Paintings

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...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolor on paper, unframed Painting: 8 x 5.5 inches Delightful early 20th centu...

- 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 ...

This original painting was created by artist, George Marks, and purchased from Ann Connelly Fine Art gallery in Baton Rouge, LA. Framed in a simple black frame that measures 7" x 7"...

This painting is an intimate, domestic still life with an interior setting, rendered in a loose, expressive style. The main focus is a round table covered with a white tablecloth fe...

Framed: 8.75"h 12.5"w 2"d Painting: 12"w 8"h on canvas Artist: Not marked From: Founders provide collection This painting captures a tranquil and picturesque waterside scene centere...

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...

Framed: 17"w 13" wooden Painting: 15"w 11"h, painted on wood Artist: Louisiana Libby Johnson This painting is a serene and atmospheric landscape that captures the quiet beauty of ...

Painting: 2.5"w 3"h Framed: 7.5"w 8"h 2.5"d Artist: Libby Johnson Gifted from the artist to our store founder, Dixon Smith. This painting is a small, finely detailed landscape that ...

Maggy Clarysse (1931-2011) Oil on canvas, unframed Measures: 21.5 x 18 inches Signed front and back Condition: excellent Provenance: all the paintings we have by this artist hav...

Late 19th Century Wood Framed Folk Art Painting Depicting Hound Dogs by River. The two dogs are hunting water fowl. Wood framing is modern. United States, 1...

Nude figure by Bernard Labbe (French mid 20th century) signed original watercolour/ gouache painting on paper board, unframed size: 9.75 x 12.75 inches condition: very good and r...

Figures in Parisian Cityscape by Maurice Mazeilie (French, 1924-2021). watercolor painting on artist paper, unframed signed to the front lower le...

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...

Signed R.Porter watercolor of a bear in the woods in California.This California artist was found in Ojai,California in a antique collection.It has been newly framed and matted.Its re...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 1 m, width 70 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac: exhibition, Nice, Museum of Modern and Contemporary Art, January 29 - May 16, 2004. - Albert Chubac, Galerie Harter, 2013. - Albert Chubac, a lifetime of artist, Patrick Boussu and Cynthia Lemesle, South Art éditions, 2021. During the workshop auctions in Nice and Marseille, the Harter Gallery acquired the largest part of his work. Personal exhibitions: - 1950: Personal exhibition in Athens at the Zappéion museum. - 1954: Exhibition at the Arman Gallery in Geneva. - 1956: Exhibition at the Galerie Connaître in Geneva. - 1957: Exhibition at the Galerie La Palette in Zurich. - 1958: Exhibition at the Galerie L’Entracte in Lausanne. - 1960: Exhibition at the World House Gallery in New York. - 1967: Exhibition at the Galerie Loo in Geneva, at the Salon Comparaison in Paris, Aspects in Chexbres in Switzerland. - 1968: “Paintings” exhibitions from March 30 to May 11 at the Galerie Alexandre de la Salle...

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...

This is a classical-style portrait painting of a young boy set against a natural, outdoor background. The subject is depicted from the waist up, dressed in a rich teal-blue garment w...

This is a serene landscape painting that captures a quiet forest scene bathed in soft, diffused light. The composition is dominated by tall, vertical tree trunks in the foreground, t...

This vibrant still life painting from 1950s Belgium, signed by Erik Bassez, depicts a lush bouquet of multicolored roses arranged in a rounded white vase with blue accents. The flowe...

Painted by Louisiana Artist, Helene Moyse. Gifted by artist to our founder, Dixon Smith. Came from Dixon's home. This is a charming still life painting executed in a loose, expres...

Original vintage American folk art paintings. Oil on canvas, featuring detailed texture and expressive brushstrokes, depicts a young boy playing baseball and a young girl on a swing....

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...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work,...

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...

Tuba Player by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10.5 x 7.25 inches condition: very good and ready to ...

Landscape Signed by Édouard Righetti (1924-2001) Inscribed Verso on back oil/gouache painting on artist paper, beautifully painted. very good condition size: 15 x inches x 25....

Vibrant sea. English school, early 1900's. Original watercolor painting on artists paper, unframed. Overall paper size: 7.75 x 11 inches. From a large private collection of E...

Artist / School: English School, 19th century, dated 1863 Title: botannical study 'Ne Plus Meuris' Medium: watercolour drawing on paper, with ink inscription below Size: ima...

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

"The Village Lane" signed by Camille Meriot (French 1887-1975) pastel on unframed paper paper: 10 x 13 inches Fine original French Impressionist painting by the well listed an...

Green Fields English School, early 1900's Original watercolor painting on artists paper, unframed Overall paper size: 8 x 11.25 inches From a large private collection of Engl...

Artist/ School: Rene Leroy (French b. 1932) Title: Abstract/ Modernist study of a still life Medium: oil painting on canvas Size: painting: 7 x 4.75 inches Provenance: al...

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...

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...

19th century reverse painted on glass portrait of George and Martha Washington by William Matthew Prior (1806 - 1873), one of New England'...

Vintage Asian Oriental framed prints with narrow gold frames - a pair. Item features a wood frame with distressed finish, brass decorative hooks, (5) f...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper Image : 25.5 x 19.5 inches Superbly decorative 1960's French portrait painting. Id...

Jon Andrew Schooler (1954-, New York/New Orleans), "Flower in a Vaze," 2015, oil on canvas, signed, titled and dated en verso, presented in a black frame, H.- 13 3/8 in., W.- 9 1/2 i...

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

AKOS BIRO (HUNGARIAN 1911-2002) watercolour/ crayon, signed size: 5.75 x 8.75 inches Beautifully colourful, original painting by the very popular and highly regarded Hungarian/...

This striking hand-painted stone by the esteemed artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, is a remarkable example of his unique blend of abstract ...

A mixed media painting by Italian artist Mauro Fornari. This layered abstract features coral and soft peach hues with charcoal accents. Signed ‘Mauro Fornari MMXXIII’ on the bottom l...

Oil painting with motif of a fisherman's wife hanging things to dry. In the background is a small house with a shed next to it, and the coast can be seen behind the house. In the for...

Artist: Donna West, Louisiana Artist Size: 12" x 12" x 1" This painting is a moody, abstract landscape rendered in muted, earthy tones. The upper portion is dominated by a hazy, gre...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 6 x 4.5 inches, signed bottom right bottom painti...

Maggy Clarysse (1931-2011) oil on canvas, unframed 21.5 x 18 inches signed front and back condition: excellent provenance: all the paintings we have by this artist have come fro...

"Watercolour Beach Scene" signed by Maurice Mazeilie (French) watercolor painting on paper, unframed stamped verso Measures: painting: 7.5 x 10.75 inches A delightful origin...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped Image : 25.5 x 20 inches Superbly decorative 1960's French portrait paint...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolor on paper, unframed Painting: 9.25 x 14 inches Delightful early 20th cen...

Albert Chubac (1925-2008), Important painting, Gouache on paper, Signed lower right, Framed, circa 1970, France. Measures : width 68 cm, height 186 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac, Galerie Harter...

French character portrait French school, mid 20th century Gouache paint on unframed paper Image : 13 x 9.5 inches Overall painting: 25.5 x 19.75 inches Superbly decorative...

"Abstract Design" by Arlette Martin (French, b.1924) atelier stamped signed and dated 71' gouache/watercolour painting on paper stuck on card, unframed painting: 10 x 11.75 in...

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...

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...

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...

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...

Eye catching colorful folk art rendering of a religious icon in typical Mexican primitive style on reclaimed wood and found materials.

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

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...