Manhattan - Paintings

Pair of unique Impressionist paintings "Redemption" in patinated and engraved bronze and pewter with enamel cloisonne by Philip & Kelvin LaVerne, American 1960s (signed twice on on...

"Intercostal," 2022 is a large framed abstract mixed media painting by Kathi Robinson Frank in striking shades of black, gray, blue, yellow, green...

Charles Stuart (British 1838-1907) "Their Mountain Home" from 1895-1897 is on oil on canvas and is signed as well as dated. This gorgeous highland landscape depicts a stag herd retreating down the mountain from the impending mists. Stuart captures the swirling movement and material quality of the fog, which obscures the towering mountains adding an element of mystery and magic to the painting. In juxtaposition, the foreground of the painting is rendered in precise detail from the rippling tides to the leaves of grass. Each stag is differentiated adding an element of naturalism. Charles Stuart, F. S. A. was a landscape painter active from 1881 to 1904. Born to a long line of painters, Stuart exhibited at the Royal Society of British Artists and the Royal Academy. He was a fellow of the Society of Antiquaries of London, and the prestigious Savage Club whose members included Charles Dickens. He was married to Jane Maria Bowkett...

Monica Perez "Let Them Go #3" Original Acrylic Painting on Canvas 2021. W 40" x 60" Monica Perez’s works are expressions of emotion—impulsive, spontane...

Painting in Oil on Canvas, depicting a young fisher boy in swimming trunks, shouldering his fishing rod and holding a basket in his other hand. This wonderful small painting can be c...

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Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

Kim Jung Gi, South Korean, 1975 to 2022, mixed media painting on paper depicting a comics illustration with many characters, 2006. Signed, dated, and stamp...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Nicholas Sperakis, American, b.1943, an oil paint and coffee on canvas painting depicting an impressive impasto composition with a female portrait. Signed lower left. Nicholas Sperak...

A large antique 19th century Belle Époque style KPM hand painted plaque of a young German woman wearing a bay laurel wreath, impressed KPM and scepter...

This wonderful romantic painting depicts figures bustling along a Manhattan street during a snowstorm. Signed lower right. Johann Henrik Carl Berthelsen (1883–1972) Coming to America as a child, he enjoyed early success as an opera singer and music teacher. His friendship with the artist Wayman Adams resulted in a move to New York and experimentation with painting. When the great depression took a toll on his musical career, Berthelsen began selling oil scenes of his beloved New York City, which quickly found prominent buyers including William Randolph Hearst...

Oil on canvas. Painting by Hans Speidel, Berlin. Speidel was among a group of painters known as the 'Neue Sachlichkeit' (New Objectivity). This betwee...

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Painting. Gouache on board. Signed Bela Kadar (Hungary, 1877-1955) Bela Kadar was born in Hungary in 1877. Amongst his early interests was mural painting. Like many of the artists of his day he was drawn to Paris and Berlin, and by 1910 he had visited both cities twice. In 1923, Kadar showed his paintings in Berlin at the invitation of Herwath Walden. Walden was an important figure in the German avant-garde, being the publisher of the journal Der Sturm which featured the works of Franz Marc, Paul Klee, Wassily Kandinsky, Marc Chagall and Oskar Kokoschka. During the group exhibition at Walden's gallery with other artists of Der Sturm, Kadar met Katherine Dreier whose Societe Anonyme was instrumental in bringing the work of the European avant-garde to New York. With her help two major exhibitions of his work were planned for the Brooklyn Museum of Art, the second of whom in September, 1928 Kadar travelled from Europe to attend. Bela Kadar incorporated themes of Hungarian folklore...

"Reflections," a frame oil on canvas /collage by artist Kathi Robinson Frank is an abstract composition in atmospheric shades of gray, black, white, orange and reddish-orange with th...

Attributed to Joza Uprka (Czech 1861-1940) “Slovakian Woman” A Rare Oil on Canvas Painting Depicting two Czechoslovakian women in traditional outfits, one woman helping another put...

