Illuminated Persian Manuscript Miniature with Shahnameh Scene

Penny Purpura (American, XX-XXI) New York studio figurative oil on canvas depicting an interior scene with a man and a woman sitting back to back, appare...

Arthur Maclean (American, XX) oil on canvas depicting a beach scene with fishing boats, signed to lower right, housed in a wood frame. Dimensions: Image: 15.75" H x 19.75" W; fram...

Mid-Century Modern oil painting on canvas depicting a bustling street scene on the continent, illegibly signed lower right, circa 1950s, housed in a cerused wood frame. Dimensions: ...

Oil painting on canvas depicting a still life scene with fruit atop a table, signed "Pieter" lower right, housed in a gilt wood frame. Dimensions: Image: 4.5" H x 6.5" W; frame: 1...

Charcoal sketch on paper after Signorelli's "The Elect," bearing signature in Asian characters and date "02" to frame reverse, handwritten inscription "Dear Dr. Mio Friedland / The E...

Justin Maurice O'Brien (Australian, 1917-1996) figure study sketch ink on paper drawing depicting a nude man, signed pencil signed upper right, housed u...

A miniature Indo Persian Mughal Art watercolor painting on antique manuscript leaf depicting a portrait of a Royal person, probably Dawar Bakhsh, f...

This Mughal miniature was painted at one of the princely courts of India. It depicts a raven-haired princess in a gold-trimmed saffron-colored silk sari. Under a glowering evening sky she dawdles on a white marble terrace, with a pet fawn on a leash, before a landscape dotted with buildings nestled amongst trees beyond a river. Her hair, falling loosely about her shoulders, rather than carefully dressed on her head, indicates that she is a maiden. The overall mood is one of expectancy. Perhaps walking a pet and catching an evening breeze is a pretext to escape palace scrutiny for a lovers’ assignation. In Mughal India tender sentiments were a bridge to the erotic – and if this seems contradictory, so too is the balance of realism and caricature, and naturalism with the schematic. Both are hallmarks of miniatures painted in this place and time. The earliest Mughal Indian miniatures date to the 16th century. They were inspired by those painted at the refined Moslem courts of the neighboring Persian empire. They incorporated figures in spite of the Moslem faith’s proscription against depicting the human form. Such was the nature of sophisticated courtly life everywhere that beauty and pleasure trumped systems of morality. This was no less the case at the provincial Indian courts, where our miniature, marked by a charming pictorial naiveté, was most likely painted. Yet the artist was undeniably accomplished. His command of perspective, introduced by Jesuit missionaries in the 17th century, is seen in the landscape, which rolls back to a distant horizon, contrary to the flat two-dimensional ones following Indian-painting traditions. And if Mughal artists were influenced by Western art, the compliment was returned by Rembrandt and Sir Joshua Reynolds, among others, who collected Indian miniatures (as did, perhaps, Giovanni Bellini who painted in Mughal style the famous miniature of a Persian man...

This pair of manuscript pages are 18th century and are done it water colour and gauche. The images are of people in landscapes and the colors are still...

Framework mixed-media on cardboard. Italian painting from 20th century depicting an interior scene with characters, of good pictorial quality. Golden wooden frame with passepartout i...

Ernest Wagner Gouache on paper depicting a Japanese scene, dated 1949-1950 and wears the artist's stamp on the back. H.20" x W.18"1/2 ( drawing ) - H.22"1/2 x W.18"1/2 ( sheet )....

Maximilien Luce (Fr. 1858 - 1941) Farm Scene Painting Maximilien Luce incorporates ink, crayon, and watercolor to create a large impressionistic and multifaceted social statement of the times. A French 19th century story unfolds of a family working, learning and playing together. It makes you wonder if they are storing the hay for winter or what other animals they possess and what they will trade if they have excess hay. Luce was a master of viewing human interactions and placing his interpretations on paper and canvas. This painting is very large and detailed signifying that it was not a sketch or study; but a important piece of Luce’s repertoire. I would like to personally thank Denise Bazetoux for authenticating this painting. Mixed media on paper. Village Farm Scene. Signed: “Luce” LL Hammer Galleries stamp verso. From a New York, NY collection. Dimensions: 21" high x 29.25" wide Framed: 31” X 38” Inches Condition: Very Good to Excellent. Framed behind glass, not examined out of frame. Minor toning at margins. Frame with wear commensurate of age and use. AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return policy if the items are not as described. Maximilien Luce (13 March 1858 – 6 February 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. Maximilien-Jules-Constant Luce was born on 13 March 1858 in Paris. His parents, of modest means, were Charles-Désiré Luce (1823–1888), a railway clerk, and Louise-Joséphine Dunas (1822–1878). The family lived in the Montparnasse, a working-class district of Paris. Luce attended school at l'Ecole communale, beginning in 1864. In 1872, the fourteen-year-old Luce became an apprentice with wood-engraver Henri-Théophile Hildebrand (1824–1897). During his three-year xylography apprenticeship, he also took night classes in drawing from instructors Truffet and Jules-Ernest Paris (1827–1895). During this period, Luce started painting in oils. He moved with his family to the southern Paris suburb of Montrouge. His art education continued as he attended drawing classes taught by Diogène Maillard (1840–1926) at the Gobelins tapestry factory. Luce began working in the studio of Eugène Froment (1844–1900) in 1876, producing woodcut prints for various publications, including L'Illustration and London's The Graphic. He took additional art courses, at l'Académie Suisse, and also in the studio of portrait painter Carolus-Duran (1837–1917). Through Froment's studio, Luce became friends with Léo Gausson...