Fabric Paintings

19th century oil on canvas portrait by Eugenio Lucas. Dimensions with frame: 67 x 47.5 x 7.5cm.

French large Camaïeu Bleu Grisaille painting. The colour is treated in a monochromatic way. Tableau Grisaille painting in shades of Camaïeu blue evoking ...

This is a vintage Venetian canal painting. A Continental school, oil on canvas study of Venice, dating to the late 20th century, circa 1980. Appealing canal scene in oils, with grea...

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....

This French early 20th Century folding screen is made up of four canvases entirely painted with textured tempera featuring a marine l...

Kano school painting of a pheasant in a snowy pine. Artist signature reads: Hokkyo Shunyo. Mineral pigments on gold leaf with silk brocade border.  

A fully restored small northern Italian Baroque painting on canvas that may have been painted as a study, (or what is referred to as a bozzet...

Neapolitan School of the 17th Century Battle scenes between Christians and Turks (2) Oil on canvas, 52 x 71 cm Framed, 61 x 80 cm One genre that met with wide acclaim in seventeenth-century Neapolitan painting and flattering success among collectors was that of battle. The Parthenopean nobility loved to adorn the walls of their salons with battles depicting single acts of heroism or complex combats that exalted patriotism and warlike prowess, virtues with which members of the wealthy aristocracy of the time liked to identify. The Church, in the Neapolitan area, was also at the forefront of commissions, commissioning artists to depict the spectacular triumphs of Christendom over the infidels, such as the memorable naval battle of Lepanto in 1571, which marked a historical turning point with the great victory over the Turks, becoming a repeated iconographic motif imbued with devotional value, replicated several times through the interest of the Dominican order, which was very devoted to Our Lady of the Rosary, who benevolently followed earthly events from above in heaven. Other themes dear to the Church within the genre were drawn from the Old and New Testaments, such as Constantine's Victory at the Milvian Bridge or St. James at the Battle of Clodius. Among the leading Neapolitan artists of that period, several specialized in battle scenes: these include Francesco Graziani, known as Ciccio Napoletano, a battler active between Naples and Rome in the second half of the 17th century; Andrea De Lione, who lived in Naples from 1610 to 1685, a versatile narrator of battles without heroes, of horsemen assaulting or retreating, and of profane scenes immersed in a wild and primordial, yet already classicized, nature; and Carlo Coppola. The latter was active for more than twenty years, from 1640 to 1665, and his catalog, which is interesting because it bears witness to a particular historical moment and the tastes of private patrons, has yet to be defined, although many of his works are initialed. It is precisely to Coppola's corpus that these two paintings could come close: with the production of the Neapolitan battler the two paintings seem to share the smoky colors, the accentuated chiaroscuro and the marked dynamism of the scenes. Moreover, it is necessary to mention how that of the battle between Christians and Turks was an absolutely central theme in Coppola's pictorial production. Also close to the manner of the two paintings analyzed here is the production of one of Coppola's most celebrated pupils, Giovanni Luigi Rocco...

Florentine school, 17th century St. John Baptist Oil on canvas, diameter cm 20 - with frame diameter 30 In this small round-format canvas, St. J...

Untitled abstract painting by Adja Yunkers. Collage with acrylic, signed and dated 1969.

Richard Mirando Seen Graffiti Art Painting of Wonder Woman Post No Bills

Pair of highly decorative, large oil on canvas floral still life paintings by Italian painting artist Vittorio Landi. Framed in artfully crafted beige and gilt wood/stucco frames, pe...

Captured on canvas with delicate impressionist strokes, this oil painting transports us to the bustling streets of San Francisco. On the left, a vintage blue-green tram glides toward...

A beautiful 19th century Italian oil on canvas of Jesus, Mary, Wise Men, Angel and Donkey.

Magnificent painting, oil on canvas, Italian School, 18th century after Guido Reni. Depicting a Virgin in prayer. The painting of the Virgin is magnificent. The lines are fine and e...

Monumental Winifred Godfrey Triptych Paintings Oil on Canvas Offered for sale is a monumental and striking flamingo triptych oil painting group b...

Abstract figural painting, oil on canvas in simple wood frame. Signed Jalovick and dated 1957.

