Canvas Paintings

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 ...

Great Italian painting from the second half of the 17th century. Oil artwork on canvas depicting the sacking of a seaside city by the Saracens, of good pictorial quality. We find cou...

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...

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...

This exquisite 19th Century French oil painting captures a romantic and serene moment of a couple strolling through a lush park. Rendered in rich, vibrant hues and masterfully painte...

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. ...

A very delighted oil on canvas painting by Roland Dubuc (1924 - 1998). A charming scene of the Cafe Bar Tabac - L'Irrondelle - Cafe The Swallow. Lively bright colors and wonderful br...

Beautiful 19th century, French oil on canvas.

A fine 19th century oil on canvas figurative painting. Signed, artist unknown. Country of origin unknown, we acquired this beautiful work of art in France. Stunning details. The pa...

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...

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

Oil painting framed in a gilded wooden frame with the motif of a cabin out in a mountain landscape. Signed by P. Svarter from the 1970s Dimensions: L:50cm W:60cm

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.

Swedish naive oil painting with the original frame, from the 2nd part of the 19th Century. This folk art work on canvas represents kids and a dog playing by a courtyard, opening the...

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...

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...

Our very large portrait of Jean Bonnardel (1899-1952), Countess Madeleine de Montgomery, by Federico Armando Beltran Masses (1885-1949) measures 77 3/8 ...

Moroccan orientalist oil on canvas painting of a 19th century Moroccan rug market scene with an sellers seating on a pile of carpet and two other men wearing traditional colorful robes standing and checking the goods. The background depict an old house with wooden mucharabie and Moorish arches. Contemporary French oil on canvas orientalist painting of a Moroccan market...

Large modern abstract oil on canvas 'Sound Wave' by Carlo of Hollywood.

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...

Naive Ethiopian Genre painting, 1970s oil on canvas with Ge'ez language inscriptions.

Oil on canvas, inscribed on the stretcher bar reverse. The painting is presented in a flat black frame that complements it well. Horace Bundy was an it...

Presenting an enigmatic oil on canvas painting created by an unknown Danish artist made in 1956. This captivating artwork showcases a woman bathing her feet in a bathroom, and it is ...

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...

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...

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

Ludwig Sellmayr, Deer with Doe and Fawn in the Forest, ca. 1880 A naturalistic oil painting depicting a deer family in the forest. Oil on canvas by Lu...

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...

Large Modern Framed Artwork Decorative Painting Landscape LA CA Art Gallery . Wall Art Decorative Hand painted Oil on Canvas Falling Vessel sculpted hand crafted silvered Frame. "Fa...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes assembled in a grid pattern, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

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 ...

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...

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...

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

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...

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...

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

A nice quality Georgian oil on canvas portrait painting of a gentleman. Wear to the canvas which you can see in the pictures. Please contact us directly for a worldwide shipping qu...

Early 19th century oil portrait of a handsome young man An original painting of a young man wearing his best suit of clothes. Original oil on ...

19th Century Empire Original Oil Painting of 2 women by window

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

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

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...

Americana Folk Outsider Art oil on canvas by African American Artist, John Jones, circa 1990s-early 2000s, USA. Signed painting depicts man pointing out his Auntie’s behind. Excelle...

19th Century seascape with lighthouse, circa 1890, an oil on canvas view of a white-washed lighthouse tower on a small offshore rocky ledge, most...

African Ethiopian painting imported to Italy by a diplomat during the Italian occupation of Ethiopia, in the late 1930s. This tribal folk art painting depicts a battle scene and the canvas is mounted on a parallelogram-shaped frame. It is a large battle painting...

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...

J. RILEY - Vintage acrylic still life painting on canvas covered panel - signed lower right - untitled - contained in a solid oak frame with white pickled finish - Canada - mid/late ...

Large oil painting on canvas. Modernist Abstract, by Jim Bray, circa 1963. Charming image. Child-like. Great use of color, texture, space.

American abstract oil painting featuring pastel ombre color washes on textured canvas in a wooden frame. (\"Untitled\" Apollo Series, 1...

A late 18th century oil on canvas depicting a bull baiting scene In England during the time of Queen Anne, bull-baiting was practised in London at Hoc...

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...

19th Century (mid) Ruins in the Roman Forum. Beautiful oil painting on canvas. See detailed photos. Contact us for more information.

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 ...

18th Century Trompe L'Oeil Oil painting, "Le Prisuer" Framed. See pic for details on piece written in french. Very handsome and fun piece for any unique space. Message us with ques...

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...

Albert Chubac (1925-2008), Composition, Airbrush on canvas, France, circa 1960. Measures: Height 100 cm, width 50 cm. Albert Chubac was born in Geneva in 1920. After studying dec...

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...

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...

Through personal communications with Emily Esser and recently published scholarship by her, (December 2, 2024) "The Chapbook Children (Jonas Welch Holman, Lyman Parks, and Dean Robe...