Paintings

This is a mid century abstract Impressionist oil on canvas cityscape. This oil painting is presented at a painted black frame. This impressionist oil painting has brilliant tones of ...

Antique French painting from 18th century. Oil painting on canvas, depicting landscape with ruins and characters of good pictorial quality. Wood and plaster frame of the 20th century...

Lennart Lilja, Sagomöte Oil on the board Work signed by the artist Dimensions 43/62 Framed work Lennart Lilja (1924-2008). He was a Swedish artist. Student of Isaac Gründewald and Otte Sköld. In the 1950s he wrote plays and tried his hand as an actor. This resulted in a role in The Seventh Seal...

Nice pastel portrait representing a young woman. Wonderful weathered wooden frame and its old glass, France, 18th century. Weathered, small losses.

Oval portrait Miniature on tortoiseshell of a noblewoman, probably Spanish, 17th-early 18th century. In original beautiful bronze moulded frame. Image size: 3 3/4" H x 3" W.

Sacha di Puchalo Oil on Canvas. Winter City Scene in a heavily applied pallet knife style. Nice period frame.

Fine 18th century portrait of a lady, unsigned, circa 1750, Sweden. (reframed, oil on canvas) According to old frame painted by Johan Horner (...

Attributed to the great William Marlow (British, 1740-1813). The ink, graphite and watercolor painting is likely a sketch for a larger work produced by Marlow or someone in his studi...

Important old-master painting, 18th century. Measurements: With frame: H. 65 W. 57 D. 5 cm Without frame : H. 48 W. 42 cm With frame: H. 25.5 W. 22.4 D. 1.9 in Without frame : H...

David Kleyne (1753- 1805) Dutch painter, oil painting seascape with ships David Kleyne (1753- 1805), Dutch painter, draftsman, pen artist, etcher. A beau...

For FULL item description click on CONTINUE READING at the bottom of this page. Offering One Of Our Recent Palm Beach Estate Fine Art Acquisitions Of A Large Colorful French Mid-Century 1953 Signed Oil Painting by Michel Marie Poulain...

This painting comes from Polland and is over 200 years old. Oil on canvas with little restorations.: let's not forget that there were two world wars in Europe. A lovely Madonna and ...

Beautiful oil painting on canvas depicting a winged putto with a tree background, grape branches and fruit. Within a molded frame in gilded wood, typical manufacture attributable to...

Karl Gustav Holmberg, Sea Motif, 1956 Oil on the board The work is dated and signed by the artist Dimensions 46/55 Framed work Karl Gustav Holmberg (1916 - 1994) was a creativ...

Joseph Thony Moises (TiTonton) (b. 1933 -?) - Haitian Artist Medium: Original Oil on Canvas. Subject: The Shoe Seller. Created: Circa 1950's. Painting Measures: 20"h x 16"w Frame Measures: 22"h x 18"w The work is in excellent condition with no damage. Joseph Thony (“TiTonton”) Moïse was born in Port-au-Prince, Haiti on June 18, 1933. He began working as an artist in 1952 at the age of 19, studying at the Center d'Art in Port-au-Prince under the guidance of Dewitt Peters, where he met and worked alongside Normil, Lazare, Obas and other great Haitian artists; continuing his education at “Foyer Des Arts Plastiques” with a group of friends. The artist’s best-known painting is Dechoukaj (Uprooting), which depicts the jubilation of the Haitian people at the end of the Duvalier regime in 1986 and hung for many years in the office of the Haitian Prime Minister. Moïse participated in numerous art exhibitions in Haiti, the United States, Canada and other countries, including at the Suski Gallery and Rutgers University. His work has been recognized in the New York Times; and one of his paintings, of the Haitian flag...

Ellerdaren, Swedish artist, abstract composition. Oil on plate. ”Helgmålsringning” (Tolling the bells). 1958. In excellent condition. Signed. Dimensions: 36.0 x 44.0 cm. Total dimen...

Nice wooden panel painted with geometric decorations, figures and fantastic animals, probably used to hide niches in the wall or as a decorative element on the door jamb. Typical Mar...

Antique painting, Flemish, flowers, Banks after Van Huysum Oil painting on canvas, from the 18th century, depicting a refined floral composition, made by a follower of Van Huysum, B...

Death of Socrates, oil on canvas, Unsigned, 18th century possibly Italy.

