Canvas Paintings

This framed antique painting is being attributed to the well known Canadian artist Frank Leonard Brooks, and dates to approximately 1920 and done ...

Marie Philips-Weber (German, 1845-1942) oil on canvas "Reading a Book" depicting a young maiden reading a book, within an ornate gilt and gesso frame. Signed: M. Weber Philips (l/r),...

Painting "Rural landscape". Origin : Denmark, early XX century Paintor : unknown Dimensions: Frame: height 71 cm / width 81 cm Image: height 55 cm / width 64 cm

Large stunning portrait of a beautiful seated woman in a red dress framed in a period carved giiltwood frame. Signed upper right R. Hinton Perry. Dated indistinctly 1931 or 1939. Roland Hinton Perry (1870-1941) was a sculptor and painter committed to the Beaux-Arts tradition. Born in New York, he studied in Paris at the Académie Julian under Henri Chapu and Denys Puech...

Sophisticated and fascinating original painting by Japanese artist Yoshio Minomura having abstract composition with hieroglyphic like scribbles. Minomura gained his diploma from t...

Signed Carol Bertrand Colorful Abstract painting of a couple embracing. Nice colorful composition of greens, blues and orange depicting LOVE. Carol K...

An animated and richly detailed 19th-century oil on canvas depicting three terriers in the midst of a hunt, this genre scene is attributed to British painter George Armfield (c.1850)...

Frank Myers Boggs is a well known Impressionist painter who is currently exhibited in many museums, such at the Metroploitan Museum of Art in New York. This is a wonderful example of...

Oil painting on canvas Portrait young man Imperial Russian navy military school 19th This oil on canvas represents in a medallion a student of the Russian imperial army. It wears a n...

During the late 19th century, the French system of government, known as the Third Republic, began to distance itself from the Latin church. As a result, artists at French academies of art began to produce works known as “cardinal paintings”, which were satirical renderings of church dignitaries dressed in vibrant red robes, enjoying their privileged lifestyles. This particular oil on board painting by Emile Meyer...

A large painting depicting "woman's body paint" by Australian Aboriginal Artist Abie Loy Kemarre. Body paint is one of her inherited dreaming thus one...

Original abstract painting, signed “Goldberg.” This piece parallels Abstract Expressionist work from the New York School active during the same period. We believe this painting was c...

Painting of a tropical coastal scene. Oil on canvas with solid wooden frame.

Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...

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...

Original oil on canvas landscape painting with forest near lake setting with goats and man in foreground by unknown artist. Painting is soiled and will benefit from cleaning; scratch...

Description Michelangelo Merisi da Caravaggio manner of Milan 1571 - Porto Ercole 1610 Saint John the Evangelist Oil on canvas cm 91,5x107 The painting depicts St. John the Evangeli...

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...

"Ce qu'évoquent les Livres" Allegory of the Literature Oil on canvas Signed on the lower part beside parchment 111 x 133 x 2 cm Framed 125 x 146 x 7 cm Provenance: Collection Georges AUBRY, brother of the artist Bibliography: Illustrated in catalogue «Regards de peintre» , Suzanne AUBRY-CASANOVA, 1997, p.104 After trying years of forced confinement due to the war, he composed this allegorical fresco on the theme of Literature, Science and Arts was painted by Émile Aubry for his younger brother Georges Aubry, who had intended it for his library. This work, composed on the theme of the book it symbolizes, in its diversity by allegorical characters, he cannot help ordering the painting around Art, which he places at the top of the scale of human...

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...

Large oil on canvas after Pieter Casteels III [Flemish 1684-1749. The painting depicts a tale from Aesops Fables, "Jackdaw and Peacock Feathers". T...

The Brendan Bass Estate Collection pays homage to the beauty of vintage and antique pieces, each artfully concealing endless stories collected through the generations in which they ...

" Hard edge painting is an approach to abstract painting that became widespread in the 1960s and is characterized by areas of flat color with sharp, clear (or ‘hard’) edges. Jules L...

A large oil on canvas by Harriet Rosendale. Harriet Rosendale was a well-known and well-listed Cconnecticut artist, who achieved national recognition in the 1950’s for her figurative...

Beautiful midcentury still life with fruit and wine bottle signed Tonar 1959. It is on canvas panel and in wonderful vintage condition overall. H...

An 18th-century Italian Renaissance oil painting of Our Lady of Peace, depicting Mary in red and green robes holding the Christ Child and a white dove. Against a dark, atmospheric ba...

This oil on canvas was executed in the 19th century in the style of Camille Corot. The painting portrays a countryside scene: in the foreground, a few figures are suggested with gen...

"Aveiro Moliceiros boats", Portugal, 2002, Oil Painting on Canvas, (60 x 80 cm, not framed), by Patrice Guiraud For sale not framed. Patrice is a painter and sculptor who explores ma...

