Paint Paintings

Artist/ School: French, 20th century, signed Subject Côte d’Azur village of Cagnes. Professionally framed.

Antique oil painting on board of a white dog caught in a moment of speculation in an outdoor scene. Signed William Melbon and presented ...

Vintage plein aire oil on paper summer landscape of a wooded scene in the south of France. The painting shows a mastery of depth and a fluidity of brush work with fresh, vibrant colo...

17th Century Scourged Christ Religious Old Master Oil Painting on Canvas Dimensions: 70 x 51cm, depicting scourged Christ Good condition, with some professional restorations to verso...

Belgium / 1940 / Painting / canvas, wood / Rococo / Baroque A Belgium oil painting signed Jos Pas, 1944 of a vase with orange flowers, grapes and a painting in the background. The ...

Shipping off the coast by English artist Thomas Luny. Oil on canvas signed and dated 35' in the lower left. Nice period and possibly original frame. Thomas Luny (1759–1837), born in Cornwall, probably at St Ewe, was an English artist and painter, mostly of seascapes and other marine-based works. At the age of eleven, Luny left Cornwall to live in London. There he became the apprentice of Francis Holman, a marine painter who would have a great and long lasting artistic influence on Luny: Luny remained until 1780 in Holman's London studio, which, was first situated in Broad Street, St. George's, and later relocated to Old Gravel Lane. Examples of his work are exhibited at the National Maritime Museum at Greenwich, in the Royal Albert Memorial Museum in Exeter, and at The Mariners' Museum in Newport...

Heavily textured painting with white paint in the middle radiating to a dark blue. Signed Walker in the bottom left. Framed in aluminium frame....

Brilliant colors in this Batik painting by NJ Artist Marion Knudsen. Titled Five Sisters. Artist signed and framed in a brushed metal frame. This is one of 27 in a collection.

This late nineteenth-century oil-on-mahogany board by German painter Heinrich Maria Staakmann (1852-1940) depicts two Bedouin men suited for combat on horseback against a trampled de...

Striking mid century painting in vibrant colors. Artist signed. Framed in a brushed chrome.

Stunning mid century still life depicting bottles and jars. Great colors in a complimenting thin walnut frame. Artist signed.

Senen Ubina "Composition 10 - 1969" Circa 1969

A large color field watercolor in the manner of Helen Frankenthaler’s soak-stain style technique. Dramatic bold splashes of color and veining. Circa...

This antique oil on canvas pastoral cow painting is signed and dated (1889) by the artist, “J. Bergmann ‘89”. Because Bergmann used an vertically oriente...

Midcentury oil painting on canvas with an adept use of bold colors and a joyous spirit. The Classic still life genre re-invented over century is well represented here as a modernist ...

Signed lower left P. Fiordalisi (1904-?). Peter Fiordalisi was born in Union City, NJ and produced this fine abstract oil paint on canvas circa 1969. The artist uses segmented color,...

Fantastic old master painting of a women, 16/17th century With frame: H. 107 W. 90 D. 10 cm H. 42.1 W. 35.4 D. 3.9 in Without frame: H. 80 W....

Beautiful tempera on board by Leonard Maurer (1912-1976), painted in 1955. Portrait of a woman, exaggerated, with great depth and expressive character. ...

Oil on canvas painting of geometric shapes signed Brink.

Mid-century cubist style still life painting. This mid-century oil painting showcases a Cubist-inspired still life, featuring a coffee pot and cup arranged on a tabletop. The compos...

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 oil painting on wooden catwood panel. The painting has an almost Leonardesque background, characterized by a temple and distant mountains that recall the Holy Land. In the ...

Antique Dutch Oil on Canvas Painting "Port Scene with Windmill" Signed "G. J. Delfgauw". Gerardus Johannes Delfgauw (1882-1947) was a Dutch landscape painter.

Pastel painting show a young African woman Dated 1949 Monogrammed J E

Unusal profile portrait of a man enjoying a hardy beverage on a cold day. Artist unknown.

Beautiful oil painting signed by Robertson. This sunset at the beach painting, we think, is a painting of Naples, and if anyone has been there, the sunsets are breathtaking like this...

The Deck series. Screen-printed maple skate decks. Float-mounted on encaustic painted boards.This open edition set of 4 skate decks features Keith Haring's Man and Medusa and was designed in 2018 by The Skateroom with the Keith Haring Foundation. Art dimensions: 48 x 48 H inches Framed dimensions: 49.5 W x 49.5 H x 4 D inches Over a year in the making, Decks is a mixed media series combining O'Hara's favorite medium, encaustic wax, as the backdrop and base for art-edition skate decks. The skate decks, screen-printed with contemporary art by Warhol, Basquiat, Haring, and more, are float mounted onto board. With a nod to pop art and street art, each board is painted to complement the decks that sit atop. In works like Deck 15 and Deck 18, O'Hara float mounts sets of Keith Haring decks...

