Miniature Paintings

Title: French Market Stall with Woman Vendor and Colourful Produce Provence Watercolour Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x ...

Title: Riverside Village Hills Trees Reflections and Sunlit Fields Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W): 6.5 x ...

Well painted late 19th-century German genre painting. Often painted in the Munich area of Germany these highly desirable antique paintings are always of t...

A very dramatic marine scene with the translucency of the waves captured with incredible skill and vision. Attributed to Miles Edmund Cotman (1810-1858) Shipping in rough seas Oil on board 7 x 10 inches The eldest son of John Sell Cotman...

Pocket Dark Cherries 2c is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque sti...

Kelly Birkenruth's "Adam" (2024) is an original oil painting on panel, measuring 14 x 11 x 2 inches. This striking artwork features the detailed portrayal of a male torso, emphasizing the muscular structure and the subtle interplay of light and shadow on the skin. The background’s soft, muted tones contrast beautifully with the lifelike depiction of the subject, highlighting Birkenruth’s technical skill and artistic vision. The painting is framed, with overall dimensions of 15 x 12 inches, enhancing its elegant presentation. Known for her ability to capture the human form with both realism and sensitivity, Birkenruth's "Adam" is a compelling addition to any art collection. Kelly Birkenruth’s captivating paintings are in the style of contemporary realism while staying firmly grounded in the tradition of the Old Masters. She is able to pull the viewer into her paintings by interweaving emotion with a humanistic quality through her supreme handling of light. Through her portraits and still lifes she is able to evoke sensitivity and empathy, which in turn allows her to create images which transcend mere representation to capture the true essence of her subject. Kelly’s arresting compositions, draftsmanship, use of color and observation of detail allow her to create paintings with a timeless quality. After earning her degree from Pennsylvania State University, Kelly moved...

Incredible early American Hudson River School landscape painting by William Hart (1823 - 1894). Oil on board. Framed. Signed. Measuring 15 by 17 inches overall and image size, 1...

Pocket Jam Doughnut 2c is an original oil painting by Dani Humberstone as part of her Pocket painting series featuring small scale realistic oil paintings, with a nod to baroque stil...

Horse Racing on Tramore Beach in Southern Ireland with Mountains in the Distance, an Original Watercolour by Irish Artist, Sean Lorinyenko. Art measures 15 x 7 inches Frame measures...

sin titulo original pastel abstrat painting Manel Font Díaz (Barcelona, 1950) es un artista centrado especialmente en la pintura, primero formado en la facultad de Bellas Artes de la...

17th Century Italian Religious Painting Credited to Giovanni Battista Salvi Virgin Mary Period: second half of the 17th century Technique: oil on copper A beautiful, important pain...

Carlos Gamez de Francisco’s original artwork "The Bunny and His Flower" is a fusion of original hyperrealism, figurative surrealism, and narrative-driven art. This 12-inch round acry...

#5-3125 Female Nude, vintage acrylic on paper applied on board displayed in a new black wood frame Unsigned Image size 12 H x 10 W

An intimate interior scene of a woman reclining in her living room with a bouquet of flowers on a sunny afternoon. We are charmed by the rich choice of color and intimate details thr...

Ria Koreman Blue tit 30 x 24 cm (framed included in price 35 x 29 cm) Ria Korenman paints what many people overlook: the magic in everyday life. Especially birds, with a soft spot f...

Opera di fine 1800, Cornice originale restaurata in più punti The "Sacred Heart" is often associated with Catholic devotion, representing the love and compassion of Jesus. This dev...

The painting was painted from life on a hot summer sunny day. It depicts an old street of a typical European town. The main "face" of the painting is a two-story house with a red til...

Spring Collection: Pocket Bluebells is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to...

A very beautiful signed and dated 1875 oil on panel depicting a river landscape, by Belgian artist Vital de Gronckel. Excellent quality early impressionist work, presented in an orn...

Initialled 'R.M.' lower left. On canvas on stretchers.

"Study of a Goat" Frans Lebret (Netherlands, 1820-1909) Oil on paper on wood panel 9 x 10 (13 1/2 x 14 1/4 frame) inches Initialled lower right This is a simply stunning and deeply ...