DIMENSIONS: Height: 16.25 inches Width: 13.5 inches Depth: 2.25 inches Frame width: 2.5 inches ABOUT MODEL Encarnación López Júlvez, known as La Argentinita (Buenos Aires, March 3, 1898 – New York, September 24, 1945) was a Spanish-Argentine flamenco dancer (bailaora), choreographer and singer. La Argentinita was considered the highest expression of this art form during that time. López Júlvez was the daughter of Spanish immigrants in Argentina, where her father had a fabric business. While living there, two of her siblings died in a scarlet fever epidemic. Consequently, she was brought to the north coast of Spain in 1901, where she began to learn Spanish regional dances. When she was only four years old, she started learning flamenco from Julia Castelao. Her first public performance was at the age of eight at the Teatro-Circo de San Sebastián, in the Basque Country. She chose the name "La Argentinita" in deference to the famous flamenco dancer Antonia Mercé (La Argentina). After travelling throughout Spain as a child prodigy, she settled in Madrid to perform at Teatro La Latina, Teatro de la Comedia, Teatro de La Princesa, Teatro Apolo and Teatro Príncipe Alfonso. Her success led her to tour in Barcelona, Portugal and Paris, and then Latin America. In the early 1920s, she returned to Spain, where she worked in Madrid. Among her early performances was the 1920 premiere of Federico García Lorca's musical play El maleficio de la mariposa as "the Butterfly". She announced her retirement in 1926, but would quickly return to the show business as part of the artistic renewal that led her to the Generation of ‘27, in which she combined flamenco, tango, bulerías and boleros. She danced to the compositions of Manuel de Falla, Joaquín Turina, Isaac Albéniz, Enrique Granados and Maurice Ravel. She helped in the development of Ballet Español. Adapting pieces to popular tradition, she toured Europe, triumphing in Paris and Berlin and participating in the artistic movements of that time along with Spanish poets such as Rafael Alberti, Federico García Lorca, Edgar Neville and Ignacio Sanchez Mejias. Sánchez Mejías, an intellectual and bullfighter, was a married man and her lover. La Argentinita retired a second time to maintain her clandestine relationship with him. However, she would return to the stage with the aid of Sánchez Mejías, who participated in the search and employment of interpreters for her subsequent performances. In 1931, López Júlvez and García Lorca recorded five gramophone slate records, which were accompanied by García Lorca's piano. The selection of songs was prepared, adapted and titled Colección de Canciones Populares Españolas by García Lorca. Among the ten songs were "Los cuatro muleros", "Zorongo gitano", "Anda Jaleo" and "En el Café de Chinitas". With the beginning of the Second Spanish Republic, López Júlvez formed her own ballet company called Bailes Españoles de la Argentinita together with her sister, Pilar López Júlvez, and García Lorca. López Júlvez staged several flamenco theatrical shows, including an adaption of Falla's El amor brujo (Love, the Magician) in 1933, and Las Calles de Cádiz (The Streets of Cadiz) in 1933 and 1940.[7] She travelled through Spain and Paris, where she was recognized as one of the most important flamenco artists of her time. Her company included the flamenco figures Juana la Macarrona, La Malena, Fernanda Antúnez, Rafael Ortega and Antonio de Triana, who was her first dancing partner until the 1940s. At the end of her tour around Spain, her lover Sánchez Mejías was gored to death in 1934 in the Manzanares bullring. She sought refuge in her work and moved to Buenos Aires to dance at the Teatro Colón; from there she embarked on a long American tour. In 1936 she achieved success in New York. Afterwards, she returned to Spain but was forced to flee the country shortly before the outbreak of the Spanish Civil War. She travelled through Morocco, France, the UK, the Netherlands, Belgium and the USA, where she remained in exile in New York. From then until her death in 1945, she developed her career and became one of the biggest stars of international dance, and even participated in movies. In 1943, she presented the flamenco troupe El Café de Chinitas at the Metropolitan Opera House in New York, with her own choreography, texts by García Lorca, scenery by Salvador Dalí and the orchestra directed by José Iturbi. In addition, she performed at the Washington DC Watergate complex with her sister. On May 28, 1945, she gave her last performance at the Metropolitan of the orchestral work El Capricho Español, composed in 1887 by Nikolai Rimsky-Korsakov and based on Spanish melodies. At the end of the event, she had to be admitted to a hospital, where she died on September 24 from a tumor in her abdomen. She did not want to have it operated on because she did not wish to abandon dancing. Her body was repatriated to Spain in December and buried in the Spanish capital. That same year, the company of Bailes Españoles de la Argentinita was dissolved. Among the honors she received after her death was a plaque consecrated at the Metropolitan Opera House, positioned among the medals of Alfonso X El Sabio and La Orden de Isabel la Católica to honor her merits in the field of culture. ABOUT ARTIST Emmanuel Fougerat (French, 1869 – 1958) was a renowned French painter, museum curator and art historian. A former student of the Regional School of Fine Arts in Rennes, Fougerat studied in the studio of Albert Maignan and that of Jean-Paul Laurens in Paris. He was appointed director of the Nantes School of Fine Arts and was also the founder and curator of the Museum of Fine Arts in the same city. Emmanuel Fougerat was named Chevalier of the Legion of Honor in 1912. In 1923, he was placed on temporary leave from the French State in order to carry out a mandate as director of fine arts education in the Province of Quebec, Canada; where he served as an art teacher and director of the École des beaux-arts de Montréal from 1923 to 1925. Emmanuel Fougerat’s paintings are in the following public collections: • Nantes Museum of Fine Arts, France. • Museum of Modern Art in Paris, France. • Rennes Town Hall: permanent decorations. • Museum of Fine Arts of Saint-Nazaire (destroyed in 1944), France • National Museum of Fine Arts of Quebec, Canada. Emmanuel Fougerat is also the author of works on several French painters, including Albert Besnard, Paul Baudry...

