Giuseppe Zais Studio, Neoclassical Architectural Caprice with Figures

Beautiful oil painting on canvas from the early 1700s depicting a Venetian landscape with port, figures and castle. The manufacture is Venetian and can be attributed to the school of...

Beautiful fantastic landscape with neoclassical architectural structures and classical monuments created with clear references to Florentine classicism: in fact, the sculpture of the...

Giovanni Panza (1894-1989) remained faithful to the romantic-naturalistic tradition in his painting, taking inspiration from the nineteenth-century Neap...

Beautiful icon painted in oil on a tablet with a silver frame and gilded silver haloes. The representation of the Madonna and child is frontal, with intense and expressive gazes. The...

Stunning oil painting on canvas, probably created by a talented Florentine artist active in the 19th century. The work is clearly inspired by the famous painting by the famous painte...

Fascinating painting representing the Madonna with the Child Jesus, painted on the back on a delicate glass panel. This work can be attributed to the Tuscan School of the early 19th ...

Architectural Capriccio of Roman Ancient Ruins with Figures. Italian, 18th century large painting in oil on canvas is from the school of Giovan...

Antique Italian painting from the 18th century. Artwork oil on canvas (glued on a board) depicting a pleasant caprice, seen with architectures and characters of good pictorial qualit...

French neoclassical Architectural landscape, oil on canvas In the manner of the Grand Tour, exceptionnal, glowing painting. Beautiful size, scale and quality of the subject an...

The antique neoclassical watercolor drawings are renderings within the same frame of two elongated buildings. The top view shows a center arched opening and two smaller side openings...

Tony Evans Architectural Neoclassical Oil Painting in Jerry Solomon Frame.

Gaston Sebire French, 1920-2002 Landscape with figures Oil on canvas 31 by 41 ½ in. With frame 38 by 48 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and Frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...