"Freedom," 2021 is a large framed abstract mixed media painting by Kathi Robinson Frank in gray, black. orange-red, amber and white. Exuberant ...

A still life artwork painting of flowers and fruit, circa mid-20th century, USA. Painting is framed in a silver giltwood frame and matted. Piece is ...

"Chair," A large abstract oil and charcoal painting on canvas by Kathi Robinson Frank features a dynamic composition of the synergy between horizontal and vertical forms. A bold wave of black, gray and tomato red undulates across the canvas, while drips of black, gray and tomato red stabilize one's eye on the work. The abstracted burnt orange chair...

Pair of abstract gouache and pencil by Sidney Guberman. Signed: "Prado VII and Prado II Sidney Guberman 1998"

A beautiful antique miniature on paper painting depicting a scene from Indian palace life, depicting the meeting of noble maidens in colorful traditional attire, circa the late 18th century. Hand painted in gouache heightened with gold on paper. This colorful image belongs to the Rajput school, 16th to 19th centuries, spread in Central India and Rajasthan on the territory of the Rajput principalities. Its main centers are Bundi, Mewar, Marwar, Malwa, Kishangarh. Antique Indian Miniature, Illustration, Vintage Oriental Art...

An antique 18th century Indian miniature depicting the Indian Mughal princess Nadira Banu Begum, who lived from 1618 to 1659. On the back, on the frame, there is an inscription: Nadira crosses the desert of Rajasthan. This lightful image belongs to the Rajput school, 16th to 19th centuries, spread in Central India and Rajasthan on the territory of the Rajput principalities. Its main centers are Bundi, Mewar, Marwar, Malwa, Kishangarh. Antique Indian Miniature, Illustration, Vintage Oriental Art...

