Canvas Paintings

Great Italian mythological painting signed and dated 1910. Oil on canvas painting, first canvas, depicting a female nude with a mythological subject, Andromeda chained to the rock, o...

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...

Great Italian painting from the early 20th century. Framework oil on canvas, in first canvas, depicting an interior scene with musician of good pictorial quality. Great impact framew...

Italian painting from the first half of the 20th century. Oil painting on canvas, first canvas, depicting tavern in eighteenth-century style with characters and horses. Very pleasant...

Elegant Dutch still life dated 1917. Oil on canvas artwork, first canvas, depicting a table set with a basket of fruit, of excellent pictorial quality. Note the reflections on the ta...

A striking vintage original oil painting on canvas. A gorgeous female nude in a quiet reclining pose. Deep rich colors dominate this composition. Signed by the artist. Acquired from ...

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

Early 20th Century Portrait by American Painter Beatrice Whitney (1888 - 1981). Acquired at a Palm Beach estate.m

Italian painting dated July 1924. Oil on canvas artwork in impressionist style entitled Solitude, Interior view with characters of the Basilica of San Michele in Pavia, of good picto...

French painting from the first half of the 20th century. Artwork oil on canvas depicting pleasant countryside view with village and sea in the background in impressionist style. Pain...

Italian painting dated 1919. Oil on canvas, first canvas, depicting an impressionist mountain landscape of exceptional size and excellent pictorial quality. Contemporary frame, in wo...

This painting represents Saint Nicholas Basilica in Amsterdam, the Netherlands. It was painted by Fernand Laval in 1928. Laval arrived in Paris in 1912 ...

20th Century Original Oil Painting by Austrian artist VW Wolf. "Family of the artist". Painted in 20th century, it is known to have been collected by European Elite

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

Impressionistic painting of a garden with blossoming apple trees A colorful impressionistic oil painting depicting a garden with blossoming apple trees. Oil painting on board with vigorous pastell colors. Framed with antique decorative gilded frame. Germany ca. 1930s 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...

Large, Primitive Swedish Bonad, Painted on thick heavy canvas and mounted to board, faux marble painted frame. Sweden Circa 1920.

B. Bauer - oil painting alpine winter landscape, early 20th century. A lovely antique oil painting depicting a winterly Alpine landscape. Oil on canvas 1st half of the 20th century. Framed with antique carved and gilded frame. Signed "B. Bauer". The painting would be a great addition to your rural wall decor. 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...

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...

Antique Seascape with a Five Masted Bark, by Julius Gregersen (German: 1860 - 1953), circa 1921 - 1928, an oil on canvas seascape with view of the five masted bark KOBENHAVN sailing ...

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...

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...

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.

A stunning early 20th century oil on canvas landscape painting of a scene in Aix En Provence housed in a beautiful gold gilt frame. Wonderful color and brushwork.

A fine French oil painting on canvas of a harbor scene, featuring a view of a sailboat and a picturesque town, signed M. Barle in bottom left facing corner, mounted in a rectangular painted wooden frame. Maurice Barle...

A naturalistic oil painting depicting joseph, maria and the holy child in the barn of bethlehem. Oil painting on canvas with vigorous pastell colors. Framed with antique decorative g...

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...

Johannes Wilhjelm: View from a park over Florence, Italy. Signed and dated JW 24. Oil on canvas. This painting is of a park with old growth evergreens and flowering shrubs. The light from the center of the painting leads the viewer through a narrow passageway between the towering trees and leaves to the imagination what lies beyond. The stone steps...

Antique French provincial oil Painting. Scene of the country side with 2 small houses near a river in a forest. South of France, Province. Oil...

Signed oil painting of boots & glasses oil on canvas. Unframed and in pristine condition. Signed by Mary Juno.

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...

Karl Jensen: View from a thatched farmhouse. Signed and dated K. J. 1910. Oil on canvas. The Old Homested was painted by Karl Jensen who was born in De...

Poul Steffensen: Landscape with mottled cows. Signed Poul Steffensen. Oil on canvas, circa 1910, Denmark. Measures: 65 × 103 cm. It is not surprise ...

This pair of oil paintings on canvas are done by the well known portrait and landscape Russian artist, Vera Alabaster in circa 1940 in a Folk Art style. The paintings depict a Jamaic...

We are proud to offer an exquisite early 20th century French hand lettering trade sign. This is truly a unique piece of trade sign retail art in our opi...

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 ...

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. ...

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...

Frank Vincent DuMond painting. Bucolic setting of a woman in a pastoral scene by a river. She is seated reading and dressed in an Edwardian, early 20th century clothing. Signed lower left. "To My Friend Mr.Kempshall, Frank V. DuMond". Frank Vincent DuMond was one of the most influential teacher-painters in 20th century America. He was an illustrator and American Impressionist painter of portraits and landscapes, and a prominent teacher who instructed thousands of art students throughout a career spanning over fifty years. In a teaching career spanning more than fifty years, DuMond taught thousands of artists at the art students league. His students included Norman Rockwell, Georgia O'Keeffe, John Marin, Frank J. Reilly,Charles Webster Hawthorne,Frank Herbert Mason,Ogden Pleissner, Kenneth Hayes Miller, Louis Bouché, Eugene Speicher,Helen Winslow...

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...

French painting from the first half of the 20th century. Artwork oil on canvas depicting cherubs with grisaille style garland, of good pictorial quality. Painting adorned with a wood...