New York - Paintings

Set of two 1960s oil paintings by Luzon (San Francisco, CA, USA), showcasing the impasto technique with which he is commonly associated. Features a Trojan warrior and horse, both rec...

Italian Neo-classic oil on canvas of a dark landscape with horses and figures in the foreground with a gilt frame. Chips on frame

Large oil painting on canvas. Modernist Abstract, by Jim Bray, circa 1963. Charming image. Child-like. Great use of color, texture, space.

Copy of a portrait in a classical manner of the Rospigliosi boy scion dressed as cupid; Four of four in a series

Pair of antique classical French salon drawings. Charcoal on paper. Illegibly signed. In giltwood frames, early 19th century.  

Abstract modernist oil painting by Zoute dated 1953. Oil on Masonite. Zoute (born - Leon Salter - 1903-1976) was self-taught and well exhibited during his lifetime. He painted from 1...

Antique Hudson River School Oil On Board Landscape Painting In Original Frame Signed By F. W. Loven C1914 Measures - 13" x 15 1/8" x 2 3/4" An oil on board landscape painting by F....

Copy of landscape titled "Edge of the Nile" showing group of men and camel by waters edge under palm tree, sailboat in background

Set of 3 Contemporary abstract paintings (triptych) with gouache on rectangular canvas in shades of pink, red and white. (TOM JOHN, 2010)

Large color field modernist abstract oil on canvas painting by Linda Hopkins. Purchased straight from the estate of Leonard Buzz Wallace. Hopkins and Wal...

Japanese six-panel screen: Battle at Uji Bridge, the first battle at Uji was in 1180 and it marked the start of the Heike Wars. The Genji troops crossed the...

Copy of classical painting showing interior of Paris Opera House boxes full of Royals in formal dress.

Contemporary New York artist Peter Buchman's 'Note to Self' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of many who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. For this specific piece, 'Note to Self,' Peter is fascinated by what he said - she said and all of that back-and-forth cross-communication. Phrases like 'word on the street' and 'news at eleven'—we are all familiar with this kind of language, but how does it make us feel to see it stacked on top of each other? Writing lists, scribbling notes, verbatim, talking to ourselves or our partners... where does it all get us? Everywhere? Nowhere? This communication and street slang intrigues him. Whether he hears it or actually sees the words, the language grabs his attention, and he wants to discuss it again... with you, the viewer. Will you engage? Signed and dated en verso. This is a commissioned piece and will ship directly from the artist's studio. American artist Peter Buchman has BFA in Illustration from The Rhode Island School of Design and did a Sculpture Residency at The School of Visual Arts in New York. Peter's artwork has been exhibited throughout the US since 1981 including the Parrish Art Museum (Southampton, NY), Cooperstown Museum (NY), Delaware Museum of Art, Kidder Smith Gallery (MA) and Vered Gallery (East Hampton, NY). His work is included in the portfolios of collectors including Beth Rudin DeWoody, Nicole Miller, David Yurman and Howard Schultz...

Copy of a portrait in a classical style of the young Rospigliosi boy scion dressed as a member of the Swiss Guard; Two of four in a series

Oil on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's aptitude for creating fantastical landscapes. Contrasting oxen / bulls and flamingos with a castle backdrop creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Singed on verso. Bio from the Philadelphia Museum of Art: Born Princeton, Michigan, 1910; died Greenwich, Connecticut, 1995 Bruno Del Favero moved from Michigan to northern Italy with his parents at age five, returning in 1928 and settling in Greenwich, Connecticut, where he married and remained for the rest of his days. He made his living as a mason, chauffeur, and landscape gardener. It is not known exactly when or why he began to paint his delicate and mysterious landscapes, but he was exhibiting in local art shows by the early 1970s and took himself seriously enough as an artist to join the Greenwich Art Society. He maintained a studio in the basement of his home, but never shared his art with his wife and five children. After the artist's death his family introduced his work to New York dealers Shari Cavin...

