Canvas Paintings

A fantastic original oil on canvas by Naohiko Inukai. This is number forty in a series of colored scapes he created in the mid 1960's and is in excellent condition. This work is signed and dated on the reverse It's color changes subtly with the lighting, when properly lit it casts a beautiful warm orange tone throughout the room. Born in 1937 in Kurashiki-city Okayama,Japan. He came to the US around 1960 and returned to Japan around 1982 were he still resides. Education:Cooper Union School of Art and Architecture New York...

Nicolas Fasolino Realism Oil Painting on Canvas, Argentine Artist A still life composition executed in a realist medium by noted Argentine Artist Nicolas Fasolino signed lower right and dated '05. This oil on canvas depicts a candle-lit table...

Post Impressionist acrylic landscape painting on stretched canvas - featuring a large tree in the foreground - finished with a fabric matte with composite gilt filet - copper giltwoo...

This signed 18th Century painting showcases a beautiful scene of a loving man and woman and their loyal canine companion gathered around a charming fountain, executed in the Baroque ...

Raphael's Madonna della Sedia dates to 1513/14 and is kept in the Palazzo Pitti in Florence. Originally it was part of the Uffizi collection, and has then been brough to Paris during...

Lennart Lilja Oil on canvas Dimensions 62/72 Unframed work Lennart Lilja (1924-2008). He was a Swedish artist. Student of Isaac Gründewald and Otte Sköld. In the 1950s he wrote play...

A close-up oil on canvas painting of a blue tulip. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in the...

A wonderful Mid-Century Modern original oil on canvas painting featuring a surrealistic somewhat strange and odd portrait of a dark eyed nude woman/female model sitting pensively in ...

This large antique oil on canvas was painted in France, circa 1850. This colorful painting illustrates a pastoral country scene with a shepherd courting a young girl, while attending...

Decorative Hand-Painted Painting of Flowers in Oil on Canvas with Golden Frame Measurements with frame: 105x128x8cm

Life takes letting go… let’s go 100/100cm Acrylic on canvas 2024 3969€

"River Nymphs" Two nudes lounging by pond - Oil on board , signed lower left and dated 1910 - Framed dimensions: 20 in x 17 in.

Hudson Valley-based artist Hue Thi Hoffmaster describes his artistic practice as being marked by play, investigation, discovery and intuition. In this 2020 acrylic and oil on canvas ...

Vintage 1985 air brushed acrylic painting of peach daylilies by listed artist, Libertad Gomez. It is signed and dated in the lower right corner. The pa...

Straordinaria copia seicentesca de La regina di Saba offre doni a Salomone, (1584) dipinto Paolo Caliari detto Veronese appartenente ai Musei Reali alla Galleria Sabauda. Di notevoli...

Born in Flawinne (Namur) in 1947, he is a painter, watercolorist and decorator. He studied at the Brussels academy with Jean Ransy and Ernest De Bie. He will keep from his masters th...

This artwork is a portrait of General Goethals, who served as the commanding officer of the Province of Antwerp during the Bourbon Restoration era. It was painted in 1826 by the reno...

Capture the moment with this exquisite Modern Art Portrait of two men oil painting on canvas. This artwork, bursting with vibrant colors and delicate brushstrokes, portrays an intere...

Outstanding 19th century Italian raised gilt gesso and oil painted panel. Very pretty images of leaves, flowers and urns. An exceptional piece!

Title: Gumatj Ceremonial chest paint Medium: Acrylic on canvas Size: 32" H x 28.5" W Date created: November 2006 Artist: Terrence Gaypamany Gurruwiwi Language: Glapu Date of birth: 06/09/1984 The painting depicts the traditional body paint onto the chest during ceremonies of the local aboriginal communities. It is signed by the artist on verso as shown and also retains a stamp from Elcho Island Art...

Signed sailboat seascape mid century oil painting on canvas This piece measures: 37.5 wide x 1.5 deep x 25.5 inches high Excellent vintage condition We take our photos in a ...

Pair of signed still life paintings oil on canvas Pair of early 20th century still life paintings of fruit. Finely painted, with lovely colour and line. Oil on canvas....

About the artist. Born in 1970, Marc Le Rest is a French born artist who turned his back to a promising career within the Holy Church to dedicate himse...

Large painting by Arlene Slavin titled 'Ghost Grids' signed and dated 1972.

Harris Strong Studio was a prominent American design studio renowned for its innovative and artistic approach to ceramic and tile work during the mid-20th century. Founded by artist ...

Expressive vintage Boho original abstract oil on canvas, featuring bold brushstrokes and vibrant colors. This captivating piece adds an artistic and bohemian flair to any space, perf...

Impressive large original canvas by French listed artist Lucien Delarue of Monmarte in winter with charming windmill. Delarue is known internationally as an artist who faithfully ca...

Beautiful small oil painting of a figure near a tree. Wonder palate.   

Oil on canvas bucolic scene with elk. Artist signed and dated M.L. Tunner 1872. The canvas had been re-stretched and relined and is in excellent condition in a silver gold gilt more ...

