Paintings

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper Inscribed verso stamped to the reverse Image : 25.5 x 19.5 inches Superbly decor...

French Character Portrait French school, Mid 20th century Gouache paint on unframed paper Measures: Image: 17.75 x 11.75 inches Superbly decorative 1960's French portrait pai...

This is signed and dated, "G. Rasmussen 41" and in amazing as found condition. The walnut frame is hand carved and appears to be the original frame that the painting was placed in. T...

French character portrait French school, mid 20th century Gouache paint on unframed paper stamped Image : 25.5 x 19.5 inches Superbly decorative 1960's French portrait pai...

"In Deep Thought" by Akos Biro (Hungarian 1911-2002) oil painting on board, unframed Painting: 13.75 x 9.5 inches provenance: the artists estate, Fra...

Amazing Indian Chief oil painting signed M.Soto & dated 1936. This amazing oil painting is in very good condition and has a great look.

Artist: Hamish Karrkarrhba. Year of birth: 1968. Nationality: Australian. Region: West Central Arnhem Land. Language group: Kuninjku. Medium: Wood and ochre paint. Measurement:...

Aurelio Arteta Errasti (2 December 1879, Bilbao - 10 November 1940, Mexico City) was a Basque painter who worked in several styles; including Symbolism, Cubism and Social Realism. ...

The picture retains its original gilt frame. The image is rendered in a mixture of silkwork and hand painted decoration and depicts the injured traveler on the roadside being aided by the Samaritan while the Levite and the Priest are seen in the distance. This parable is told by Jesus in the Gospel of Luke. A certain man was going down from Jerusalem to Jericho, and he fell among robbers, who both stripped him and beat him, and departed, leaving him half dead. By chance a certain priest was going down that way. When he saw him, he passed by on the other side. In the same way a Levite also, when he came to the place, and saw him, passed by on the other side. But a certain Samaritan, as he travelled, came where he was. When he saw him, he was moved with compassion, came to him, and bound up his wounds, pouring on oil and wine. He set him on his own animal, and brought him to an inn, and took care of him. On the next day, when he departed, he took out two denarii, gave them to the host, and said to him, 'Take care of him. Whatever you spend beyond that, I will repay you when I return.' Now which of these three do you think seemed to be a neighbor to him who fell among the robbers?" This work is vastly bigger than 19th century silkwork pictures...

"Provence" by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) signed, oil painting on canvas canvas: 5.5 x 8.75 inches Superb original oil painting by Fernand Audet (192...

A very beautiful early 17th century oil on board painting of Saint Eugene - The Archbishop Of Toledo, Spain. Wonderful brushwork and intricate detail....

"Portrait of a Young Lady" by Akos Biro (Hungarian 1911-2002) signed, oil painting on board, unframed painting: 15.75 x 12.75 inches provenance: the ...

Contemporary art piece using spray paint and acrylic dots on paper. Signed KALM.

JFK MLK RFK- NO MORE DREAMS Purvis Young (1989-1999) A moving mourning work, depicting a funeral procession of John F. Kennedy, Martin L. King and Robert F. Kennedy. Painted ...

Mid century artwork by Belgian artist Germain Rotsaert who uses melted copper and painted it to create colourfoul graphical works. Signed bottom...

Well executed modern industrialist oil painting, futuristic factory workers. Amazing use of color, texture and space. Artist unknown. Mark Kostabi meets Fernand Leger.

Of striking composition, a reverse painted and gilt trade sign, late 19th century (circa 1890) in age French in origin. The sign has typical Art Nouveau organic flowing forms and...

Fabulous oil painting called "Gitanes" by Spanish Artist Francisco Sillue. Fabulous rich colors contrast the darkness of the gypsies and the vibrant colors of the donkeys very much i...

FREDERICK R. WAGNER (AMERICAN, 1864-1940) "Evening Pasture" Oil on canvas Signed lower right "F. Wagner" Item # 103GPP23Z A glowing work that retains the early gallery label from Newman Galleries in Philadelphia identifying the work as "Evening Pasture". We are pleased to present it in such fine conserved condition after layers wax residue and a very stubborn discolored varnish were removed to reveal a well-preserved autumnal scene capturing golden hour across wild fields...

Fu Guoshun was born at Hebei in 1954. He was complimented as a Master of Chinese arts and crafts in 2012. It is the highest honor for an inside painting artist. There are only ten artists who earned this glory. He is also the director of China International Painting and Calligraphy Association, vice chairman of China Snuff Bottle Professional Committee, and vice-chairman of Hebei Inside painted snuff bottle Association. Since 1977, he has been studying the art of inside painting under Wang Xisan. Fu Guoshun is one of the best artists in Ji school. Mr Fu Guoshun's inside paintings are exquisite. His works include landscapes, figures, animals, flowers, and birds to calligraphy with comprehensive skills. In addition, his professions are known for their elegance, flexibility, and light. With the three superb skills of poetry, calligraphy, and painting, there are only a handful of artists who can match up in the field of snuff bottles. It is difficult to find other artists who could compare his paintings from an artistic perspective when it comes to inside painted snuff bottles...

