Gesso Paintings

Capture the serene and luminous atmosphere of a traditional European harbor with this exquisite vintage oil painting. The composition portrays a cluster of coastal fishing boats with...

A finely painted early 19th century Russian Orthodox icon, Saint Nicholas of Myra, circa 1820. This traditional Russian icon is finely painted with egg tempera paint and gesso on a l...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

A Very Fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by the master Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800s. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

A large French 19th century oil on canvas "Les progrès de l'amour dans le cœur d'une jeune fille" The Progress of Love: The Lover Crowned, after Jean-Honoré Fragonard (French, 1732-1...

A fine and large 19th century oil on canvas after Bartolomé Esteban Murrillo's (Spanish, 1617-1682) Masterpiece "Beggar Boys Playing Dice" (The original work by Murillo was painted in 1675). The impressive artwork depicts two young boys playing dice while another eats a piece of fruit as his dog watches on., within an ornate gildwood and gesso frame bearing a label from the faming company Bigelow & Jordan. The original work by Murillo is currently at the Alte Pinakothek Museum in Munich, Germany. The present work is signed: L. Rüber. Circa: Munich, Late 19th Century. Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children. In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...

Deeply moulded gilt frames with ornate scrolling foliate borders enclose this pair of upright marine oils depicting traditional sailing craft. One composition captures a vessel navig...

Oil on panel depicting a bearded gentleman in top hat. Signed lower left. Ornate wood and gesso gilded frame. Overall dimensions given below, the image size is 5.75 inches high X 4.5...

Adolf Constantin Baumgartner Stoiloff (Austrian/Russian, 1850-1924) A fine oil on board painting "Charging Cossack Warriors on Horseback" within an ornate giltwood frame, circa 1890 Born in 1850 in Linz (Austria) Stoiloff died in Vienna in 1924. According to a research of Russian literature, he studied in the 1880s at St. Petersburg Imperial Academy of Fine Arts. He was very well known for his Russian horse...

This evocative vintage landscape oil on canvas captures a serene, atmospheric moment in nature, featuring a winding stream flanked by tall, slender trees and a distant cottage. The a...

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

Bring the serene charm of a European maritime harbour into your collection with this captivating, unsigned late 19th- to early 20th-century oil painting. Captured through loose, expr...

Pair of English Nobel figural oil on canvas oval portraits of male posing with hunting canine companions and female sitting in garden posing with flowers and lamb. Paintings have bee...

Sardine Colazione fish painting. Contemporary blue white and green on black gesso painting on wood panel of breakfast sardines, Italy, 2019. Dimensio...

Black cat painting in chalk and acrylic on advertising cardboard. My friend the painter. Shipped in a wooden case Thank you

Outstanding 19th century Italian raised gilt gesso and oil painted panel. Very pretty images of leaves, flowers and urns. An exceptional piece!

Francesco Ballesio (Italian, 1860-1923). A fine orientalist pencil and watercolor heightened with gum Arabic on paper figure of "A Middle-Eastern Beauty at Rest" depicting a young maiden resting on a Persian rug laid down as a bed while holding a tambourine and next to a Moroccan ivory-inlaid octagonal table with a tea pot on top. Signed and inscribed 'Ballesio Roma Tivoli' (upper right). All within an ornate rococo gilt wood and gesso carved frame with a protective glass, Rome, circa 1890-1900, Frame height: 23 inches (58.4 cm). Frame width: 30 1/2 inches (30.5 cm). Frame depth: 2 1/4 inches (5.7 cm). Paper height: 15 inches (38.1 cm). Paper width: 21 1/2 inches (54.7 cm). Literature: A similar subject matter watercolor is catalogued and illustrated in Caroline Juler, "Les Orientalistes...

An original, signed oil painting on gessoed paper, framed in a light beech frame, and wired for display en verso. We have disassembled the frame to clean the interior and photographe...

Henri Alphonse Barnoin (1882-1940) studied with Emile Charles Dameron at the Ecole des Beaux Arts in Paris. In 1912 he moved to the small commun...

Lee Porzio, Untitled, Oil on Gesso Board with String, ca 1960s. Painting measures 32: high x 48" wide; with frame painting measures 33-1/2 high x 49-3/4" wide. Painting is in good vintage condition with new gold wood frame. LEE PORZIO (1913-2004) Lee was born in Paterson, New Jersey in September 1913 to Italian immigrant parents. Growing up in nearby Hawthorne, New Jersey, Lee met first husband Angelo di Benedetto, by then a well-known artist in his own right. They married in 1942 while Angelo was serving in the Air Force. In 1946, when he was discharged, they remained in Colorado, where he had been stationed, settling in Central City near Denver. Apparently, Angelo’s years-long obsession with turning a warehouse into a giant art studio created tension in their relationship ending in their divorce. By 1953, Lee had met Allen Ditson and moved to Arizona; they married in 1954. Once in Arizona, they began building their reputations as artists able to work in various media. Allen was a sculptor in metal and wood and a furniture designer. Lee was known for her skill as a graphic artist and could execute her designs in clay, oils, fabrics and fibers. Her work was sold at fine galleries nationwide. Together, their commissions include works of dramatic size and scope in the architectural and commercial field throughout the United States as well as intimate pieces for homes and small offices. Their work adorned numerous banks, offices, restaurants, churches and university buildings all over Phoenix, Arizona. Lee passed away in Paradise Valley, Arizona in 2004. Allen died in 2007. Exhibitions: - Syracuse Ceramic National Exhibition, 1948 - Art Institute of Chicago, 25th Annual Exhibition by the Society for Contemporary American Art...

