Autumnal landscape painting of hillside farm by Bernard Corey (American, 1914-2000). Signed lower right and also in pencil on the verso. Oil on canvas laid on wood panel  More »

Autumnal landscape painting of hillside farm by Bernard Corey (American, 1914-2000). Signed lower right and also in pencil on the verso. Oil on canvas laid on wood panel offered in a carved giltwood frame by Paul Carter Goodnow. Canvas size: 10" x 13.75". Excellent condition. Well known for his finely rendered New England landscapes and shore scenes, Corey was a member of the American Watercolor Society (AWS), the Rockport Art Association, and the Salmagundi Club, among others. Since his death in 2000, Corey's works have gained steadily in stature and popularity. He has been the subject of several retrospectives by the Rockport AA and major New England galleries.   « Less

WEBB,A.C.(American,born 1889. Nashville, N.C.) SAINT-TROPEZ, oil on canvas. This painting was done by well-known American Impressionist A. C. Webb during his sojourn in  More »

WEBB,A.C.(American,born 1889. Nashville, N.C.) SAINT-TROPEZ, oil on canvas. This painting was done by well-known American Impressionist A. C. Webb during his sojourn in France in the Twenties, and is signed and dated 1925. Saint-Tropez had just been "discovered" by the writer Colette and had not gained the worldwide popularity it has today with the "in" set. It still looks the same now -- at least from this angle! Webb was early on a student at New York's Art Student's League. Traveling to France, he became a member of Paris's illustrious Association Artistique Americaine, where he produced a large number of paintings and engravings, many of them acquired by the French government. He is well represented in museums in America and abroad. Approximately 19-1/2 inches by 24 inches. Superb condition, fine gilt frame.   « Less

Woodcut, lower margins in pencil ''October Twilight'' David W Stearns 1958 8/13. Done on high quality woven paper, limited (13) production. My favorite type of print, deep  More »

Woodcut, lower margins in pencil ''October Twilight'' David W Stearns 1958 8/13. Done on high quality woven paper, limited (13) production. My favorite type of print, deep colors well executed woodblock print. Approx 18'' square woodcut itself, original mat, oak frame painted black (some paint loss). Please note there is a reflection on glass of lattice work, this has nothing to do with print which is rich in color. Status: For Sale Reference#: 141_cd_5 Condition: very good original Year: 1958   « Less

Painting (oil on board) circa 1945 ''Village on the river, France''. It is French village from Charente (Southwestern France) painted by artist Jean Favre. This artist was  More »

Painting (oil on board) circa 1945 ''Village on the river, France''. It is French village from Charente (Southwestern France) painted by artist Jean Favre. This artist was famous in Southwestern France for scenes of Southern villages and countryside. No frame for this painting. Very good value. Don''t worry for the shipping...we ship from Texas (not from France)! Status: For Sale Reference#: PAI002B Condition: Good Year: Circa 1945 Country: France Maker: French artist Jean Favre Height: 15 in. (38.10 cm) Width: 18 in. (45.72 cm) Title: Painting by French artist Jean Favre Materials: Painting on board   « Less

Original watercolor by Henry B Wimbush

Original watercolor by Henry B Wimbush   « Less

This small painting in what appears to be done in gouache, and shows a view of a house and fields. The style of the house and the brilliant colors are typical of the the  More »

This small painting in what appears to be done in gouache, and shows a view of a house and fields. The style of the house and the brilliant colors are typical of the the south of France. Heavy watercolor paper, unsigned. Art dimensions: 9.5 inches high x 12.5 inches wide. Framed in custom Italian wood and gold leaf frame; framed dimensions: 16 inches high x 19 inches wide. Location: Memphis, TN Status: For Sale Reference#: 0548M Condition: good Year: 1961 Country: France Height: 16 in. (40.64 cm) Width: 19 in. (48.26 cm) Title: Goucahe or tempera on paper Type: landscape   « Less

A Set of Four China Trade Watercolours on Pith Paper of Sea Shells, Circa 1850 The watercolour and gouache paintings on pith paper depict selections of sea shells- an  More »

