Continental Europe - Paintings

Early 20th Century Oil on Canvas Matterhorn Artwork By unknown artist, from France In fair condition, with minor wear consistent of age and use, preserving a beautiful patina

1970s Framed Green Parrot Engraving Technique Canvas Painting, Signed. Dimensions of the painting: 29x23cm

Ancient Italian painting from the 18th century. Oil on canvas famework depicting a seascape with characters and architectures of good pictorial quality. Nice size painting and pleasa...

This refined 1840s antique portrait painting presents a Dutch gentleman of notable status, dressed in a crisp white shirt with high standing collars and a black silk necktie. A gold ...

Great Italian painting from the second half of the 16th century. Oil on canvas painting depicting a Holy Family from the Tuscan school of remarkable pictorial quality. We find the typical stylistic features of the Renaissance with a wonderful pyramidal composition, a refined chromatic palette and particular attention to the drapery. In the center is the Madonna with the baby Jesus in her arms who reaches out toward Saint John the Baptist with a lamb at his side, a symbol of Christ's sacrifice. At the top left we see Saint Joseph sleeping...

The category Antique Paintings, French Landscape, features an Oil Painting on Canvas from the Early Twentieth Century era, depicting a view of a river with water lilies that are sometimes called lotus flowers. XX century. These are landscape paintings depicting a bend in a river using warm, bright colors. The work is signed Emile Gauffriaud...

This intriguing 17th-century oil painting on panel, signed and dated 1604, offers a fascinating glimpse into early European artistry. The signature, "C. Hellen?" suggests the possibi...

Amazing Flemish Master 17th Century "Saint Jerome" Oil/canvas/double, 82 x 64 cm. good condition

Beautiful and evocative oil painting by the great French school modern artist Moya Dyring specializing in marinas. It depicts a harbor with boats probably from the French Riviera painted with great intensity but giving, at the same time, a sweet sense of serenity. Moya Claire Dyring was born in Coburg, Victoria in 1909. She produced drawings, oil paintings and pastels. She was one of the first women artists to embrace Modernism and exhibit cubist paintings in Melbourne. For several years she was a member of the modern art community known as the Heide Circle, named after the home of art collectors John and Sunday Reed, and now the Heide Museum of Modern Art. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Dyring then travelled to the USA and France, where she lived most her life. Her work is held in the Heide Museum as well as the National Gallery of Australia. One of her earliest works in cubist in style, Melanctha, 1934, was acquired by Sunday Reed. In 1934 Dyring also painted Portrait of Sunday Reed which went into the Reed's collection, along with a cubist style Portrait of a Woman from the same year. While her early works were figurative or cubist, in France she turned to landscape as she travelled to various towns throughout France. In her later years, unable to travel freely, she painted children against the backdrop of Paris. As time passed, she was largely glossed over and not included in major exhibitions of artists, especially women artists, of the 30s, 40, and 50s. In 2002, at the University of Melbourne, Gaynor Patricia Cuthbert delved into her life and work for a doctoral thesis, helping to bring back attention to her work. Collection The Heide Museum of Modern Art holds many paintings and drawings, some acquired through the John and Sydney Reed collection. The National Gallery of Australia, Canberra includes one drawing. The Art Gallery of New South Wales holds multiple works. Third child of Carl Peter Wilhelm Dyring, medical practitioner, and his second wife Dagmar Alexandra Esther, née Cohn, both Victorian born. Moya was educated (1917-27) at Firbank Church of England Girls' Grammar School, Brighton. After visiting Paris in 1928, she studied (1929-32) at the National Gallery schools, Melbourne, and shared fellow student Sam Atyeo's interest in artistic innovation. Classical modernism engaged her attention in the early 1930s. She painted at the George Bell school and studied under Rah Fizelle in Sydney; Mary Alice Evatt and Cynthia Reed were her colleagues. For several months in 1937 she took charge of Heide, the home and garden of John and Sunday Reed, at Bulleen, Melbourne. The Reeds were pivotal both to her sympathy for modernism and her belief in congenial fellowship. She enjoyed something of the intense relationship with Sunday Reed that the latter would subsequently extend to Joy Hester. In June Dyring held an exhibition, opened by H. V. Evatt, at the Riddell Gallery, Melbourne. Less enthusiastic than the Reeds and the Evatts about her art, Basil Burdett wrote of her 'somewhat incoherent interpretation of modern ideas', although he did acknowledge that her work had 'audacity of colour and a certain monumental feeling for form . . . qualities rare enough in Australian painting'. In August Dyring embarked for Panama whence she travelled by bus to New York, breaking her journey to view major galleries. She had intended to paint in the United States of America, but disliked the work of contemporary American artists and sailed for France. In 1938 she was based in Paris, taking advantage of Atyeo's contacts within the avant-garde. She studied at the Académie Colarossi, the Académie de la Grande Chaumière and with Andre Lhote, although by October she denounced him as a 'racketeer'. In 1939 Dyring and Atyeo settled on a farm at Vence, France; inspired by memories of Heide, they grew fruit and flowers. Sam accepted a commission to decorate a house in Dominica, West Indies, leaving Moya at Vence. Evacuated to Australia via South Africa, where she painted and searched for tribal art, she then journeyed to Dominica and married Atyeo. They were not happy, neither painted and Dyring was ill. Evatt offered Atyeo work and Dyring accompanied him to the U.S.A. She viewed art, painted occasionally and claimed to have exhibited in Washington in 1943. After World War II Evatt found Sam various postings, while Moya returned to Paris to pursue a full-time career in art. They were to be divorced in 1950. From about 1946 Dyring's art was more personal than innovative. She gained a considerable reputation among French regionalist and nationalist artists for her sympathetic appreciation of provincial scenes and life. Bernard Smith placed her in the French tradition of intimiste painters. In 1948 she leased and renovated an apartment on the Ile St Louis, which, as Chez Moya, became a centre for Australians who enjoyed her hospitality, cooking and practical assistance. She revisited Australia and exhibited in various cities in 1950, 1953, 1956, 1960 and 1963; the press carried her reports of Parisian cultural life. Dyring held a solo exhibition in London in December 1949 and was in close contact with expatriate Australians, among them Loudon Sainthill, Donald Friend...