A late 18th century French painting depicting a romantic couple in a pastoral setting. Oil on canvas. Unsigned. Original gilded wood frame. Small repair to canvas in the upper left c...

A 1959 abstract oil on canvas painting by the American artist Walter Stomps (1929-2020). Titled Seated Nude, the painting depicts a seated nude female fi...

Antique Italian painting from the second half of the 18th century. Artwork oil on canvas depicting a portrait of a young girl, Princess with parrot, of good pictorial quality. Painti...

Wonderful painting of farmers bringing in the harvest of wheat Oil on canvas. Unsigned. Artist unknown Framed in a slightly distressed antiqu...

Beautiful European snow scene, oil on canvas by Czech/American artist Alois Lecoque (1891-1981) The work is in excellent condition and measures 20"h x 40"w. Frame measures: 27 ½ ...

1950s Original Oil Painting of Sail Boat Docked on Lake by Eric Marshall.

Fete Galante Scene from 18th century Piedmont-School. Bamboo inlay collage on canvas in carved antique frame. Net size: 40 x 49 cm Size with frame: 53 x 61.5 cm

Still life with copper crockery, bottle and majolica. Emilian school, 18th century On the top of a table there are some copper crockery for daily use, an excellently painted gl...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

Frideborg Bryth, 1950s Acrylic painting Dimensions 45/44 Framed work Frideborg Bryth (1910 - 2007). She was born in Huskvarna. She was married to the artist Lennart Lilja. They...

Pair of hand painted tile wall plaques by Paolo Rossi Osir, Brazilian, circa 1950s. His work is included in numerous museums, including the Museum of ...

The Engravings are showing The Old town of Paris and Neuilly at the beginning. the condition of the Frames is good, and the Paper is in fair condition. You can see on the paper whic...

Rare 18th century Spanish Colonial "Christ Ascending" on Canvas. There is a figure of Christ below a cross.

A fantastic 1956 cubist figural oil painting on canvas titled “Prince Aldobrandini” by well-listed Swiss artist Olivier Henrie Charles (b.1931–2013)....

Exquisite antique Arcadia Scene with Shepherds, by flemmish painter Jan Frans Beschey (Antwerp, 1717-1786). Signed bottom left: J. F. Beschey In antique carved wood frame. Net siz...

18th century continental eglomise painting of St John the Baptist preaching. Eglomise is a method of reverse painting on glass. In a go...

18th Century or 19th Century Orientalist Painting Of A Turkish Ottoman Sultan Mahomed Unframed in good condition ready to be framed and hung Size ...

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later fra...

Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793) Lying Female figure Oil on canvas, cm 46 x. 31 - With frame, cm 56 x 42 The present painting is connected by style and treated subject, in this case a young girl lying in an idyllic landscape, to the production of small pictures of pastoral subject of the Piedmontese painter Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793). Molinare was born in Caresana (Vercelli) on 19 July 1721 but after losing both his parents he moved to Turin. Here he became, from 1736, a pupil of the Academy of Drawing founded by the painter Claudio Francesco Beaumont (Turin, 4 July 1694 - Turin, 21 June 1766) where he remained as a pensioner until December 1755. Molinari was immediately engaged in the translation of the master’s sketches on cardboard used for the Regia manufacture of tapestries. His early success on the Turin art scene is confirmed by the fact that he joined the Compagnia di San Luca in 1756. In 1751 he married Margherita Peiroleri, whose brothers Pietro (engraver) and Nicolò (painter) also attended the school. Remained widower count two other marriages first with Lucrezia Elisabetta Burzio and then in 1770 with Domenica Maria Ferrero. On the death of the master in 1766 Molinari, considered by his contemporaries to be the most faithful interpreter of the master and for his elegant and Arcadian style, which clearly interprets the aesthetic taste of the court, was called to finish the works that remained unfinished, such as the altarpiece for the church of Santa Maria della Scala in Moncalieri depicting the Assumption venerated by Blessed Bernard of Baden and Saint Anthony. Molinari was also well praised by critics and Abbot Lanzi highlighted the quality of the production of historical and mythological subject for the rigorous post-marattesco classicism. In Turin he worked for Vittorio Amedeo III of Savoy as a portrait painter, executing for him eleven canvases (between 1774 and 1775), but, since 1745, he also supplied tapestry cartoons to the local Fabbrica, of which, in 1766, he became director. The production of paintings of sacred subjects is also lively, especially used in the decoration of the churches of the capital as the Assumption for the Hotel of Virtue and San Pietro Regalado and San Benedetto il Moro for Santa Maria degli Angeli ( Torino) He also painted tempera and oil cartoons for the same church, on the occasion of the beatification of Pacifico da San Severino (1787) and, for that of San Francesco di Paola, when Gaspare de Bono...

