Canvas Paintings

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

Domenick Capobianco (American, b. 1928), Surrealist Composition, Oil on Canvas, depicting an injured man with hat smoking with sunshine in background, apparently unsigned, "Studio Do...

Oil on canvas of a young man by Ukrainian artist Iwan Tusz 1869-1941. Has had a small repair. Frame has some damage. Image size measures 15.57" W x 22.25" H, Overall Dimensions: 2" d...

Large painting titled 'The Flower Seller' by Alfred Jonniaux (b.1882 - d.1974). Framed oil on canvas. Signed, and with documented exhibit brochure ...

Kay Nielsen abstract oil on canvas 1950s Los Angeles, California Dated 1950 signed K Nielsen. Museum quality artwork. Art has original fra...

A serene 19th century pastoral landscape oil on canvas signed by F. Allen, depicting a tranquil countryside scene. The composition features cows drinking from a calm river beside a r...

Floral still life depicting magnolia branches presented in a red floral decorated vase with a few fallen petals on the table. Signed upper right. Presented in a silver gilt and paint...

Vintage Ezio Colosimo geometric abstract painting in Blush Tones Offered for sale is a vintage lyrical geometric abstract oil painting on canvas by Ez...

A French oil-on-canvas portrait of a woman from the Louis Philippe period of 1830-48. Her ensemble and hairstyle place her to the mid-1830s. The canvas is in good unlined condition (...

A stunning large oil by the accomplished and noted New York City Artist Marianne Stikas. This painting is signed and dated on the rear red sulphur and dated 1988. Ms Stikas is in many prominent collections and has an extensively exhibited. Some crackling at corners. PLEASE NOTE THERE ARE 2 LARGE CRACKS THOUGH THE CENTER AND ONE CORNER. PLEASE INQUIRE IF YOU WANT MORE DETAILED PHOTOS. A biography of the artist follows: Mariane Stikas 59 Walker Street New York, NY 10013 Born: Washington, D.C. 1947 Education: 1974 MFA Virginia Commonwealth University, Richmond, VA 1971 BFA Maryland Institute College of Art, Baltimore, MD 1970 University of Saskatchewan, Painting Workshop, Emma Lake, Saskatchewan, Canada (Summer) 1966-1968 Corcoran School of Art, Washington, D.C> 1965 Art Student's League, New York Solo Exhibitions: 1992 The Galbreath Gallery, Lexington, Kentucky, Linda Schwartz, Agent 1990 John Davis Gallery, New York, NY 1989 John Davis Gallery, New York, NY 1984 Hill Gallery, Birmingham, Mi 1983 Baskerville & Watson, New York, NY 1981 Holly Solomon Gallery, New York, NY 1980 Galerie Liatowitsch, Basel Feigenson-Rosenstein Gallery, Detroit, MI Cutler/Stavarides Gallery, Boston, Ma 1979 Holly Solomon Gallery, New York, NY 1978 Feigenson-Rosenstein Gallery, Detroit, MI 1976 2nd Street Gallery, Charlottesville, Va Eric Schindler Gallery, Richmond, Va 1975 Wilson College, Chambersburg, Pa 1974 Anderson Gallery, Virginia Commonwealth Univ., Richmond, Va.(Graduate Thesis Exhibition) 1973 Marsh Gallery, University of Richmond, Richmond, Va Selected Group Exhibitions: 1993 "The Eidetic Image; Comtenporary works on paper" Krannert Art Museum, Champaign, Il 1993 The Galbreath Gallery, Lexington, Kentucky 1992 Group Exhibition, The Galbreath Gallery, Lexington, Kentucky, in cooperation with Linda Scwartz 1990 "Artists in the Abstract", Weatherspoon Museum, University of North Carolina at Greensboro, curated by John Davis (Marianne Stikas, Catherine Lee, Trevor Sutton, Sean Scully and Michael McKeown) 1989 "Art on Paper/1989", Weatherspoon Art Gallery 1988 John Davis Gallery, New York , NY 1987 "Romantic Science", One Penn Plaza, New York, NY 1986-1988 "after Matisse", Queens Museum, New York and traveling to: Chrysler Museum, Norfolk, Va; Portland Museum of Fine Art, Portland, Me; Bass Museum of Fine Art, Miami Beach, Fl; The Phillips Collection, Washington, DC; Dayton Art Institue, Dayton, Oh. 1986-1988 Worcester Art Museum, Worcester, Ma Curated by the Independant Curators Inc. Catalogue essays by Tiffany Bell...

