Paintings

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...

Oil on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's aptitude for creating fantastical landscapes. Contrasting oxen / bulls and flamingos with a castle backdrop creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Singed on verso. Bio from the Philadelphia Museum of Art: Born Princeton, Michigan, 1910; died Greenwich, Connecticut, 1995 Bruno Del Favero moved from Michigan to northern Italy with his parents at age five, returning in 1928 and settling in Greenwich, Connecticut, where he married and remained for the rest of his days. He made his living as a mason, chauffeur, and landscape gardener. It is not known exactly when or why he began to paint his delicate and mysterious landscapes, but he was exhibiting in local art shows by the early 1970s and took himself seriously enough as an artist to join the Greenwich Art Society. He maintained a studio in the basement of his home, but never shared his art with his wife and five children. After the artist's death his family introduced his work to New York dealers Shari Cavin...

Vintage Original Oil Painting of Nude Woman Sitting, showcasing expressive brushstrokes and warm tones, perfect for art enthusiasts. We ...

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...

This large and well executed original watercolor painting on masonite board is signed by a Jim Barclay, presumably from the United States, dating to 1964 and done in a period folk art style. The painting depicts President and Mrs. Dwight Eisenhower...

Oil on canvas, landscape with people, presumably French artist. Indistinctly signed 91 (1891) The canvas measures 50x58 cm. Painting in very goo...

Cao Yong “Winds Of Love” Giclee on canvas Artist Proof Giclee on Canvas The Romantic Garden Series image size (31? tall x 18.5? wide) Limited edition of 350 s...

Honor the spirit of resilience and leadership with this striking Portrait of Red Cloud, one of the most influential leaders of the Oglala Lakota Sioux. Captured with masterful detail...

"The Adoration of the Magi"oil on wooden panels painting depicting a religious scene.

If we cannot say much about the painter, we can say many things about this piece of Great Britain's colonial history! Gregory's enigmatic mixed media artwork, "Yo, Ho, Ho," emerges a...

Set of Six Exquisite Sea Life Engravings by Maria Sybilla Merian, Circa 1800 – From G.E. Rumphius, Amsterdam A remarkable and rare set of six sea life engravings, meticulously etche...

This narrative and dynamic lithograph, signed by Scott Leighton, captures a lively moment from rural life in the 19th century. Depicting a vibrant and a...

The framed vintage Chinese oil canvas titled "Lewis" features an impressionist portrayal of a Chinese emperor. The emperor is depicted in traditional robes, with loose, expressive br...

Albert Chubac, Composition, Collage and cutout, gouache, Signed, circa 1980, France. Measures: Height 89 cm, width 73.5 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. A...

Cutter in full sail with one man visible on board riding a wave past a lighthouse Oil on cardboard Characterful naive picture in the spirit of Alfred Wallis...

A great image by the collaborative group Artfux founded in 1990. This work was most likely influenced by one of the founders Ray Arcadio. From his website the following; To artist R...

Oil painting on canvas with a motif of two children from around the 1860s Dimensions in cm: H:72 W:84 This product will be inspected thoroughly at our professional workshop by ou...

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

Albert Chubac (1925-2008), Oil on canvas, Framed, Signed and dated 64 on the back, France, 1964. Measures: 158 x 110 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

A charming and well executed oil on tin depiction of a golden eagle perched on a rock face with a pleasing pallet of pink and yellow. 19th century in age, housed in it original oval...

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...

Rustic hand painted Boulder road sign in black and white. Painted on a 3/4" thick plank of wood give this piece interesting character. Taken down from a nearby trail. Sign can...

A Framed Pair of Water Colour Paintings, English Country Scenes These are lovely colourful pair, they are tastefully framed behind glass, the frames seem to be the original frame...

The famous painter, Marcel Gotène (Icon of the contemporary Bantu art) combines surrealistic impressions with modern tapisserie elements. Born in 1935 in Yaba, Republic of Kongo - d...

Framed and Glazed Watercolour of the Cutty Sark by G.S.Campbel 1956 Whitstable A lovely representation of a much loved Ship, set in an old deeply moulded decorative 4” wide gesso f...

John Stango (born 1958) An original vintage work of art on canvas 31? x 24? unframed and signed “Stango” (lower right). This fine example of Modern American Pop Art from the 1950’s, is inspired by Jackson Square brand cigar advertising poster. The artwork comes from a private collection. “Genuine Jackson Square Cigar” is a painting in the style of vintage advertisements depicting a well-dressed man in a blue suit, playfully riding an enormous cigar, as if it were a rocket or mechanical bull...

KLEVER Modernist Abstract Painting - (A.A. Kaebep) (Klever) (Russian, 20th Century), dated, 1971. Signed and dated lower right corner "AA Kaebep '71". (translated form Russian) Kl...

