Paintings

Oil Painting with the motif of the coast, the sand dunes and the sea in the background in windy weather with a dark blue sky. In a gilded frame and signed by Poul Fureby. Measuremen...

A striking, energetic piece of original abstract artwork dating from the 1960s/70s. Acrylic and oil have been used to create bold lines and brushwork on the canvas giving the piece a...

This charming naive painting of two cats, one with a white fur, one with a reddish brown tiger fur, has been painted on a wooden panel using oil paints. It was painted around the las...

Unsigned Victorian Oil Painting, of a Water Fall The painting is in its original elaborate Gilt Frame, the painting is in good condition mild scuffing and...

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

Modernist Abstract Oil Painting on Canvas,,, Not dated but my guess c.1940's-early 1950's , "musical themed ,, signed MICHAEL... Amazing use of colors,, space,, extremely well exec...

Presenting a unique set of early 20C hand painted large sized ceiling or wall panels by Nena Claiborne. Art Nouveau/Deco Era hand-painted ceiling or wa...

Folk art patriotic shield painting of John Adams, dating to around 1876 and of a large size measuring 41" x 34.5". It is an oil on canvas laid down to boards. There is writing on the back of the boards, but I cannot make out what it says. There is another similar piece to this that features another signer of the constitution in the Smithsonian collection. This piece came from a collection in Portsmouth...

This is a soft diptych ink on kyro board beige paper by Chinese and French ink artist T’ang Haywen, signed, circa 1970. It’s been framed with a black frame and anti-UV glass. The dip...

A large 19th century oil on canvas landscape oil painting. c.1852 Singed by the artist to the bottom left - T Creswick RA (1811-1869), inducted into the Royal Academy as a full me...

This late 19th century Mexican Folk Art devotional painting depicts St. Rita of Casia, the patron saint of lost and improbable causes. Wishing to join an Augustinian convent ...

"The Artists Model" French School, circa 1920's Charcoal drawing on paper, unframed. Paper: 24.5 x 17.5 inches. Condition report: The painting is in good and sound condition.

A very beautiful mid-20th century French oil on board painting entittled "Les Martigues - Bateau A' Voile. A wonderful seascape of a sail boat with its sail in the water. The perspec...

A striking and highly detailed Continental 19th century Oil on Canvas and Giltwood school painting of ducks. This exceptional painting is set within its original stunning and richly ...

A large modernist abstract by Hampton Roads artist Robert Vick, circa 1970s. Titled “Tuscan (ineligible)”., featuring a collage and acrylic paint on canvas. A modern landscape with cool blues and grays accented by warm golds, terracotta and peach colors. The collage providing a raised affect, with great depth. Signed. Condition: Some flaking and loss of collage. White paint splatter in some areas. Signed. Dimensions: 69 3/4” W x 56.5” tall x 1.5”D Shipping: This item will ship by personal courier. Please allow 4-6 weeks for delivery depending on your distance from the east coast and our shipper’s routes. Robert V. Vick ( 1935 - 2010) was a native of Portsmouth , Virginia and received a B.F.A. from Old Dominion University. He studied art under the prominent Virginia artist Charles Sibley...

Summerly Mountain Landscape with Hiker on Hiking Trail, 19th century. An antique oil painting depicting a hiker on an alpine hiking trail and a bridge over a mountrain stream. Painted on canvas with pastell colors. Framed with antique decorative gilded frame. Painted in the area of Tyrol or South Germany, late 19th century. A high quality antique oil painting which will highlight your alpine cabin wall decoration. Frame with minor defects. The Biedermeier period runs parallel to the Romantic period and both are characterized by similar features. Domesticity, closeness to nature, folksiness and need for harmony are buzzwords of this time. The focus is on the simple, the conservative and the tried and tested. There is little experimentation and more observation and enjoyment. The art style is kept very realistic and shows great similarity to photography. Domestic idyllic representations, beautiful landscape and impressive portraits are the most popular topics for oil paintings...

Large-scale Folk Art Carnival game board, American, circa 1940s. This painted carnival game board came from Texas and combines wonderfully patinate...

This is a unique Water color by the famed nautical painter C. Hjalmar Amundson. Born to the name Casper Hjalmar Emerson III, later changed to C. Hjalmar Amundson, he was only ever r...

Three Hand-Painted Panels of Chinese Warriors. The paintings feature Chinese warriors in full costume of the era in vivid colors of red, green, yellow, and orange on a beige backgro...

A framed portrait painting of a man in the nude on wood. With wonderful texture, and muted greens, beiges, and browns, this painting will be a...

“The important thing is not to find, but to seek ». These words by André Gide are deeply echoed in this midcentury oil painting, which offers no answers, but invites us on a quest: t...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1991, signed to the front and inscribed verso Title - View of Goose Eye Farm near Braithwaite Yorkshire, England...

Art Deco Framed Acrylic Artwork "At Last" (1991) with vibrant colors and geometric design adds vintage sophistication to any art collection. Some scratches and wear on the art wor...