Vintage Haitian game board crafted in wood and hand painted with parrots, ballet dancers, and the tree of life in a rustic naive style and signed by the artist J Michel.

Very nice 20th century French still-life oil on canvas Signed roux abougit from the 1930s. Roux-abougit is a French painter from Lyon (south-east of France). This painting represen...

A Woman and her Horse Oil on canvas Signed ‘Linci’ (lower right) Date: Undated Measurements: 41? Tall x 4? Deep x 50? Wide Condition: Excellent.  

Oil On Canvas Landscape Of Flowered Countryside With Villages And Animated Fields, Signed Handmade shadow gap frame with gilding Born March 26, 1926 in Luzarclus. Nicole Four...

Tall maritime painting of two sailboats out to sea. Sails appear to be down, with white birds settling into the foreground. In the background, a lovely sunset gives the piece a warm ...

Mesnager - Man in White 2021 Gouache on wood panel Signed and dated Measures: 70 x 42cm.      

This is a master work by the artist Harris G. Strong, circa 1960. The pieces measures 43" x 73". In the original wooden frame.

Johannes Wilhjelm: View from a park over Florence, Italy. Signed and dated JW 24. Oil on canvas. This painting is of a park with old growth evergreens and flowering shrubs. The light from the center of the painting leads the viewer through a narrow passageway between the towering trees and leaves to the imagination what lies beyond. The stone steps...

Oil on Canvas, A hand painted large oil on canvas Depicting a still life, framed signed lower right, Ellen Bayley. Condition: Excellent Measurement: in frame 37 W x 37 H Abo...

Jean Da Milano (1928-2017), Abstract composition, Oil on paper, Signed lower right, N°2733-82, n° 1050, 1982, France. Measures : Height 65 cm, Width 50 cm. Jean Da Mila...

Burmese oil painting of a monk walking up a stair with nice color. Age: Burma, Contemporary, Early 21th Century Size: Height 91.5 C.M. / width 61 C.M. Condition: Nice condition over...

Interesting 19th century Folk Art painting of a young girl holding a bible. Oil on canvas with a treed landscape and blue sky. Set in a deep carved giltwood frame with repeating bord...

Painting by Eugène Galien-Laloue (1854-1941), French landscape painter. Gouache painting signed lower right. Dimensions at sight: 30 x 21 cm.

Ttitle: Jilamara (Body Painting Design) Artist: Josephine Burak (1977-) Date: 2006 MediumL Acrylic on Canvas Size: 19.75"w X 29.5"h Provenance: Munupi Arts & Crafts, Melville Island, Northern...

Jean Da Milano (1928-2017), Abstract composition, Oil on paper, Signed lower left, N°859-74, n° 492, 1974, France. Measures : Height 65,5 cm, Width 50 cm. Jean Da Milano is an abstract painter from Nice who was cradled by the rich breeding ground of the School of Nice and its artists. Active from the 1960s to the 2008s, his works were forgotten and rediscovered by the HARTER Gallery, which today highlights his touch. According to Agnès Roux, Honorary Secretary for Culture, “Jean Da Milano is one of those modest painters who knew how to develop abstract painting alongside his contemporaries. In an infinite world, the kinetic object on an astral background gradually transforms into a pictorial relief, where the painting falsely becomes painting and invisibly paper. The humility of its formats does not give the work the fullness it deserves. But the almighty gaze of the spectator engenders the feelings and sensations of a cosmogonic painting steeped in universality ". We indeed observe in his work an evolution which begins with an almost cosmic painting in the 70s, then what we could qualify as “implosions” in the 80s and finally, a real research on paper and pictorial relief. in the 2000s. According to Georges Braque "Everyone is a creator, the viewer is himself a creator, it is the way of seeing that gives life to the object. " Personal exhibitions: - 1992: Golden Gallery Nice - 1988: Acropolis Nice - 1982: Municipal Gallery Renoir Nice - 1977: Municipal Museum Saint-Paul-de-Vence Collective exhibitions: - 1992: Golden Gallery - 1991: Golden Gallery - 1990: Golden Gallery - Art Jonction - 1989: Nice university center - 1987: Acropolis - 1985: Chapel of Mercy Vallauris - 1984: CIAC Paris and Chapelle des Pénitents in Péone - 1983: Art Expo Dallas Texas and Art Expo New York - 1980: Galerie Waterlot Nice - 1971: Necrolium Nice - 1970: Maison de la Culture Magnan Nice and Musée de la Salle Marine Nice - 1969: Galerie Le Nombre d´Or Nice - 1968: Musée de la Salle Marine Nice and Galerie Salmon Nice - 1966: Paul Langevin Biot school group - 1965: Chapelle St Esprit...

