Early 1900s Paintings

Painting with Summerly High Mountain Landscape ca. 1900s A beautiful impressionist oil painting depicting a summerly high mountain landscape with a mountain hut and peasant woman in...

This Antique Balinese Kamasan painting, rendered on handwoven cotton, beautifully captures the timeless elegance of classical Wayang-style storytellin...

Antique Framed Oil Painting on Canvas by Omer Coppens (1864–1926) is a splendid study in realism by the artist, at once depicting a typical day in a rural life while simultaneously i...

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...

Artist Arthur Alfred Davis (British, 1877-1905) “Into the River” 19th century sporting oil painting of dogs hunting Image size: 30”x 20” With frame: 35” x 25” Oil on canvas landsca...

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...

French vintage painted shooting targets made of wood. This unique set from the turn of the century brings character and authenticity to a space!

This is a beautiful, elegant and striking still life oil painting of a Lobster with fruit on an overflowing laid table with silverware, basket or fruit, foliage an upturned crab and ...

Heron & Plovers Ink and silver leaf on paper Maekawa Bunrei (1837-1917) A pair of low six-panel Japanese screens by Maekawa Bunrei, a later master of the Kyoto based Shijo school of painting. On the right screen a solitary white heron stands motionless in a stream. On the left screen plovers play along a shoreline. The elegant forms are executed employing fluid, minimalistic ink brushstrokes. The soft brushstrokes and the sharp light of the silver leaf lend the scenes a sense of translucence. The sophisticated composition superbly exploits the long, horizontal pictorial surface of the pair of folding screens...

Original pair of engravings by Alfred Charles Havell (British, 1855-1928). Two Fox Hunting scenes, hand-colored engravings Run to Earth and Gone Away. Printing date 1902. Framed and...

Japanese two panel screen: Summer flowers on silver. Meiji period painting (1868 - 1912) of Summer flowers including morning glories and daisies against a garden fence. Signature and...

“Fra Kastrup” Signed Th. Philipsen Oil on canvas 44 × 60 cm (17.3 × 23.6 in) Provenance: Art dealer Axel Duckert (inventory no. 3369) A charming and atmospheric work by Danish arti...

Oil on canvas "Dackelwelpen Biem Spiel" (Dachshund Puppies at Play) by Simon Ludvig Ditlev Simonsen (Danish, 1841-1928) Education: Royal Danish Academy of Fine Arts Size (Unframed) 6...

French 19th Century, Oil on Canvas, Wall Panels or Trumeau Paintings Set of 4 large 19th century oil on canvas wall panels Trumeau paintings. These finely painted panels are simply ...

the lushly painted still life depicting a woven basket full of finely painted bearded irises, parrot tulips, hydrangeas and peonies with discreetly painted bees and a snail; all rest...

Antique Victorian pastel on paper of a fine quality still life with game by American Artist, William Henry Chandler (1854-1928). Chandler was a ...

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...

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 ...

Beautiful 20th century French painted double doors from the 1900s. Unique and handmade painted work representing a paint palette and a mandoline...

A beautiful antique work of art by the Dutch painter Corneille Henri Dee. The painting shows an abundance of floral splendor, wisteria and delphinium. Watercolor on paper. Made aro...

Helen Hyde (American, 1868-1919) Watercolor on paper depicting a girl reading by candlelight, circa 1900. sight: 8 ½ by 7 ¼ inches frame: 11 ¾ by 10 ½ inches

Eugène Galien-Laloue (1854-1941) "Theatre du Chatelet" watercolor and gouache on paper signed 'E Galien Laloue' lower left, within a giltwood and gesso c...

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...

This captivating 19th-century still life oil painting by the award-winning French artist Charles Henri Franzini d'Issoncourt is a testament to his artistic talent. Recognized at the ...

