Paint Wall Decorations

Step into the elegance and nobility of the 18th century with this striking original oil portrait, titled “Chasseur”, attributed to the French School. Depicting a regal gentleman hunt...

Beautiful tile mural with the "SHIP" motif finely painted. Quantity: 24 tiles Tile mural size: 23.6"H X 35.4"W (60cm X 90cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portug...

Agustin Gainza Oil Painting "Wedding at The Havana Cathedral c1880" Offered for sale is a large oil painting on canvas by Cuban-American artist Agustin Gainza. The painting is sig...

A unusual pigment and oil on board portrait of an elderly Chinese gent by Susan Jayne Hocking The painting has a thick impasto application with sgraffito mark making, and what appe...

This rare pair of large 19th century oil paintings features Julius Ferdinand Dreysel and his wife Friedericke, influental figures in the textile industry of Plauen, Germany. Painted ...

This large remarkable mid-19th-century oil painting shows Julius Ferdinand Dreysel, a prominent cotton and embroidery manufacturer from Plauen, Germany. Painted around 1840 on a mult...

This elegant 1840s oil painting shows Christiane Friedericke Dreysel, born Teuscher, wife of German cotton manufacturer Julius Dreysel. She is seated at a table and wears a high-nec...

An evocative and atmospheric example of WPA mural painting, this large study in watercolor and crayon depicts a stagecoach being loaded with mail and passengers for the journey from ...

Painted by the French painter, Edouard-Henri Muller, (1898-1973), this oil on canvas painting depicts a section of a garden at the Palace of Versailles. Specifically, the heavily woo...

"Harry Lathrop Driven by Dan Mace" by John McAulliffe This large mid-19th century, oil on canvas painting depicts a horse, son of Blood's Black Hawk, driven by Dan Mace. Mace was on...

This fresh and vibrant portrait of a young woman with glowing blond hair and a blue 1940s frock is one of the finest World War II vintage portraits we have ever offered. Her complex...

Art Deco Nude by John Montroue, signed in lower right corner and reverse reads - "Grace" Air brush technique by John Montroue, 8/70. Dramatic silhouette of a female nude, cubist/mode...

- This product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. This is a designe...

A late eighteenth century portrait of a lady, oil on canvas, in a French Empire 19th century giltwood frame. Attributed to Henri-Pierre Dan...

One of the most beautiful and tender depictions of maternal love from the Art Deco period that we have ever seen, this richly-toned oil painting by Gino ...

Pair of tiger and lion Art Deco framed paintings. Oil on panel. Beautiful carved wood frames.

Seascape / boat scene acrylic on canvas, circa 1970s, Greece. Work boasts attractive color use and applies an impasto technique, which gives the brush strokes a heavily textured ap...

Copy of Middle Eastern streetscene painting "The Party" showing harem women dancing in crowded market square

Copy of a portrait painting of a gentleman with a red beard in a blue suit

FRENCH SCHOOL of the 18th century. "Virgin Mary and Child Blessing". Oil on canvas in a gilded wooden frame. H.77 L.61cm 87cm x 71cm with frame good condition

In good condition From a private collection Free international shipping Giuseppe Pitto (Italian, 1857-1928) Large Italian Market Oil Painting

Exotic and highly atmospheric, this nocturnal Art Deco scene of the famed Egyptian prince, Saif ul Malook, from the fairy tale by Mian Muhammad Baskh, was painted by Gösta Adrian-Nil...

Montague Dawson: A Moonlight Scrap. This dramatic watercolour on paper shows a WWI R-class destroyer escorting a battleship through a night-time encounter in choppy seas. The moon ha...

A pair of antique Grand Tour style framed watercolour paintings after Michelangelo’s the Hours of the Day and Night. Both paintings depict angelic figures, one playing a tambourine,...

Important still life painting by Cuban artist Mario Carreño. (Mario Carreño y Morales (1913–1999) Provenance: Private collection UK – Commissioned in 1976 directly from the artist...

Edmond Louis Maire (French, 1862-1914) A Monkey Still Life Painting with Fruits and Flowers, 1904 Oil on canvas Signed Lower Right Edmond Maire a...

Peter Keil abstract painting with vibrant colors of red, yellow, and blue. Framed and signed by artist. Certificate of Authenticity included.