"An impressive early 18th century Dutch School portrait of Carolina Cornelia De Wille, circa 1714. The oval oil painting is on canvas and feat...

Oil on canvas depicting the mythological scene of Bezzebea bathing. Gorgeous woman wife of one of King David's army commanders, the latter, seeing her at the bath, fell madly in love...

Pair of two oil paintings on canvas depicting landscapes with figures. Veneto, 18th century Good state of conservation.

A flower still life, painted with oil on hardboard. The painting has no signature, artist unknown. Beautiful composition of the flowers with a ceramic flowerpot in the back. The pain...

A pair of beautiful French oil on board paintings from the 1700s depicting interior scenes with characters portrayed while eating and drinking seated at a tavern table. Stunning contemporary gold leaf...

18th century, French Painting with Landscape with Ruins Measures: frame cm L 165 x H 95 x P 10; canvas cm L 142 x H 71 This painting depicti...

An exceptional and extremely decorative Continental 18th century oil on canvas painting in its original giltwood frame. The wonderfully executed painting depicts a handsome young man...

Delightful 18th century Roman school representing a view of Rome fixing the "ponte Rotto". Painted in an architectural style of the best craftsmanship, this charming animated composi...

Painting with the still young Tsar Peter I. Due to his dark, rather unofficial jacket and the dark background the focus of the painting is based just on the face of the proud emperor...

Abstract Painting by Eugene Kloszewski, circa 1950s. Kloszewski worked with and was personal friends with Josef Albers. These works were purchased from Kloszewski's widow.

18th century oil on canvas, St. Joseph with Christ child. The unidentified artist who painted this bucolic scene, dominated by the figure of the sixteenth-century Portuguese monk Sa...

Portrait Of A Nobleman 18th century PORTRAIT OF AN 18TH CENTURY NOBLE ELEGANT AND LARGE PAINTING WITH THE PORTRAIT OF AN 18TH CENTURY EUROPEAN ...

Large oil painting on canvas depicting the Madonna with Child and San Giovannino within a carved and gilded wooden frame. The subject is particular as it leaves the classic canons of the representation of Maternity by presenting a Madonna without a halo. Attributable to the School of Giovanni Battista Salvi...

Original Mid-century artwork oil on board of desert scenic signed Purkis in its original Syroco wood frame. Size: 20" X 24"

Grand tour - Landscape of the Roman countryside with architecture and characters Oil painting on canvas Rome 18th century Measurements: 27 x 33 - 43.5 x 50.5 cm (with frame)...

Oil painting with gilded gold frame by Poul Kastrup, circa 1950's. An urban scene with a central figure in the foreground of a moody, intriguing stre...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin-based painter Otto Nagel became his mentor and taught him first craft skills and painting techniques. In 1954, he began his traineeship as an artist metal worker and between 1959 and 1961, he studied at the University of Arts in Berlin. When the Berlin Wall was built, he lost contact with his mentor Otto Nagel and from the early 60s on, Keil started to spend more and more time abroad. During his studies at the University of Arts in Berlin, he came in contact with numerous other artists who later became influential artists of their generation, like for example Georg Baselitz, Eugen Schönebeck, Markus Lüpertz and Joachim Schmettau. During his time in Mallorca, he also met with Joan Miró in his studio several times. From the early 60s on, Keil established studios in Paris, London, Berlin and in the US. Today he mainly lives and works in Zimmerau (Bavaria, Germany), Berlin and Los Angeles. This painting is painted on newspaper. It was painted in Palma Mallorca...

A lovely oil painting of a rural landscape in spring or summer time. Painted on canvas with bright colors. Signed left under: Beauvais. More inform...

18th century pastel, Portrait of a Young boy with 18th century gilt wood frame.

This magnificent early 18th century painting of an Angel Arcabucero. In eighteenth century Peru, extraordinary depictions of ángeles arcabuceros or an...