This large-scale antique theater backdrop offers an evocative illusion of neoclassical architecture, featuring grand double doors framed by Corinthian columns and arched fanlights. T...

refined Indian brush painting of a nobleman riding on a horse, intricate detail, ink, color and gold gilt on paper, Conservation framed

A LOS TOROS by Daniel Perea. Barcelona. Hermenegildo Miralles, 1900. Beautifully bound in a scarlet pictorial gilt decorated covers, with a large lace fan ...

Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...

print THE FOURTH STATE by Giuseppe Pellizza da Volpedo (1901). Measures: Height 61 cm Width 89 cms Print on paper In good conservative cond...

Belgium / 1900 / painting / canvas, wood / Antique / Baroque / Rococo A large Baroque painting with gilded wooden frame, Belgium ca. 1900. Signed in the left corner. This stunnin...

'Lienzer Tauern - Spitzkofel' (mountain range) Oil on canvas Signed A. Arnegger. In black lacquered wooden frame Winter landscape: depiction of the Spitzkofel, a mountain range in ...

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...

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

Exceptional painting depicting a Mediterranean seascape. The two fishing boats in the center of the composition stand out. In the far distance, a village with a small harbor, charact...

A beautiful antique watercolor painting, depicting sheep and chickens in a sheepfold. Beautifully painted, with good use of colors and fine details. The work is signed lower right ...

Lovely set of 3 French romantic antique paintings on polymer, matted in plush orange velvet and fancy giltwood frames. Subjects are 18th century romantic rendezvous including shepherd and shpherdesss signed Geffie; lady and Gentleman of the court signed Pemia, and an oval miniature...

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...

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...

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...

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...

Jeune Femme et Costumes des Pierrots, Junge Frau mit Harlekin und pierrot, circa 1900. Richard Ranft. Painter of landscapes, engraver, illustrator and poster artist. (Swiss 1862–19...

An elegant poster for a grocery store in Lisieux, featuring a woman's portrait and various information on free-form paper cutouts, to be attributed, France 1900. The entire piece is ...

Japanese two panel screen: Nara Deer in Gentle Yoshino Landscape. Yoshino is in the Nara Prefecture, an area famous for these small and tame deer native to J...

Late 19th or early 20th century garden portrait of a lady painted in the period of Art Nouveau. Stylized palms serve as an elegant backdrop for a seated heiress painted in soft paste...

We are proud to present this early work by American Impressionist George William Sotter (1879–1953), created during his time at the Pennsylvania Academy of the Fine Arts. This painti...

refined Indian brush painting of a nobleman riding on a horse, intricate detail, ink, color and gold gilt on paper, Conservation framed

You will not be disappointed in this wonderfully hand painted piece by the world reknown William Morley. Retaining its original Gilded Age frame and in very nice condition. A waterco...

Thomas Taylor Ireland, RBA English, 1888 - 1921 A collection of five watercolor paintings of British Pubs. Signed TTI. The Cock and Rabbit of Buckinghamshire (featuring the puddin...

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 loft, ready for the morning hunt...

An outstanding painting by British artist Walter Herbert Roe , ca' early 20th century. Masterfully depicting 2 children reading a book and a dog at their attention-as if time stood still...

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...

Important Artist William Fuller Curtis This is an original and beautiful 25 inch by 45 inch hand painted and hand incised wood framed work of art -and containing a wonderful hand hammered copper repousse panel of the iconic Bethlehem Shephard Boy Flute...

Berthe Pascault (XIXth-XXth) Green Fairy with Roses Berthe Pascault La Fée Verte aux Roses Hand-painted polychromed oil on porcelain Signed lower left Original gilt wood frame Circa...

Moon and bamboo in ink on gold paper with red and black lacquered negoro frame. (Meiji period) Calligraphy reads: Beauty in ink painting with standing woods and branches, like in par...

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...

Dated 1902 "High Coastal Seascape" watercolor & gouache on paper by Edmund D. Lewis. Signed & dated lower left. Edmund D. Lewis, American, 1835-1910. Watercolor & gouache on buff pap...

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 ...

An oil on panel signed and dated in the lower left depicting two riders on horseback sharing a drink outside a country inn. The painting measures 17.75" x 21.75" including the frame...