Painting signed at the lower left by the monogrammist MW, Portrait of a Young Aristocratic Boy, 1879 Oil on canvas, signed at the lower left with the monogram MW and dated 1879. Thi...

Claude Venard, French painter (1913-1999).Colorful abstract cubist oil on Canvas "Nature Morte Aux Fruits ". Signed "C. Venard", label to the back May 9, 1989, lot 60 Provenance: Collection of Litsa Tsitsera, New York;, Christie's East, NY, May 9, 1989, lot 60, "Modern and Contemporary Paintings...

Beautiful large oil painting on canvas. The scene depicted is ascribed to the biblical repertoire of the Old Testament, taken from the book of Genesis (Gen 2.18-20) "God assigns Adam...

1970s Jaime Parlade Designer Hand Painting "Bengal Tiger"

‘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...

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...

Painted canvas or decorative panel representing parakeets with their stylized plumage in golden tones and scattered among foliage. Contemporary French work of artists. Dimensions: ...

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

A framed oil on canvas titled "Winter's Task" by listed artist Henry A. Duessel (1858-1919). The scene depicts a richly detailed winter forest with bare trees and snow on the ground....

An original oil on artist's linen over cedar stretcher with original cedar frame. An early work of Egyptian modernism by master of colour, Puzant Godjamanian...

This listing is for a Modern Abstract Painting Signed R. Monti. Featuring a rectangular shape, an array of colors over a black background, and a signed bottom left corner. This is an...

Very beautiful oval painting, oil on canvas in its original wood frame dating from the 19th century and signed Hubert on the left bottom. Painter probably Dutch or German. Harvest s...

A magnificent 18th-century Italian painting. This oil on canvas painting depicts a splendid idyllic landscape with nude cherubs at play. One of them proudly displays a nest full of b...

P. Marsh, (European School), 19th Century Rabbit Seller, signed P. Marsh, l.l.,oil on canvas 36 by 24 in. (91.44 by 60.96 cm.), overall, in a gilt wood frame 46 by 34 in. (116.84 by...

Amazing hand painted pink, purple and green flowers in a pink frame.

Painting beautiful nude woman oil on canvas signed

Depicting napoleon and titled on the road from Waterloo to Paris. This museum-quality work is recorded by the royal academy as an exhibition picture by stone, see photos. Has recently been professionally cleaned and restored to excellent condition. Measures: 50 W x 40.75 H overall in frame. 35.75 W x 26.75 H visible area. Stone was a British painter and illustrator best known for his realist depictions of garden parties, literary scenes, and sentimental portraits, as in his hallmark painting In Love (1888). Notably, Stone also produced illustrations for books by Charles Dickens and Anthony Trollope. Born on July 4, 1840 in London, United Kingdom, he was trained from a young age by his father, the renowned painter Frank Stone...