This is a wonderful and large painting by Tommi Parzinger (1903-1981). The painting measures 48" by 36" and is unframed. Titled "Abov and Below with Gnoms 2" and numbered #65, the oi...

Very Large Abstract Expressionist Cow Painting. Large Colorful composition with impasto strokes and much movement in its style. Perfect for a large farmh...

A wonderful example of Art Deco painting by William Hentschel, this depiction of a pink ostrich near a purple flowering plant has the feeling of 1930s and 40s animation such as Disne...

One of the finest examples of illustration art and Art Deco painting we have ever offered, this elegant and sophisticated view of New Yorkers skating arm in arm on a frozen pond or l...

This painting of a guitar provides a simplistic interest to the viewer with it's different lines, shapes and brush strokes. It's signed J. Lacoste.

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...

Dimitri Romanovski was an early modernist and this early oil on canvas rendering of a botanical specimen single blooming white tea rose is characteristic of his botanical paintings. ...

Copy of a French Impressionist seascape painting of tall ships at sea with smaller boat in foreground

J. F. Herring, set of four 19th century Hunting colour engravings encased in giltwood frames. Dimensions Height 33.5 Inches Width 44 Inches Depth 2 Inches.

Framed in a late 19th century carved giltwood, a portrait of a gentleman in a Tophat and fur collared coat, signed and dated circa 1890.

Large 1945 John Sennhouser Abstract Oil Painting On Canvas, Framed and Signed Offered for sale is a large 1945 John Sennhouser ((Swiss-American 1907-1978) abstract oil painting on ...

Mario Fernando Beltrami (Italian, born May 2, 1902 - died September 7, 1987) was a renowned portrait and landscape painter who competed in the 1932 Summer Olympics Art Competitions f...

Attributed to Joza Uprka (Czech 1861-1940) “Slovakian Woman” A Rare Oil on Canvas Painting Depicting two Czechoslovakian women in traditional outfits, one woman helping another put...

Antique Framed Oil Painting on Canvas by Massimo Salvati depicts a quaint harbor of a seaside village in Italy, all from the fisherman's perspective with the village in the backgroun...

Vintage English print of a watercolor painting on paper depicting curtains in a fruit & floral pattern, white matted in a faux-textured parcel gilt painted wooden frame with applied ...

Depicing a genre scene in the Baroque style showing a dark vs light contrast imitated throughout the 18th and 19th centuries, placed in a later Regence style frame this oil on canvas...

Manuel Monton Bunuel (Spanish, b. 1940), a moody Winter street scene, oil on canvas, signed Bunuel lower right, An expressive contemporary oil pai...

Wonderful oil painting on wood panels by Brooklyn listed artist Ben Pritchard. Dated 2003-2006. Great contemporary art piece. Signed and dated on the bac...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

Each with nicely carved and gilded frames. Each panel with a variety of farm birds, ducks and other fowl. Indistinctly signed.

Keith Haring (American, 1958-1990) 'Playboy Bunny No. 2' Serigraph. Special editions, LTD. 1990 - 478/1000

18th century Italian old master, oil on canvas, depicting a remarkable and very fine portrait of a scholar. Provenance: an important private collection Good condition overall, ready...

"Untitled" 1999, Watercolor Figure by American Artist Martin Sumers. Wear is consistent with age and use. See photos for details. 12.25"" W x 14.25"" H Martin Sumers (1922–2012) w...

Elegant pair of small round oil paintings on canvas, applied on poplar board. The two paintings are framed in a round wooden frame painted in lean tempera. Both depict landscape and ...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...

Vintage "The Falconer" Original Oil Painting on Panel Signed by Charles Bragg, Linen and Painted Finish Wooden Frame, Wire Hanging back of the Frame. Dimensions: 28"W X 2"D X 24"H

American Mid-Century Seascape Painting of Two Row Boats in a Lake with a building in the background in a gold frame (signed: GIORDANO)

In good condition From a private collection Free international shipping Belgian Farming Landscape Oil Painting 19th Century

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Dramatically and vividly painted, this depiction of a seated Archer of Asian descent, holding his bow in one hand, is a Classic example of Depression-era portraiture. The contemplati...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

English Victorian carved gilt framed oil landscape painting of cows by stream (Walt Williams)

Copy of a seascape painting titled "Capture of Fort Saint-Jean D'Uolla November 23, 1838" Showing tall ships on fire