John Philip Falter

FFA Student with his Father

Medium: Oil on Canvas Laid on Panel Signature: Signed Lower Right The Saturday Evening Post cover, November 12, 1910

Medium: Oil on Wood Panel Signature: Unsigned This Stan Laurel and Oliver Hardy illustration was used as a traveling show sign.

Medium: Oil on Panel Signature:Signed & Dated Lower Right, ii: Signed & Dated Lower Left Literature: Coy Ludwig, Maxfield Parrish, New York, 1973, p. 153, nos. 194-95, illustrated...

Signature: Signed Lower Right and Dated ’97 Depicting a Mohawk Airlines airplane in flight

Date: 1893 Medium: Oil on Panel Dimensions: 14.50" x 21.00" Signature: Signed and Dated Lower Right: J. Delaunay. 1893

Medium: Oil on Wood Panel Signature: Signed ‘Parrish’ (On the Reverse) Finished painting done as a prototype for the mural at the University of Pennsylvania LITERATURE L.S. Cutler ...

Still Life is a superb original oil painting on panel, realized by the Italian artist Vincenzino Volò, best-known as Vincenzino dei Fiori (Rémondans, 1620-Milan, 1671) around 1640-1660. Original Title: Natura morta di fiori entro vasi biansati (Still life of Bouquet in two-handled vases). On the back of the panel, two labels are glued "da Milano", "A Piacenza", ("from Milan" "to Piacenza"). The labels indicate a transfer of the artwork, perhaps in the first half of the twentieth century, from Piacenza to Milan. While instead the style and technique make us understand the artwork was commissioned or created in the Milan of Federico Borromeo, archbishop of Milan from1595 to 1630. The author of the painting can be identified in the person of Vincenzo Volò, a talented artist who fell into oblivion, recently rediscovered and appreciated. Founder of the Vincenzini family, he was born in Franche-Comté in 1620 (in the past its birth was erroneously fixed to 1606). In the mid-forties of the seventeenth century he arrived to Milan, and held a leading artistic role: he was the founder of a family workshop that imposed his style and strongly influenced Milanese collecting with his still lifes and influenced generations and generations of painters. Vincenzino also was the first painter of still life to work on the Bella Island for Vitaliano VI Borromeo and collaborated with well-known figure painters such as Francesco Cairo, Scaramuccia, Nuvolone and Fumagalli. As regards the style, the archaic tendency of Lombard painting of still life from the early decades of the seventeenth century is clearly evident, looking at primitivism and the happy schematization of the composition of the artwork. The dating of this artwork could be fixed around the first half of the seventeenth century because it is confirmed by the type of support, a wooden panel, always used by Vincenzino. As for the subject, Volò generally painted bouquets of flowers in two-handled vases placed on transversal planes seen from the front. It is possible to compare this work with other Dei Fiori's artworks: the pair of Flower Vases...

Il Lancio delle Raviole is a beautiful original oil painting on panel, realized by the contemporary Italian artist Claudio Benghi. Title, tecnique, dimensions and signature are hand...

Ballerina is a touching original oil painting on panel realized by the contemporary Italian artist Claudio Benghi. Title, tecnique, dimensions and signature are hand-written with a ...

REDSKIN is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around the...

Two oil on panel Old Master landscape paintings by Johannes Jakob Hartmann (Bohemian, 1680-1730) Bohemia, early 18th Century Panel: Height 73cm, width 93cm Frame: Height 90cm, width...

Formerly Canesso Collection, Paris. Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 22, 23. In this precious panel we can admire a lament over the body of Christ by a large group of bystanders among whom we can recognise the Virgin and, in the foreground, St Catherine of Alexandria...