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DIMENSIONS: Height: 16.25 inches Width: 13.5 inches Depth: 2.25 inches Frame width: 2.5 inches ABOUT MODEL Encarnación López Júlvez, known as La Argentinita (Buenos Aires, March 3, 1898 – New York, September 24, 1945) was a Spanish-Argentine flamenco dancer (bailaora), choreographer and singer. La Argentinita was considered the highest expression of this art form during that time. López Júlvez was the daughter of Spanish immigrants in Argentina, where her father had a fabric business. While living there, two of her siblings died in a scarlet fever epidemic. Consequently, she was brought to the north coast of Spain in 1901, where she began to learn Spanish regional dances. When she was only four years old, she started learning flamenco from Julia Castelao. Her first public performance was at the age of eight at the Teatro-Circo de San Sebastián, in the Basque Country. She chose the name "La Argentinita" in deference to the famous flamenco dancer Antonia Mercé (La Argentina). After travelling throughout Spain as a child prodigy, she settled in Madrid to perform at Teatro La Latina, Teatro de la Comedia, Teatro de La Princesa, Teatro Apolo and Teatro Príncipe Alfonso. Her success led her to tour in Barcelona, Portugal and Paris, and then Latin America. In the early 1920s, she returned to Spain, where she worked in Madrid. Among her early performances was the 1920 premiere of Federico García Lorca's musical play El maleficio de la mariposa as "the Butterfly". She announced her retirement in 1926, but would quickly return to the show business as part of the artistic renewal that led her to the Generation of ‘27, in which she combined flamenco, tango, bulerías and boleros. She danced to the compositions of Manuel de Falla, Joaquín Turina, Isaac Albéniz, Enrique Granados and Maurice Ravel. She helped in the development of Ballet Español. Adapting pieces to popular tradition, she toured Europe, triumphing in Paris and Berlin and participating in the artistic movements of that time along with Spanish poets such as Rafael Alberti, Federico García Lorca, Edgar Neville and Ignacio Sanchez Mejias. Sánchez Mejías, an intellectual and bullfighter, was a married man and her lover. La Argentinita retired a second time to maintain her clandestine relationship with him. However, she would return to the stage with the aid of Sánchez Mejías, who participated in the search and employment of interpreters for her subsequent performances. In 1931, López Júlvez and García Lorca recorded five gramophone slate records, which were accompanied by García Lorca's piano. The selection of songs was prepared, adapted and titled Colección de Canciones Populares Españolas by García Lorca. Among the ten songs were "Los cuatro muleros", "Zorongo gitano", "Anda Jaleo" and "En el Café de Chinitas". With the beginning of the Second Spanish Republic, López Júlvez formed her own ballet company called Bailes Españoles de la Argentinita together with her sister, Pilar López Júlvez, and García Lorca. López Júlvez staged several flamenco theatrical shows, including an adaption of Falla's El amor brujo (Love, the Magician) in 1933, and Las Calles de Cádiz (The Streets of Cadiz) in 1933 and 1940.[7] She travelled through Spain and Paris, where she was recognized as one of the most important flamenco artists of her time. Her company included the flamenco figures Juana la Macarrona, La Malena, Fernanda Antúnez, Rafael Ortega and Antonio de Triana, who was her first dancing partner until the 1940s. At the end of her tour around Spain, her lover Sánchez Mejías was gored to death in 1934 in the Manzanares bullring. She sought refuge in her work and moved to Buenos Aires to dance at the Teatro Colón; from there she embarked on a long American tour. In 1936 she achieved success in New York. Afterwards, she returned to Spain but was forced to flee the country shortly before the outbreak of the Spanish Civil War. She travelled through Morocco, France, the UK, the Netherlands, Belgium and the USA, where she remained in exile in New York. From then until her death in 1945, she developed her career and became one of the biggest stars of international dance, and even participated in movies. In 1943, she presented the flamenco troupe El Café de Chinitas at the Metropolitan Opera House in New York, with her own choreography, texts by García Lorca, scenery by Salvador Dalí and the orchestra directed by José Iturbi. In addition, she performed at the Washington DC Watergate complex with her sister. On May 28, 1945, she gave her last performance at the Metropolitan of the orchestral work El Capricho Español, composed in 1887 by Nikolai Rimsky-Korsakov and based on Spanish melodies. At the end of the event, she had to be admitted to a hospital, where she died on September 24 from a tumor in her abdomen. She did not want to have it operated on because she did not wish to abandon dancing. Her body was repatriated to Spain in December and buried in the Spanish capital. That same year, the company of Bailes Españoles de la Argentinita was dissolved. Among the honors she received after her death was a plaque consecrated at the Metropolitan Opera House, positioned among the medals of Alfonso X El Sabio and La Orden de Isabel la Católica to honor her merits in the field of culture. ABOUT ARTIST Emmanuel Fougerat (French, 1869 – 1958) was a renowned French painter, museum curator and art historian. A former student of the Regional School of Fine Arts in Rennes, Fougerat studied in the studio of Albert Maignan and that of Jean-Paul Laurens in Paris. He was appointed director of the Nantes School of Fine Arts and was also the founder and curator of the Museum of Fine Arts in the same city. Emmanuel Fougerat was named Chevalier of the Legion of Honor in 1912. In 1923, he was placed on temporary leave from the French State in order to carry out a mandate as director of fine arts education in the Province of Quebec, Canada; where he served as an art teacher and director of the École des beaux-arts de Montréal from 1923 to 1925. Emmanuel Fougerat’s paintings are in the following public collections: • Nantes Museum of Fine Arts, France. • Museum of Modern Art in Paris, France. • Rennes Town Hall: permanent decorations. • Museum of Fine Arts of Saint-Nazaire (destroyed in 1944), France • National Museum of Fine Arts of Quebec, Canada. Emmanuel Fougerat is also the author of works on several French painters, including Albert Besnard, Paul Baudry...