Antique 19th century English school portrait miniature of Royal sitter king George IV ( 12 August 1762 – 26 June 1830) half-length, in red coat and wearing the Order of the Garter . Provenance: Descended property of Their Majesties King George V and Queen Mary, sold in one of the auctions in London, later bought from a private collector. King George IV (George Augustus Frederick) was the king of the United Kingdom of Great Britain and Ireland as well as the ruler of Hanover. Born in mid-eighteenth century, he was the eldest son of King George III. At birth, George Augustus Frederick automatically became Duke of Cornwall and Duke of Rothesay due to his position as the eldest son of the monarch. Five days later, he was created Prince of Wales and Earl of Chester. Then on 18 September, he was baptized by the Archbishop of Canterbury. In his He led an extravagant lifestyle that contributed to the fashions of the Regency era. He was a patron of new forms of leisure, style and taste. He commissioned John Nash to build the Royal Pavilion in Brighton and remodel Buckingham Palace, and commissioned Jeffry Wyatville to rebuild Windsor Castle. George's charm and culture earned him the title "the first gentleman of England", but his dissolute way of life and poor relationships with his parents and his wife, Caroline of Brunswick, earned him the contempt of the people and dimmed the prestige of the monarchy. Despite presiding over the British Empire's emergence as a global hegemon, his rule was tarnished by scandal and financial extravagance. His ministers found his behaviour selfish, unreliable and irresponsible, and he was strongly influenced by favourites. Taxpayers were angry at his wasteful spending during the Napoleonic Wars. During most of George's regency and reign, Lord Liverpool controlled the government as Prime Minister of the United Kingdom. Liverpool's government presided over Britain's ultimate victory over Napoleon and negotiated a peace settlement with the French. After Liverpool's retirement, George IV was forced to accept Catholic emancipation despite opposing it. His only legitimate child, Princess Charlotte...

A very beautiful late 19th-early 20th century oil painting housed in its period Restoration giltwood frame. A lovely subject matter depicting the Pines of Les Landes, in the French Basque...

A naturalistic oil painting depicting a deer family in the forest. Oil on canvas by Ludwig Sellmayr (Munich 1834 - 1901). Framed with antique richly de...

Mixed-media work by artist Purvis Young. Acrylic on paper, plastic and white metal sign insert cover. Folk Art painted in black, white, pink, yellow, red and green. Work on found obj...

A great angelic oil painting depicting an angel sheltering a sleeping child from a snake. Oil painting on canvas with vigorous pastel colors. Framed wit...

Portrait painting of a pinup woman in full makeup in pink. This striking piece depicts a woman with big blonde hair curled and pinned to the side. She wears blue eye makeup, a bright lip and blush, and a beauty mark. Her pink sleeveless dress...

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...

Scrittura illeggibile ocra is a three-colour silkscreen print and is part of the collection “Edizioni d’arte” (Art Editions). The concept is based on the idea of observing writings w...

Oil and Enamel on Panel by American Artist Jacques de Beaufort Unique 3-D elements and vivid colors. Provenance: Julia Friedman Gallery, Chicago ...

This gorgeous Dutch painting features a woman with an infant and small child. Painting is from the 1450s.

Varsity track and field sign from the early 1970s. Hand painted red sign with yellow lettering. Horizontal wood slates to hold name cards of record hol...

Christian Zacho: A summer landscape. Signed and dated Chr. Zacho 30. juni 1869. Oil on canvas. Measures: 40.5 × 63.5 cm.

These Interactive art pieces are part of a series of 6 pieces, each one being one of a kind. Much like the card collecting of our youth, the compositio...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 47 cm, width 62 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. After stu...

A large green ground Venetian funerary board, this would of hugged the top hull of a gondola hence the boards convex construction. And obviously this would of been used for funeral p...

An antique oil painting depicting the holy Mother with Child named the Miraculous Image of Insbruck. Oil on canvas with pastell colors. Painted after a painting of Lucas Cranach whic...

This original framed pastel, hand-painted Indian chief is signed E. Summer 35 and is in wonderful condition.

Fabulous early painting by listed Italian artist Sergio Sarri, Man and Horse, circa 1961 found in its original gilt silver and gold burnish wood frame. St...

19th Century, German, Hand Painted Porcelain Plaque

A tall portrait painting by the late Oklahoma artist Clair Seglem. The subject of this piece is the bust of a woman with blonde hair on a dark green back...

4 small water colors of 19th century children from a Madison Ave. gallery in NYC. Each child has his name written under the image. From a Southampton, NY estate.

Juan Archuleta gates and garden painting. Well done in a fine custom gilt frame from a fine New Jersey private. collection. Juan S.E. Archuleta, Bor...

E. C. Ulnitz: pink roses. Signed and dated E. C. Ulnitz 1930. Oil on canvas. Measures: 27 × 21 cm. Europe, Denmark.