Antique oil painting farm girl on a flower meadow by M. E. Ummenhofer An impressive antique oil painting depicting a farm girl on a summerly flower ...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available with original stamp Newly framed in maple.

Painting Cattle Carriage on an Alpine Lake, Oil on Canvas 19th century A lovely antique oil painting depicting a Tyrolian farmers family which loads their cattle heard onto a boat. The scene is located on an mountain lake in the Alpine landscape. Oil on canvas 1st half of the 19th century. Framed with vintage gilded frame, paint partly with craquelure. This painting will be a highlight in each rural decoration. Alpine oil painting...

SPRING LIGHT, American West / California rocky Pacific coast oil on canvas landscape picture by American painter / artist Rod Goebel (1946-1993) impressionist style, signed front low...

19th century silk embroidered and hand painted oil on canvas seascape by Thomas Willis (1850 - 1925), depicting a schooner-rigged racing yacht closely ha...

You are viewing a wonderful Duch still life oil painting A vivid floral spray in a vase that would brighten up any room or interior Comes in elegant gilt frame Good size at almost fo...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

W. Melchinger - Bavarian Folksy Scene in Joinery 1956 An original vintage oil painting showing a Bavarian folksy family scene in the joinery. Painted in oil on cardboard, signed by W. Melchinger 1956. A great original painting in naive style. Alpine oil...

We are delighted to offer for sale this lovely pair of Antique Chinese Ancestral Portraits on the original paper with lovely glazed...

Oil painting folksy scenery with cattles, goats and farmer's wifes, ca. 1900s A colorful antique oil painting depicting a bavarian farmers family with their cattles and goats. The scene is located beside an mountain lake in the alpine landscape. Oil on canvas late 19th century. Framed with wooden richly handcarved Black Forest frame. Paint partly with craquelure and peeled off (see detail pictures). A great addition to every folksy wall decor. Alpine oil painting...

Landscape painting with gold leaf frame painted by the artist Ole Ring (b.1902-d.1972), who lived in the Roskilde, Denmark area. The picture presumably illustrates the landscape arou...

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...

In this extraordinary painting, Pantjiya Nungurrayi celebrates, using a three-colour palette, the sites for which she holds ritual guardianship. In this instance, she portrays Ngutju...

Jeka Kemp (Scottish,1876–1966) "No 6 Fleurs", Still Life depicting orange lilies, blue, purple and white flowers in a yellow pitcher, sitting atop a table with fabric draped in the ...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

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...

Wooden pad with trefoil patterns used to decorate fabrics. India, early 20th century.

Beautiful continuous line drawing by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Oil painting by Ib Geertsen, 1959 Additional Information: Style: Mid century, Scandinavian Dimensions (W x H): 51.5 x 66.5 cm Condition: Good vintage condition

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Very stylish, unique and original 1930's French fashion design, no doubt of Parisian origin. The painting, executed in gouache/ watercolor and pencil, is dated to the upper corne...

Rare truly. Summer camp play backdrop depicting an abstract interpretation of the Rocky Mountain range. Condition is very good, this was found rolled up in a garage likely in place f...

Watercolor and ink panoramic South of France Landscape by Bernard Labbe (French mid 20th century) Original watercolor and ink on paper Size: 5.75 x 11.75 inches Unsigned , stampe...

Painting of a Gypsy, Bohemian woman drawing the cards. Representation of a Cartomancer and Fortune Teller. Oil on canvas. Very well represented. fine and pleasant features. Delicate work. Signed lower right by M. Callewaert circa 1940 Maurice CALLEWAERT is a Belgian artist born in Belgium in 1900 and died in France in Paris in 1986. Belgian painter from West Flanders...

Large sport fishing yacht heading out to sea. The captain is atop the flying bridge. Vessel is fitted with outriggers. Burgees are flying. Oil on canvas ...

"The Rural Lane" by Maurice Mazeilie (French) oil painting on card, unframed painting: 6.5 x 8.75 inches A delightful original oil painting by the 20th century French Impress...

French landscape by Bernard Labbe (French mid 20th century), stamped verso original watercolor/gouache painting on paper overall size: 13 x 19.75 inches condition: very good and...

A vintage Boho original oil painting on board. A chic composition of a male nude in beautiful shades of green. Framed in a brilliant gilt wood frame. Acquired from a Palm Beach estate.

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage an...

Late 19th Century primitive oil on canvas portrait of a Clumber Spaniel "Dash" by E Daulby to Mr R Crickmore, no doubt a commission for a much loved faithful friend. Dated 1884 Some ...

Wall Painting “Blue Rose” Stay by Malerba The “Blue Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory suitable for the living room, ...

Wall Painting “Red Rose” Stay by Malerba The “Red Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

Watercolor and ink panoramic French landscape of Fields below Hills by Bernard Labbe (French mid 20th century) original watercolor and ink on paper image Size: 6.75 x 9.8 inches sheet: 9.5 x 12.5 inches unsigned , stamped verso condition: very good and ready to be enjoyed provenance: the artists atelier/ studio, France (stamped verso) A summer view of a French rural scene...