For sale a charming European late 18th, early 19th Century Georgian/Regency era oil on board portrait painting of a youthful person, possibly a scholar, believed to have been painted...

Francois-Alfred Delobbe "The Little Neighbor", French, 1835-1920. A fine and charming Oil on canvas depicting a young lady standing next to a sweet young girl sitting at a well-head. Signed at lower centre: A. Delobbe. Label on reverse has title and medals Hors Concours Paris, 1874 and 1876. Within an ornate gilt-wood and gesso frame, circa 1870. Measures: Canvas height: 26 inches (66 cm). Canvas width: 19 3/4 inches (50.2 cm). Frame height: 38 inches (96.5 cm). Frame width: 34 inches (86.4 cm). François-Alfred Delobbe, (1835, Paris-1920, Paris) was a French painter in the Naturalist style. He was a student of Thomas Couture and William Bouguereau at the École des Beaux-arts, where he had been admitted at the age of 16, and had his debut at the Salon in 1861 with a portrait of his mother. Mythological, Orientalist and genre scenes in the Academic style were his original specialities. His career was truly launched when he obtained a commission to decorate the Town Hall of the recently annexed 15th Arrondissement; one of only eight such commissions granted. From 1875 until his death, he and his family were regular visitors at the artists' colony in Concarneau, where he had been invited to come by its founder Alfred Guillou and in whose home they sometimes stayed. The soft light of the region inspired him to focus on painting children and young women, generally in peasant scenes. He would often sketch profusely during the summer, then finish the painting during the winter at his Paris Studio. Most of his models came from the Concarneau region. Museums: Musée de Brême: Baptéme à Venice. Musée de Breslau: Filles de l’Océan. Musée de Rochefort: Le retour des champs...

'The Ace of Spades' by J. L. Rónay J. L. Rónay French /Hungarian, 19th century genre painter. A finely painted oil on canvas of an Italian beauty seated on a stool, with tossed p...

Italian 19th century oil on canvas titled "The Violin Music Professor" depicting a mid-19th century music-room scene of an elder man, the music professor, holding his violin, hat and...

A fine Franco-German 19th century oil on canvas "Portrait of a Lady" depicting an 18th century young beauty posing with a profile gaze and cur...

Rolling, sunlit waves dominate this maritime study, capturing an expanse of choppy open water beneath a pale, atmospheric sky. In the far distance along the low horizon, a solitary s...

A busy stone quay with moored vessels forms the principal focus of this maritime composition, capturing everyday coastal activity in Gosport harbour. To the right, a fully rigged thr...

Executed in delicate washes of watercolour, this half-length portrait captures a mature sitter seated upright against a layered domestic interior. The composition focuses closely on ...

Detailed depictions of eighteenth-century naval shipping define this panoramic marine composition, identified as depicting the Royal Navy vessel HMS Cruizer alongside accompanying wa...

A cut melon exposing its seeds forms the centrepiece of this tabletop composition, flanked by sliced wedges resting on a shallow plate alongside a paring knife. A green pear and smal...

A fully rigged tall ship in full sail powers across rolling crests of dark ocean swell beneath a dramatic evening sky. Positioned centrally in three-quarter view, the multi-decked ve...

Just the most whimsical oil on board painting, a group of 18th century teapots on a scarlet backdrop. A very slight impasto application, niaeve in...

Uncover a dramatic masterpiece with this Vintage Original Figurative Oil Painting on Canvas, a captivating work of art steeped in historical allure. This extraordinary piece presents...

Late 19th C. Eastern European Icon of St. Gregory. Painted on a panel composed of two boards joined together with two battens, top and bottom. The wood appears to be either pine or f...

Fine Original Oil Painting by William Joseph Shayer Senior, circa 1830 Material: Oil on Canvas, Giltwood, Gesso A fine original early 19th-century oil painting by the celebrated Br...

This evocative 19th-century oil portrait captures the regal elegance of an aristocratic lady, expertly rendered in the classic Old Master tradition. Drawing inspiration from late Ren...

