Fabric Paintings

Ó/L “Peace and the arts are worth more than the brutal glory of weapons”, Philippe Swyncop, 1903 – Belgium, Flemish School Exquisite oil on canvas signed and dated by Belgian artist...

Hans Zatzka, Austrian (1859-1945) A Fine Oil on Canvas "Portrait of Haunz Javorasky Als Knabe Dressed as a Sailor" within a carved gildwood frame. The charming portrait depicts a sea...

In this captivating early 20th-century English oil on canvas painting, the essence of rural life is vividly captured as a majestic hound sits regally amidst the rustic charm of a hay...

Painting "Evening Mood", around 1900, Jan van der Linde (1864 Amsterdam - 1945 Amsterdam) Oil on panel, signed lower right, framed 34 x 53 cm Works by van der Linde can be found in t...

Fantastic Early 20th Century Oil Painting of Venice showing the Marcus Place from the Water. It was probably painted around 1904. The Painting is framed in a 18th Century gilded Frame...

Early Arts and Crafts Sweeping Landscape of Countryside. Romantic rolling fields with sheep and blue mountains in the distance. Perfect painting for above a stone fireplace with your...

19th century oil on canvas painting signed on the bottom left corner "P. Deligny", representing still life, grapes and peach basket , and a pitcher. The frame is in its original stat...

19th century oil on canvas painting signed on the bottom right corner "Bianchi", representing still life, fruits, grapes and peach basket , and apples The frame is in its original st...

Gorgeous and very Delicate oil on canvas, adhered to board, with an impressionistic style that represents a fisherman on the edge of a river, on the outskirts of a town surrounded by...

An antique painting of a hunting dog in a stable, assumable an Irish or French Red & White Setter. Painted with oil on canvas. It has no signature. Due to its uncommon dimensions, it...

Rudolf Quittner (1872-1910), "Vue nocturne de la Seine" ("Seine by night"), oil painting, ca. 1905 Impressionist Rudolf Quittner, born in 1872, was an Austrian landscape and genre p...

Antique Original Oil on Canvas Painting A wonderfully energetic depiction of an Eastern battle scene, probably depicting the medieval Crusades including knights on horseback, pikem...

Hashimoto Dokuzan was a leading figure in early twentieth-century Zen Buddhism, serving as abbot of the major monastery Shōkokuji in the city of Kyoto and served as chief, kanchō, of the Shōkokuji branch of the Rinzai sect of Zen from 1909 to 1933. Before he entered the priesthood, he trained to be a painter under the celebrated literati artist Tomioka Tessai and continued to paint throughout his life. The present worked shows a lone Chinese man in a deep woods, leaning over the railing of a stone bridge to gaze at rushing stream below—a scene of communion with nature that East Asian painters...

A beautiful antique oil painting by the well known Dutch artist Hendrikus Johannes Franciscus van Langen. This dates from the early twentieth century around 1900-1920. It depicts a ...

A charming pair of oil paintings with original woodenl frames. Both signed C. L. and dated year 1900. Calle Ljungberg (1856-1937). C Ljungberg was a painter that mostly worked in the...

The following is a work depicting a picture of bamboo in the snow, drawn by Sodo Tae (Taizo). 　　　[Tae Sodo] 　　1870 (Meiji 3) - 1939 (Showa 14) 　　Agricultural manager, politician, an...

Product Description This is a work drawn by Matsutoshi Suzuki on New Year's Day, 1903, as you can see. The figure of the zodiac ``Snake'' and a jewel are depicted, and a poem of prai...

Émile Renard (French, 1850-1930) A Fine and Charming Oil on Canvas "A Good Poker Hand", depicting a joyous seated man, smoking a pipe, showing his Poker h...

 Early C20th still life oil painting on canvas of a collection of exotic fruits, some partially sliced and watermelon displayed in a bowl, with red printed table...

Our magnificent oil on canvas by John Henry Frederick Bacon, A.R.A. (1868-1914), entitled The Golden Butterfly, depicts the family of John and Julietta Boyd-Harvey at Tondu House in South Wales in 1907. It was exhibited at the Royal Academy in London in 1907, no. 572. This very large painting depicts the Boyd-Harvey family on the lawn of Tondu House in South Wales, with the mountain and valley of Tondu in the background. John Bacon...

This 19th-century oil canvas; from Maison Blanchet; known for top-notch art supplies; is stamped with a 1890 mark. Blanchet; situated at rue Saint-Benoît 20; was an artist's haven offering premium colors; high-quality canvases; easels; and brushes. The painting showcases nymphs dancing...

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...

Large oil on canvas Painting Artwork by O. Redgrave Still life with Genie C1900. An impressive large work. Something really different that would look great in the right location! ...

