Fabric Paintings

Belgium / 1950 / Painting / canvas, wood / Antique / Baroque An exquisite oil painting in the style of the Belgian old masters with a luxurious gilded wooden frame. This work beau...

Beautiful floral painting depicting amber roses and verdigris background. Canvas stretched on a giltwood hand-carved frame. Back affixed with a hanging wire. Perfect for a gallery wa...

This captivating Balinese Kamasan textile painting showcases the distinctive style rooted in the classical Wayang tradition, unfolding a mythic tableau rich with symbolism and storyt...

Measurements with frames: Height 135 cm (53 in.), width 94 cm (37 in.) Magnificent pair of important paintings on the theme of “Fêtes galantes” and so dedicated to the art of sedu...

Sascha de Puchala abstract of Roosters. Heavy impasto textural piece of two cocks fighting. Signed lower middle. One small tear. See photos.  

Sinbad with the old man of the sea on his back original illustration oil painting, 19th century. A fine oil illustration from the Tales of the Ar...

Roberson and Miller oil on canvas Woman walking in the fields, circa 1835-1838. In original giltwood frame with minor loses.    

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

1970s Jaime Parlade designer hand painting "Walking Horse" oil on canvas horse.

Impressive Large scale landscape oil painting with trees. The sweeping view from the grass in the foreground to a number of trees in full leaf set against a slightly cloudy blue grey...

Vintage Frank Pash Australian Outback Painting – Rare Collectable Artwork Frank Pash, Australian Outback Painting, is a renowned Australian outback artist. He was born in Australia ...

Orientalist painting of a holy man blessing a young child, whilst women and men look on, awaiting their turn, some women are bearing gifts of food and a man, probably the Imams valet...

Modern Dutch painting from late 20th century. Framework mixed-media on canvas depicting an abstract subject of a good pictorial quality. Painting missing frame, for interior decorato...

This 19th-century English oil on canvas captures a vivid sporting scene with striking clarity and charm. Set in an expansive wooded landscape with a winding river, the composition fe...

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...

A charming and wonderfully detailed three panel folding screen, tempura or gouche painting on paper and laid down on canvas of the World's Fair Exposition scene, France, mid-19th cen...

Victor Olson sunset scene of sailboats oil on canvas. Classic nautical scene. Nicely framed. Victor Olson (1925-2007). Unsigned on front but from his Redding CT family estate. Mr. Ol...

Entitled "My Country", this bold and abstract landscape painting was by renowned Australian aboriginal artist Kudditji Kngwarreye (1928-2017). Acrylic painting on canvas, it was painted in 2012 and signed and inscribed on verso. The saturated colors and the visible brush strokes and intentionally uneven earth-like textures invokes the view of a landscape, partially real, partially imaginary. Kudditji Kngwarreye from the Utopia community in the Northern Territory. He was the skin brother of the late Emily Kame Kngwarreye and like his skin sister Emily, was one of the most prominent and successful artists in the history of contemporary indigenous Australian...

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...

Add a burst of color and creativity to your space with this vintage boho original abstract oil painting on canvas. Featuring bold, expressive brushstrokes and vibrant hues, this piec...

A fabulous modern abstract by wonderfully talented Arnold Weber (1931-2010). Tremendous mood, energy and range of color. This Killer piece succinctly captures the feeling of the earl...

"Pinch" by Ángela de la Cruz in 2015. Edition of 50 + 18 A.P. + 2 P.P. Acrylic on canvas. The document shown on the photo is the “Certificat...

This very large (5 x 4 feet) oil on canvas with variations of blue tones which is simple and elegant, framed with a clean oak frame as done by artist. Shown here in vertical but can ...

Large oil on canvas signed M. S. and dated 1950. Martin Snipper b.1914-d.2008, he was a San Francisco/Bay Area artist and patron of the arts. American, mid 20th century.

Pierre Gaston Rigaud Oil on Canvas Painting "Arbres" Trees French School Antique . “Arbres” by Pierre Gaston Rigaud. French School Dated 1925. Oil on Canvas. Rigaud was a student of ...

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...

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

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...

Exceptional size antique 19th century oil on canvas painting of The Assumption in original carved gold-leaf frame.

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

Antique Dutch Framed Oil on Canvas Painting, Pastoral Scene, Circa 1870-1880.

Beautiful antique painting depicting a Malinois (Belgian Sheppard dog) with her puppies. The painting is very atmospheric, with beautiful l...

Signed indistinctly lower left. A fine large painting of the busy wheat harvest with workers loading a horse-drawn overladen cart with wheat sheaves as another already loaded cart is...

Vivid and bright Dutch floral still life oil painting Brushwork so detailed and this really has a lot of verve and energy, would definitly lighten up any ...

This striking vintage abstract oil painting captivates with its moody blend of deep grays, soft blues, and muted earth tones. The fluid, textured brushwork creates a sense of depth a...

Gorgeous oversized midcentury oil painting on canvas. Painting is of flowers and chair in front of windowpane. Vibrant golds, reds, and green in front of window, all surrounded by an...

