Fabric Paintings

Newcomb Macklin attr. Frame & Oil on Canvas Winter Landscape Painting By I. G. Jenkins C1900 Measures - 37" x 28 3/4" x 3 1/4" An antique oil on canvas painting depicting a serene ...

A dark-blue, black abstract interior with chairs and window surround, oil on wood in canvas on a blue frame by Daniel Clesse, painted in France, signed and dated circa in 1970. Dani...

19th Century, Empire Period Portrait of the Comte Gustave de Galard (1779–1841), French School, c. 1805, Oil on canvas Canvas: 15.75" W × 21.5" H Framed: 19" W × 24.5" H A refined ...

An exquisite hand painted Tibetan Thangka depicting 63 Buddhas with consorts and 5 protector Vajrabhairavas. Buddha seated dhyana asana on lotus throne at the center of the mandala i...

19th century Italian School oil on canvas of Madonna and child. Gilt frame.

18th Century German Old Master Painting “ Diana and Endymion “ Signed This exceptional and beautiful allegorical painting is executed in oil on canvas. The canvas is painted in a ma...

A serene 19th century pastoral landscape oil on canvas signed by F. Allen, depicting a tranquil countryside scene. The composition features cows drinking from a calm river beside a r...

An early 19th century painting, oil on linen, showing an English pastoral farm scene, artist unknown. The right foreground shows three farm workers clearing hay in a meadow. Other figures can be seen in the mid-ground along with a hay laden wagon harnessed to horses. A thatched roof cottage is painted in the distance. In the central background, two horses are grazing in front of split rail fence...

Vintage oil on board still life painting features calm, collected composition of a wine bottle, glass, teapot, and fruits on a white tablecloth. The painting is signed in lower lef...

An original oil on canvas abstract composition by well-listed American artist Gino Hollander (California/Colorado/Spain; 1924 – 2015). Executed in white, ochre, browns and black, it ...

This bold modernist mixed media painting was painted by German / American artist Peter Robert Keil (b. 1942). Kiel was born in Züllichau / Pomerania and studied at the University of the Arts, Berlin. His first mentor was painter Otto Nagel. He admired the works of the Expressionists, Picasso in particular, whom he later met in Spain. The expressiveness of the vivid color opened a way to temporarily escape from the dullness and depression of everyday life in post-war Germany as Peter made his first attempts at visual art. He was also influenced by Juan Miro...

A fine contemporary British still life oil painting on canvas of white lilies in a jug displaying a masterful use of color, space, and light, mounted to an attractive gray-washed and...

Step into the vibrant world of the 1960s with the Mid Century Modern Abstract Bridge Painting by Gillingham. This original oil on canvas piece, signed by Gillingham on the middle rig...

A beautiful, colorful, soft, still life painting of a bouquet of spider mum flowers, circa late-19th century to early 20th century. Painting artwork, hand-painted in oil paint, depic...

Oil Painting "Italian Street Scene" by Elizabeth R. Withington The Artist: Elizabeth Rupp Withington was a Rockport, Massachusetts illustrator and artist in watercolors, gouache, and oils. She was born on 6 September 1883 in Roxbury, Massachusetts to John Rupp...

A Japanese mounted vertical hanging scroll painting by Mori Tetsuzan (Japanese, 1775-1841) circa 19th century Edo period. The watercolor and ink on silk ...

Oil on canvas painting depicting a seated nude woman with red hair. Areas of unfinished canvas; signed by Savignol. Please see images for condition details.

Fine 19th century English oil on canvas: Portrait of a dog, after Edwin Landseer. The verso photo documented, original canvas, Initialed W M May 1882. Based on a drawing of Landseer's Scottish deerhound...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted 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, 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. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 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...

An interesting still life, signed, illegibly, ca' 1930's-30's. Oil on canvas, nicely done in a gild wood frame.

Like the Sun King himself, this French painting on canvas of the palace of Versailles stirs awe and wonder that such a person and place could exist. The setting sun bathes the Bacchus or Autumn fountain and the edifice in the most incredible golden light, while the focal point is the Neoclassical, reclining sculpture...

A large and important work by Turkish artist Férit Iscan depicting his artist’s supplies laid out on his work table. Signed lower right, title on verso...

The category antique paintings, Landscape Paintings with River, proposed here is an oil painting on canvas, 20th century.  This is an antique painting, from the 1900s 1950s era, dep...

19th-century marine painting, signed lower right by the artist H. Elmar. This finely executed work captures a traditional fishing scene at sea, bathed in dramatic light and under sto...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning pair of Antique original 1881 & 1882 Dated Venetian portraits signed by the artist G Neumann ...

This striking Regency-style oil painting captures a masterful blend of classical elegance and artistic expression. Featuring a contemplative male figure draped in a rich red cloth, t...

Old painting, still life with fruit and an earthenware jug, classical composition, oil on canvas, signed J. Goens at the bottom right, undated but cautiously estimated at around the ...

Anna Salvatore (1923-1978), Italy. Midcentury beauty featuring two young sisters stylistically painted with colors of the time.

Original, vintage, Lee Reynolds signed, Mid Century Modern Oil Painting of colorful, abstract, yellow, white and orange hued wildflowers highlighted with sprays of vibrant dotted te...