Original oil on canvas nature landscape of sheep grazing among hillside heather. Signed and dated 1886 by A.P. Madsen. Canvas in very good condition for age, some scuffing of canvas...

"Magnolia, XVII" is from the series of paintings of this Native American flower by Kelley. Each one depicts the magnolia blossom in a different state of unfurling. John Woodrow Ke...

Exciting painting of jockeys in a race where you can practically feel the wind going by as the horses speed by. Signed Ninetta Butterworth 1922-2010 Listed English artist Custom Fra...

20th Century English oil on canvas painting, 'Mediterranean Feast' by Julian Otto Trevelyan (1910-1988). One of the foremost post-war artists of the Modern British movement, trained...

Original French acrylic painting attributed to Roland David, from the mid-late 20th century. Not known well in the states, but we enjoy lookin...

A Large and Impressive 19th Century Continental Oil on Canvas "An Allegory of Love" after the original work by Titian - Tiziano Vecellio (Italian 1488-1576), within an ornate gilt-wo...

Carol Bertrand Mid-Century Modern Abstract of a Woman. Amazing large canvas with mostly primary colors of blue, red ,yellow and light green. Signature of artist...

As part of her Figures and Illuminations series, this wonderful painting is called "Apparition V (Third Street)" oil on canvas, by contemporary American Painter, Kristen van Diggelen...

From the Emilia Romagna school of painting this is a depiction of a mother hen protecting her chicks, the period giltwood frame in perfect condition and retaining a paper label at to...

In good condition From a private collection Free international shipping 18th Century Old Master Oil on Parchment Bacchante Painting

Carlo Piacenza (Italy -Turin, December 3, 1814 - Castiglione Torinese, 1887) Market at the Giaveno Tower Italy, Piedmont, 1850-1860 Oil on canvas The oil on canvas pain...

Vernon Tong (*1933 Jamaica) “Bathing Nude” Created in 1968 Oil on canvas, signed lower left, framed Dimensions: 76 x 101 cm

K. Westerberg, also known as Knud Horup, listed Danish artist. Oil on canvas. Modernist style. Winter country landscape with figures. 1970s. Signed. In perfect condition. Dimensions...

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 ...

Fritz Thomsen (1819-1891), Danish painter. Painting of forest scene near the shoreline of Hesnæs, on the Danish island of Falster, 1878. Oil on canva...

Large French painting dated 1899. Oil painting on canvas, first canvas, depicting a view of a country village with characters and animals of good...

Pair of gilt framed oil painting portraits of a 19th Century man and lady.

Impressionist New York City a wonderful morning on the East River. Tug boats gently make their way up the river with a backdrop of the Brooklyn Bridge. Birds flying in the crisp morn...

Pop Art Psychedelic Painting by Laura Cleven. Amazing compostion with Emilio Pucci vibes and colors. The female has a very similar look to the top model Ziggy of the 1960's. This is ...

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colorful palette. Dated 2013. Signed. Canvas measures: 50 x 40 cm. Provenance: ...

Göta Fogler (1919-1992), listed Swedish artist. Oil on canvas. Still life with pink flowers on yellow background. Approximately 1960. Signed. Perfect condition. Dimensions: H 52.0 cm...

A fine golf painting, "A View of Rye Harbour - Rye from the 3rd Tee" oil on canvas. Signed and dated Charles M. Orchardson, 1904. The artist was the...

Figures on a country road with horses. Artist William Darling McKay (1844 - 1924). Scottish. the artist studied in Holland and was influenced by ...

Five bearded rabbis wearing hats are seated at a table with books. They are visited by a woman in yellow and wearing a hat. Apparently unsigned. Dimensions: 48 x 64", Depth 2" Con...

Scandinavian artist. Oil on canvas. Abstract composition. 1980s. The canvas measures: 40.5 x 32.5 cm. The frame measures: 1.5 cm. In excellent ...

GÓMEZ GIMENO, Antonio (Spain, late 19th - early 20th century). "Still life". Oil on canvas or tablex. Signed in the lower left corner. Measurements: 38 x 45.5 cm; 47 x 55.5 cm (fr...

Original oil on canvas painting of goats on a riverbank by an Italian mountain village. Signed C. B. M. Condition: A few minor peelings. Slight bulging in corners. Will benefit from ...

A very fine and large 18th century oil on canvas titled "Mother and Child" (Probably members of The Swedish Royal Family). Attributed to Michael Dahl (Swe...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Unknown artist. Beach scene with cliffs at suns...

This is a beautiful oil on canvas painting by Francis E. Jamieson (1895–1950), depicting a stunning Scottish landscape. The composition presents a dramatic view of the Scottish Highl...

Large and impressive 1950s abstract oil painting by Monte This really is a magnificent abstract painting. It's large size will make this the centerpiece of most interiors. Beau...

Abstract painting on canvas. Yellow, blue, green tones. If you look hard enough, you can spot an umbrella and a duck!