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Painting, 19th century, oil on canvas, "Young woman at the well"

Exceptionally decorative painting by Professor Carl Leopold Voss. The painting shows the bitter truth of youth and life. Including various old docum...

Otto Theodore Gustav Lingner, Oriental female nude dancing with a sword, Dimensions without frame 80 cm x 136 cm Measures with frame 102cm x 157cm An outstanding work of art by Ott...

Antique oil painting, Bruno Jüttner, nude of a North African young lady Rare half-nude by the well-known German painter. Age-related condition. A pressure mark in the center left....

Painting, around 1910, oil on cardboard. Romantic love scene in the forest. Signed, Gaston Bussiere. With beautiful (original) Art Deco frame. Frame has minimal damage in places. Dimensions with frame 67cm x 86cm This painting is offered here for the first time exclusively on 1stdibs! From private, German estate. Gaston Bussière (April 24, 1862 in Cuisery – October 29, 1928 or 1929 in Saulieu) was a French Symbolist painter and illustrator. Bussière studied at l'Académie des Beaux-Arts in Lyon before entering the école des beaux-arts de Paris where he studied under Alexandre Cabanel and Pierre Puvis de Chavannes. In 1884, he won the Marie Bashkirtseff...

Antique painting, fisherman on the coast, oil on canvas. Frame damaged in places. Dimensions with frame.

Painting, 19th century, oil on canvas, "Young woman with flower basket" Signed, F.Bach. Dimensions with frame 52cm x 72.5cm

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

This elegant romanticist oil on burlap painting was realized by an unheralded master during the first part of the 20th century. Realized in tight, yet expressionistic brush strokes, the painting depicts a nude male figure in the foreground with his back turned towards the viewer. The man has one knee raised (perhaps grounded on a boulder) and an arm extended into the abstract background whose frenetic white stroked and blocks of mossy greens suggests a frothing river. He sits on a large river stone in a rich olive hue clutching a white towel in his right hand that supports the weight of his body. The figure's torqued position serves to highlight his muscular physique- whose ideal proportions recalls classical Greek sculpture. In the bottom right portion of the composition, there is an abstracted form in a sumptuous brick red that offers an understated pop of color that provides a dynamic contrast to the flesh tones, organic greens and flaxen hues of the figure's hair. Masterfully painted in a sophisticated palate, this painting would be a winning addition to any style of interior from traditional to contemporary, and is sure to be appreciated by connoisseurs of classical art and homoerotic art...

A beautiful painting I acquired when I was buying things from Russia and Ukraine maybe 7 or 8 years ago. It's painted on very heavy cardboard, as I'd say the majority from the Soviet...

An auto-didactic artist, Darsney draws inspiration from a variety of sources, including The Boston School and iconic masters such as Vermeer, Rembrandt, and Degas. These artists’ att...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

Artist: Eugenio Agneni Title: Diptych “The Cries of Fire”; “The Voices of the Stream”, c. 1865-71. Medium: oil on canvas mounted on wood, cm 128 x 60 each Signature: Signed at the bottom on the base of the frames provenance: Marquis Corsi Salviati; Rome, private collection The two canvases mounted on wooden supports are clearly attributable to Eugenio Agneni (Sutri, 1816 - Rome, 1879), a paradigmatic figure of an Italian painter of the Risorgimento years who combined a successful and continuous international artistic activity with an intense political and military activity, starting from the Roman effervescence following the election of Pius IX to the Mentana expedition and then in the early years of Rome as capital city, a period in which he held various administrative posts. The clarity of attribution of the works derives not only from the large central inscription inserted in the elaborate neo-Gothic scenic layout that encloses the two works in a diptych, but also from the direct kinship that links them to the cycle of frescoes painted between 1865 and 1868 for Marquis Antonio Maria Corsi Salviati in the reception hall of the family villa in Sesto Fiorentino. Agneni resided more or less permanently in the Florentine area between 1863 and 1871 after a phase of European-wide wanderings that began at the end of the Roman republican experience of 1849, in which he was involved to the point of having to hide for some time from July of that year at the home of Marquis Salviati, whom he therefore already knew before his subsequent move to Florence. The need to stay away from Italy, as well as his connections with Mazzinian exiles and evidently also a proven ability to reinvent himself in different cultural spheres allowed Agneni to profitably frequent the artistic scenes of London and Paris, cities in which he lived and worked, obtaining commissions of absolute importance (he decorated several rooms at Buckingham Palace, the Covent Garden Opera and the Louvre), and presenting his works at the Royal Academy in London. Therefore, if we are to keep faith with the remarks of his friend Luigi Calamatta ("you are full of money...