18th century, Italian oil on canvas still life by Pietro Navarra Oil on canvas, canvas measures: cm H 103 x W 164, framed measures...

J. Paramé is considered one of the most talented and promising Portuguese artists of his generation. Born in Lisbon in 1978, he studied at the National Society of Fine Arts in Lisbon...

Christian Sell (August 14, 1831, Altona, Germany - April 21, 1883, Düsseldorf, Germany) Military scene, fine quality Unrestored Oil painting on panel 18 x 24.2 cm

A captivating music painting by renowned French artist Philippe Ancellin (1922-2010), titled Le Concert. This expressive oil on canvas depicts a trio of musicians—a violinist, a doub...

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...

We present you this oil on canvas, circa the early 19th century, with a portrait of a lady, in profile, holding a baby on her arm. The condition of this piece of art is good. Howeve...

Femme au Jarre, Oil on canvas. 20th century.

Painted Face of young woman Cappellini. Measures: Height 71 cm Width 61 cm Mixed Media on canvas In good conservative condition, present signs of time due to use and age. (Pl...

Beautiful antique mandala thangka. Thangkas are Tibetan scroll paintings. This thangka is painted on fabric and depicts a mandala and associated deitie...

A beautiful oil painting, depicting a pack of hunting dogs in the field, made by the French artist Marie-Didière Calves. The style is somewhat impressionistic. Seen up close, a bit ...

Painting Nude of a Seated Woman F.Spina 1978 Measures: Height 66 cm Width 50 cm In good conservative condition, present signs of time due to use and age. (Please see photos) If ...

An authentic and unique kinetic painting thin and subtle gouache on wood panel, Abstract Geometric, Op-Art, Kinetic composition of orange and blue shades through thin complex archite...

Rare extra-large (cm 59 x 85) antique watercolour of capital from a collection of architectural details of Florence monuments painted in Italy in the middle of 19th Century. Black ma...

Beautiful painting by the Polish-Belgian artist Mécislas de Rakowski. The painting shows a flower still life in a Chinese vase. Beautiful display of delicate white flowers against a...

A beautiful antique oil painting, a still life with flowers and a sculpture. The painting is in good condition. Sold without frame. The painting is signed K.M. Claessens. Karel M...

Hans Osswald (1919-1983), Swedish artist. Oil on board. Modernist composition, mid-20th century. Visible dimensions: 35 x 26 cm. Signed. In very good c...

19th Century Alpine Landscape Oil Painting with Tyrolian Mountain Village The antique oil painting captures the charm of an Alpine landscape, featuring a picturesque Tyrolean mounta...

Flemish school 17th century "Our Lady with the Child Jesus, St. John, St. Elizabeth and Zacarias". Oil on canvas Relined. Dimensions: 74 x 84 cm good conditions.

Presenting an intriguing oil on canvas, a copy of El Greco's famous work "The Nobleman with His Hand on His Chest." This artwork is signed by the artist and dated 1924, and it is in ...

Peder Brøndum Sørensen (1931-2003), Danish painter. Oil on canvas. "Houses by the Sea." Modernist motif. 1972. In perfect condition. Signed PBS. Dimensions: 41.0 cm x 31.0 cm. Total ...

