Nude, William Frederick Foster (1883 - 1953)

This a charming late 19th or early 20th century plein aire painting by the Italian artist Attilio Simonetti (1843-1925). The painting is inscribed al dorso "Viale Parioli Del Vero". ...

This is a very good copy of an early Rembrandt self-portrait, the painting was executed by a very competent early 19th century romantic artist. ...

This is a very good example of late 18th/early 19th century Cuzco School painting of a Madonna Representing "Our Lady of the Rosary" (Nuestra Senora del Rosario). The painting depict...

This is a charming small impressionist painting of Occidental Hill, a location in Southern California. The painting was exhibited at "Nature's Palette: Garden Views, Visions and Fant...

Sumptuous, very large, original oil on canvas board, still life painting depicting a banquet table. This painting is a virtuoso display of how artist William Frederick Foster (1883-1953) captures texture in paint. You can see this in the mouth watering fruit, crustacea and other samplings laid upon the table as well as the masterfully painted reflective surfaces of the copper tea pot, wine bottle and the gathered table cloth. Painting is framed in the original wood frame. Painting framed measures 34.5” high x 46” wide x 1.5” deep. Painting unframed measures 30.5” high x 42.5” wide. William Foster was born in Cincinnati, Ohio, in 1883. He became a noted figure painter and illustrator, living the last twenty-one years of his career in Los Angeles, California. At age 12, he moved with his family to Colorado, but in 1898, he returned to Cincinnati and enrolled at the Art Academy where he studied with Joseph Henry Sharp and Frank Duveneck. His early ambition was to be a violinist, but he was re-focused on fine art when he saw a painting by Albert Ceck Wenzell. In 1902, he went to New York City where he painted scenery for theaters, auditoriums, and large department stores. He also studied at the New York School with Robert Henri and William Merritt Chase, and from 1903 to 1931, he worked as an illustrator and with a brief teaching stint in 1919 at the Art Institute of Chicago. In 1903, he sold his first illustration, a depiction of high society, to Life magazine, and the style was very similar to Wenzell. From that time, he worked for most of the major magazines including Collier's, The Saturday Evening Post and Harper's Monthly. In 1926, he won the National Academy of Design's Thomas B. Clarke Prize for the best figure composition painted in the United States by a non-academician. The following year, he was voted an Associate Member based on his recognition for a figure work titled The Girl in Brown. During World War I, he operated his own ambulance in France as a member of the American Volunteer Motor Ambulance Corps and also received mention as a camoufleur artist. Returning to the U.S., he resumed his illustration work and moved to Chicago, where he taught at the Art Institute. Foster moved to Los Angeles in 1932 and devoted his energy to painting, exhibiting and teaching. He taught at the Chouinard School of Art in Los Angeles and gave private classes in his studio. He also worked on a mural project at the Hearst estate...

Caswell, William Frederick (United Kingdom, Act 1870-1914). "Landscape". Watercolor on paper. Signed with initials in the lower right corner. . In this work Caswell offers an evocati...

William Scharff, painting. "Nude Woman". Modernist painting, Danish art. Signed. Measurements without frame/with frame (cm): H 63/75, W 52/63.  

This 19th-century oil on mahogany board titled 'The Cut Finger' by William Hemsley, R.B.A., depicts a familial pairing in a cottage home. The girl tends to the eponymous cut with a white cloth pressed on the boy's finger. A dim light is cast from the window to the left, illuminating a cut loaf of bread, a knife, and simple stoneware to set the scene. The girl sits in a wooden chair wearing a salmon-colored blouse, while the young boy is dressed in a golden overshirt. William Hemsley, R.B.A., (1819-1906) was a prolific draughtsman and painter of genre scenes depicting English provincial life. Hemsley’s scenes of everyday reality, which were usually painted on a small scale, follow the gentle tradition of Webster and F. D. Hardy. He was, like them, fond of painting children at play. Many of his works depicted rustic domestic scenes, leading to him being described as "pre-eminently the painter of cottage life". He was also a member of the Society of British Artists. He exhibited frequently in London, particularly at the Royal Academy and the Suffolk Street Gallery. This gentle painting faithfully represents a moment between two people caring for one another. Hemsley painted in a style reminiscent of earlier golden-age Dutch genre painting, using light and color in a vibrant but elegant manner—signature on the lower left-hand corner. In the 19th century, it was common to paint on wood due to its durability, smooth surface, and long-standing tradition. Wood panels were preferred for their sturdiness and versatility, suitable for detailed artworks and various shapes and sizes. While wood was popular, especially for smaller works, canvas started gaining popularity later in the century for its lighter weight and ease of use. This rustic genre scene resides in an ornate Louis XIV Régence style convex frame with foliate shell cartouche corners, strap work, and c-scrolls on a cross-hatched ground with white pigment dispersed throughout. In the early 18th century the Louis XIV styles blended into the Régence frame style (c.1715-1723) which placed greater emphasis on the corners and centers. The full Regency style was both opulent and delicate, with the order and linearity of this period giving way to the swirling delicacy of the Rococo. This painting would be a wonderful addition to a home office, entryway, or library...