Canvas Wall Decorations

Masterful oil landscape of Carmel California by American regionalist, Louis Mayer, whose work reflects a deep appreciation for natural light and seasonal changes.

Oil on canvas by José Herrera (Spanish, 1943-). Signed and dated 1973. Original stainless steel frame. A beautiful piece.

Decorate a den, study or office with this large antique cow painting. Hand painted in Switzerland and set in the original carved gilt wood frame, ...

Extraordinary vintage 1980s Memphis style painting with intriguing 3D design. This is a mixed media piece that blurs the line between painting and sculpture. In fact, one could go so...

18th century Italian battle scene, oil on canvas in an antique giltwood frame.

This painting, portraying a seated woman in a contemplative pose, rendered in a warm and earthy palette, reflects influences from the Post-Impressionist and Early Modernist movements...

Once installed architecturally in a chateau in Normandy, France, this large pair of overdoors was painted in the 1700s and executed in a technique known as verdaille. Verdaille utilizes various shades of green to achieve a mesmerizing monochromatic effect. This technique’s rich history traces back to the 12th century when it was initially employed to create stained glass for Cistercian monasteries, where colorful art was prohibited, making these overdoors not only aesthetically captivating but also a piece of living art history. Interestingly, there is a hand-written transport note on the back of one of the overdoors (see detail photo) that mentions the paintings were to be shipped to a Madame DeFrance in Paris, at the rue St. Honore corner of la rue Dufour (freight pre-paid). These exquisite pieces are encompassed by wood frames adorned with lavish foliate carvings, beautifully painted in a soothing French gray hue. Each overdoor encapsulates a unique musical scene that transports you to the heart of 18th-century Europe. In the first painting, a man plays the uilleann pipe, a unique instrument with a bellow-driven mechanism that distinguishes it from a bagpipe. The musician has quite an audience, as two women, one cradling a sheep, and four more sheep next to a dog have gathered nearby. In the second painting, witness a captivating moment of courtship as a gentleman kneels before a woman with a tambourine in her hands. He presents a long woodwind instrument, possibly a carnyx, while a faithful dog rests nearby amidst a backdrop of gardening tools. These stunning French verdaille overdoors were once part of a themed boiserie room (most likely green in color and centered around music). They can once again be used to create a theme above a pair of interior doors or they can be hung as a unique set of artwork.

Decorate a wall with this beautiful antique painting. Created in France circa 1820 and set in the original carved gilt frame, the hand painted canvas depicts a serene pastoral scene,...

This evocative oil on canvas, signed and dated "W. H. Cox 1931," is the work of William Cox, an American artist whose paintings capture the romanticized grandeur of architectural and...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Califo...

Saskia smiling with feather bar (circa 1633). Oil on canvas. Exceptionally beautiful copy after Rembrandt, back titled - copy after No. 1556, the royal pai...

JULES DUPRÉ French, 1811-1889 A Pastoral Landscape of Horses Drinking Oil on canvas Signed lower right "Jules Dupre", numbered verso with ink stamp "28288" circa 1840s Item # 11...

Unknown artist, painting, oil on canvas, after Peter Paul Rubens "King David playing the Harp", framed, picture dimension 80 x 70cm, total size 100 x 90cm.   

18th century continental portrait of a young lady, unsigned. Oil on canvas, oval painting and stretcher set in rectangular gilt frame.

A postmodern oil painting on canvas titled "Configuration" by Michigan artist Alan Watson. Titled and dated spring 1986 on verso. A vibrant co...

Vintage 1980s geometric Memphis style painting… capturing the full essence of the era. This large scale painting is the 1980s in a nutshell. Anyone who lived the period immediately gets flashback of Miami Vice, Trapper Keeper...

Important painting, oil on canvas by Jean Franck Baudoin ( 1870-1961), Notre Dame de Paris. Oil on canvas, painting by Jean Franck Baudoin representing Notre Dame de Paris, signed l...

