Hand-Crafted Paintings

Copy of Dutch landscape of a procession of blind men titled "The Parable of the Blind Leading the Blind" (1568)

Abstract contemporary watercolor in purples, grays, and greens, in white matting in a rectangular silver frame under glass (by DYANN KLEIN)

Northern California artist Robert Gilberg (1911-1970) originally a Bay Area artist, Gilberg moved to Nevada City in 1946, in 1935 to 1940 he attended WPA A...

Rose, Paris, 2017, Tristan Govignon archival pigment print, artist proof

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

Japanese two panel screen: Chrysanthemums Through the Mist Obara Paper Art Screen. Surreal and masterful rendering of chrysanthemums cloaked in mist that varies in opacity made entirely of carefully arranged mulberry paper fibers in a Japanese art practice called Obara. Accented with gold leaf. Unique in terms of both execution and dreamlike mood. Made by Yamauchi Issei (b. 1929), stamped in the corner. Issei is well known throughout Japan as the leading artist in Obara Paper Art. Starting in 1948, he apprenticed with Fuji Tatsukichi, a leading proponent of the arts and crafts movement in Japan who worked to revive many cultural traditions on the brink of extinction. Issei started exhibiting in the Nitten in 1953, won the gold medal in 1963, and eventually became a juror. His artwork was given as a gift to the Showa Emperor of Japan, as well as dignitaries such as General Douglas MacArthur...

Copy of a portrait in a classical manner of the Rospigliosi boy scion dressed as cupid; Four of four in a series

Copy of an impressionist landscape titled "Eragny Landscape"

Copy of a watercolour landscape in an Impressionist style of a castle on a hill

From the studio of Ben Fortuna, Detroit, Michigan.

Tristan Govignon, "Dinner Party" Acrylic on canvas

Tristan Govignon, "Blue Dream" Acrylic on canvas

French Art Deco watercolor of a gray and brown wire haired spaniel dog, framed in a burl walnut frame. (signed GEORGES BUSSON, dated 1929)(Companion pieces: 058035A-B-C-D-E) Conditi...

Dada Spy, Paris, 2017, Tristan Govignon archival pigment print, edition 1/7

Contemporary watercolor of a woman in a ray of light titled, "Diva" in blue matting and a rectangular silver wood frame

American Mid-Century (unsigned) black framed caricature watercolor of couple with father loading gun ("Something tells me we should cut out this horsing around & get married!")

Tristan Govignon, "Jupiter" Oil on canvas

Tiger, Paris, 2017,Tristan Govignon archival pigment print, artist proof

French Art Deco watercolor of a brown, black and white foxhound, framed in a burl walnut frame. (signed GEORGES BUSSON, dated 1929)(Companion pieces: 058035A-B-C-D-F) Condition: Goo...

Copy of an impressionist landscape titled "At Giverny" Condition: Good; Wear consistent with age and use

Violet, Paris, 2017, Tristan Govignon archival pigment print, artist proof

Copy of Artwork titled, "Brown, Black with Red" showing an Abstract composition

Black Bird, Paris, 2017, Tristan Govignon archival pigment print, edition 1/7

'Les Champs Fleurissent' is a unique oil painting by the Dutch artist, Maarten Vrolijk. Enthralled by flowers and the power of nature, Vrolijk’s vibrant and joyous paintings are app...

Fly, Paris, 2017, Tristan Govignon archival pigment print, edition 1/7

American Modern abstract oil on canvas with colors of black, white grey and red in a silver frame (MARY GEHR)

Contemporary abstract watercolor in gray, beige, and green in white matting in a black rectangular frame (signed: DYANN KLEIN) Condition: Good; Wear consistent with age and use

Walnut framed photograph of 19th Century scene of lady kneeling next to bicycle (Companion Pieces: 052554B-E)

Italian Neo-Classic Style (19th Century) Rust and Black Hand Colored Print with an "X" design in square black and gold trim frame (TABULA XIV) (si...

A unique contemporary framed painting... no real subject matter, but wonderfully colorful and a very nice decorative piece for a grouping or to stand alone. The piece has not been re...

A very interesting and unusual Lancaster Bridge Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist board and comes complete with what appears to be an original artist decorated/painted frame. The painting is signed on the front by the artist. Overall frame Size approximately 42″ wide x 2″ deep x 30″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

Decorate an office or a study with this colorful suite of antique wall decorations. Crafted in Italy circa 1870, each panel is framed and features an hand painted coat of arms...

From the artist: Old fishing boats have always fascinated me. those on the verge of falling apart, and sinking into the sea seem to call me, and I cannot pass one by without shooting...

Beautiful and complex Drill Painting, "HOW MANY HOLES", by Markus Linnenbrink, American 2003 (signed, titled and dated on verso with gallery label). This is a...

From the artist: I've long been inspired by old things. The texture and play of light on a weathered surface are the things that spark my imagination. I seek to capture a building's ...

From the artist: Old fishing boats have always fascinated me. Those on the verge of falling apart, and sinking into the sea seem to call me, and I cannot pass one by without shooting...

From the artist: Old fishing boats have always fascinated me. Those on the verge of falling apart, and sinking into the sea seem to call me, and I cannot pass one by without shooting...

"Torqued Mandala #2" by Paul Wirhun, painted eggshell on wood, 2008. Wirhun is an artist who works with eggshells to create colorful, mosaic-like paintings...