Oil on canvas painting "Madonna and Child". Blacklight scan show there has been a touch up covering the baby Jesus's genitals done over the centuries. In the original ornate gold fra...

18th century Italian painting on canvas. Dimensions: 27.75" H x 38.25" W x 3" D.

This rare and exceptionally well-preserved oil on copper painting presents a raucous and theatrically detailed tavern scene, in which a cast of monkeys—standing in for mankind—engage...

An exquisite example of this artist's traditional take on still-life realism, and a masterpiece in its own rite. This floral painting represents the artist's awe for botanical and floral scenes as well as his or her adept knowledge of tactile painting. With broad sweeping strokes and high texture, the artist paints a portrait of a small circular Ombre deep blue vase, filled with creamy white ranunculus or buttercups with berry color centers, green eucalyptus and small accents of white hydrangea. Oil on canvas. Framed roughly in a small wood frame, with gilt painted accent inside. How we would display: A botanical painting will forever bring a certain feeling of femininity and softness to a room. This piece would be wonderful displayed in a space with too many harsh lines. Alternatively, we suggest hanging this as part of a grouping of other floral portraits on a large wall to add interest. Another favorite of ours for art is to display pieces on their own in a bedroom. Such as a guestroom or child's room. Hung just above a nightstand (we currently love the idea of using a bombe chest), and just above a table lamp, (perhaps a lamp with a Caprani...

This evocative oil painting depicts a woman standing defiantly amidst a turbulent sea. Clad in flowing white garments, she reaches her hands skyward, her face turned upwards in a ge...

Large Carol Bertrand Colorful Post Modern Abstract in Acrylic Amazing large canvas with mostly primary colors of blue, red ,yellow and purple. Signature of artist...

Original Watercolor Figurative Female Nude in gilt gold wood frame c.1980’s titled Asleep, by Texas artist Stephanie Woolley. Original Gallery tag and COA attached to back, purchased...

Ronald Smoothey Mid Century "Presence" Oil on Board Painting This painting measures: 22.75 wide x 1 deep x 31 inches high We take our photos in a controlled lighting studio to show...

Saturated in bold primary colors -- deep red, brilliant yellow and sky blue -- this scene depicts a standing blond lifeguard with his surfboard to one side and a striped umbrella to ...

Beautifully and sensitively painted, this WPA-period portrait of a young man in an unusual setting -- perhaps a boiler room or plumbing closet -- was executed by Dorothy Van Loan...

American Mid-Century Seascape Painting of Two Row Boats in a Lake with a building in the background in a gold frame (signed: GIORDANO)

Ludwig Orny (1920 Bratislava – 2005 Munich) – Abstract Geometric Composition Oil on Panel Germany, Late 20th Century This vivid geometric abstraction by Bratislava-born artist Ludwi...

Ludwig Orny (1920 – 2005) — Abstract Composition Oil on Panel This expressive abstract painting by Ludwig Orny (1920 Bratislava – 2005 Munich) showcases the artist’s masterful layeri...

Seascape painting set in it's original gilt-wood frame., English, 20th century, oil on canvas. Dimensions: H 53 x W 61.5 x D 6.5 cm (framed dimensions)

A modern oil painting on board by American artist Thad Miller (1933-1986). Signed and noted "Somerset 1978" on the bottom right corner. An intriguing and surreal artwork featuring a ...

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

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...

A beautiful 19th century Italian oil painting on re-lined canvas presented in a gilded wooden frame. Done in Guardi style with gold frame. The...

C1680 oil on canvas portrait of a young man C1680 oil on canvas portrait of a young man in a 19the century gilt frame 83×73 cms restoration label reverse

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

18th to 19th century framed watercolor Coat of Arms of the Company of Merchant Taylors of the City of York. A guild of freemen since 1273, Charles II granted them a royal charter Apr...

Govaert Flinck School (1615-1660) 17th Century "Isaac and His Sons" Oil on canvas 116 x 140 cm Good condition Govert or Govaert Teuniszoon Flinck (Clev...

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...

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...

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...

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

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...

Important English School, " Young Gentlemen " 18th century Oil painting on canvas cm. 76.5x64 in gilded frame. Condition: work lined, good condition

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.