European Paintings

Two-horse and one-horse cariage races, signed Franz Witt (Schloß Mähren 1864 - ?). Pencil, watercolor, opaque white on cardboard. 28 cm x 18 cm

The Life of Emma, Lady Hamilton by J T Herbert Baily. Published by Menzies London, 1905. 1st Ed hardcover no dust jacket as published. 137 untrimmed pages with all 23 portraits of Lady Hamilton each with a tissue guard. Dame Emma Hamilton...

A sweet little painting depicting two dressed up circus dogs. The dogs are painted against a sober background. The painting is oil on panel and dates from...

Mid-century abstract expressionist oil painting by Charles Maussion. The energetic vibrancy of the piece is balanced by its smoky, woody palette of grays and ochres. Dynamic yet serene, the painting has a wonderfully spontaneous sense of gesture. Charles Maussion (1923 - 2010) was a prominent French painter in mid-century abstract expressionist circles. Interested in the intersection of music and math, he showed his moody, minimalist paintings in the 1950's and 60's at the Arnaud Gallery, Iris Clert, Lucien Durand...

A French Napoléon III Large Pair of very decorative hand-painted polychromed Porcelain Plaques with Orientalist scenes, with traditional costumed characters. In the manner of Rudolf ...

An Allegorical Belle Époque Limoges Enamel Painting Plaque of a Semi-Nude Bacchante. The convex baked enamel copper plaque finely painted depicting a scantily clad young female Maen...

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...

A French early 20th Century Neoclassical Revival stained glass panel depicting a praying angel or cupid. The charming oval shaped hand-painted multi-colored glass panel or window dep...

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...

Hand painted sign from classroom door. More similar signs with different numbers (pictures on request)

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...

A nice antique oil on panel of a French Castle in a nice decorative wooden frame.

Young boy dressed as an Evzone (elite light infantry battalion of the Greek army, currently assigned to guard the presidential palace in Athens), lying on a sofa, a hookah at his fee...

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...

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...

Oil Painting on Canvas signed Maurice Braun, 1902 Listed Artist A very lifelike rendering of a European street scene with houses. This early 20th Century painting features houses ...

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...

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 ...

Henry William Standing (British, 1894-1931) Equine Painting, watercolor and gouache on paper. Depicting an English Lady riding Dressage Side Sad...

 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...

A hand painted Chinoiserie design in oil on rice paper, mounted on board. Depicting village figures in a scene with buildings, mountains, and greenery. The design is based on an exam...

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...

Antique Bay of Naples Gouache Seascape with Vesuvius Erupting, 1906, a fine gouache on paper seascape with the panoramic Bay of Naples stretching wide, wit...

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...

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...

Dead heron by Johannes Frederik Hulk ( 1829 - 1911), work on paper. Signed: John F. Hulk, 1909 Behind glass, with an impressive gilde frame. Johannes Frederik Hulk Sr. was a Dutch ...

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...

Stupendo dipinto a olio francese,natura morta con fiori,intitolata dall'autrice Therese Guerin "le Vase Bleu".Therese Guerin (1861-1933) nativa di Lione,e' stata allieva di Medard and Perrachon e si è sempre distinta per la qualita' delle sue opere,questo dipinto ne è uno splendido esempio per la magistrale esecuzione delle rose e del vaso blu...

Charles Edward Dixon ‘Coaling, Portsmouth Harbour’, watercolour and gouache showing a two masted ship steamship enveloped in black smoke while being loaded and re-victualled, with a ...

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...

Old French pastel painting "Mother with Child "from the early 1900s,the author demonstrates great skill in conveying the feeling of complacency of the maternal figure,not to mention ...

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

Antique German oil painting "Portrait of a Maiden" dated 1901 signed Konig,the author demonstrates good mastery in the use of colors and technique,the forest in the background,the wr...

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...

Oil on panel of Marie de Bourgonne signed: Moerenhout Gent 1902 Mary of Burgundy (French: Marie de Bourgogne; Dutch: Maria van Bourgondië; 13 Februa...

Beautiful oil on panel painting representing Venetian landscape. The luminosity of this evocative view combined with the impressionistic style of br...

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...

Pencil and gouache work on paper of a nude female by Ludovic-Rodo Pissarro. Provenance: Private collection The Netherlands, purchased from Stern Art-Dealers London, 1996. Ludovi...

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...

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...

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...

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.

Pair of porcelain plaques in giltwood frames, after Old Master Madonnas Italian, 1901 Measures: Frames: height 28cm, width 23cm, depth 2cm ...