'Lysistrata', signed and dated 1962 Oil on board Anthony Thomas Triano (1928–1997) Size: 17 3/4" high x 19 wide x 3 /4" deep. Triano was a...

Edmond Louis Maire (French, 1862-1914) A Monkey Still Life Painting with Fruits and Flowers, 1904 Oil on canvas Signed Lower Right Edmond Maire a...

American artist, George Vander Sluis, has received a Fulbright and Ford Foundation fellowships as well as multiple mural commissions for the New Yo...

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A miniature Indo Persian Mughal Art watercolor painting on antique manuscript leaf depicting a portrait of a Royal person, probably Jahangir, the f...

(Slavic School, 19th Century) A Large Oil Painting "Saints Cyril and Methodius"   Very good quality painting, and subject. Painted by a master, apparently ...

Oil on linen painitng by the American artist Ross Bleckner. Titled "Time (mechanism)", 2009-2010. On a black thin metal frame. Painting with out frame is 72" x 72". Emerging as a pro...

Spanish Colonial Penitent Mary Magdalene Original oil on canvas painting XIX century Details Original period frame. Painting dimensi...

A modern landscape scene painting artwork with man and dog, signed by artist, 1978. Painting, acrylic or oil paint, featuring a modern landscape scene with plush lawn, bright sky, am...

Louis Chalon (French, 1866–1940) An Orientalist Landscape Painting of The Golden Horn, Bosphorus, Istanbul, with views of The Suleymaniye Mosque with the Galata Tower, Constantinople...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Mid-Century Surrealism Alexander Cañedo Dancing Man Oil on Canvas ca. 1950’s PAINTING DIMENSIONS: Canvas: 44 x 44 cm (17-3/8 x 17-3/8 in.) Framed: 68 x 68 cm (26-3/4 x 26-3/4 in.) Alexander Cañedo (Mexican-American, 1902 – 1978) was born in Mexico City as Alejandro de Cañedo; his father was a Mexican government official and his mother was from the United States. In 1918, when Cañedo was 15, his parents sent him to École nationale supérieure des Beaux-Arts in Paris where he studied under the sculptor Jean Magrou. In 1923, Cañedo traveled to Rome where he continued his art studies. In 1927, Cañedo briefly returned to Mexico. During that trip, the Mexican Government appointed him attaché to the Mexican Embassy in Rome. In 1928, Cañedo held his first art exhibition with the Circolo Artistico in Rome, a collection of pencil drawings. More exhibitions followed in other cities in Europe. That same year, he traveled to the New York City where he exhibited widely. At this point, he began signing his work with just his last name; eventually, he also Anglicized his first name as "Alexander" and dropped the "de". Cañedo was commissioned in 1929 to illustrate the amatory novel Orientale: The Adventure of Therese Beauchamps by the French author Francis de Miomandre. The highly stylized Art Deco results were so successful that he retained Cañedo the following year to illustrate his next novel, The Love Life of Venus. In 1932, Cañedo was invited to have a solo show of his pencil drawings at Walter P. Chrysler, Junior's newly opened Cheshire Gallery, located in the Chrysler Building. He also had a solo exhibition at the Argent Galleries, and participated in shows of the Art Students League of New York, of which he was an active member. By the mid-1930s, Cañedo began exhibiting watercolors. These were shown at solo exhibitions at the Arthur U...

An American School Folk Art pastel painting on paper depicting a portrait of an Afro American boy. Signed by the artist, F. L. Turner, lower right. Framed. Circa: the first half of t...

Samuel S. Carr (American, 1837–1908) – Idyllic Beachside Scene with Children and Dogs A charming and finely executed antique oil on canvas by the renowned American genre painter Sa...

Signed and dated in the bottom right corner “LEV MEZHBERG ‘05” Dimensions Height: 50 inches (125cm) Width: 93 inches (232.5cm) Lev Leonidovich Mezhberg (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova...

Painting of flowers by James Antonie. Signed. Acrylic on paper. The painting is filled with exuberant color, light, vitality and life Framed in white wood with plexi-glass. Dim...