Svend Saabye (1913-2004), Danish artist. Abstract composition. Signed Svend Saabye. In perfect condition. Dimensions: W 68.0 cm x H 53.0 cm. Total dimensi...

Marzio Masturzo, attributed (Active in Italy - in Naples and Rome- in the second half of the 17th century) "Battle between cavalry and vessels with fortified city on the left" ...

An 18th century painting of a gallant scene in a park. Attributed with seal of painter's studio to Philippe Mercier (1689 to 1760) from the circle of the french painter Nicolas Lanc...

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...

In good condition From a private collection Free international shipping Peaches Still Life Oil Painting 19th Century

Original artwork. Oil and acrylic on canvas with thin wood frame. The art + design continuum of form, space, color theory and texture. Presents well for collections and decor...

Antique oil on canvas landscape painting by British artist, "William Shayer, Sr." (1787-1879). Provenance: Knoedler Gallery, N.Y.

This striking op art acrylic painting brings bold color and modernist flair to your walls. With its vibrant pink background and expressive figure adorned with green sunglasses and a ...

This captivating oil on stretched canvas, signed in pencil "MARS" on the wood of the canvas frame. Rendered in the Expressionist style, the painting draws you into an intimate moment...

19th century Roman painter Still life with cherubs, flower festoons and herma with faun Measures: Oil on canvas, cm H 78 x W 95 without frame Cm H 122.00 x W 106 x D 8 with frame. The work, painted in oil on canvas, octagonal in shape, represents a nature with three putti or cupids playing with flower festoons in a wooded environment in which is placed a herma with faun and, on the left, a large neoclassical marble vase...

Pavel Roucka's still-life oil painting, created in Czechoslovakia around 1986, offers a glimpse into the artistic landscape of the late 20th century. The piece likely reflects the pr...

Questa splendida coppia di dipinti a olio "Paesaggio" si basa formalmente su un naturalismo che insegue una verosomiglianza nella rappresentazione della realta',anche attraverso un pittoricismo che abbozza la forma con una pittura veloce,carica di vibrazioni luminose e cromatiche.A livello compositivo le due tele sono in linea con un elegante gusto Jugendstil,con una composizione che predilige forme esili e sfrutta le forme vegetali per comporre prezioso intreccio decorativo.L'autrice di questa coppia di paesaggi presenta una notevole tecnica di formazione accademica,che si esplica in un'alta ricerca di resa naturalistica.L'artista mostra anche di essere un rappresentante dell'ambito Art Nouveau di inizio XX secolo ,in una composizione dal disegno complesso e che riporta anche qualche ispirazione di gusto esotico,soprattutto dall'arte giapponese...

A very fine French 18th-19th century oil on canvas portrait of a posing lady with flowers, after Jean-Marc Nattier (1685-1766) within an ornate gilt wood carved frame, circa 1800. ...

We are delighted to offer for sale this lovely original 19th century Dutch oil on canvas of an old man with very grey hair and an almost Irish looking hat which is part of a suite ...

1966 Sonia Chusit Abstract Nude Oil Painting on Canvas Offered for sale is a 1966 abstract oil painting on canvas by the American artist Sonia Chusit (1926-2023) . The work depict...

Louis Picard (1861-1940), a well-listed French artist. Oil on canvas. Composition with a beautiful young nude woman reclining in a forest scenery. Approximately from the 1920s. Sign...

A fine English still life oil on canvas painting, signed J.E. Cook. Still Life Oil Painting of Flowers, attributed to 20th Century British Artist Frame measures 25 3/4" x 22" Presented in a high quality hand-carved giltwood frame. Signed on lower right. Provenance: Private French collection Possibly the work of Jean Esme Oregon Cooke RA was an English painter of still lifes, landscapes, portraits and figures. She was a lecturer at the Royal Academy and regularly exhibited her works, including the summer Royal Academy exhibitions. She was commissioned to make portraits by Lincoln College and St Hilda's College, Oxford. Her works are in the National Gallery, Tate and the Royal Academy collections. In the early years of her marriage, she signed her works Jean Bratby.

Helga Kai-Larsen, Swedish artist. Oil on canvas. Still life with bowl and fruits. Modernist style. Signed and dated 1949. In excellent condition. Dimensions: W 39.5 cm x H 31.5 cm. O...

Oil on canvas painting, Romulus and Remus sheltered by Faustulus, 20th century artist, copy of Pietro da Cortona. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION C...

Swedish artist. Oil on canvas. Nude female model in the interior. Modernist style. Colourful palette. Signed Hasse '59. Perfect condition. Canvas dimensions: 39.0 cm x 29.0 cm. Tot...

This exquisite pair of 19th-century French paintings captures playful putti, or cherubic children, rendered in a Baroque-inspired style. These charming artworks, executed in delicate...

A striking pair of Italian 19th century Venetian oil on canvas paintings. Each painting is set within their original giltwood frame. The charming scenes d...