Canvas Paintings

The painting captures the events of this battle: "Baratieri planned to execute an attack early morning 1st March Baratieri, to strike a surprise on the ethiopians, who outnumbered h...

Original Alexander Gore oil on canvas painting. Beautiful abstract texture colors .signed by the artist.

J. RILEY - Vintage acrylic still life painting on canvas covered panel - signed lower left - untitled - contained in a solid oak frame with white pickled finish - Canada - mid/late 2...

Original oil painting of Vladimir Lenin former Chairman of the Council of People's Commissars of the Soviet Union 1917-1924. This painting was often seen hung in government buildings...

Oil painting framed in a gilded wooden frame with motif forest landscape in warm colors signed by Kai Drews from the 1930s Measurements: L:45cm W:57cm

Vertical portrait painting of a man by American artist Genie Brock. (Oklahoma, circa early 20th century) The subject is of an older gentleman with a gray head of hair and beard. He s...

Ancient Italian painting from the 18th century. Framework oil on canvas depicting biblical subject Joseph at the well sold by the brothers of good pictorial quality. Oval painting wi...

Great Italian painting from the mid-20th century. Framework oil on canvas depicting countryside landscape with farmyard animals of good pictorial quality. Painting of great measure a...

Faye (Theo) Nangala Hudson portrays the narrative of Pikilyi, also known as the Vaughan Springs Dreaming, a sacred waterhole that never dries up. This natural spring, situated near M...

Classic 1970s image. Acrylic on canvas. Linear Series hand executed by Roy O. Anderson. Amazing use of color, space.

Barton Lidice Benes (November 16, 1942 – Hackensack, New Jersey – May 30, 2012 – New York) was an artist who lived and worked in New York City. He studied at Pratt Institute, Brookly...

This charming 19th-century American School folk art painting, titled "Baby," captures the innocence and vitality of a young horse with delightful naivety and artistic flair. Executed...

James Vullo Oil on canvas .. W.P.A. /ASHCAN Portrait of a Man 1930's ..Powerful image.. retains original frame, original label Albright Knox Art Gallery (A.K.G.) Buffalo NY 1938, ...

Charming and lively interior scene featuring two puppies playing with a rag, set in a rustic environment with clay pots and scattered straw. The subject reflects Frank Paton's typica...

Signed Norman Rockwell Style Painting of Golfers by Victor Olson. Possibly of the famous Golfer Sam Snead and company, Unframed. Victor Olson (1924-2007) of Fanton Meadows, West Red...

Original oil painting signed & dated by David Swing born 1892. Swing had a studio in Pasadena,California and was president of the Los Angeles Engraving Com...

A busy oil on canvas interior scene showing an exaggerated early 19th century social scene in the naïve self taught style. A military/naval officer is showing off his wooden leg ...

A fine vintage French oil painting on unframed canvas of a table setting, featuring a food scene of a pan with eggs, an orange, and a bottle of wine, entitled 'Le Casse-Croûte' - mea...

Chinese School, 19th Century A Large Portrait of An "Emperor Holding A Bird" in a landscape. Oil on canvas laid on board. With Chinese style gilt-metal hooks for hanging. 48" high ...

Signed William Sheldon Horton impressionist landscape painting. This "Plein Air" artist has majestically captured the purple desert canyons of California. This substantial canvas is ...

Miniature portrait of a sleepy eyed man, circle Christian Wilhelm Ernst Dietrich Germany 18th century, inscribed on back, refer to ph...

Antique Flemish painting from the 17th century. Oil on canvas artwork depicting a tavern interior scene with characters of excellent pictorial quality. Refined painting, for antique ...

visually arresting, monumental jungle scene by Haitian artist Jean Rameau (signed “J Rame”), known for his vibrant use of color, rhythmic brushwork, and dreamlike depictions of trop...

19Thc oil painting of a ship oil painting in frame.This New England ship is probably from Greece.The Greek flag is on the ship as well. It is signed J.Katons.

Antique French painting from 18th century. Oil on canvas framework depicting landscape with hunting dogs with partridges of good pictorial quality. Painting of great measure and impa...

Oil painting on cotton canvas, title "Glass Ball," year 2017, signed by the artist. The painting depicts a glass stone lying on two bergenia leaves. The gaze makes its way through th...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

This fine Folk Art painting of a girl holding wheat in a field painted on board. It is unsigned and on board newly framed. The condition is very good.

Signed Early 20th Century Oil Painting, Country Morning by J Gouard The painting is of cattle drinking in a stream in an elaborate Gilt Frame, the painting is in good condition wit...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

Italian painting from the second half of the 20th century. Framework mixed media on canvas depicting an abstract subject entitled "Genesis to save" signed lower left (see picture), s...

John Charles Maggs Painting - English - W7910 In excellent condition with no damage. This is a John Charles Maggs Painting, circa 1850. Maggs (1819 - 1896) was a painter best known...