Cubist Painting by Hungarian Painter, Koroly Glonczy. Oil on cardboard. References: Modern and contemporary art. European 20th century, Mid-Century Modern.

Painting, oil in cardboard, signed H Scheiber (Budapest 1873- 1950). Hugo Scheiber was born in Budapest in 1873. At the age of eight, he moved with his family from Budapest to Vie...

A bold colored acrylic painting on a wood collage with a dynamic geometric composition and complex textures. This sculptural painting is signed and dated on the right hand side.

An academic oil painting depicting a young man in profile holding a spear, seated. Some flaking in the background, consistent throughout. Framed in a vintage giltwood frame. Circa 1900.

19th century Scottish hunting painting.

"Pescados En El Mar" acrylic on canvas abstract artwork by Mexican artist Maricruz Hernandez Covarrubias 1947-2016 Painting measurements: width 39.25 height 19.75 Maricruz H. Cova...

Gustavo Simoni (Italian, 1845-1926) A Watercolor of An “Orientalist Dancer” Signed and dated G. Simoni, Roma 1890. Watercolor on paperboard. Gustavo Sim...

"Landscape From An Airplane" 2021 is large framed abstract mixed media oil painting by Kathi Robinson Frank with pastel, graphite and oil stick in sunny shades of pale yellow, tan, r...

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An antique late 18th century Indian miniature painting with a traditional scene of social life. In the center of the composition is an Indian Raja proudly seated in a red palanquin carried by his servants. In front and behind the palanquin are the rulers guards with spears in their hands. This colorful image belongs to the Rajput school, 16th to 19th centuries, spread in Central India and Rajasthan on the territory of the Rajput principalities. Its main centers are Bundi, Mewar, Marwar, Malwa, Kishangarh. Matted and framed. Antique Indian Miniature, Illustration, Vintage Oriental Art...

"La Salute" is a striking oil painting by renowned Italian artist Lazzaro Donati, depicting the iconic Santa Maria della Salute church in Venice. Known for his vivid, expressionistic...

Oil on gesso canvas by Louis Francois Cabanes (1867-1947) depicts a massive wall of a vaulted palace room decorated with painted ceiling with huge figurative bronze and marble sculpture in the neoclassical style. Signed in lower right, Louis CABANES élève de M. J.P. Laurens (student of mister...) beneath and what appears to be a partial date (year) beneath in box. Stretcher measures approximately 26 by 37.5 inches and the period frame, 32 by 44 inches. Cabanes was a respected illustrator and painter of figures, genre scenes, history and Orientalism. He studied at the Ecoles de Beaux Arts of Toulouse and Paris under Jean Paul Laurens...

An antique Islamic miniature painting on paper with a traditional plot from secular life, circa 1800. Painted in opaque watercolor with gold acents. On a dais under a red canopy sits the ruler, who is surrounded on all sides by his subjects, looking at him with reverence and respect. Islamic miniatures are small paintings on paper, usually book or manuscript illustrations but also sometimes separate artworks. The earliest examples date from around 1000 AD, with a flourishing of the artform from around 1200 AD. Antique Islamic Miniature, Illustrations, Vintage Oriental art...

An antique American School Folk Art oil painting on canvas depicting an African American fisherman boy in a river landscape, 1913. Signed by the artist, J. Feindell and dated, lower ...

We love paintings and drawings of interiors, as they portray the soul of a room. This vignette is small, but contains so many lovely details of the French salon. The artist, Leo Gr...

An antique Indian Mughal Art mixed media, gouache and gold leaf, miniature painting. The artwork depicts a garden scene with Krishna combing Radhas hair surrounded by the Gopis. Fram...

An antique Indian Mughal Art mixed media, gouache and gold leaf, miniature painting. The artwork depicts a courtyard campaign scene with Maharaja, Deity, and warriors. Framed. Collec...