Fine quality antique oil painting by unknown artist , much admired and celebrated River landscape, with two people overlooking at the river and a bridge .interesting with Fine detai...

Refined pastel painting "portrait of a woman" executed by A.Dagnaux in 1920,delicate in the strokes and use of color the author demonstrates remarkable skill in execution,the feather boa covering the female figure is sublimely executed ,it almost feels as if you can touch it as the female figure's own hand. Beautiful original frame of the 'era,overall good condition. Albert Marie Adolphe Dagnaux (Paris, July 10, 1861 - Mantes-la-Jolie, November 22, 1933) was a French landscape, tableaux and figure painter. Biography His father owned a small restaurant, "Le Dagnaux," in the 6th arrondissement of Paris. He began his studies in 1878 at the École nationale supérieure des beaux-arts under Professor Ernest Victor Hareux. His first exhibition was in 1883, at the Salon. In 1890 he left the Salon to join the Société Nationale des Beaux-Arts, founded by Jean-Louis-Ernest Meissonier.It was at that time that he began to receive positive critical attention. His first great success came with his tableau Avenue du Bois de Boulogne...

The painting "Country Cottage". Origin : Denmark, early XX century - 1909 Paintor : signed L. Kyhn Dimensions: Frame: height 64 cm / width 85 cm Image: height 41 cm / width 62 cm

Painting "Kayaking harbour". Origin : Denmark, early XX century Paintor : signed : Frederiksen Dimensions: Frame: height 52 cm / width 74 cm Image: height 33 cm / width 54 cm

Great German painting from the early 20th century. Artwork oil on canvas, first canvas, depicting a wooded landscape, view of the river, of good pictorial quality. Painting adorned...

Large Oil On Canvas With Young Gypsy Fortune teller. LARGE OIL ON CANVAS WITH YOUNG Gypsy guessing the future VERY INTERESTING OIL ON CANVAS REPRESENTING A YOUNG Gypsy guessing the FUTURE. IT IS SIGNED BY: PRADILLA AND TITLE: discovering the future. CIRCA 1900. MEASURES 104X94 CM ONLY OIL WITHOUT FRAME . Francisco Pradilla...

A Mid-20th Century 'Kamasan' cotton textile painting from Bali, Indonesia. The hand painted image has great detail and depicts Balinese Hindu mythology. This textile painting is stre...

Beautiful framed wooden canvas from the end of the 19th century. The reference narrative is the one found in the Acts of the Apostles (Acts 2:14-42) in which Saint Peter starts pre...

OLOF HERMELIN Swedish, 1827-1913 Collecting the Harvest Oil on canvas Signed lower left "O. HERMELIN" Item # 107LUY29P A vibrant scene of workers l...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

English orientalist school; late 19th - early 20th century. "Slave market". Oil on canvas. Presents stamps on the back. Measurements: 26,5 x 36 cm; 27 x 37 cm (frame). The orien...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Oil painting on canvas, Landscape, mountain lake, made and signed by Adolf Kaufmann, 19th century Bright painting made with skill, signed by Adolf Kaufmann (Austria 1848 - 1916), depicts a lake landscape surrounded by mountains. Adolf Kaufmann (15 May 1848, in Troppau – 25 November 1916, in Vienna) was an Austrian landscape and marine artist. He was initially self-taught, but completed his studies with the animal painter, Émile van Marcke...

JOSÉ FELIPE ABÁRZUZA RODRÍGUEZ DE ARIAS (Cádiz, 1871-Puerto Real, 1948). "Moors at Dusk". Oil on canvas. On the lower part there is a plaque with the artist's name and title. Frame f...

raffigurazione napoletana di pescatori olio su tela inizio ventesimo secolo ottime condizioni generali dimensioni altezza 88 cm larghezza 127 cm.

Very decorative painting of an unknown artist. "View of a North Italian Village by a Lake," oil on canvas. Measurements without frame: 11.5 x 19 inches.