A very charming French early 20th century Nature Morte - Still Life. Oil on canvas, a wonderful grouping of a bust, flowers and books. Wonderful craq...

Folk Art Still Life, 'Flowers and Chinese Export Porcelain', early 20th century. Oil on canvas with original lacquered frame. A charming painting of cut flowers with antique Chinese ...

Belgium / 1991 / painting / canvas, wood / Antique / Baroque / Rococo Baroque style signed painting with highly decorative gilded wooden frame from Belgium. Signed in the right co...

Beautiful Early 20th C oil painting of Chrysanthemums. Nicely Framed in an Arts & Crafts Lemon gold wood frame.

Great Italian painting from the first half of the 18th century. Oil artwork on canvas depicting a religious subject, the Martyrdom of Saint Lawrence, of good pictorial quality. Altar...

Palette Knife oil painting of fishing boats. A finely detailed oil painting, signed lower left corner in a gilt and ebony frame. Circa 19...

A large size decorative Swedish folk art painted wall hanging-Bonad which may have been originally from a church. Painted on canvas in natural pigments it depicts naive biblical them...

Enchanting mid century acrylic painting on canvas of an aging lion in repose with flowers and trees, executed in a charming naive style. Signed Paradis 81 and presented in a wood frame.

This is signed and dated, "G. Rasmussen 41" and in amazing as found condition. The walnut frame is hand carved and appears to be the original frame that the painting was placed in. T...

Italian painting from the mid-20th century. Oil on canvas artwork, first canvas, depicting an autumnal view, countryside river landscape of good pictorial quality. Painting adorned w...

A wonderful, unique, and very engaging original acrylic on canvas painting titled "Hunting Dreaming" by indigenous Australian Aboriginal artist B...

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...

Early 19th century, superb, and oversized, this fine quality American folk art portrait, oil on canvas painting is in original surface with all of the elements desired by collectors ...

Native American Hunter with his Mustang oil painting on cannvas. Original Contemporary oil painting canvas stretched on wood.. Signed on the right corner. ( illisible).

Unknown - still life with meat and vegetables, oil on canvas, Germany 1909 An impressive still life painting depicting meat, and diverse vegetables. Painted in oil on canvas with pastell colors. Framed with antique richly decorated gilded frame. Signed with monogram of the artist "AP 09" (1909). This authentic antique painting will be a highlight in every dining room or restaurtant. 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...

Oil painting framed in a gilded wooden frame with a motif of a little girl holding a bunch of grapes. Painted in warm colors. Signed. Measurements: L:51.5cm W:41.5cm

FREDERICK R. WAGNER (AMERICAN, 1864-1940) "Evening Pasture" Oil on canvas Signed lower right "F. Wagner" Item # 103GPP23Z A glowing work that retains the early gallery label from Newman Galleries in Philadelphia identifying the work as "Evening Pasture". We are pleased to present it in such fine conserved condition after layers wax residue and a very stubborn discolored varnish were removed to reveal a well-preserved autumnal scene capturing golden hour across wild fields...

A color field painting executed in balance and precision by Andrea Suter (A. Suter) in 1972. The multilayers of color build up this Expressionist painting, which Suter follows the guiding principles of the Color Field art movement, one of America’s greatest Modern Art...

Original painting by Kristian von Hornsleth in mixed media on canvas from 2021 titled "Butterflies ART". The painting measures approx. 106 x 140 cm and i...

Sunrise in a Winterly Landscape in The Black Forest An original vintage oil painting showing a sunrise in a winterly Black Forest landscape. Painted in oil on canvas, signed Kuta 1958. A great original painting in naive style. Good condition, frame with some defects. Alpine oil painting...

Primitive Oil on Canvas Springer Spaniel in liver and white. wonderfully posed "on point", walking along a cobbled street. Some losses to frame. Signed A Taillieu Dated 1914 France, ...

Oil painting on canvas from 20th century. Painting complete with protective glass, overall in good state of conservation. Silvered and gilded wooden frame with fabric passepartout i...

Large Belgian painting dated 1920. Oil on canvas framework, on the first canvas, depicting a portrait of a lady (Maria Erminia Segers 1855-1924) of excellent pictorial quality. Large...

Italian painting from the second half of the 20th century. Artwork oil on canvas, first canvas, depicting figures in the night with boats of good pictorial quality. Very pleasant pai...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

Italian painting from the second half of the 20th century. Framework oil on canvas in antique style depicting a seascape with fishermen and boats. Nice sized and pleasantly decor pai...

Oil painting, signed and featuring a downtown cityscape. This piece is multi media on canvas with a gold frame.

1950s original oil painting on canvas with a monkey nurse treating a patient in a hospital bed. The painting is by an unknown artist as it is not signed, ...