Gaetano Ottani (1720 - 1724 / 1801) Pair of paintings depicting landscapes with ruins and figures Measurements: canvas cm W 82 x H 66; with frames cm W 98 x H 82 x d 6 The two valuable paintings, made in oil on canvas, depict landscapes with architectural whims animated by some figures. The architectural whim, an artistic genre that has made its way in Italian painting since the seventeenth century, is characterized by the representation of fantastic architectures or inventions of perspective type, sometimes combined with elements drawn freely from reality. In the works we observe large arches, colonnades and friezes fallen into disrepair, placed in perspective in order to create a greater depth, are inhabited by spontaneous vegetation that partly covers the top. Around other architectural elements of classic taste, such as sarcophagi and vases, move and balance the composition. Greenery dyes the ground, which fades on the horizon into plains with some small and distant buildings, while some rocky mountains are lost far away, creating a scenic backdrop that emphasizes and amplifies the effect of the perspective escape line of buildings. Some figures of gentlemen who entertain in speeches, accompanied by a dog, other travellers and characters from rural life enliven the composition. It highlights a remarkable pictorial quality with which the artist traces the characters and the ruins and a bright and well-balanced color, played on delicate tones and in harmony with each other. Stylistically the works are certainly attributable to the Italian painter Gaetano Ottani (Italy, Bologna, 1708 - Turin, 1801). Gaetano Ottani was born in Bologna in 1708. Unfortunately, the artist still lacks a monographic study. The date of death by many still erroneously indicated in 1808 is instead 14 January 1801 when the artist was 92 years old. He was therefore born in 1708, and not in 1720-24 as many report (for the recording of the act of death to the Municipality of Turin, cf. Historical Archives of the Municipality of Turin, Rubrics of the Acts of Death, vol. 37: Thursday, January 15, 1801 "Gaetano Ottani - 92 - old age - S. Filippo" is preserved among the documents of the parish of San Filippo di Torino). Ottani studied at the Accademia Clementina. He had a complex career as a set designer, as a painter and as a tenor, much appreciated in Italy. He devoted himself mainly to easel painting, and in particular to the genre of caprice, often with views of ruins and fantasy marinas full of details, night visions on colonnades. He first took as an example Pietro Paltronieri, the Mirandolese; to the maturation of the style, he had to concur the study of known artists in the journeys undertaken as an opera singer. He was very influenced by the great scenographer Ferdinando Galli Bibiena. Tenor, and therefore in the system of the voices of the drama for music of the mid-eighteenth century predestined to the parts of ruler and parent, he always sang only in “opera seria”. Diego Tufarelli, impresario at S. Carlo in those years, had hired Ottani considering him the tenor...

Large color field modernist abstract oil on canvas painting by Linda Hopkins. Purchased straight from the estate of Leonard Buzz Wallace. Hopkins and Wal...

A monumental pencil and acrylic painting on canvas by American artist Marc Ross, 2022. This minimal abstract painting features an impressive gradation of ochre and burnt orange hues ...

Very large oil on canvas signed by Ernest PRUNET, 1840-1901, based on Alexandre Cabanel's original work La naissance de Vénus and exhibited at the Musée d'Orsay, on the theme of Venu...

J. Paramé is considered one of the most talented and promising Portuguese artists of his generation. Born in Lisbon in 1978, he studied at the National Society of Fine Arts in Lisbon...

In good condition From a private collection Free international shipping 17th Century Old Master Oil Painting Portrait of Saint Dominic

Belgium / 19th century / painting / oil on canvas, wooden frame / Baroque / Antique / Mid-century A beautiful painting in the style of the Flemish old masters. This enchanting pain...

American abstract Bauhaus style high rise building. Oil on canvas, signed "E.M." dated 1958.

Antique Framed Oil Painting by Francois de Lalande is a splendid pastoral that combines forest, a riverbank, livestock and a quaint water wheel all in late fall colors. The artist dr...

1970s Jaime Parlade Designer Hand Painting "Tigers" Oil on Canvas.

Karl Viktor Mayr (Austrian, 1882-1974) a very fine Austrian oil on canvas "An Exotic Nude Girl" depicting a young semi-nude woman, revealing her breast...

An interesting colorful painting (acrylic on canvas) by Eric Dennard, 1942-1993. Signed, dated 1971 in a period lucite frame. A note about the artist: "...

A six panelled screen of the late Baroque period Oil on canvas, depicting a panoramic view of a Capriccio north European landscape, perhaps Schlesweig-Holstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy...

Spanish Colonial Penitent Mary Magdalene Original oil on canvas painting XIX century Details Original period frame. Painting dimensi...

From the series e·the·re·al, this artwork flows in deep amber and clay hues, gently curling into a vortex of soft translucency. Created with ink and resin on canvas, the composition ...

Charles Levier born of a French Father and American mother. He was was active/lived in New York, California / United Kingdom, France and is known for landscape, still life and figura...

Very beautiful oval painting, oil on canvas in its original wood frame dating from the 19th century and signed Hubert on the left bottom. Painter probably Dutch or German. Harvest s...

Pink yellow blue abstract contemporary painting titled "Palm Springs" by Rebecca Ruoff. Acrylic/Oil in canvas.