Vintage Bernard Watercolor Framed behind Glass Columbian Young Woman carries a Fruit Basket on her Head. Signed on Bernard, Copyright. Wood Frame is whitewashed and ornate. In vinta...

A very interesting and unusual Cornwall Iron Banks Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on canvas and comes complete with what appears to be an original artist decorated/painted frame with later touch ups. The Cornwall Iron Banks Original Oil Painting is signed on the front by the artist and appears to be dated 1948 on the rear. Known for his unusual subjects Pfoutz outdid himself with this effort, capturing the workings of one of the largest iron ore mines in the eastern United States, located in Cornwall PA. This mine and others in the area that came before it, played a crucial role in the development of the United States of America from the Revolutionary War, through the industrial revolution up until the 1970’s when the mine was flooded during Hurricane Agnes and closed operations. Overall frame Size approximately 26″ wide x 2″ deep x 30″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving...

"Private Encounter" by noted New York artist Kevin Paulsen. Quaint village scene created with pigment and plaster on polystyrene, giving the piece a look of an old over-mantle itiner...

A patchwork of 19th century Tibetan linnen mounted as a painting. We selected this linnen because of its naturele serene appearance. After cleaning we had the strapps connected and f...

Mixed-media painting with sand on canvas titled "New York Sunset" by Marjorie Bishop, American, 1940s (signed on front, title on sticker on back). This...

Annelies, the painter of this work, works under the name 'Hymn of Silence'. As she progresses trough life, searching for balance or going with the flow, her art translates her evolut...

We were fortunate to have a collection of Wilfred Machin paintings. This is the last one left that we just uncovered. It is signed on the lower right front and dated 66, and the back stretcher it is titled "Duo Spectral" Magna Plastic Varnished. There is also an exhibition label attached. It has a yin yang motif...

Painting dated 1980 and signed by the Italian designer, inventor and painter Luciano Mattioli (1924-1994,) a very versatile and prolific artist on the Italian and French design scene...

Annelies, the painter of this work, works under the name 'Hymn of Silence'. As she progresses trough life, searching for balance or going with the flow, her art translates her evolut...

18th C. Portrait of a Lawyer Circle of Jacques Aved French School Oil on Canvas . Circle of Jacques-Andre-Joseph-Camelot Aved Portrait of a lawyer 1702-1766 French school mid-18th c...

Andrew V. Wapinksi Sea Fragment 12 x 12 in Encaustic, Sand, Graphite, and Charcoal on Canvas Mounted Panel. Signed, and Initialed by artist on verso.

Annelies, the painter of this work, works under the name 'Hymn of Silence'. As she progresses trough life, searching for balance or going with the flow, her art translates her evolut...

A superbly detailed mid-18th-century Indian miniature court painting, executed in gouache heightened with gold on handmade paper. Originating from Rajasthan circa 1760, this exquisite artwork captures a serene palace scene featuring the Hindu deity Krishna with Radha and accompanying Gopis in a lush, architectural setting. The composition is rich in symbolism, narrative depth, and emotional subtlety, hallmarks of classical Rajput painting. The figures are adorned with traditional garments, rendered in delicate pastel tones with intricate patterns and gilt accents. The architectural elements, marble pavilions, domes, carved screens, and floral gardens, are meticulously executed, offering a vivid impression of royal leisure and divine romance. Set against a tree-lined courtyard with peacocks and floral motifs, the visual rhythm is both vibrant and harmonious. The painting is professionally mounted in a deep tan linen mat and presented in an elegant gold-gilt frame with black detailing, complementing the composition's refined warmth and historic gravitas. A rare and captivating example of classical Indian court painting...

“Lac Iman,” abstract oil in heavy impasto on canvas by Pierre Bosco, French, 1955 (signed Bosco on front and gallery label on verso).

Two very pleasant musical themed silhouettes mixed media paintings. These lovely drawings are made of ink and watercolor on paper enriched by a musical score fixed with a red lacquer wax mold...

Abstract painting in warm, friendly acrylic colors with the name "Fin du Jour" - "End of the Day" by Michel Puchala. Professional framing with shadow gap frame (1.0cm) and white gold...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

Original French acrylic painting attributed to Roland David, from the mid-late 20th century. Not known well in the states, but we enjoy lookin...

"Home" Abstract Oil and Wax on Canvas Painting by Joaquin Pineiro

William McCloy, borned in China and moved to US in 1926 and started his studies in Iowa in 1930.This is a nice modern style landscape also he is known by abstractions and commissione...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely 1747 British Map Showing the Kingdom of Judah on the West Coast of Africa This 1747 Negroland m...

We kindly ask that you read the entire description, as we strive to provide comprehensive technical and historical details to ensure the authenticity of our items. This frame encloses a canvas cutout from an antique oil painting and is particularly unique and distinctive. It was recently crafted by a Florentine Master cabinetmaker whose workshop is located in the most charming and vibrant district of Florence, San Frediano, renowned for its artisan shops that produce entirely handmade works. The Master used carved and shaped wood to replicate the appearance of bamboo, employing a technique known as "faux bamboo." This process involves using durable woods, such as maple or oak, that are intricately carved and then painted to achieve the desired effect. The "faux bamboo" technique has a history that dates back several centuries and gained significant popularity during the 18th and 19th centuries in Europe and America, eras marked by a fascination with exotic and Oriental design influences. This technique was particularly associated with the Chinoiserie style, an artistic movement inspired by Chinese art and aesthetics. At the time, real bamboo furniture...