Italian painting from the mid-20th century. Oil on board painting depicting Autumn Delights, still life with pots and mushrooms of good pictorial quality. Finely carved, chiseled and...

Italian school of the first half of the 17th century. Artwork attributable to the painter Tomaso Pombioli (1579-1636), lacking authentication. He trained in the workshop of Gervasio ...

Antique Italian painting from the 18th century. Oil on canvas artwork depicting a historical-mythological subject, Roman charity. The myth in question tells the story of Pero, daught...

Great Italian painting from the second half of the 17th century. Oil on canvas artwork depicting Saint John the Baptist preaching to the animals attributable to the painter Giovanni ...