19th century painting of a young boy in a giltwood frame.

Wonderful 19th century Italian painting. Oil painting on canvas, first canvas, depicting a splendid praying Madonna who takes as a model a late Baroque devotional composition, presum...

Relined canvas depicting birds prepared for dining with table and cat peeking out considering dining himself with live roosters in the background and copper pot filled with vegetables.

Lilacs bouquet in a vase still life American oil on canvas painting, signed left lower corner Marti, verso - date 1987.

Gorgeous antique Dutch oil painting of a frozen landscape in Holland The piece is signed T Bergman in the bottom right corner Bergman has really ca...

Presented to Eunice Bunker. Titled on reverse "California Coast Channel Islands Off Santa Barbara", 1984.

Delve into an era of elegance with the Mid Century Hand Painted Portrait of Lady 1978, a timeless representation of feminine strength and style. Captures a poised and confident lady...

Mid Century Abstract Painting by Rene Leidner, France (1921-2004) titled "Le Mannequin" 1991 René Leidner work has been offered at auction multiple times. Among his creations, the...

Beautiful oil on canvas by W.M. Verdult titled "Floating Spirits" The piece is signed and it comes with a certificate of authenticity and appraisal. Measurements: 36" high x 30" w...

Landscape of Fields in the Countryside, 20th century. Oil on canvas. Evelyne Luez, Paris school. Measures: H: 54 cm, W: 65 cm, D: 2 cm.

Bruce Myers mid century signed abstract original oil on canvas painting This painting measures: 30.5 wide x .75 deep x 15.5 inches high This painting is in good vintage conditi...

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

This vintage orange and white Abstract Expressionist painting has a provenance dear to many. The 1960s/1970s era painting resurfaced at the Antique Tobacco Barn in Asheville, North C...

'Summer Landscape' by Beverly Myers Modern Painter, School of Wolf Kahn  USA, Post 2015 "Summer Landscape" is a stunning example of Beverly Myers' maste...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragment...

Scene from everyday life representing a crowd returning from the fair, attributed to J.F. Demay. Born in 1798 in Mire court (Meurthe-et-Moselle Dept.), died in 1850 in Paris, Jean-L...

1970s Jaime Parlade Designer Hand Painting "Bengal Tiger"

17th Century Italian School Oil on Canvas - Soldiers and Travellers Resting by a Rocky Cove The painting carries a plaque with the name of the attributed artist Salvator Rosa (1615-...

Beautiful oil on canvas by Curacao-based artist, Philippe Zanolino. Artist and painter, Philippe Zanolino, was born in 1960 in Périgueux and moved to Curaçao in 1986, where he embar...

Decorate a bathroom or bedroom with this elegant oil on canvas painting. Painted in Paris, France circa 1950, and set in the original wooden frame, the artwork depicts a nude beauty sited on a stool. The painting is signed in the lower right corner by the artist, A. Genta. The painting is in excellent condition with soft pastel colors. Listed in the Benezit. (see last picture). Albert Genta (1901-1989) was a French painter. Born in Paris in 1901, he was the son of Joseph Hyacinthe Genta. He studied at the "Academies Libres" in Paris and displayed his artworks at the "Salon des Independants". Francis Albert Genta died on 5 September 1989 in the 20th, Paris. Genta was primarily known for painting females, and colorful landscapes in an impressionist style. He was a female nude painter...

An impressively large and attractive work by Australian artist Ronald Millar. A study in virtuoso tonal painting with wonderfully warm colours setting a mood, evocative of summer hea...

Cherry blossoms and maples among ragged pines. Mineral pigments on mulberry paper with gold mist clouds. Completely remounted utilizing an antique silk brocade...

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...

An 18th century French oil painting on canvas, mounted on board, of an aristocratic woman in the original period frame. Cleaned and c...

Portrait of a Noble Family in the landscape circa 1600 On foreground the nobleman with his family and a table where appear meats and fixtures, showing her ancestry. In background two servants on both sides. Oil on canvas. Antwerp School...