Beautiful large mixed media artwork on canvas having an abstract composition with floral feel that incorporates paint, paper and other mixed media.

"HEN AND CHICKS" (1867) BY ANDREA CHERUBINI (ITALIAN, 1833-1905) In oil on canvas, signed lower left "A Cherubini 1867, Roma" Item # 007NKJ21H An exqu...

Albert Ferenz (1907-1994), Germany. Oil on canvas. Abstract composition. Mid-20th century. The canvas measures: 44 x 34 cm. The frame measures: 4 c...

American mid-century oil on canvas depiction of a 3 step ladder with an orange on top over a tarp in front of a trifold screen

American artist Claude Bentley (1915-1990); large abstract Expressionist oil on canvas from 1960 signed and dated on the front also signed and titled "Eclipse" in pencil on centre st...

Mid-Century Abstract Oil On Canvas Painting

The large impressive cottagecore pull-down map illustrates Northern Germany, Poland and parts of the Baltic Sea. It was published by Westermann-Schulwandkar...

Hugues Claude Pissarro (b. 1935) oil on canvas painting Le Bouquet Au Vase Bleu. Very fine impressionist oil on canvas by this highly sought aft...

A painting of a champion Seidenspitz. Standing on an oriental carpet with bouquet of flowers.

Holger Jansson, Sweden. Abstract composition. Oil on canvas. Dated 1996. Canvas measures: 65 x 54 cm. Signed. In excellent condition.

Impressive modern Golf Portrait, William Laidlaw Purves. Large oil on canvas of Dr. William Laidlaw Purves after the original oil painting by the Hon. John Collier (1850 - 1934), a prominent London artist. The painting is un-framed but is stretched and ready to hang, artist of this particular painting is unknown. The original painting now hangs at Royal St. George's, Sandwich. William Laidlaw Purves, oculist and obsessive golfer, was an Edinburgh born surgeon who worked in London, but remembered by most for his contributions to the golfing world. A very influential man, he was one of the key figures behind the spread of the game of golf in England towards the end of the 19th century. He won many important club trophies, the last being in 1914, aged 71 with a handicap of 3. He died at his home Hardwick Cottage, Wimbledon Common on 30th December 1917, and at the time he was a member of no fewer than 32 golf clubs. As a student Purves had played golf at Bruntsfield Links in Edinburgh and by the time of his London appointment he was a member of both the Honorable Company of Edinburgh Golfers and the Royal and Ancient Golf Club of St Andrews. Upon his move to London in 1874 he joined the London Scottish and Wimbledon Golf Club. The two clubs shortly separated into two separate clubs, The London Scottish Golf Club and the Wimbledon Golf Club, but both continued to play on Wimbledon Common. In 1882 the Wimbledon became the Royal Wimbledon Golf Club and Purves became an active committee member, later being elected Captain. As the two clubs also shared the Common with the public play was restricted, so together with a fellow Scot and keen amateur golfer (Henry Lamb...

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...

Ksem Khaolaor painting titled "Pinnacle of Enlightenment" Hair of the Buddha series # 3 of three individual paintings composed of different images making up the series. Acrylic on canvas, Northern Thailand, 2003. Kasem is most noted for his Buddha paintings...

17th century religious Spanish old master painting, oil on canvas, depicting Saint Anthony of Padua with infant Christ. Dimensions: (unfr...

"Golfers" Painting by Cuban-American Artist Geiler Gonzalez Offered for sale in an acrylic on canvas painting titled "Golfers" by Cuban-American art...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Pär Lindblad (1907-1981), Sweden. Oil on canvas. Modernist landscape. Man on a bicycle along the coast. 1940s. The canvas measures: 64 x 31 cm. The fr...

Antique early 19th century Spanish Andalusian oil on canvas portrait painting. Dimensions with frame: 94x81x4cm.

American School, painting likely done in the mid 20th century and set in a 19th century frame. This is a very well done nautical painting of a Union Clipper ship and naval ship sai...

1991 original Abstract painting by S. Glass. Constructed of acrylic, concrete and found objects on canvas. Signed S.Glass 1991 on the back and S.Glass on the top (see detail photos)...

Signed lower right and on verso. The scene in a kitchen featuring bountiful summer produce spilling out of a basket in the center. Fruit and cheese, milk and various cannisters are a...

Harry Sunter (American, 1850-1900). Harry Sunter (American, 1850-1900) "Old Mill By The River In Massachusetts" A fantastic painting for any American art collectors especially with...

A magnificent Welsh 18th century oil on canvas painting by Richard Wilson. The painting is framed within a striking and richly carved giltwood border with fine foliate designs and in...