Fabric Paintings

This is an Oil Painting of El Cordobés. It depicts the Spaniard bull fighter, El Cordobés facing with gallantry and gracefulness the strong and wild bull in a bull ring. He is wearin...

A large antiqued reproduction oil painting after Anthony Van Dyck. Aptly titled "The Three Ages of Man" Features an antiqued canvas with unique craquelure and Baroque scalloped fra...

"Port à Venise" by Lasson Oil on Canvas Signed This stunning oil painting, "Port à Venise", offers a vibrant and slightly impressionist portrayal of the Venetian harbour. The artis...

A wonderful and rare collection of nine, oil on canvas paintings of the Sibyls, early 18th century, French school, Libyan, Cumean, Lampusian, Hellespontine, Erythraean, Delphic, Pers...

Early 19th century French school featuring poet Homer and Glaucus' daughter after Francois Gerard's work, oil on canvas circa 1815 - 1820. The painting depicts the time when Homer ha...

Jean Marie Daneis (French 1944-) Mures et Poires, Oil on canvas, Signed lower left The still life painting depicts two pears and blackberries, both red and black, as well as a gre...

This lovely original oil painting portrays an elegant young woman on a summer day in the country. Look closely as she appears to have a small dog companion at her side. While the pai...

Large 19th Century English Oil Painting -Five Hunting Dogs- signed E. Armfield. Large, signed painting in oil on canvas. This ...

A large reproduction oil painting of Thomas Cole's The Course of Empire The Consummation of Empire. Features a Romanesque cityscape in its completed phase with celebrations taking p...

In the foreground, a lake surrounded by vegetation. On the left bank, several figures, some in a boat. In the background, a building that resembles a fortified castle, in a hilly lan...

Oil on canvas horizontal painting by painter Lewis John Shonborn (1852-1931) depicting horses clearing the hurdle. This captivating horizontal oil painting on canvas, created by arti...

An extraordinary and monumental pair of 18th century École Française Oil on Canvas portraits of Marie-Josèphe of Habsbourg of Austria (1699-1757), wife of Frederick Augustus II of Saxony, Elector of Saxony, and of their son Frederick IV of Saxony (1722-1763), bearing the Imperial and Royal Order...

19th Century Seascape with a Brig in High Seas, signed illegibly and dated 1857, an oil on canvas painting featuring a Brig laboring in heavy sea...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Painting in Oil on Canvas, depicting a young fisher boy in swimming trunks, shouldering his fishing rod and holding a basket in his other hand. This wonderful small painting can be c...

A fine and large Italian oil on canvas en grisaille depiciting Volumnia and Veturia with their retinue pleading with Coriolanus to make peace with Rome. The later frame is silver gil...

A French framed oil on canvas still-life painting from the mid-19th century, depicting a colorful bouquet of flowers in a vase, set in a carved giltwood frame. Born in France at the ...

This is a mid century vintage modern abstract oil on canvas. This abstract oil on canvas has a heavy pallet knife impasto with deep tones of burgundy, Amber and gold On a cream backg...

A significant contemporary aboriginal painting by Kathleen Petyarre (1940-2018) in 2010. The painting was a rare oversize piece, exceptionally executed in earthy colors, showcasing m...

Scott Kerr is a self-taught Contemporary Abstract Artist. As a young boy, he was exposed to the art world by his father through the works of a local Texas artist, David Brownlow. Ama...

Large original oil on canvas painting of Christ's crucifixion, as the Roman soldiers prepared to nail him to the cross (seen lying on the ground). Just under 4' tall with frame. Has ...

The following is a "Tang Dynasty Figure" written by Fuko Matsumoto using a unique brush stroke. [Matsumoto Fuuko] 1840-1923 Japanese painter from the Meiji to Taisho periods. orn in...

Huts in Landeck – Oberinntal Work dimensions: 30 x 40 cm Dimensions with frame: 37 x 47 cm Technique: oil on canvas Period: 1942 Description: Summer view of some huts with classic ...

1600s Paintings of French Nobility 1600s Portraits of Nobility: Seventeenth-century Paintings Size: 18.5 x 14.6 inches French Artist Featured here are six oval paintings depicting ...

PRESENTING A GORGEOUS and HIGHLY DESIRABLE 19C Oil on Canvas Highland Rovers at Loch Earn by HR Hall. Circa 1890-1900 and painted by Henry Robinson Hall, ...

Late 18th-early 19th century capriccio (imaginary) landscape, Continental. Shepherds & animals gathered as one plays his woodwind instrument. Acquired in the late 1940s by Harvey Gun...

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...

This touching portrait of a white horse by notable English artist Dominic Fels (circa 1958) is sure to put a smile on your face, transporting the viewer to a rural countryside. The d...

Moroccan orientalist oil on canvas painting of a 19th century Moroccan rug market scene with an sellers seating on a pile of carpet and two other men wearing traditional colorful robes standing and checking the goods. The background depict an old house with wooden mucharabie and Moorish arches. Contemporary French oil on canvas orientalist painting of a Moroccan market...

This exquisite early 18th-century Spanish Colonial oil painting, originating from Bolivia, portrays “Mary, Queen of Heaven.” With meticulous craftsmanship, it illustrates the Coronat...

Mid-Century floral still life oil painting on canvas by Jules De Corte (1918-1999). This vibrant floral still life featuring vase with roses was painted ...

French 19th-Century Oil Painting: Follower of Alfred de Dreux - Capitaine des mousquetaires se retournant, A beautiful 19th-century oil on canvas Capitaine des mousquetaires se ret...

American Victorian oil on canvas painting portrait depicting a seated lady in white dress & hat with umbrella within a gilt frame (sgnd C.D. Wentwo...