PAIR of English Renaissance style tapestry portraits of a nobleman and lady both wearing large white lace collars in gilt frames (19th Cent)

Copy of a hunt scene painting showing Arabs on horse flying their falcons for sport at water's edge

"You So Sweet" (2023) by Lowell Boyers is a luminous, high-energy composition-an explosion of color that feels both intimate and cosmic. Against an inky black ground, bursts of hot ...

A large antique Japanese hand-painted village landscape scene set in custom frame under glass. This large antique Japanese village landscape painting captures the tranquil beauty of ...

Sst of 20 Renaissance (17th century) engraved, hand-colored etchings for Johann Bayer's book 'Uranometria', a star atlas, in wooden frames with white mat....

"Follow The Leader," a large framed blue oil and acrylic painting by Renée Rey, shows that the connection between nature, technology and people are paramount...

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. She 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. Despite the quality of her work and despite the energy and skill with which she worked both to develop her own talent and to further the progressive movement in American art, Weinrich received little recognition during her lifetime and is only recently being recognized for her leadership as an important female artist bringing the modern movement to the USA. The painting shown is an important example of her mature phase of her work. Exhibitions This is a selective list of exhibitions in which she participated during her life. Its main source is Louise Noun's article on Weinrich in Woman's Art Journal, supplemented by contemporary news accounts in The New York Times, the Brooklyn Daily Eagle, the New York Evening Post, The Philadelphia Inquirer, and The Christian Science Monitor. 1915 onward: Provincetown Art Association 1917: Pennsylvania Academy of Fine Arts 1917: Pennsylvania Academy of Fine Arts, Philadelphia 1917-23: Society of Independent Artists, New York 1919: Art Institute of Chicago 1920: Boston Arts Club 1926 onward: New York Society of Women Artists 1928: Grace Horn Gallery, Boston 1929: Pennsylvania Academy of Fine Arts, Philadelphia 1932: Boston Public Library 1936: Harley Perkins Gallery, Boston (solo) 1938: Boston Society of Independent Artists 1938: Washington Public Library, Washington, D.C. 1939: Corcoran Gallery Biennial, Washington, D.C. 1939: Fogg Art Museum Twentieth Century Club, Boston 1939: Witherstine Gallery, Boston 1939: Institute of Modern Art, Boston 1945: Woljeska Gallery, Brooklyn, New York    Detailed Biography: 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. 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. 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.[ 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. 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...

Unframed Collection painted scientific illustrations of various insects from the early 20th century: Each measures approximately: 8" x 6" ...

Mineral pigments on gilded silk with gilded bronze hardware. Signature reads: Shunkan.

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #28 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

PAIR of English Victorian gilt framed seascape oil paintings of sailboats by shore line.

English Renaissance style (19th cent) ebonized framed oil painting portrait of 17th century lady in brown dress with scroll design.

Contemporary French artist Perrine Blaise paints on thin slices of wood. Weathered effect in shades of blue with sage green, white and tan slices. Abstract shapes. Newly framed in wh...

Early American impressionist landscape painting. Old Lyme school. Oil on board. Early 20th century. Not signed. Please, contact Joseph Dasta Antiques for shipping options.

Copy of a painting showing a herd of sheep at feeding time

Vintage Oil On Board Painting Of A French Street Scene Signed By Leroy C1950 Measures - 30 3/4" x 34 1/4" x 3 1/8" A vintage oil on board painting depicting a lively French street ...

The Honorable John Maler Collier (British, 1850-1934) was an important artist who painted portraits, dramatic themes, and landscapes. Maler painted in the Pre-Raphaelite style, and was one of the most prominent portrait painters of his generation. He was educated at the Eton School and studied art in Munich and Heidelberg, as well as at the Slade School under Poynter and in Paris under Laurens. He also was encouraged by Millais and Alma-Tadema. Presented is a large hillside and river landscape signed oil painting by Collier. Framed it measures 48" wide, 30.5" high and 3" deep. Canvas is 42" wide and 24" high. Frame has very light wear. Painting is in very fine condition. Collier was one of the 24 founding members of the Royal Society of Portrait Painters, of which he became Vice President and was also a member of the Royal Institute of Oil Painters. He exhibited no fewer than one hundred and thirty paintings at the Royal Academy and one hundred and sixty five at the Royal Society of Portrait Painters, as well as many others in galleries throughout the country and abroad. He was the author of The Primer of Art (1882), A Manual of Oil Painting (1886) and The Art of Portrait Painting (1905). He was awarded the O.B.E. in 1920 and he was the subject of The Art of the Honourable John Collier...

