Portrait of a Women Signed by P.A. Wilhelmsen

Portrait of girl in nice dress, verso sketch for the painting. Unsigned, inscribed on the reverse. Oil on canvas laid on panel. Wooden Frame with painted gold accents Meas...

Antique Portrait of a Clergyman Country of origin: France Materials: Oil on canvas - patina and cracks typical of age and wear. Approx dimensions: 24.5” W x 32” H.

Evgenij Klenø: Interior with woman. Signed Klenø. Oil on canvas Frame - Wood w/ gold accent Size approx 35” W x 47” H.

Landscape signed by Lars Swane on Front Oil on Canvas, Gilt Wood Frame Approx Dims: 30”W x 26”H.

19th century Portrait painting of a women by Anton Romako (Austrian, 1832-1889) In good Condition Ready to hang please see photos Size is app...

Miniature Portrait Painting of Napoleon signed by Prévost from the nineteenth century. The frame is in solid mahogany and is dished and...

Copy of a portrait painting showing a woman in red dress with lace and high collar

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...