Sunset I is a colorful and dynamic oil on canvas painting by New York/New Jersey artist Joel Adas, who works from his imagination in vivid colors. Adas is drawn to depicting coastal ...

Elevate your space with this stunning vintage boho monumental oil painting on canvas, featuring a breathtaking scene of a majestic tiger in its natural habitat. The artist's masterfu...

We present you with this unique oval portrait painting rendered in oil on canvas. It depicts a young girl from an esteemed family adorned in a ...

Antique oil painting on canvas by Ferdy Naulaerts (1922-2001) is a classic still life, a genre that has survived for eons with ...

A close-up picture of the red daliah. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in the countryside an...

Our painting by Adolphe Pierre Francois Leofanti (1838-1890) depicts Roger freeing Angelica. Period ebonized frame with gilt border measures 74 7/8 by 64 1/8 inches, 163 by 190 cm. ...

PaIr of Post Impressionism Paintings: - A french background of Paris river channels, Les Barges titled.A colorful 20th Century Post Impressionist oil painting of Yiddish origin. “Rubinstein” signed on lower left. Description on the back of the painting; early 20th century practitioner of the Académie de La Grande Chaumière in Paris; Yiddish Jewish painting born in Moscow in 1910 died in Paris 1979...

Henri Alphonse Barnoin (1882-1940) studied with Emile Charles Dameron at the Ecole des Beaux Arts in Paris. In 1912 he moved to the small community of Concarneau in Northwest France,...

Superbe tableau huile sur toile ancien des années 1950/1960 joliment encadré. Signé par l'artiste mais illisible, ce tableau procure un sentiment à la personne qui le regarde. joli...

Monumental oil painting Francesco Mazzola, called Parmigianino - Bow-carving Amor Masterful monumental painting, oil canvas on solid basswood....

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...

The Byzantine Period of Greek history is one of the least understood and the most important. The Byzantine Empire laid the foundations for Orthodox Chris...

This delicate still life captures a vibrant bouquet of pansies in full bloom, arranged informally in a simple glass vase. Rendered in oil on canvas, the composition celebrates the fr...

This refined mid-19th-century oil on canvas is the work of French painter and illustrator Amédée Greux (1836–1879), an accomplished artist known for his richly detailed compositions ...

Pair of eighteenth-century paintings -"Saint Joseph with child" oil on canvas of the Roman school 18th century, from 1700 Measurements: 85 x 70 cm -"The Madonna with Child" oil on c...

Ottoman oil painting, monumental battle scene, circa 1740. Monumental oil on canvas painting, wide-scale combat scenes of the ottomans in Europ...

Artist Charles Ventrillon-Horber (1899-1977) has created a beautiful Madonna scene of a mother and child, with a beautiful floral background, circa 1930s, with original gold leaf frame.

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

A fantastic vintage MCM original oil portrait on canvas. A beautiful composition of a handsome man. Signed by the artist. Acquired from a Palm Beach estate.

Original still life sand and oil on canvas by renowned listed Korean artist Myung Mario Jung, signed lower left. Depicts two southwestern vases nestl...

Large vintage painting of a woman picking flowers, acrylic paint on canvas, signed Vanthomme on the bottom right, undated but estimated to be from the middle of the second half of th...

Egidio Bonfante Italy graphic designer for Olivetti, tempera paint colors light study 1979 painting on canvas applicate to panel wood and measures...

A bold and colorful midcentury abstract / modernist painting with figures signed on the reverse "Gerard" Framed in blue linen and giltwood. Canvas: 20 x ...

French oil on canvas portrait of a man c. 1800. The bourgeois gent depicted here displays the cliched hand-in-waistcoat mannerism of the 18th and early 19th century. He’s wearing wha...

Beauty Daydreaming by Joseph Pierre Olivier Coomans (1816-1889) The oil on canvas work depicting a classical beauty as she ponders while seated in a lacquered chair, wearing rich...

Painting "The Lady with a Hat", 20th century. Large painting by Luez "The Lady with a Hat", 20th century, unframed. Measures: H: 109 cm, W: 68 cm, D:...

Royal House Antiques We are delighted to offer for sale this stunning original circa antique oil painting signed by A J Sticks A very good looking and...

He and She met a long time ago. They loved each other. He took her hands and never ever left them. This is a love story that the artist drew in her very special manner. Pure love as ...

Oversized Mid Century Modern Abstract Impressionist Oil on Canvas Painting of Nude Woman Signed by Sharie Jones C1968 Measures - 41"H x 34.75"W x .75"D An oversized mid-century mod...

Bruce Elliot Roberts (American B. 1910) Boston, Stronghold Of The American Revolution signed Bruce Elliot Roberts and dated 1975 (lower righ...

‘The Forest Road, Boldrewood, Hampshire’ by Montague Dawson, oil on canvas, showing a road winding past a stand of tall conifers. Signed, framed and glazed, a paper label on the rev...