Copy of a painting titled "The Furlet" (1638) a portrait of the artist's second wife semi nude with a fur cloak

An antique Chinese watercolor painting on silk depicting a Royal Processions in Beijing in the manner of Zhou Peichun, Late Qing dynasty, active circa 1880 and 1910. Unsigned. Framed...

Italian Neo-classic engravings of architecture in a gold frame (18th/19th Cent)

Copy of an impressionist vertical landscape painting titled "Road with Cypress and Star"

Copy of an impressionist interior scene painting titled "Private Room at the Rat Mort". Showing a woman seated at dinner in a club

This very large painting features as its main element ancient ruins, but also contains the bucolic elements and rusticated features so often associated w...

Depiction of horses by acclaimed Miami street artist Purvis Young. Gustavo Olivieri sourced directly from Mr. Young while he was alive and enjoyed watching him work - see detail ima...

Japanese Two Panel Screen: Hibiscus in Bloom, Meiji period (1868 - 1912) painting of hibiscus flowers reaching for the sun in full bloom. Mineral pigments on silk with a silk brocad...

American Victorian style oil painting of Henry David Thoreau in a dark stained frame (part of a series of American 19th Cent writers)

Contemporary (watercolor gouache) of an abstract Black and White design on paper (signed by ED ELLER)

Wonderful mixed-media by Norman Conn (1932-2003), circa 1961. Signed verso and bearing a D'Arcy Gallery, NYC label. Very good condition. Perfectly weathered and masterfully assembled...

A fantastic original oil on canvas by Naohiko Inukai. This is number forty in a series of colored scapes he created in the mid 1960's and is in excellent condition. This work is signed and dated on the reverse It's color changes subtly with the lighting, when properly lit it casts a beautiful warm orange tone throughout the room. Born in 1937 in Kurashiki-city Okayama,Japan. He came to the US around 1960 and returned to Japan around 1982 were he still resides. Education:Cooper Union School of Art and Architecture New York...

Italian Neo-Classic Style (19th Century) Rust and Black Hand Colored Print 4 corner design in square black and gold trim frame (TABULA XX) (similar...

Oil on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's aptitude for creating fantastical backdrop...

Copy of a portrait painting of a woman in high collared dress with pearl necklace and lace

Late 19th Century French Victorian oval miniature watercolor on vellum portrait of a woman with a light blue dress in an ebonized frame.  

A finely rendered opaque watercolor on wasli depicting a seated scholar reading beneath a floral border, in subdued tones with touches of gold. Mughal. Framed under glass. OS: 20 ...

Copy of a portrait painting of President Theodore Roosevelt in a gold frame

Oil on canvas. Framed. Image size: 160 x 120 cm. Monogrammed and dated ‘AW’24’ at bottom left. Andreas Wachter was born in Chemnitz in 1951. He studied under Volker Stelzmann an...

English Victorian maple and ebonized framed watercolor of a bird on a branch. (David Kerr)(Companion pieces: 053214C-I)

Copy of painting in Modern Cubist style showing a black ground with yellow, grey, wite and brown collage Condition: Good; Wear consistent with age and use

Copy of impressionist painting titled "Danseuse" showing three young ballerinas against a blue background

Copy of a vertical landscape painting showing sheep with three people in foreground, house on hill

Copy of an interior scene painting titled "Masked Ball" showing figures dancing in a ballroom.

Copy of a painting in the English Neo Classic style titled "A Roman Lady" showing portrait of woman in classical garb

Oil on hardboard Canvas Dimensions: 147 x 89.5 cm Monogrammed and dated AW’23 at the lower right. Signed, dated and titled on the reverse. Andreas Wachter was born in Chemnitz in 19...

Lacquer on wood. Signature reads: Toshimasa. Solid black lacquer on reverse. Signed original box.

American Victorian gilt framed oil painting of country scene of man in carriage with horse and figures.