Impasto winter scene oil on canvas by American Artist David Crespi (1928-1992) Heavy impasto style of village in the snow fall. Palette knife technique.

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A marine tableau, oil on wood board, by the French Romantic painter Eugène Lepoittevin (1806-1870). The signature “Poitevin” appears in the lower right: our painter seems to have gon...

Svend Aage Tauscher (1911-1984), Danish artist. Oil on canvas. Modernist landscape with houses. Dated 1965. The canvas measures: 68 x 47 cm. Th...

This Vintage Regency Original Floral Oil Painting on Canvas exudes timeless elegance and charm. Featuring meticulously detailed blooms in a soft, romantic palette, the artwork showca...

Pär Lindblad (1907-1981). Oil on canvas. Modernist composition. Studio interior. Mid-20th century. Exhibition label on the back. Signed. In perfect condition. Canvas dimensions: 73....

Surrealist nude painting by Alex Alemany, Spanish, circa 1970s. Alemany's works are often described as "magical realism." This painting measures 32" H x 25.5" W and is unframed.

Pair of French Victorian (19th Cent) oil on canvas paintings of standing cavaliers in gilt frames (sgnd: C. Fembleque).  

Framed Artwork within a Black Frame. Signed M. Bile as Pictured. Textured Paint Creates a 3D Effect. Green and Yellow Color Palette.Abstract City Landscape. Dimensions. 54 W ; 3 D ;...

As noted by the light dusting of snow on the unpaved street, this charming oil on canvas painting depicts a winter scene. The painting, which dates to circa 1890, features two stable...

Large color field modernist abstract oil on canvas painting by Linda Hopkins. Purchased straight from the estate of Leonard Buzz Wallace. Hopkins and Wal...

Very fine 19th century English oil painting by artist Walter Lievules. Featuring a tranquil landscape and a river in a beautiful frame. Pretty! Circa 1890. 33.5 w x 26h x 2d

Painting "Portrait of an Ancestor", 19th century Dimensions: Frame height 134 cm, width 112.5 cm The painting height 102 cm, width 80 cm.

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

A late 19th-century Russian impressionist painting portraying a melancholic ballerina seated quietly, holding a small bouquet of flowers. Her elegant pose and expression, combined wi...

Antique early 19th century Spanish Andalusian oil on canvas portrait painting. Dimensions with frame: 94x81x4cm.

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...

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...

Beautiful oil painting on canvas framed in an elegant canvas frame and inside a carved and gilded frame with mirror. The work portrays a young woman with enchanting features, dark ha...

This fascinating oil painting by the accomplished painter John H. Kinnear (1922-2003), entitled "Tales from Ispahan", is an absolute treasure. Most famous for his abstract expression...

Spectacular oil on canvas portrait of a beagle dog signed left lower R.de Soto. In a gold tone frame.

This 19th-century oil painting features a well-dressed German gentleman, likely from the upper class. He is formally dressed in a black jacket with gold buttons, a white high-collare...

Magnificent set of three French oil on canvas paintings made in the chinoiserie revival period of 19th century, Europe. The center painting feature...

This peaceful antique framed oil painting on canvas depicts a lovely pastoral scene complemented by the original frame. Artist van Gaal has employed a post-impressionist technique wi...

Oil on canvas depicting a young woman holding her sleeping child in her arms. Signed Van Belle, dated 1933 lower right. Symbolist painter, born in Ghent, his compositions exude a gr...

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). ...

A Pair of French 19th Century Oil on Canvas "Allegory of Fortune and Virtue". The old-master style oval canvas' depicting Fortune as a classical seated elegantly dressed maiden tossi...

"English and Irish Setter" original oil painting by Henry Hintermeister (1897-1972). Oil on canvas; 21" x 27". Original for a sporting calendar. Period: Mid-20th century Origin: NY ...

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

Fred Jessup, (Austrian, 1920-2007) titled, Three Doors, Signed lower right, verso titles on the stretcher, with signature plaque, oil on canvas 32 by 39.5 in., overall, 40 by 47 in....

The oil painting on canvas is of a young boy 'hugging' his dog, which lies on the boy's lap. It is very much in the style of the Scottish painter Henry Raeburn. The boy is dressed in...

A monumental painting by Robert Goodnough titled 'Red, Blue and Bright Colors', 1968.