Craigmillar Park Golf Club Watercolour, John Blair. An atmospheric original watercolour of Craigmillar Park Golf Links in Edinburgh by the Scottish artist John Blair (1849-1934). Craigmillar Castle from which the club derives its name from is clearly seen in the background and the painting is signed to the lower left corner. Craigmillar Castle was a haunt of Mary Queen of Scots, the world's first recorded lady golfer. How ironic then, that since the golf club's inception equality of the sexes was the rule at Craigmillar Park. John Blair was a Scottish painter, predominantly of watercolour landscapes. Of humble beginnings in Berwickshire, he moved to Edinburgh to study and spent the rest of his life there. His paintings mainly reflect the landscapes around him, both of urban settings and also of the castles, sea and lochs of the Borders. As well as his original work, his paintings were viewed by a wide audience in the form of picture postcards, book endpapers and illustrations. Taken from Craigmillar Park Golf Club website:- Craigmillar Park Golf Club was constituted in 1895 and moved to its present location in 1907. It was extended to 18 holes (designed by James Braid) in 1927. On 12th of January 1895 the Scotsman newspaper carried the following "birth" announcement : "NEW GOLF COURSE IN THE SOUTH SIDE OF EDINBURGH. A nine-hole golf course is being formed at Craigmillar Park and is expected to be ready for play in February. A lease of the ground which extends from Crawfurd Road to Lady Road has been obtained from Captain Gordon Gilmour of Liberton and Craigmillar. The principal entrance will be from Crawfurd Road within three minutes' walk of the Craigmillar Park car terminus and Newington Suburban Station. The course is about a mile in length and has been laid out by Mr. Day of Musselburgh, who has given a very favourable report of the suitability of the ground for the purpose. Already about 150 ladies and gentlemen have been admitted as members of the club." Many, perhaps most, of the new clubs created about the same time as Craigmillar Park were (and some continue) as male preserves. It is clear that from the outset equality of the sexes was the rule at Craigmillar Park, although it was not until 1914 that the subscriptions were equalised. The course was situated in an area of land close to Newington Railway Station and the Newington Bus and Tram Terminus and was thus, easily accessible. In those days there was very little building development between the course and the iconic Craigmillar Castle from which the club derives its name. The castle was a haunt of Mary Queen of Scots, the world's first recorded lady golfer. How ironic then, that since the golf club's inception, ladies have had equal status with men and there was no gender barrier to any office. This was in an age when golf clubs were regarded as male preserves. In 1914, ladies started paying exactly the same subscription as their male counterparts and this has remained right up to the present day. When you consider that all women did not get the vote until 1928, Craigmillar Park Golf Club were indeed trendsetters! Despite the club's early success, with 400 members and a waiting list, they were dealt a blow when their course at Newington was taken over for housing development. They decided, rather than to disband, to relocate the golf course to the eastern slopes of the Blackford Hill in 1907. Once again the close proximity of Blackford Railway Station and Bus Terminus were factors in their decision making. Another factor in choosing Blackford Hill was the potential for increasing the length of the 9 holes that had been played for in the course at Newington and possibly even converting the new course to 18 holes at some future date. This is in fact what happened and James Braid designed a splendid 18 hole course which officially opened in 1927. The new course was a real test of golf with no two holes being the same. The course boasts marvellous views over Edinburgh and Fife and down the coast to the Berwick Law, Bass Rock...

Original Framed Figurative Nude Study in Pastel, Early-Mid 20th Century Bags of character, the artist really has captured the emotion of the sitter who seems really quite pissed off!...

Impressionist painting of a seated nude by Joseph Louis Lamberton 1867-1943. Oil on board. Original gilt wood frame. France 1906. Size framed: H. 82 cm x L. 67 cm x D. 4.5 cm...

Eduardo León Garrido (Spanish, 1856-1949) A very Fine oil on panel "Dressing for the Ball" depicting 18th century scene of a young 'High Society' maiden getting dressed for the ball,...

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.

Porcelain painting: Representation of Greek-antique architecture with playing nymphs and putti, partly on a swing, watched by a young woman who leans her elbows on a parapet and puts her head in her hands, on the right a tree and banana plants. Exquisite porcelain painting in a gilded wooden frame, after the painting 'L'escarpolette' by the Belgian painter Pierre Olivier Joseph Coomans...

Axel Salto (1889-1961). Oil on board. Living room interior. Dated 1908. Rare and early work by Salto. The board measures: 32.5 x 23.5 cm. The frame measures: 4 cm. In excellen...