An original oil on canvas painting by listed Contemporary artist Peter Arvidson. The thick imposto and color choices create a whimsical but striking ...

Swedish artist, oil on canvas. Abstract composition. Colouristic palette. In excellent condition with minimal wear. Indistinctly signed and dated '55. Visible dimensions: 67.5 cm x 5...

Hand-painted in France, this handsome grisaille overdoor painting is from the neoclassical period, circa 1815. Grisaille is a monochromatic painting ...

Nasser Ovissi, (Iranian, Born 1934) "Black Stallion" oil on canvas painting Very fine quality painting by Persian Artist Nasser Ovissi who is considered to be known as the "Picasso ...

Large modern abstract oil on canvas 'Sound Wave' by Carlo of Hollywood.

Large Floral Still Life Oil on Canvas. Soft pastels with blue and gray , pink and white. Flowers are hydrangeas and tulips. Housed in a silver gray gesso frame. Perfect romantic piec...

Ed Mell is an American painter inspired by the Arizona and Sonoran Desert. The dramatic skies, landscapes, gorgeous sites of nature are subjects Ed Mell interprets with sophisticate...

An Italian Rococo period framed still-life oil on canvas painting from the late 18th century, depicting a colorful bouquet. Created in Italy during the third quarter of the 18th cent...

XL Robert McCaine style Mid Century Modern Shore Birds Nautical Painting by S. Warren Exceptional, dramatically large, framed, Mid Century Modern, thickly applied impasto oil painti...

A dark-blue, red vintage Mid-Century modern French abstract oil on canvas painting of a face with eye and a large hand, painting by Daniel Clesse in good condition. Signed on the low...

Randy Lee (White Horse, b. 1951) Untitled (Ceremonial Map with Rawhide Lacing), circa 1980s–1990s Mixed media on canvas with leather rawhide attachments, framed Canvas: 80 in. H × 6...

Very large and impressive oil on linen landscape painting depicting a scene of orange autumn trees before a backdrop of hazy mountains under a soft blue sky. Signed Rhui in lower rig...

Large 19th Century English Oil Painting -Five Hunting Dogs- signed E. Armfield. Large, signed painting in oil on canvas. This ...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, 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 Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 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...

Dutch School (18th century) Still Life with Lobster and Fruit oil on canvas 68 x 98 1/2 cm (26 3/4 x 38 9/16 in). framed 86 1/2 x 117 x 6 cm. (34 x 46 x 2 2/5 in.)

A beautiful large Italian watercolour titled 'The Garden Recital' by Maria Martinetti (1846-1921), signed lower right and circa 1880 in date.   The theme of the painting features a g...

This beautiful mid century painting of a handsome man was painted in the 1950s. The subject was the owner of a beautiful San Diego Estate. Artist was F Stanley Herring. Beautiful antique fold leaf frame with ruby color fillet trim. Subject is seated in a royal blue chair...

A French framed oil on canvas still-life painting from the 18th century, depicting a bouquet of flowers and a parakeet. Born in France during the Age of Enlightenment, this lovely oi...

JOSEPH SZEGHY (American, 1923-2007) Abstract composition, oil / acrylic on canvas, signed and dated lower right. 37 1/4" x 21 1/2" OA. Dated 1965. Joseph Szeghy (1923-2007) was an a...

Crashing waves: a painting by Virginia Lynn, oil on canvas, 20th century. Expert brushwork from this American artist shows the tide crashing upon basalt ...

Olle Agnell (1923-2015), Sweden. Oil on canvas. Modernist landscape. Coastal scene, 1960s. The canvas measures: 66 x 41 cm. The frame measures: 5 cm. in excellent condition. Si...

Mid-19th Century Religious Still Life Oil on canvas. This evocative still life, dating from the mid-19th century, captures a serene and contemplative arrangement of religious and sy...

Enormous contemporary oil on canvas of horses. This item has recently been reframed ,see all photos. Can be hung horizontally or vertically ...

Moroccan Orientalist oil on canvas painting of a 19th century Moroccan market scene with an old men seating on a carpet selling old coins and a Moorish...

VINTAGE ORIGINAL OIL ON CANVAS PAINTING A stylish scene, a simple white porcelain coffee cup, saucer and a glass goblet of water sit on a hexagonal ebonised tray. A large spray of ...

A very fine Italian 17th century oval oil on canvas "Head of Christ Crowned with Thorns" Circle of Pierre Mignard (French, 1612-1695) within...

Iwase Hirotaka (1808-1877) Koi and Water Plants Hanging scroll, ink, color, gold wash and gold flecks on silk Inscription: Hirotaka Seal: Ille...

Immerse yourself in the captivating depths of this vintage original abstract oil painting on board. A stunning example of textural artistry, this piece features a rich tapestry of gr...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Antique 19th century Italian-French oil on canvas painting "Portrait of A Lady," signed "A. Asti." Angelo Asti (French, 1847-1903).

A late 18th century copy of a painting by Claude Lorrain titled, "Port scene with the Villa Medici" the original painted in 1637 and now hanging in the Uffizi Gallery in Florence. Th...