Oil on canvas 13 by 16 in. W/frame 20 by 23 ½ in. Provenance: Mme Emile Dupuis collection, Fontainebleau

"Nicolina" – Late 19th Century Oil on Canvas by a Basque Artist A captivating and intimate oil on canvas titled "Nicolina," attributed to a Basque artist of the late 19th century. T...

Giuseppe Gambarini (Bologna, 17 March 1680 - Casalecchio di Reno, 11 September 1725) Loth and the daughters Oil on canvas; Measurements: cm H 73 x W 93; frame H 88 x W 108 x D 5,5 The painting, of beautiful pictorial quality, depicts the biblical scene of Lot and his daughters, with Sodom set on fire in the background, and is stylistically attributable to the italian painter Giuseppe Gambarini (Italy, Bologna, 17 March 1680 - Casalecchio di Reno, 11 September 1725). The canvas shows in the center Lot sitting and already drunk, depicted according to traditional iconography, old, gray and with long gray boat. With his left hand he grabs the wine flask that one of his daughters offers him. She is depicted kneeling and resting on large boulders of stone, described as an architectural base, dressed in a voluminous deep blue mantle, her hair covered with a humble headdress made of a knotted cloth; look at the viewer, as if to want to involve him directly in the scene. The other daughter is described on the left, from the back to the observer, with a bare back and dark hair gathered by a red ribbon. She too is intent on serving her father a cup in which to pour the wine. Around them a duck placed on a cloth, some bread and another wine flask enrich the composition describing a banquet in progress. The scene is set outdoors, where only a large tent supported by branches arranged in a hut serves as a shelter to the figures. In the background a forest landscape blends chromatically with the blue sky. To the right in the distance, is described the city of Sodom, already destroyed and on fire. Lot’s wife...

Late 19th century Italian screen with a gorgeous oil painting of floral scene. The oil paint colors are vibrant and in good condition. The frame is made of canvas over a wooden frame...

A beautiful antique hand-painted oil on canvas landscape painting featuring a waterfront scene with trees and a boat in the foreground and hills in the background USA, Late 19th Cen...

This is a magnificent pair of antique Italian oil on canvas paintings by Ettore Ascenzi, 19th C, Italian, titled "Music Recitals" signed and inscribed 'Roma' . These beautiful paint...

A 19th century American folk art oil painting on canvas depicting a river scene at dawn with a horse and rider on a bridge over a waterf...

1970's oil on canvas Fire Island Pines modern painting signed "J. Williams" in vintage original condition with some wear and patina due to age and use, there is some wear to the oil ...

A bright and airy oil painting of Paris on stretched canvas made by Romanian painter Mariana Elas. The artwork is signed and dated 1990 in the lower left corner (see photo). Mariana ...

Possibly late 18th century but most likely 19th century painted arched painted panel. Either a panel intended for a trumeau or to be inset into wall boiserie as a trumeau. The upper ...

Framed Village Landscape with Houses, 1920's France. A beautiful Parisian painting on canvas depicting a peaceful village landscape with a row of houses on a street featuring a scene...

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

A gorgeous 19th Century oil on canvas painting depicting a figural pastoral scene featuring a shepherd with his dog and flock of sheep within an exquisite mountain landscape with lus...

This is an oil painting that illustrates a peasant female in a countryside path walking down toward a lake at the sunset. Two large trees define the path. There is a small house at t...

ANTIQUE ORIGINAL OIL PAINTING Depicting two young girls, probably sisters with rosy cheeks in matching blue dresses holding flowers in an interior setting in front of a regency/Will...

Four paintings depicting the seasons, circle of Noel Coypel, second half of the 17th century Oil on canvas Measures: cm W 37 x H 46 x D 2 cm (canvas) The four paintings, presented in...

Vintage (20th Century) unframed canvas still life oil painting depicting a blue vase filled with blossoming pink, yellow and white florals behind a golden tray...

Pair of circa 1920's Italian still life paintings. Measurements: Height: 50.25" Width: 26.25" Depth: 1.5"

1976 oil painting in the naive style Oil on canvas representing and landscape, a shepherds and two sheep at the forefront, a house surrounded by trees in the middle plane and a villa...

Mid-Century Modern Blue Abstract Painting 1968 This panting is a captivating piece from the Danish art scene, characterized by its striking use of various shades of blue. Signed by ...

French School, 19TH CENTURY, Oil on Canvas - SPANISH GALLEONS AT ANCHOR IN A BAY Canvas size 65 x 40cms. Framed size 77 x 54cms. This painting depicts a dramatic scene of Galleons...

Discover a timeless equestrian masterpiece by K. Martin! Elevate your space with this stunning vintage oil painting on stretched canvas, expertly realized by the artist K. Martin in ...

1960s oil on canvas abstract painting signed 'Reynolds'. This large scale artwork features a bright white ground with vivid yellow, orange, red and pink textured palette knife detail. See the obituary for Lee Reynolds Burr...

Indian school of the mid-20th century. "Musicians". Oil on canvas. With perforation. Size: 174 x 110 cm; 150 x 112.5 cm (frame). Formally, the piece follows the language of Indi...

An Elegant Lady Admiring her Present By Auguste Toulmouche (1829-1890) An Oil on Canvas work depicting a well-heeled young lady, seated in her pink gown, admiring her new bracelet a...

Vintage French oil on canvas painting of dahlias, signed and dated by the artist. In expressive brushstrokes and bold use of color–lavender, maroon, and peach–the artist has captured...

A contemporary Americana Folk Art acrylic painting on canvas titled “Identical Twins Holding a Quilt” by Bill W. Dodge. Hand signed and titled on the lower left. Circa 1990s. Rendere...