Pair of American figural oil on canvas portraits in original gilt wood and gesso molded edge frames, New York, 19th Century John Clark Hollister, NY 1818-1905 Martha Lyman Hollister,...

Fine 19th Century Oil Painting in the Manner of C. S. Lidderdale, circa 1870 Material: Oil on Canvas, Giltwood, Gesso A beautifully executed 19th-century oil on canvas dating to ci...

Painted in rich autumnal tones against a plain warm brown ground, this full-length portrait depicts a wide-eyed child in theatrical Elizabethan fancy dress. The youthful figure stand...

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

Baroque capriccio with architectural ruins and figures, an early 18th century Italian painting showing an imaginary landscape with Roman ruins and figures, an early Italian oil-on-ca...

Thick, impressionistic impasto defines this framed oil portrait of Captain Julian Burgess, captured in uniform against a dark, atmospheric ground. Rendered with confident, visible br...

Deep foliate relief moulding and a wide bevelled slip give this substantial giltwood and composition frame impressive presence. Housed within is an oil painted composition after Vitt...

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with cart and oxen. Amazing luminescent sky. Signed lower left corner "W. Keith '96". Retains original museum quality gilt frame. Canvas measure 30"H 50"W. Accompanied with period correct Stereograph black and white photograph depicting actual painting in a parlor with handwritten pencil title "Parlor, Berkeley, Cal. '97". This is a museum quality work of art. William Keith (1838-1911) William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters" and "California's Old Master." Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. Keith’s first wife died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier...

Dark and brooding oil painting applied with a heavy impasto relief technique titled "Outburst." Framed in aluminum and walnut. Signed and titled in verso. Most likely an early abstract work by Gerald...

This ceiling to floor large-scale painting is an intimate portrait of Lazard's workspace and creativity. "That is how I spend my time all the time," says Lazard. Part of the genius o...

Antique 19th century oil on board painting of a castle with village in the background.

Low morning light reflecting across wide, calm water establishes the composition of this expansive river landscape. To the right shore stands an architectural grouping consisting of ...

A large panoramic vista captures traditional Chinese junk rigs navigating calm coastal waters before a towering skyline and mountainous backdrop. The scene is anchored by several jun...

Jules Salles-Wagner (French, 1814-1898) A Large and Impressive French, 19th century oil on canvas "The Water Carrier" depicting a standing and posing young peasant girl holding twin-...

An atmospheric 19th-century Dutch pastoral scene by Frans Lebret (Dordrecht, 1820–1909), a painter best known for his sheep and landscape pictures. His work is held in Dutch museum c...

A fine French oil painting on canvas featuring a still life of a vase of flowers in a Montparnasse frame. The Montparnasse frame takes its name from the Parisian district where it w...

19th Century Flemish School Portrait of a Lady oil on cardboard painting, rectangular shape, with an overlaid oval gilt cardboard, set in a rectangular gilt frame. It depicts a middl...

Francesco Peluso (Italian, 1836-1916) a fine Italian 19th-20th century oil on canvas "The Village Celebration". The beautiful painting depicting a young couple of villagers dressed for Spring festivities and walking through a dirt road while playing musical instruments. The girl playing a tambourine and the boy a wooden noise maker...

Peter Adolf Persson, born 25th September, 1862 in Kvistoftavägen, Scania, died January 15, 1914 in Tyringegatan, Skåne, was a Swedish artist. Persson studied at the Academy of Arts i...

Title: Woman in Animal Suit Artist: Deborah Barrett Medium: Mixed Media Collage on Paper Signed and date to the lower right and bearing an old Susan...

A remarkably intricate trompe-l’œil still life by Aaron Bohrod (American, 1907–1992), one of Wisconsin’s most celebrated 20th-century artists. Titled Cornucopia, the painting present...

French shepherdess at twilight by Jean Beauduin (1851-1916). Oil on canvas mounted on board. Original Barbizon frame. I believe the dog is a bergere Picard. The bergere Picard or Picardy Shepherd is a French herding originating in Picardy. These dogs nearly became extinct after both World War I and World War II and remain a rare breed Jean Beauduin was a painter, draughtsman and illustrator of genre scenes, portraits and landscapes. He received his artistic training at the Academy of Antwerp. He moved to Paris shortly afterward. He exhibited at the Salon des Artistes Francaises as well as many expositions in the US and Europe. # collection collector american large carved paris rome new york salon important provenance historical fine not signed. museum original unique rare # American Russian figure landscape portrait old master impressionist sheep...

Carpe Diem fish painting. Contemporary triptych gesso painting on three raw wood panels in pale red yellow white and ochre on pale marine blue ground, ...

Leopoldina Zanetti Borzino (Italian 1826-1902). Born in Venice, Leopoldina was the niece of Daniel Manin, a hero statesman, who would become the President of San Marco, a revolutiona...