Portrait of a young woman, By Céline-Alice Winter-Schahl, Pastel, France, 1919

Silk Embroidered Portrait, Elderly Woman, Indochina / Vietnam, Mid-20th Century Features: Technique: Silk embroidery Subject: Portrait of an elderly woman Origin: Indochina (Vietnam)...

Nude Portrait of a Young Woman with a Scarf, Maurice Ehlinger, Circa 1940. We present a rare and refined work by a master portraitist of the 20th century. Details of the Artwork: ...

In the foreground, a lake surrounded by vegetation. On the left bank, several figures, some in a boat. In the background, a building that resembles a fortified castle, in a hilly lan...

Superb polychrome terracotta bust representing a woman from Antiquity with a proud gaze carrying a dagger. Beautiful quality sculpture, whether at the level of the hairstyle, the f...

Unknown artist. Pastel on paper. Portrait of a woman wearing a white headscarf, dark bonnet, and blue ribbon. Visual size: H. 28 cm, W. 20 cm Frame: H. 41 cm, W. 32 cm Signature: ...

Einar Parslev (1891-1977) Oil on canvas, painted around 1920, framed, dimensions 25 x 22 cm Einar Parslev painted naturalistic portraits, figure paintings, landscapes, interiors, c...

Late 19th pastel portrait young Spanish woman with fan by Bernard Perot drawing.

Alfred Schmidt (1876 ????- 1956) – Portrait of the concert singer Caroline Naase Oil on canvas circa 1920 60 x 47 cm – without frame 78 x 65 cm – frame included Signed center right: Alf Schmidt. Alfred Schmidt 1876 Dresden – 1956 Graefelfing An impressionist at the Chiemsee The painterly mood content, which the artist Alfred Schmidt captured in countless variations on the canvas, occupies such an eminent and substantial position that it is inextricably linked to his oeuvre. “[…] Female creatures walking in the shimmering air […]”(1), who find their pleasure in the warm, golden tones of summer and the grey-silver shimmering water surface of the lake, correspond to the characteristic motif of the native of Dresden. One is inevitably reminded of the impressionist Christian Landenberger (1862-1927), to whom Schmidt was a friend and who painted canvas on canvas at Lake Ammersee, but “[…] softer, sweeter and more narrative, because he [Schmidt] often expands on that Nature and the human body come together to create a small, genre-like idyll”(2). His art is a commitment to plein air painting. He openly displays his impressionistic impetus. The originally anecdotal aspects of his painting, which he had experienced at the Karlsruhe Academy from 1886 to 1893, he gradually put aside both through the one-year study visit to Paris and Brittany in 1889 and through the influence of Landenberger and Swabian landscape painting. From this point onwards, artistic development is hardly noticeable. He had found his individual style and stuck to it. At the end of 1899, Schmidt came to the Swabian capital from Karlsruhe in the entourage of Leopold Graf von Kalckreuth (1855-1922), who was appointed to the Stuttgart Academy with Carlos Grethe (1864-1913) and Robert Poetzelberger...