A Set of Four China Trade Watercolours on Pith Paper of Sea Shells, Circa 1850 The watercolour and gouache paintings on pith paper depict selections of sea shells- an unusual subject for Chinese paintings. Dimensions: Height: 13 3/4 inches x Length: 16 1/4 inches China Trade watercolours, although produced as early as the late 18th century, enjoyed the height of their popularity in the 1840’s and ‘50’s. ;Travels to China were difficult and expensive, and those from the West that could afford to make the journey did not wish to return empty-handed. Similar to the Grand Tour of the Continent, China was one of the ultimate elite destinations and anything of quality that was brought back immediately became status symbols. Watercolours, available in a variety of subjects and quite handsomely bound, were a popular choice not only due to their aesthetics, but also because of the ease of which they could be carried; large oil paintings and bulky ceramic objects did not lend themselves well to transport. Although a commodity produced for business, the watercolours were very well done, often by well-respected artists. Many of the artists did not work in watercolours often; one of the most respected artists at the time, Sunqua, painted primarily in oils. He worked in watercolor and gouache in the 1830’s- late 1840’s, producing albums and single paintings for export and trade during this time. He was an accomplished artist, whom Crossman says: “...would seem to belong to an Italian or European tradition of ship and port painting”, so good were his compositions and palettes. The first cultural exchanges appeared in the 16th century, when Italian Jesuit missionaries began filtering into China; as the literati widely rejected their Christian teachings, the Italians hurried to find another channel though which to forge bonds in the East. They began sending accomplished artists and teaching European painting techniques instead, forming a particular aesthetic that remained popular for centuries. The earliest China Trade pictures were produced on both Chinese and European paper; “Beginning in the 1780’s, the Chinese artists used western paper for most of their watercolours for the export trade… Supplying the Chinese with the raw materials for a product which was to be sold in the West was not unusual, since it occurred in many fields of manufacture. The other paper commonly used for watercolours and gouaches after 1800 or 1810, was pith, which has been mistakenly called ‘rice’ paper, both at that time and today…’ The so-called rice paper is made of the pith of the Aralia papyrifera. The pith is soaked before cutting; the workman then applies the blade to the cylinders of pith, and, turning them round dexterously, pares them from the circumference to the centre, making a rolled layer of equal thickness throughout’. The pith paper was a very fragile medium on which to work, and many of the watercolours on pith which have survived are cracked and broken.” The pictures were then mounted into albums with a silk ribbon, often blue but not always, and bound between boards covered with brightly coloured and patterned silk. Although it was extremely fragile, pith paper was widely favored due to its nature; the gouache used by the Chinese sat on the surface of the paper and produced a bright and sparkling effect. Very fine detail could be achieved whilst maintaining clean, vibrant colours. The material did not lend itself to the flat wash of colour favoured for European watercolours. Gouache, from the Italian guazzo, "water paint, splash") is a type of paint consisting of pigment suspended in water. Gouache differs from watercolour in that the particles are larger, the ratio of pigment to water is much higher and there is the presence of an inert white pigment, such as chalk. This makes gouache heavier and more opaque, with greater reflective qualities. Popular subjects included Chinese costumes, birds- often with richly painted backgrounds, fish, insects and junks and sampans. The shimmering paint served to heighten the exotic nature of the works, and the charming naiveté added to the perceived indigenous nature of the paintings. The art was made “…for strangers, strangers with an entirely different set of aesthetic presumptions and expectations, stands outside the major currents of art produced for a Chinese audience. It occupies a space which is neither wholly Chinese nor wholly European, but which can, by the nature of the compromises it makes, tell us a lot about how one culture saw the other in the age before photography. It did not exist separately from, but rather as an integral part of, the relationship between China and the West…” Although produced in the mid-19th century, the works remain as naïve, exotic and desirable now as they did when seen for the first time.   « Less

George Ames Aldrich (American, 1872-1941) winter landscape painting by this Indiana artist. Oil on artist board. Circa 1920. Size: 16 inches x 20 inches. Offered in an  More »

George Ames Aldrich (American, 1872-1941) winter landscape painting by this Indiana artist. Oil on artist board. Circa 1920. Size: 16 inches x 20 inches. Offered in an antique lemon gold frame. George Aldrich was an American Impressionist working largely in the Indiana and Chicago areas. He was born in Worcester, Massachusetts and trained in Europe, where he studied at the Academies Julian and Colarossi in Paris and at the Societe des Artistes. While in Europe, he executed many paintings of Normandy and Brittany. In the United States, he became a member of the Art Students League in New York City. In 1918, he relocated to Chicago, where he exhibited at the Art Institute of Chicago and became affiliated with the South Bend art colony. He is best known for his landscapes with water subjects. (Biographical information derived from AskArt archives.) Condition: excellent. Signed in lower right.   « Less

Fantasy art school large panorama depicting fantasy creatures under a dark moonlit sky. The piece dates from the 70's and measures 59" wide by 23" high and is in excellent  More »

Fantasy art school large panorama depicting fantasy creatures under a dark moonlit sky. The piece dates from the 70's and measures 59" wide by 23" high and is in excellent condition.   « Less

BELGIUM 1903 A MAGESTIC LANDSCAPE OF A MOUNTAIN,ACQUEDUCT AND HILL TOWN BY THE BELGIAN ARTIST JOSEPH POZENAER(1876-1935).IT IS OIL ON CANVAS, FRAMED SIGNED AND DATED.

BELGIUM 1903 A MAGESTIC LANDSCAPE OF A MOUNTAIN,ACQUEDUCT AND HILL TOWN BY THE BELGIAN ARTIST JOSEPH POZENAER(1876-1935).IT IS OIL ON CANVAS, FRAMED SIGNED AND DATED.   « Less