'Mary with Jesus and St. John the Baptist', 17th Century Milanese School Oil ----- A late 17th century, devotional oil showing the Virgin Mary with Jesus and St. John the Baptist. ...

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: oil on board, unframed Size : 10.75 x 8.75 inches Provenance: private collection, France Condition: The painting is in ov...

Portrait of a Red Setter/Spaniel English school, mid 20th century oil on canvas, unframed Canvas: 14 x 12 inches Provenance: private collection Condition: stretcher bar marks showing...

An Elegant 1940s Modernist Portrait of a Young Woman a Red Dress by Noted Chicago Artist, Francis Chapin (Am. 1899-1965). A beautifully executed studio portrait, the painting is oil...

Boats Arriving at the Harbour by Fanch Lel Size: 15 x 18 inches (height x width) Oil painting on board , unframed Condition: Good condition overall with minor surface handling marks ...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

This abstract piece "Resilient reflection" is part of Natalya's series dedicated to "Women," where the artist explores the complexities of womanhood and femininity. Through this work...

Circle of Fred MORGAN (1847-1927) c1890 A sensitively painted portrait, possibly a study for a larger work, of a young country girl. Indistinctly signed ** Morgan, possibly Fred. Unfortunately Fred signed in a number of different ways depending on the grandeur of his work. However, a consistent element was the colour, a reddish brown similar to the colour of the signature on this painting. I can offer no provenance with this painting, so I am selling at as circle of Morgan rather than actually by him. “Frederick Morgan ROI was an English painter of portraits, animals, domestic and country scenes. He became known for his idyllic genre scenes of childhood. Morgan was born in London to John Morgan and his wife, Henrietta Hester Clare. His father was a successful genre artist sometimes known as 'Jury Morgan' (after one of his paintings The Gentlemen of the Jury). At the age of 14, he was taken out of school by his father who then tutored him in art. At the age of 16, while still studying with his father, his first picture, The Rehearsal, was exhibited at the Royal Academy, and, after a hiatus of several years, his paintings were shown there regularly. For a while he worked as a portrait artist for an Aylesbury photographer; this training proved to be crucial as it "taught him how to observe closely and to give the greatest attention to detail." Eventually he turned to other subjects for his art, in particular idyllic genre scenes of country life and childhood. For many years, starting in 1874, Thomas Agnew & Sons' purchased all the work he produced. Although an excellent portrait artist, Morgan had problems in depicting pets and barnyard animals - he enlisted the aid of either Arthur John Elsley...

The Coastline by Charles Martin-Sauvaigo (French 1881-1970) * see notes below French Impressionist painter oil painting on wooden panel unframed size: 8.25 x 10.5 inches condition: v...

Damien Hirst H12-4: Beautiful, Everlasting, Inexhaustibly Interesting, Self-Revelatory Gyration Painting, 2023 Mixed Media Giclée print on poly-cotton artist canvas mounted on a birc...

French School, mid 20th century landscape oil painting on wood panel, unframed double sided measures: 10.5 x 14.5 inches condition report: provenance: France 10.5 x 14.5 inches

Primary Colour Series- Red is Shizico Yi's on going project, inspired by Japanese woodblock Print and the a nod to calligraphy tradition. The series is a continuation of her "Sunlit ...

Hazel Z Weckbach's "Spring Morning" is an original, hand-made watercolor painting. Artist Statement: "Subject matter to me is a vehicle for me to explore how I observe life. My urba...

The piece is part of a series loosely based on figurines I have come across in vintage shops, the figures often being moulded in one with the base, I thought it would be fun to do on...

Sunlit Village in Provence mid 20th century signed oil on board, unframed Board : 7.5 x 10.75 inches Provenance: private collection, France Condition: very good condition Descripti...

Title of the Artwork: Costa Brava Artist: Rafael Durán Benet (1931-2015) Technique: Oil on mounted panel Style: Mediterranean Post-Impressionism Dimensions (unframed): 13 x 16.1 inch...

Artist: Slonem, Hunt Title: Marlyne Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14.5" x 12.5" Signature: Signed by Artist on Verso Edition:...

This cubist black ink pen drawing by André Lhote (1885 - 1962), circa 1910, features a still-life composition, a bowl with fruits on a table with a cubist geometric design. We added ...