This is an original vintage Danish oil on plate painting of a rural landscape with houses and a clouded sky. The strokes of the painting is soft and expressive. The painting is by Danish artist Jacob...

This is an original antique oil on canvas landscape painting estimated to be from the late 1900s. The painting displays a romantic scenery in the forest with a small arched bridge c...

This is an original oil on canvas painting from Denmark attributed to artist Gerda Lund (1905-1996). Gerda Elisabeth Lund was a Danish artist residing in Aalborg, Northern Jutland. ...

This is an antique oil on canvas painting by Danish painter Lars Johansen (1877-1954). The motive is a small Danish holding and is kept in earthly colors. Lars Johansen was from ...

This is a pair of very stylish, oldschool original watercolor still life flower images estimated to be from the 1920s. Both pieces are signed by artist DWR in the bottom right corn...

Beautiful oil painting on canvas depicting the Roman Forum, in particular the Temple of Jupiter Stator. An important example of Grand Tour painting, this wonderful painting evocatively illustrates the unparalleled beauty of the Roman ruins, which have inspired generations of poets and artists throughout the world. Unidentified signature at lower right, but most likely attributable to the great Italian artist Pietro Sassi. This painting, never before on the market, comes from a private collection Pietro Sassi (18 July 1834 – 30 December 1905) was an Italian painter who specialized in large scale vedute of Rome and the Roman Campagna. He was born in Alessandria and resident in Rome, where he painted genre and both urban and rural vedute paintings. Le Sponde del Lago di Garda in Tirolo was exhibited at the 1880 Exhibition of Fine Arts in Turin, while two landscapes where exhibited in the next year in Milan. In 1883 he found great success in Rome where he exhibited three large scale views of ‘La Campaña Romana’, 'Il Temporale in Mare’, and ‘Il Mare del Nord’ in addition to twelve other paintings including Un Bosco di Querce negli Appennini Romani and The Arch of Septimus...

Mr chat Red and yellow 2024 Acrylic / canvas / stretcher Signed and dated in the centre 60 x 60 cms 3900 euros

Dipinto Fiammingo del 1600 a olio su rame raffigurante uno scorcio di paesaggio con figure, una scena di genere con una moltitudine di personaggi affollati in una strada con delle ar...

This is a antique portrait artwork, antique portraits proposes a young woman elegantly dressed, Oil painting on canvas, of the 19th century. French ancient painting. XIXcentury.  ...

Peder Brøndum Sørensen (1931-2003), Danish painter. Oil on canvas. "Houses by the Sea". 1976. Signed. In perfect condition. Dimensions: 60.0 cm x 80.0 cm. Total with frame: 97.5 cm x...

An original pencil architectural sketch on paper realised in 1928 by the Italian architects Michele Busiri Vici and Clemente Busiri Vici for the large vill...

Beautiful oil painting on canvas, framed in an elegant carved and gilded wooden frame, complete with mirror. This work, belonging to the famous Florentine painter Raffaello Sorbi, bears the artist's signature at the bottom right and is dated 1863, placing it in his early youthful production. Sorbi's stylistic characteristics are clearly visible, in which the warm Macchiaioli tones blend with neo-Gothic and romantic subjects, taken from the Renaissance and the Middle Ages. In this case the painting portrays the meeting between Dante and Beatrice, set in Florence, in front of a church, probably the Badia Fiorentina, a place frequented by both Dante, Beatrice and their respective families. Against the backdrop of Renaissance Florence, you can see people entering and leaving the church, while on the sides of the main scene there are figures of the people and a little girl sitting on the steps. The central scene represents the meeting between a young Dante, wearing the characteristic red tunic...

Klaus Fußmann (*1938 Velbert), "Dahlias" Pastel chalk on laid paper, created in 1997 signed and dated lower right framed Dimensions: Sheet size: 75 cm x 75 cm

"Abraham repudiating Hagar". Framed miniature. Ater VAN RIJN, Rembrandt (Leinden, 1606-Amsterdam, 1669), 18th century. It shows a story of Genesis. The story tells that Sara accepte...

A beautiful old oil painting, a flower still life, roses in a vase. Very skillfully painted, the roses look lifelike. In addition, beautiful everyday attributes in the foreground, a ...

Beautiful and important painting attributed to the great 19th-century artist Ippolito Caffi. Tempera on canvas pasted on panel. Depicts the Bay of Naples in all its resplendent beaut...

Antique Italian painting from the first half of the 18th century. Framework oil on canvas depicting a religious subject Virgin with child of excellent pictorial quality. Non coeval f...

Acrylic painting with Leopard. Hand painted in Italy. In the set of gold wood frame. Very nice decoration for every interior. Only one unique piece.

