American Paintings

Oil on canvas painting by artist Peter Colby. Large oversize canvas featuring two lions resting upon a patch of green grass. The background of this piece i...

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 ...

This oil painting is signed in the lower left hand illegible signature. Very well done in great condition and retains the original frame.  

'Six Tubas' Bold Modernist work by Western New York artist,,,James Miller,, c.1960,,Wonderful use of color,,texture and space,,,

Charming period Arts and Crafts watercolor landscape in original gilt wood frame. The frame is reminiscent of the classic work of Newcomb Macklin, and Foster Brothers, both the fra...

American folk art Pyrography pair Flying Ducks. This is an original and beautifully detailed hand incised work of art on wood panel of five (5) flying ducks. This unique work of art is hand incised using pyrographic techniques. It is signed lower left E. H. Hart. Dimensions: 9.75 iniches wide and 12 inches high. Provenance: Old New England collection. History of the Pyrography: py·rog·ra·phy is the art or technique of decorating wood or leather by burning a design on the surface with a heated metallic point. Pyrography was particular popular during the last quarter of the 19th century and first quarter of the 20th century About E.H. Hart Hart, Ernest Huntley 'Ernest H. Hart' (New York City, 1910 - Florida, 1985). An American painter, printmaker, illustrator, and author, Ernest Huntley Hart...

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...

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...

From an important thirty year old New England collection of American Folk Art Pyrography Arthur Grinnell Fire Screen (1854-1924) This original circa 1910 fire screen- framed pyrogr...

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, ...

This amazing folk art tole ware box is in original red painted back round with floral decoration & a embossed bird popping out.

FOLK PAINTING, IN OIL ON WOODEN PANEL, OF THE PADDLEWHEEL STEAMER "GREY EAGLE" BEFORE THE TOWNSCAPE OF ALTON, ILLINOIS, AT THE CONVERGENCE OF THE ILLINOIS & MISSISSIPPI RIVERS, circa...

Signed B. Donahue and dated 1969 Patriotic Flag painting. On the left side a cemetery honoring fallen heroes in war. To the Right of the flag is a seemi...

20th century oil painting of a cow peaking out of the barn door. This oil on canvas is signed Chamberlain and newly frame.

American oil on board portrait of horse landscape in the original gold gilt floral frame. Signed James Weiland, (1872-1968) New York, Early 20th cent...

An interesting piece of southern USA history... a watercolor and pencil illustration of a Trenton, Alabama campsite with members of the Thornton family. Created by an artist just aft...

A blonde blue eyed maiden sits between two male guests at the Green Dolphin Tavern. Vibrant Colored Hand Painting An oil painting on canvas panel by Self Taught Outsider Surreal...

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...

American 19th century still life painting of a compote of fruit on a table arranged with more fruit in a custom 20th century painted frame.

A Retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. Depicting a Saint and a child painted o...

A captivating and intriguing early 20th century Southern American folk art panel, found in Mississippi, depicting a figure with what appears to be African tribal headgear, and wearing a white collared shirt with black suit jacket. The line work and attention to detail is extraordinary and mysterious, with the artist choosing to incorporate a natural knot in the board to form the mouth of the figure, and the left half of the drawing showing shading, but seemingly left unfinished. The frame is not terribly old, and is constructed from splatter-painted boards...

A Votre Sante Cafe Gathering With Pet Dogs - Vibrant Colored Hand Painting An oil painting on canvas panel by Self Taught Outsider Surrealist Folk Artist Gloria Antoinette Lapo...

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

Capture the quiet elegance of early 20th-century portraiture with this evocative watercolor painting by Barbara Alton Potter. Rendered in soft, moody hues of violet, rose, and blue, ...

A Boisterous Drink At The Inn - Vibrant Colored Hand Painting An oil painting on canvas panel by Self Taught Outsider Surrealist Folk Artist Gloria Antoinette Laposka (1922-201...

Charming early (circa 1830's) folk art painting, with very desirable subject matter, this oil on canvas depicts a pretty young girl; seated, wearing a fancy dress with her beloved d...

