Paint Wall Decorations

Oil on panel, signed and dated lower right and inscribed verso. The measurement, including the frame, is 14.5" x 16". Sweden 1901 - 1986 Erik Artur Olson was a Swedish painter, ...

A finely executed 19th century ‘plein air’, Barbizon School inspired landscape by noted Canadian artist W.E. Atkinson. OSA. ARCA. Oil on canvas, signed & dated 1894 bottom left. ...

Two separate watercolor views of the California Rancho structure "Casa de Estudillo" by Willet S. Foster, painted in 1931. This compound also has been referred to as the inspiration ...

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...

Seascape oil by Frederick Judd Waugh (1861-1940). Waves crash against cliffs in this dramatic seascape on board with shades of rust and blue greens. Signed lower right. Overall size ...

Hard Edge New York School Ab Ex Oil on Canvas Painting by Dennis Ashbaugh 1976 Signed. Stunning work by the superstar contemporary NY artist, Dennis Ashbaugh. From his early series...

Fantastic 19th century oil on canvas featuring a fisherman's bounty of fish, crustaceans and squid. Wonderful colors. Signed L. Cros.

A wonderful and very striking large vintage watercolour painting by Bettina – titled: Hippy Lovers – 1973. This is beautifully executed and has a whimsical design, depicting colourf...

Gustav Klimt, (Austrian. 1862-1918) After Peter Paul Rubens: The Triumph of Truth signed and dated 1880, l/r., Wiener Kunst Auktion label on the reverse board, watercolor on paper 3...

A fabulous vintage Boho original oil painting. A beautiful French abstract signed by the artist. Beautiful warm colors in this bold composition. Acquired from a Miami estate. The ...

Sara Skolnik's 'Flight of Fancy' oil paint on canvas is a visual symphony of line and color. Her use of five true primary colors ( Francois d'Aguilon's yellow, red, blue, white and b...

A nice oil on canvas by the noted French painter Jean-Pierre Clement. It is signed titled and dated upper right corner. It is dated and titled La Parade, 196...

A classical yet modern acrylic painting on Masonite depicting a woman and a dolphin by Ljubo Biro. Signed mid-bottom. Circa 1960s. A unique textural painting with a rich impasto. Bir...

Bengt Olson painting , oil/acrylic on canvas signed by the artist Dimension of the canvas 47 cm X 55 cm Good condition Bengt Olson, born June 22, 1930 in Kristinehamn,[1] is a Swedish painter, printmaker and sculptor who has lived and worked in Paris for most of his life. He is married to Christiane Fulconis, whom he met in Paris when he moved there and began his major work in the city. Son of Allan Olson and Elin Maria Johnsson. Bengt Olson grew up in Kristinehamn with parents interested in art and began to earn a living from painting from the age of 15. He studied at the Valand School of Art in Gothenburg from 1948 to 1952 under Endre Nemes...

Pair 18th Century Bilston Oval Enamel Plaques , depicting pastoral scenes, each painted with figures, one on lakeside by a park with a castle, the other under a tree by a pond, both ...

In good condition From a private collection Free international shipping Belgian Impressionist Forest Landscape Signed Early 20thC

Original oil on canvas painting by Christian Pram-Henningsen (Denmark 1846-1892). Subject is a young student darning his socks by the light of a window. Oil on canvas. Signed and d...

A classical yet modern acrylic painting on Masonite featuring a romantic couple by Ljubo Biro. Signed mid-bottom right. Circa late 1960s to early 1970s. A unique textural painting wi...

A large scale mid century abstract painting by the listed artist David Barry Lewis (1945-). Lewis resides between Texas and California The painting is signed and dated 9-75 in the ...

AURELIANO MILANI (attributed) (Bologna, 1675 - Rome, 1749) "The Repentance of Saint Peter" Oil on canvas, 75x58.5 cm without frame 85cm x 68.5cm with frame Aureliano Milani (Bologna,...

Philip Wofford's 1977 acrylic on canvas, "Grotto", is a stunning piece that measures 61.5" x 61.5". Wofford, born in Van Buren, Arizona in 1935, received his BFA from the University ...

French-English Impressionist oil on board still life C.1980 Signed lower right hand corner. Framed. In very good condition commensurate of age. Private London Collection Minou Steiner (1940-2008) Minou Steiner was born in Normandy, France, in 1940. Growing up in Paris, Minou later moved to London in the late 1950's. It was in 1961, however, that Minou discovered Cornwall and relocated to St. Ives, Cornwall where she exhibited for decades at the Falmouth Art Gallery and at the New Craftsmen...

19th century oil on canvas painting depicting lady in garden in gold gilt frame. The woman is among tall trees watering flowers. British School, Engla...

Klaus Fußmann (*1938 Velbert), "Dahlias" Pastel chalk on laid paper, created in 1997 signed and dated lower right framed Dimensions: Sheet size: 75 cm x 75 cm

Set of four Ship lithographs, depicting the ships, Narcissus, Bellerophon, Monarch and Warrior, published by Griffin and Co. Encased in ebonised frames...

Memphis and Maya come together to manifest the "Tex" Floor Lamp into existence. Made by Neophile and dated 1988. Eric Bergman and Gordon Naylor, Industrial Designers with backgroun...