Gabriel Cohen (1933-2017) French/Israeli, "L'Egypte ancienne..." Naive-style oil painted on sheet metal with a crimped and painted edge forming the frame. The work is a fantastic dep...

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...

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

Vintage framed painting. Serene scene Impressionist painting on canvas country side. Dimensions. 22 1/2 W ; 17 1/2 H.

Pierre Adrien Ekman (1904_1993), paint and gold leaf on canvas mounted on wood panel, imaginary theater set, circa 1960, France. Height 1m29, widt...

An original signed acrylic painting on canvas by Danish-Grenadian artist Boris de Freitas (1969-) titled "long lost", 2007.

Framed and Glazed Watercolour by H Hadfield Chubley A Large Watercolour painting by H Hadfield Cubley 1858 1934 an early 20th century piece. A beach scene with fisher folk Cockling ...

Oil Painting by Arne Heuser, 1966 Additional Information: Style: Mid century, Scandinavian Dimensions (W x H): 98 x 148 cm Condition: Good vintage condition, with signs of usage

Painting of Laborers in a Beautiful Gilt Frame 14"H x 16"W  

Painting on canvas with the motif of a farmhouse located in a forest, with the forest and the water as a background to the picture. A small road leads down to the house and creates a...

This pair of oil paintings by Phyllis Morgans features the harbors of St. Tropez and Anstruther in the mid 20th century. The dominant colors are blues and tans. The paintings are in ...

Starring Jean Claude Van-Damme and Dolph Lundgren, Universal Soldier was a pulpy action/sci-fi from the early 1990s. The film's international success is...

We present picture hunting of the famous polish painter Mieczyslaw Krzyzak (1914-1984). Highly recommended item will be perfect complementation o...

This is the Man series by Robert DeVoe, created between 1976 and 1977. Each of the seven paintings depicts esoteric visions and spiritually-attuned imagery. Each of the paintings me...

Albert Chubac (1925-2008), Oil on canvas, Signed in the bottom right corner, France, circa 1960. Measures: 162 x 130 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

Albert Chubac, Composition, Collage and cut-out, gouache, Signed, circa 1980, France. Measures: Height 89 cm, width 73.5 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. ...

Pair Antique 19th Century Indian miniature Mica paintings C.1830 Indian Company School A pair of 19th Century Indian gouache paintings on mica. M...

A lovely 20th century oil painting of an English landscape with a church in the background. The contrast of the muted colors of the painting and the bright white frame really make th...

Oil painting with a motif of a snow-covered spruce forest and a sunset in the background, which creates an atmospheric light over the landscape. The painting is framed in a solid woo...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely Antique Chinese Ancestral Portrait on the ori...

19th Century KPM porcelain plaque of the Battle of Corinth German, 19th Century Frame: Height 37.5cm, width 44cm, depth 5cm Plaque: H...

Gouache painting showing snowing the English built Cargo Steamer S.S. Thornaby. The ship was built by Ropner Shipbuilding at Stockton on tees in 1889. She hit a mine and sank in 1916...

An incredible and rare mid-20th century Dida (Ivory Coast) hand-plated Shibori tie-dyed raffia ceremonial kerchief mounted on a linen stretched frame. This kerchief was not woven on ...

An incredible and rare mid-20th century Dida hand-plated Shibori tie-dyed raffia ceremonial kerchief mounted on a linen stretched board. This kerchief was not woven on a loom, but ra...

Full Size Female Nude, Framed Study in Charcoal This is an excellent, and due to its size, an imposing piece, an interesting life study and very well executed, there is no evidence ...

Watercolour on paper, portrait of an African woman, 20th century. Watercolour on paper, portrait of an African woman, 20th century, unsigned. H: 53cm, W: 73cm, D: 0,3cm

This exquisite 18th-century oil painting captures the historic moment of King James I visit to Hoghton Tower during his return from Scotland on August 15, 1617. The scene is richly d...

A stunning vintage Boho original oil on canvas. A chic Italian 1960s painting signed by the artist. An Abstract Figural composition in deep mut...

This exquisite hand-painted stone by renowned artist Ilya Schor is a captivating example of his distinct artistic style, blending Jewish folk imagery with masterful craftsmanship. Si...

Early 20th Century Mixed Amelia on canvas. A fantastic Abstract composition in brilliant jewel tones. Done by the artist Nancy Vanderburg Lee. Unsigned. Acquired from a Palm Beach es...

A delightful pair of floral still-life paintings, dating to the mid/second half of the 19th century. Oil on canvas and presented in period maple frames with gilt slips. Each painting...

A lovely diptyque paintings by Australian Aboriginal artist Raelene Kerinauia (1962- ). Born in 1962 (Tiwi People), Wurrumiyanga, Mantiyupwi Country, Bathurst Island, Northern Terri...

Italian modern erotic Japanese manga painting by Gianni S99, 1990s Acrylic painting on board with an erotic theme, representing iconic characters from J...