Early 19thc oval portrait painting of a young gentleman on a new oval board.The condition is very good with no repairs.

Beautifully executed pastel of a Sponge Diver in amazing colors. Signed lower right corner Americo Di Franza is the artist. In excellent condition.

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

Recent scholarship (see Emily Esser ) has argued quite convincingly that the group of very fine paintings that have been and are still being attributed to the hand of Jonas Welch Hol...

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

Name is Illegible and this water color pastel of a Indian chief is Signed underneath name is the year of '67. The frame is handmade from cactus and dated 94.

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...

Signed lower right. An impressive hulking ship with a green hull dominates the scene at a dock, perhaps for repair. The partial view of a steamship is in the right background. Sigh...

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...

Bring timeless European charm to your space with this delightful 1952 original painting titled La Rue Tranquille by Robert Chase. Capturing a serene cobbl...

Portrait painting of a pinup woman in full makeup in pink. This striking piece depicts a woman with big blonde hair curled and pinned to the side. She wears blue eye makeup, a bright lip and blush, and a beauty mark. Her pink sleeveless dress...

Contemporary oil painting on wood Signed by the artist, circa 1990s. In good condition. California Artist and wired for hanging. Painting describes, the "Seaside Bakery" describing...

Late 20thc oil painting on board by listed artist C. Wood a California artist. Fantastic workmanship. Lives in Los Alamos, California. She is an amazing lis...

This signed & dated pastel still life painting is dated 1921 and artist signed ; Eda Hagerman 1921. The condition is very good and it retains the orifginal fo painted wood frame !

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.

The five pen-and-ink drawings by Lauzon represent various aspects of a summer concert of the Boston Symphony Orchestra at Tanglewood, Lenox, MA: the co...

This fine 19thc folk art still life painting is painted on board and has been re-framed.The detail work is amazing.The condition is pristine.It is signed by the artist in the lower r...

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 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.

Original painting by Randy Lee White Native American Indian ledger style in acrylic on canvas with assemblage including feather and wood. Wrapped canva...

This amazing etching of a covered bridge in Cream Ridge, New Jersey. It is in upper Freehold Township in Monmouth County, New Jersey. This is a big farmland area. This is signed by t...

Series of 5 abstract expressionist painting each on a Masonite board. These paintings were purchased from an estate in Westchester NY, they date from the 1960s or 1970s they are well...

This fun folky pig painting is painted on a plywood panel. The back is unpainted and ready for hanging in a house or restaurant. This amazing folk art pai...