Artist/ School: Robert John Hammond (British, exhibited 1882-1911), signed lower front corner. Hammond was a painter of landscapes, animals and rural scenes. Hammond was thought to ...

Rainy parisian afternoon Acr. on canvas painting. Size of painting - 25cm x 25cm , Cloudy Parisian afternoon. A bush with flowers, cool shadows and an unusual atmosphere of mystery o...

From the estate of Jerry Opper & Ruth Friedman Opper Black Floor c. 1940-1950's Gouache on Paper 15" x 18" Unframed *Custom framing available for additional charge. Please expect framing time between 3-5 weeks. From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...

Abstract by Yvette Dubois-Habasque (1929-2016) signed with initials in the lower right, dated and signed verso oil painting on artists board, unframed painting measures: 10.75 x 16....

Suchitra Bhosle's "Amidst Spring" is an original, handmade impressionist oil painting that depicts a portrait of a young woman, dressed in a white gown and walking into a flower fiel...

Portrait of a Bavarian Gentleman with Pipe by Theodor Recknagl (1865-1945) German signed oil on board, framed board : 7 x 5.5 inches Provenance: private collection, UK Condition: som...

Artist/ School: British School, 20th century Title: Huntsman on horseback, wintery landscape behind. Medium: oil painting on canvas, oak wooden framed Framed: 14 x 17.5 inches C...

Unsigned. On board.

Acrylic

Lest We Forget.

Ria Koreman Tree sparrow 20 x 20 cm (framed included in price 25 x 25 cm) Ria Korenman paints what many people overlook: the magic in everyday life. Especially birds, with a soft sp...

Morning Drama oil/panel image 8 x 10 unframed, 14.5 x 16.5 framed is an oil painting on panel by award winning contemporary artist Michael Budden that showcases a dramatic sunrise se...

Artist/ School: 18th/ 19th century Continental School, after Murillo Title: Figures eating Grapes Medium: signed oil painting on metal, framed. Size:...

Title: French Village House Steps Garden Path and Hillside Landscape Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W): 8.75 x 6.5 inches Condition: Good overall, with light handling marks and minor natural toning consistent with age. Provenance: From the artist’s studio sale in France; all works by this artist in our collection originate from the artist’s estate. Description: This lyrical watercolor by Pierre Neveu captures a peaceful French village scene framed by a sunlit garden path, steps, and a cluster of traditional houses set against rolling hills. Neveu’s fluid brushwork and instinctive sense of colour bring instant warmth to the composition. Golden ochres, deep greens, and soft sky blues harmonise to create a vibrant yet intimate view of rural life in France. At the centre of the composition, a set of gently descending steps leads toward a small white house with a sharply peaked roof—one of the characteristic architectural forms found in many historic French villages. Surrounding it, Neveu uses expressive, loosely applied washes to depict dense foliage, casting natural shadows across the walkway. The vegetation, built from layered greens, ochres, and deep blue-greys, frames the scene beautifully and adds depth to the composition. Beyond the houses, the distant hillside glows with warm, earthy tones—suggesting late summer or early autumn light spreading across the fields. Neveu’s characteristic blend of linework and transparency gives the painting a sense of immediacy, as though capturing a moment during a quiet stroll through a village lane. His architectural training subtly informs the structure of the houses, even as the overall work maintains an impressionistic softness. Perfect for collectors of European village landscapes...

Acrylic on paper contemporary figurative painting by Michal Wojtysiak. Artwork depicts Jaguar car in realistic style. MICHAŁ WOJTYSIAK (ur. 1984) Graduated of Academy of Fine Arts ...

Title: Seated Female Nude with Striped Curtain French Modernist Watercolour Figure Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): 9....

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

A Vibrant, Colorful 1950s Painting of a Beach Scene along a Mountain Coast by Famed Chicago Modern Artist Francis Chapin (Am. 1899-1965). Depicting a picturesque view of a quiet bea...

Christopher Clark's "Ray of Hope" is an original, hand made oil and acrylic painting that depicts a highway with a bright shaft of sunlight shining through pink and blue clouds. Chr...

Flock and Zinnia (Pink Zinnia Still Life with Sheep and Cloud Landscape) Made is 2021, by Berkshire based artist Ann Getsinger oil on linen, 14 x 11 inches Signed, lower left Ann G...