Paintings

Beautiful Swedish Folk Art (commonly known in swedish as bonad) made 1790-1820s. Part of a bigger painting. Likely made by Johannes Nilsson at Sunnerboskolan, Småland. Local painters were often inspired by decorations in churches, where they learned and trained their crafts. The painting on linen is upholstered as a pillow. The main motif depicts a holy woman serving wine dressed...

Moroccan Orientalist oil on canvas painting of a 19th century Moroccan market scene with an old men seating on a carpet selling old coins and a Moorish...

This painting is dated on the stretcher frame 1940 and the large over sized dog is a pointer or know as a bird dog. The birds are quail. This painting is amazing and very well done. ...

Earl Daniels (1920-1999), California painter of landscapes, seascapes, coastal scenes, still- lives and abstracts, was born in New York City where he worked both as a commercial arti...

W. Kruegner- summerly high mountain landscape with alpine Lake and Watzmann An impressionistic oil painting depicting a high mountain landscap...

Presenting a glorious piece of original Dutch art, namely, a scene of Dutch ice skating oil on canvas by Van Buiksloot. J. Van Buiksloot was a Dut...

A fine Japanese Fine Art drawing of water lilies by Toru Suzuki Acrylic Crayon mixed media, Beautiful and elegant example Ex Gallery Kabtoya Tok...

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

Folk art shadow box painting of a slender nude female form sitting under a full moon. With a chiaroscuro effect and her backside to the viewer, this work has mysterious and dramatic...

Wonderful original pencil drawing depicting a vintage motor car racing scene from the 1930's. The drawing is by - "K. B. White" - a British illustrator and motoring artist who was working in the 1930's. The drawing perfectly capture the glamorous spirit of vintage motoring - the noise, the crowds, the dust flying through the air - goggles, scarves - the drama of the occasion! Completely original and unique and perfect for any sporting interior themed room - or a great gift for a man cave or 'boys room'.

Charming French oil painting on canvas of a tabby cat staged with curtains and tassels, executed in a naive style that captures the enigmatic feline nature. With "CHAT" written on th...

High Mountain Landscape with Alpine Lake near Kufstein, circa 1950s A large impressionistic oil painting depicting a high mountain landscape with mountain lake and folksy mountain hut in front of the imperial mountains (Kaisergebirge) near Kufstein in Austria. Oil painting on canvas with pastell colors. Painted by Passy-Cornet around 1950s. Framed with vintage decorative gilded frame. Artist signature on the front and paper lable of the reseller on the back. Mid-20th Century oil paintings often reflect people´s deep longing for security, beauty and a peaceful world. The natural landscapes show their beauty and majesty with powerful colors. The paintings of that time leave room for romantic feelings and sentimentality. The artist of the time gave people a sense of just be happy...

Presenting an enchanting oil painting by the Danish artist Jørgen Sejersen, made in between 1960-1980s. This particular artwork captures a peaceful scene, showcasing a young boy im...

Vintage German Country Gentlemen Woman and Dog Italian Framed Painting. Circa Mid 20th Century. Measurements: 17" H x 14" W x 1" D.

Erwin Kettemann Landscape in the Tyrolean Alps, Oil on Canvas ca. 1930 An original antique painting showing alpine meadows with moutains in ...

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...

Iconic Vintage PH5 chandelier by Poul Henningsen for Louis Poulsen of Denmark from the 1990s with abstract art work by G61. Entitled “ Migration” The a...

Oil on panel depicting a man in a horse-drawn carriage by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's ...

A unique original portrait painting of a dog named “Ike” by the late Oklahoma artist Clair Seglem. The artist captures this dog of Patricia Goetzinger ...

French painting from the second half of the 20th century. Oil on masonite artwork depicting a luminous still life with flowers and guitar of good pictorial quality. Painting signed l...

This fine oil painting on art board is signed by Van Ness and dated 1914.The painting is also in a wood frame. This is a listed artist.

An authentic English pub sign (two-sided) featuring a painting of two revelers or publicans in Carolingian costume enjoying the libations and victuals of a fine inn, entitled: Free House - The Cask & Taverners. A free house in Great Britain is a public house...