'Doves and Crows' Acryl on canvas/2013 60 x 80 cm by Eitan Rubin

Oil Painting from the Early 20th Century, Winter Rural Landscape We present you this oil painting from the early 20th century depicting a winter rural landscape. The painting is in ...

An oil painting of two rustic dogs fighting over a piece of food. It is painted on an oak panel. Signed top left. The signature is a bit faded, it's a monogram J.S. by Joseph Stevens. He often signed with a monogram. In a gilded frame frame with gesso moldings. Dimensions frame: 41 x 47 cm Dimensions painting: 17 x 23 cm. Joseph Stevens is the older brother of the very well-known artist Alfred Stevens. In the book 'The Belgian Art Book' by J. de Geest, it is written that Joseph Stevens has given a new dimension to painting animals. Joseph Stevens is an early representative of realism and social art. While Eugene Verboeckhoven has royal dogs pose on a beautifully embroidered cushion, Joseph Stevens already has an eye for the dark side of animal existence: exploitation by man, who in turn is a victim of society. His first successful painting, Brussels in the morning, shows how miserable dogs and poor people suffer the same fate. In the Sandman, Stevens shows a joint effort of man and dog, in which the viewer cannot ignore the social conditions: exhausting labor at dawn in some suburb. The gray sky and monochromy of the suburb add to the sinister atmosphere. Joseph Stevens was one of the first artists to take the urban proletariat as his subject. Stevens enjoys a very high reputation in his Parisian years. His brother Alfred writes: 'I am of this time, but you, Joseph, you are of the race, and thus you are of all times.' French critics agree. Stevens' works are a source of inspiration for the literature of the time. For example, Beaudelaire writes a poem about Stevens' dogs. Joseph Edouard STEVENS. Belgium, 1819-1892 Stevens was a painter, etcher and engraver. Brother of the gifted painter Afred Stevens. Education at the Academy in Brussels (1834-1835). Debuted at the Salon in Brussels in 1842. Continued his career in Paris in 1852. He was primarily the painter of canvases depicting domestic animals (dogs, monkeys, horses), sometimes in curious, even idiosyncratic situations, and far from romanticism. This realism, of which he was one of the pioneers, earned him the interest of critics and intellectuals. His approach was defined by this contemporary realism that eschewed idealized depictions of animals as heroic emblems of nobility. Rather, Stevens emphasized the ordinary animals of everyday life, with a particular focus on working dogs, stray dogs and all of the mutts that wandered the streets of Brussels. Museums and public collections, including' Royal Museum of Fine Arts Brussels, Ghent, Hamburg, Paris, Musée du Louvre, Rouen, Musee des Beaux-Arts. Stuttgart, State Gallery. King Leopold...

This must be one of Hans Osswald best works. We have several in our collection. This black one is made of different materials and creates an interesting relief. oil painted black wit...

The first artwork Camillo Innocenti Watercolor on paper The glorious past Camillo Innocenti (Rome 1871-1961) Watercolor on paper. The back reports title, signature, inscription and date. The work is dated on the back September 16, 1926 Title: The glorious past, the victorious king, the construction of the temple, the sphinx. The back also reports that the work was given by the artist as a wedding gift in 1955. The second Camillo Innocenti work Victorious Muhammad Ali Camillo Innocenti (Rome 1871-1961) work on paper, with frame, Victorious Muhammad Ali. Pencil and tempera. Inscription, title, signature, and date on the back. The back reports that the work was given by the artist as a wedding gift in 1955 Thes artworks, never before on the market, comes from a private collection and is beautified by an impressive antique frame in gilded wood, in almost perfect condition. The paintings are also protected by glass Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Camillo Innocenti (14 June 1871 – 4 January 1961) was an Italian painter born in Rome. Biography[edit] After he studied in Lyceum, after 1889 he joined the studios of Antonio Mancini in Rome and Domenico Morelli in Naples. After a visit to Spain in 1901, he painted local folk subjects from Abruzzo (1904) and Sardinia (1908). At the 1903 Venice Biennale, he displayed his divisionist works with an attention to social topics, alongside Giacomo Balla, Enrico Lionne...

signed bottom right "Rud Quittner" Lit.: Catalog "Herbstausstellung und Gedächtnisausstellung Carl Freiherr v. Merode und Rudolf Quittner", Künstlerhaus Vienna 1910, p. 39. Künstler...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

Saskia smiling with feather bar (circa 1633). Oil on canvas. Exceptionally beautiful copy after Rembrandt, back titled - copy after No. 1556, the royal pai...

A fine oil painting depicting a boy feeding a goat with berries. it's painted on a wooden panel. Signed right under: Frédéric Viret. In an elegant gold leaf frame. The paint and the ...