Hand-Crafted Paintings

Copy of Dutch Flemish still life of oysters with bread, wine, lemon and service pieces

Copy of an ochre charcoal rendering showing the head of a medieval knight's horse in armor

English Georgian print of a scene with models and sculpture of classic figures in a black and gold trim frame (titled: Analysis of Beauty-Plate I) (aft...

Japanese work on paper featuring rows of black circles and two thin orange line passing through the circles (HISAO)

SET of 4 Japanese acrlyic and pencil on paper featuring rows of black circles and each print have a different orange marking in silver frames (Untitled from Solutions de Continuities...

Japanese Abstract Expressionist Serigraph, Signed & Numbered, (MASHIKO)

SET of 3 Italian Renaissance framed celestial lithographs featuring early beliefs of the solar system (PRICED AS SET) (Available individually...

Manner of Sir John Hoppner 'British, 1758-1810' Portrait of Master Robin Vanecke oil on canvas. A beautiful Hand Carved and crafted Large and imposing Frame. It is the perfect wall A...

French Victorian watercolor abstract print of a iris monnieri flower

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

This stunning abstract artwork was made in 1966, by the well known Italian artist Ermete Lancini. The artwork is a painting and a collage with newspaper sheet and other glued element...

Antiques of London We are delighted to offer for sale this Fine Antique Oil Painting. Dating back to the early 20th century, depicts a French ship in exquisite detail, capturing...

A very interesting and unusual Lancaster Covered 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 and is dated 1936 on the rear. Overall frame Size approximately 28″ wide x 2″ deep x 22″ 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...

American Mid-Century Landscaping Oil Painting on Canvas of a dock scene in a distressed gold carved frame

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...

Color landscape print in wood frame titled "Battle of Iena" Showing overview of Napoleon's defeat of the Prussians in 1806 Condition: Good; Wear consistent with age and use

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

Fabulous, fantastic 1963 oil on canvas painting of a Marilynesque Figure by a pool. Colorful and stylish depiction of the famed and tragic Marilyn Monroe sitting in a pool setting po...

Painting My Vexin on Canvas, oil on canvas, with solid oak frame. Exceptional and unique paint. Canvas dimensions : L170xH200cm.

Late 19th century American Victorian Painting of a child Dressed in her best Victorianesque dress, this little girl must have been bored to death by the time tis painting was finishe...

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...

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

Japanese Abstract Expressionist Serigraph, Signed & Numbered edition: 22/24, (MASHIKO)

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...

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

Copy of a watercolor showing an abstract view of a North African marketplace, including a woman with many vases Condition: Good; Wear consistent with age and use

Copy of an impressionist vertical landscape titled "Bibemus Quarry" of forest with rock outcropping

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

Copy of an impressionist landscape titled "Eragny Landscape"

Japanese Abstract Expressionist Serigraph, Signed & Numbered (MASHIKO)

Copy of an impressionist portrait title "The Black Hat" showing a woman trying on a large hat

American Victorian framed monograph print featuring the architectual blueprint for "Geo. A. Nickerson Residence" (McKim,Mead & White,1897) (1 OF 20) (COMPANION FRAMED: A,B,C,D)

Contemporary abstract resin pour on wood titled, "Space Face," with amoebic shapes against a light blue background, (Signed and dated, RAY GEARY 2020)

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

**Title:** "Paint Scraper" **Year:** 1996 **Medium:** Oil on Canvas with Mixed Media **Dimensions:** 37.5" x 41.5" **Signature:** Monogram AB 96 Paint Scraper" is a mixed...

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...

Copy of an impressionist landscape watercolor showing people by the seaside 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

Copy of an impressionist interior scene titled "The Breakfast Room" showing couple at breakfast with servant in background

Abstract figural artwork depicting two faces in monochromatic hues black, grey, and beige. The painting also features the two characteristic birds which are components in all of the ...

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...

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

American country style (19th/20th Century) landscape of white and red Spanish style church with trees in gold frame.

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

American Mid-Century watercolor of corset / dress in a silver frame (signed Anna Kipin)

Kimono, Paris, 2017, Tristan Govignon archival pigment print, edition 1 of 7

Copy of French Impressionist landscape titled "River Banks" in green and blue pastel

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

Copy of a charcoal drawing titled,"Helmet of Warrior" showing Medieval piece of armor

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

Japanese Abstract Expressionist Serigraph, Signed & Numbered, (MASHIKO)

American Victorian framed monograph print featuring the architectual blueprint for "The American Academy In Rome" (McKim,Mead & White,1913) (1 OF 20) (COMPANION FRAMED: A,B,C,D)

Japanese Abstract Expressionist Serigraph, Signed & Numbered (MASHIKO)

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

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...

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...

Tristan Govignon, "Flamenco" Acrylic on canvas

Italian Neo-classic style (20th Century) print of blue-toned cherubs gathering in a field and eating grapes with a horned animal, on MDF board. Some water damage, scuffing.

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...