This folky & fun dog painting on board has a fold in stand on the reverse side. It is also signed by the artist D.Buttler & dated 1989. Fantastic folky large dog sign.

1960s Mexican Artist Rodolfo Nieto Abstract Oil Painting on Board Retains Morton label 32W x 27.25 H x .25 thick Original Unrestored Vintage preowned condition. Please review our ima...

- Wonderful Victorian style oil painting of a young girl - She appears to be an arists studio as the lady behind her holds a palette in her hand - She is talking to another man with ...

Still Life with Fruits, oil painting on canvas, Germany 1950s An impressive Biedermeier style still life painting depicting diverse fruits like plums, grapes or peaches. Painted in ...

J. Sedelmeier - sunrise over the Lake Missurina in the Dolomites A colorful oil painting depicting a high mountain landscape with the lake Missurina in front of the Three Pinnacles (Drei Zinnen) in the Dolomites. Painted in oil on canvas with pastell colors by Josef Sedlmeier around 1950s. Framed with vintage wooden decorative gilded frame. Signed by the artist on the right base. On the back paper lable with inscription on the frame: 'Josef Sedelmeier Míssurinasee Dolomiten'. A wonderful original painting of the Tyrolian school. Mid-20th Century oil paintings often reflect people´s deep longing for security, beauty and a peaceful world. The natural landscapes show their beauty and majesty with powerful colors. The paintings of that time leave room for romantic feelings and sentimentality. The artist of the time gave people a sense of just be happy...

Mengistu Haile Mariam and other Generals looking at the celebrators oil on canvas painting, 90 x 190 cm with Ge'ez language inscriptions.

Mother and Colt Horse painting. Signed and dated 1971.

A charming early 20th Century landscape oil painting. English. c.1910 Signed to bottom left - very skillfully painted landscape scene with fisherman and cottage. Some very minor ...

A 1960s oil on canvas painting by French artist Pierre Coquet. This textured abstract features fluid, geometric motifs in burnt orange with brown accents. Signed ‘P. Coquet’ bottom r...

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...

Vintage Elite 3 Optima Retro Metallic Green Portable Manual Typewriter in Case. Circa Mid 20th Century. Measurements: Case, 7.5" H x 14" W x 14" D.

Vintage Oil Painting Victorian River Landscape A lovely vintage oil painting depicting a Victorian riverside landscape with boats on the river an...

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...

Love this painting. The original "The smiling boy" by Frans Hals, 17th century. This Delfs blue tile panel image is hand painted by Nico Koelewijn in the 19...

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

Spanish painting from the mid 20th century. Acrylic artwork on canvas depicting still life, vase with flowers, of good pictorial quality. Frame from the second half of the 20th centu...

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 very beautiful early 20th century landscape oil on board painting of the countryside in South West France. Expertly executed by Ernest Azema with bold brushwork and wonderful color...

Immerse yourself in the timeless beauty of the Gilt Wood Framed Still Life Flowers & Fruit Oil on Canvas Painting by Christo Charpides (Gre...

A wonderful, unique, and very engaging original stone painting titled "Rainbow Serpent, Ngalyod" by prominent Australian Aboriginal artist Bobby Barrdjaray Nganjmirra (1915-1992). Th...

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

C.P. Initials,Portait of African Girl,Charcoal on Paper,Signed Banzyville 1944,Framed,Signed and Dated

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...

A delightful vintage Hungarian oil on canvas painting depicting a mustachioed gentleman in traditional dress, clutching a pipe and wearing a dark alpine hat adorned with a red blosso...

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

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...

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...

Italian painting from the mid-20th century. Oil painting on masonite depicting a countryside view, river landscape with boats and characters of good pictorial quality. Painting adorn...

"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.

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.

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...

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...

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

Albert CHUBAC (1925-2008), signed, circa 1960, France, mixed media on paper. Height: 100 cm, width: 145 cm, depth: 5 cm. Last painter of the school of Nice. This is an importan...

A wonderful, unique, and very engaging original indigenous painting by Australian Aboriginal artist Thompson Yulidjirri, (Circa 1930-2009) featuring two mythical creatures. The paint...

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...