One hundred birds Hasegawa Gyokujun (1863-1921) Meiji period, circa 1900. Ink, color and gofun on silk. Dimensions of each screen: H. 170 cm x W. 190 cm (67’’ x 75”) Despite the title, well over 100 birds are represented in this pair of two-fold Japanese screens (the title functions figuratively to convey the idea of a large number). The monumental work is rendered with a comprehensive and highly complex composition which is exquisitely executed and meticulously colored. More a celebration of naturalism than the traditional “One Hundred Birds” paintings which originated in China. This was a subject matter known for its auspicious meaning as much as its actual depiction of nature. These paintings generally had a phoenix (occasionally peacocks) placed in the center, and the other birds paying homage to it. In this quintessentially Japanese scene painted by Gyokujun, a couple of long-tailed birds modeled after paradise flycatchers are included; these are traditional auspicious motifs in Oriental bird and flower painting and denote themes such as celebration and enduring generations. In addition there is the playful inclusion of single exotic parrot. Even so, the vast majority of the birds and flowers are native to Japan. Reading the scene from right to left, from spring through to autumn, the overwhelming sense is one of movement and haste. It is almost as if the birds are in a race, with the fleetest leading the way forward. Although these native birds were commonly drawn amongst artists of the Shijo school, rarely were they painted with such drama and dynamism. It is not strictly a depiction of sketched birds whose manner was faithfully handed down through the traditions of the Shijo school. Rather we see Gyokujun seeking and achieving new expressions in the heart of the turbulent Meiji period. Hasegawa Gyokujun (1863-1921) was born in Kyoto. He was the eldest son of Hasegawa Gyokuho, a Shijo school painter who studied under Matsumura Keibun. Gyokujun studied painting under his father and became a prominent member of the Kyoto painti ng world from a young age. In 1891 he established the ‘Young Painters Social Club’ along with Takeuchi Seiho, Miyake Gogyo and Taniguchi Kokyo. Also in 1891 he was selected as a judge of the Great Private Paintings Exhibition along with Takeuchi Seiho, Yamamoto Shunkyo...

Soft mineral pigments on silk with brocade border. Signature and seal read: Jyogyu

On mulberry paper with silk brocade. From the estate of Andrea Bollt. Artist's seal reads: Mitsushito (died 1922).

Large, early 20th century orientalist painting. Oil on canvas. No trace of signature.

Pair of very decorative Italian paintings, probably an old theatre set, from the 90s. Structure in old solid wood and linen canvas representing a vanity. S...

We are delighted to offer for sale this lovely pair of circa 1880-1900 Persian hand painted silk wall hangings depicting oriental scenes. A very...

Watanabe Seitei, also known as Watanabe Shotei (1851–1918), was born in late Edo period. He was one of the earliest Japanese artists who visited and be...

Beautiful antique Italian oil painting on canvas 1900s. Portrait of a little girl with accordion. Unsigned work attributed to important Italian artist Angelo Vernazza (Genoa Sampierd...

Great Italian painting dated 1908. Artwork oil on canvas, on the first canvas, depicting a portrait of a gentleman with newspaper of excellent pictorial quality. Painting of exceptional size adorned with a pleasantly carved and gilded coeval frame of beautiful decoration. Artwork of strong visual impact signed and dated in the lower left corner Agazzi R. 1908 (see photo) referable to the painter Rinaldo Agazzi...

Starting in 1874, a dedicated group of artists, referred to as; “The Anonymous Society of Painters Sculptors”, etc. organized their own exhibition in Paris and thus began the movement called, Impressionism. Members included; Claude Monet, Edgar Degas, and Camille Pissarro and others. The canvas itself measures exactly one meter high, which tells us, that this is a European Impressionist...

A set of three paintings of ink and watercolor on silk mounted within brocade borders as scrolls by Watanabe Seitei (1851-1918). This is a very rare an...

Pedro Ribera (1867-1949) Spanish artist. Oil on canvas. Portrait of a girl. Signed and dated 1904. Measures 62 x 51 cm. The frame is 10 cm. wide. A painting of Pedro Ribera was s...

Karl Viktor Mayr (Austrian, 1882-1974) a very fine Austrian oil on canvas "An Exotic Nude Girl" depicting a young semi-nude woman, revealing her breast...

Japanese four-panel screen: Water landscape, Meiji period (1868-1912) painting of a waterfall on the left, leading to a meandering stream amongst a hi...

Japanese two-panel screen: Peony, Wisteria, cherry and bamboo on soft silver, Meiji period (1868-1912) painting of a garden in spring. Painted in mineral pigments on oxidized silver ...

Antique framed impressionist oil painting on canvas by Joseph Lagasse (1878-1962) is another splendid work by the artist in ...

Eugenio Zampighi (Italian, 1859-1944) A fine and charming Italian 19th/20th century oil on canvas Titled "A Joyous Family" depicting an interior scene of a seated joyous mother with her smiling toddler child on her lap, as her young daughter amuses them while holding a small kitten picked-up from the cat...

Oil painting on canvas by Xavier Wurth (1869-1933) is a splendid panoramic landscape by the artist who was beloved in his native region of Liege. This par...

Japanese Two Panel Screen: Hibiscus in Bloom, Meiji period (1868 - 1912) painting of hibiscus flowers reaching for the sun in full bloom. Mineral pigments on silk with a silk brocad...