A stunning and rather rare diptych aboriginal painting by Kathleen Petyarre that depicts one of her most iconic subject. Each painting is 44" x 44". "Mountain Devil Lizard Arnkerrth...

Painting by Desiree Thomassin (1858 Vienna - 1933 Munich), “Fishermen on the Beach”, oil on canvas 78x 110 cm (size without frame), 104 x 134 cm (with frame), signed lower right. ...

Jordi Mollá signed and dated painting, carried out over classical oil on canvas with frame representing French enlightenment period characters.  

Ronald Smoothey Mid Century Monoliths Oil on Board Painting This painting measures: 30.25 wide x 1 deep x 23 inches high We take our photos in a controlled lighting studio to show ...

A very large, impressive, and beautifully painted Baroque era still life with a colorful parrot and flowers. Oil on canvas in giltwood frame. Italy, late 17th century-early 18th cent...

Large Antique English Framed Oil on Canvas Ship Painting, Signed "CKM 1876," Charles Keith Miller (British, 1836-1907). Charles Keith Miller (Briti...

17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding the Child portrayed with the wedding ring in his hand, enriched with a precious stone. According to the Golden Legend, Catherine of Alexandria was a very beautiful young woman, the only daughter of the king of Costa, who had refused to marry the emperor Maxentius because she was a Christian and devoted to Christ. Maxentius, unable to convince her to sacrifice to idols, had sent to call the wisest men and fifty philosophers and orators who presented themselves and tried to divert her from faith in Christ. Catherine, however, played so well that she was able to convert them, arousing the anger of the emperor who condemned them to the stake. Catherine, however, who had criticized Maxentius for the new persecutions against the Christians, was sentenced to prison without food. Abandoned for twelve days, she was fed by a dove sent by God. Maxentius then decided to execute her with the torture of the toothed wheel become her attribute iconographic; but by divine intervention this broke and the young was saved. Finally, she was beheaded and milk flowed from her neck. Catherine’s princely status is witnessed here by her sumptuous dress. The iconography of the mystical marriage was born in the fifteenth century, probably because the traditional iconographic attribute, the wheel, was sometimes so small as to look like a ring, and refers to a vision that will always remain present in the mind and heart of the saint. In Heaven she appeared to her, among the Angels and Saints, Christ the Child, in the arms of the Virgin. He took a precious ring that the Virgin Mary handed to her and put it in her finger, saying "I, your Creator and Saviour, take you in marriage; confident that you will keep you pure until you celebrate your eternal wedding with me, in Paradise" When Catherine was laughing, she found in her finger the same ring that she had seen and had in Heaven, and she considered herself forever the bride of Christ. In this extraordinary episode we can see the heart of Catherine’s religious sense, and of all her spirituality. For her, Christ is like the bridegroom, with whom there is a relationship of intimacy, communion and fidelity; he is the beloved, whom she loves above all...

Midcentury abstract oil painting framed in simple wood frame.

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Oil tempera on canvas "The Annunciation" Period: 17th century This beautiful canvas fits into the pure Emilia-Bolognese iconographic tradition of the seventeenth century, captiva...

Danish artist. Mixed media on canvas. Abstract composition. From the 2000s. In perfect condition. Signed and dated KVR 05. In perfect condition. Canvas dimensions: 30.0 cm x 30.0 cm....

19th Century Pair of China Trade Portraits of an American Sailor and His Wife, circa 1890s, two oil on canvas half length portraits of a young American Navy seaman (identified by his...

Flowers artwork, oil painting, floral vase painting which represents Yellow Daisies. It also has a golden frame realised in the 1900s. Art Deco. Golden frame. This floral oil pain...

Decorate a study, living room or den with this beautiful and colorful "Fausse Paire" of antique pastoral paintings (one horizontal, one verti...

A beautiful pair of late 19th-early 20th century kitten paintings. By F. Krantz (German). Oil on canvas, with curious kittens. One painting with four kittens and a mouse trap...

Portrait of Flapper by C. Brosset, Signed Oil on Canvas c. 1928

Image Size 16"H X 14 3/4"W X 1/2"D
Overall Size 19 1/2"H X 18"W X 1 1/2"D

A framed oil on canvas by 20th Century artist Badoni. The coastal scene depicts several figures making sails on the beach, signed in the lower right corner. Set in a beveled white wo...

Etienne Roger appears to have been in his "blue period" when he created this quirky and whimsical oil on canvas portrait. It has a historical feel. The work is an oil painting on can...