Michael Mew painting, ‘Robots Gone Bad 2’, mixed media 2008 Title: Robots Gone Bad 2 Date: 2008 Medium: Paint, mixed media, collage resin on panel Si...

Signed and dated expressionistic abstract painting on canvas. Oil paint on canvas in a black and gold profile wood molding frame. Signed and dated, C Cattaneo, '73 (Carlo Cattaneo). ...

Early 19th century oil on long board portrait of man painting in gold gilt frame. Handwritten info note found on the back of painting (last photo) says "Oi...

Beautiful hand painted wooden tiles with checkerboard pattern, 14 tiles in total, 2 red, 6 black and 6 gold. Great as a wall installation or a small space paneling, made in Italy.

C1830 Pair of 19th Century French Over-Doors Beautiful Condition - purchased in France. Age appropriate wear, see detailed photos or message us with questions.

Pair of painted, carved and gilt panels in relief of gaming and gambling casino scenes. Figural wood relief carving with gold and silver gilt with painted background. The pair shows gambling and gaming scenes...

Rich old world colors are predominantly used in this well painted Art work. Pheasants working with livestock are featured in the Center of this piece. A castle is in the background o...

Large 18th C. Bucolic Painting Garden Nature Scene Landscape Dog Flowers Antique . A Beautiful Hand painted bucolic " Bucolique " painting in the spir...

An impressively large and attractive work by Australian artist Ronald Millar. A study in virtuoso tonal painting with wonderfully warm colours setting a mood, evocative of summer hea...

Oil on board of woman signed Gustavo Schmidt, 1996.

A large English oil painting depicting three sheep in a barn with chickens from the late 19th century, signed W. Topham and set in a giltwoo...

Kevin O'Toole "Interlock" Wooden Wall Sculpture with triple panel interlocked painted wood construction. This piece is signed, titled and dated and comes with wall mount cleats on b...

This vintage signed original one of a kind watercolor by Chamberlain and dated 1960 has a real sensuality to it. This has been tastefully and be...

Great original mixed media abstract oil painting by listed female artist Mil Lubroth and dates from the 1960's. Wonderful design and comes in its original silver painted wood frame. ...

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

Beautiful fragment of a tempera painting on a gold background, applied on a wooden panel, depicting Saint Thomas Aquinas. The saint is dressed in the Dominican habit, characterized b...

Vivid color and movement to this original acrylic on canvas. Signed and dated on the verso. Shelley Herman 1970 "June Breath".

Original oil on wood-panel painting by Turkish artist, Hatice Güleryüz. Symmetrical design of repeated star motifs. Painted in colors of Ox-blood, Pale blue, and white.  48" x 48" x...

An alluring oil on canvas portrait depicting a beautiful young woman decorating her hair with a red lace. Made by Lajos Rezes Molnár (Hungarian 1896...

Set of three original hand-carved letterpress made by the Neal Walters Poster Company. Fantastic carnival midway scene. Games, carnival rides and acrobats. Carved with incredible detail, please see photos. The colors are the original ink used during the three color posted printing process. Circus and...

Abstract geometric Cubist oil painting on canvas housed in elaborately molded gilded wood frame. The piece features a pattern of opposing diagonal lines that create a triangular frac...

In good condition From a private collection Free international shipping Coat of Arms Flowers Still Life Watercolour on Embossed Paper 19thC

Late 19th Century French Portrait Actress Madam George. Excellent Condition, Beautiful painting purchased in France. Age appropriate wear, see detailed photos or message us with an...

19th century French framed floral oil painting. Stunning 19th century French framed oil on canvas painting. This gorgeous well executed Barbi...

Painting of an Italian woman making yarn, playing with a cat. Late 19th or early 20th century Watercolor on paper. Signed (Girolamo) Nattino, Naples. Nicely framed and ready for hang...

A fine pair of 19th Century oil on canvas portraits with decorative oval hand carved gilt wood frames with foliate and beading motif detail.

An antique 18th century Indian miniature depicting the Indian Mughal princess Nadira Banu Begum, who lived from 1618 to 1659. On the back, on the frame, there is an inscription: Nadira crosses the desert of Rajasthan. This lightful image belongs to the Rajput school, 16th to 19th centuries, spread in Central India and Rajasthan on the territory of the Rajput principalities. Its main centers are Bundi, Mewar, Marwar, Malwa, Kishangarh. Antique Indian Miniature, Illustration, Vintage Oriental Art...

An original artwork by Marcel Vertes for a poster of Lily Pons (1898-1976) the famous coloratura soprano for a concert at Carnegie hall. The medium is gouach...

An eye catching classic Hermes style silk scarf shown in an elegant custom gilt wood frame. Makes a luxurious piece of art. The scarf is in very good vintage condition, it appears w...

Vintage oil painting, canvas mounted on board, "Pa", by Thelma Hope, 1898 - 1991, United States. Framed in wood. Companion piece is listed separately as "Ma". Known for her impressio...

This listing is for a Large Modern Expressionist Abstract Painting. Featuring a black wood frame, original expressionist style abstract art with a mixture of bright colors, and a wir...

JOHN WILSON CARMICHAEL British, 1800-1868 "View over Lake Nemi, Italy" (1865) Oil on canvas Signed lower right "1865 J. W. Carmichael" Item ...