American portrait miniature by Thomas Story Officer, Woman in a White Gown, Signed "T.S. Officer, Pinxt", The 1830s The American portrait miniature signed by Thomas Story Officer depicts a beautiful young woman, her red hair “Coeffure a la Chinoise”, sitting in a red chair confidently looking out towards the painter and us, the viewers.  She wears a white dress with a pin in the center of her chest.  Based on her style of dress and her hair, we believe this was painted while Officer was in Philadelphia. It is signed to the lower right "T.S. Officer, Pinxt" along at edge. The reverse has a small oval glass Dimensions: 3 inches high x 2 3/16 inches wide x 1/4 inch deep Reference: Thomas S. Officer: Miniature and Portrait Painter, Gardner Library,  Author: Merri Lou Schaumann. Born in Carlisle in 1810, this gifted artist trained in Philadelphia, traveled extensively and won awards for his paintings. In 1872, James Miller McKim wrote a series of reminiscences for the Carlisle Herald newspaper about the places and people of Carlisle in an earlier day. He wrote that “David Smith, a boot and shoemaker, had two sons… one of whom early developed a taste for art and finally devoted himself to miniature painting as a profession. He was a contemporary, and for a while, a rival of Mr. Thomas Officer, though I believe he never reached the celebrity attained by that gifted young artist. Mr. Officer, by the way, was one of the last miniature painters of any eminence produced by this country, the daguerreotype and photographer having come in to sweep away the entire profession.” Thomas Story Officer was born in Carlisle on August 15, 1810, to cabinetmaker John Officer and his second wife Margaret. He trained in Philadelphia with the well-known portrait painter Thomas Sully and began his career there in the 1830s. Officer left Philadelphia occasionally to paint portraits in Mobile, Alabama in 1837, in Richmond, Virginia in 1845, and in New York City from 1846-1849 where he became a member of the National Academy of Design. In 1842, Officer intended to travel to Mexico and needed a passport. He asked Attorney Charles B. Penrose, formerly of Carlisle, to write a letter of recommendation for him. In his letter to Fletcher Webster, Esq., Penrose wrote, “This will be handed to you by Thomas S. Officer, Esq., a friend of mine, and a native artist of Pennsylvania, who is a gentleman of great talents and respectability. Intending to visit Mexico, he wishes to procure passports at the State Department…”  Officer was issued a passport in July 1842. He was described as 30 years old, 5’ 11” with a “full and round forehead, bluish-gray eyes, an ordinary nose, medium mouth, ordinary chin, sallow complexion with an oval face and brown hair.” Officer went to Mexico and later to Australia. In 1854, he opened a studio in Sandridge, Australia, and while there he “entered several oil portraits in the 1854 Melbourne Exhibition preparatory to sending them to the 1855 Paris Exhibition.” Officer left Australia, and in 1855 he settled in San Francisco where he would spend the last years of his life. He set up a portrait painting department in James Johnson’s photographic gallery in San Francisco. In 1857, Officer received a bronze medal for his oil portraits exhibited at The First Industrial Exhibition of the Mechanics’ Institute of San Francisco, as well as awards at several other exhibits in 1858. A short piece in the San Francisco newspaper, Alta, on October 30, 1859, read, “Mr. Thomas S. Officer, the talented portrait painter, lies near to death’s door and is in pecuniary distress. Out of the many to whose pleasure he has contributed by his gay, social manners, as well as by his pleasing artistic productions, may there not be found someone who will extend a helping hand?”  Officer died on December 8, 1859. Almost an entire column in the January 18, 1860 edition of the Carlisle Herald, was devoted to a very long and informative obituary of Officer taken from the Alta, California newspaper. Officer was buried in the now defunct Lone Mountain Cemetery in San Francisco. In 2014, the Cumberland County Historical Society received a bequest of a portrait painted by Thomas Officer from the estate of historian John J. Snyder, Jr. It joined a miniature portrait already a part of the Society’s museum collection in Carlisle, not far from where Officer was born. Notes: The May 28, 1834 edition of the Carlisle Weekly Herald reported that Thomas S. Officer had "...within the last few weeks, taken the portraits of several gentlemen of this borough...Mr. O. is principally self-taught, and although young, already evinced a degree of taste, judgment, and talent..." A short biography of Officer can also be found in Early American Portrait Painters in Miniature by Theodore Bolton, published by F. F. Sherman (New York, 1921). The entire book is one line  Bio. of Officer on page 117. See Officer’s portrait...

Vintage pair (2) Folk Art or Outsider Art Portraits of Native Americans. The female displays braided hair and a necklace with pendant of possible an acorn or shell; the male with a ...

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"...

JOHN R. WATTS (Unknown/Unidentified Artist) - Folk art watercolor and gouache landscape painting on paper - graphite highlights and shading - unframed - signed and dated lower right ...

Trompe l'oeil oil on board painting. Trick of the eye still life of a hand towel, a folding ruler, envelope and an almanac dated 1831. Most likely, the mundane everyday items used in...

Stunning vintage sketch of the unfinished head of Michelangelo piece. Done as a study by an artistic

This original framed pastel, hand-painted Indian chief is signed E. Summer 35 and is in wonderful condition.

Signed and dated by Datroll 1929 pastel water color on paper and in vintage original frame. The condition is very good.

Circa 1970 oil on panel depicting a traveling pack of animals by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995). Fine example sho...

This watercolor painting is newly framed and is one of two by the same artist in our gallery. The second one is also signed by the artist and marked Southern California. The conditio...

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