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Kitchen Disaster The Eggs Wait: Katherine King

Catalogue: Fine Art: Sculpture: Wood: Pre 1990   item# 1247107 (stock# 2661)


King Art
414-276-6779


Price on Request 

Katherine King, WI,Paris and NY. Kitchen Disaster: The Eggs Wait is a mixed media piece from her series of Illuminated Constructions and is in the book Contemporary America Women Sculptors. She has been in many exhibitions in the US, Japan and France and represented by galleries in Chicago and Milwaukee. She has completed many large scale commissioned pieces including a mixed media illuminated doorway surround at Performing Arts Center in Milwaukee. She is also in many exhibition catalogues and is in the book "Contemporary American Women Sculptors" and in Whos Who in American Art.


Marble Pieces: Susan Falkman

Catalogue: Fine Art: Sculpture: Stone: Contemporary   item# 1247104 (stock# 2660)


King Art
414-276-6779


Price on Request 

Susan Falkman, 1944-present, Iowa, Ill, Italy and Milwaukee. Presenting 5 Marble pieces representing this talented artist. She has been in many exhibitions in the US, Italy and France and represented by galleries in Chicago and Milwaukee. She has completed many large scale commissioned pieces including a magnificent ceiling height fireplace mantel piece in the Wilson Center for Performing Arts in Brookfield, WI. She is also in many exhibition catalogues and is in the book "Contemporary American Women Sculptors" and in Whos Who in American Art.


Geometric Composition: Harry Tedlie

Catalogue: Fine Art: Paintings: Oil: N. America: American: Pre 1980   item# 1247100 (stock# 2658)

Geometric Composition: Harry Tedlie
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King Art
414-276-6779


"$1200.00" 

Harry Tedlie, 1898-1983,Born 1898 in Philadelphia, Pennsylvania worked and then died in Woodstock, New York 1983. Known For painting of abstract geometric forms. Gouache on paper is 8.5" by 11". It is signed Tedlie LR and is in good condition.


Portrait de Jeune Femme: Henri Fantin-LaTour

Catalogue: Fine Art: Paintings: Pastel: Pre 1910   item# 1240662 (stock# 2657)

Portrait de Jeune Femme: Henri Fantin-LaTour
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King Art
414-276-6779


"$4500.00" 

FANTIN, LATOUR, HENRI (1836-1904 French) Portrait of woman, framed pastel/conte crayon mounted to cardboard, signed lower right, approximate image size 9 3/4" x 8 1/4"a couple sm,all foxing marks, mat has even age toning, pastel itself seems to be in good condition, just a couple minor smudges. At the age of ten, Henri Fantin-Latour began painting with his father, Théodore Fantin-Latour (1805-1875). In 1850, he left Grenoble and moved to Paris to study Encouraged by the renowned J.A.M. Whistler, whom he met in 1858 at the Louvre, Fantin-Latour made several trips to London from 1859 to 1881, where he exhibited at the Royal Academy. London collectors appreciated his still lifes, and he began accepting numerous portrait commissions from English patrons. In an effort to become better known in France, Fantin-Latour also exhibited with his friend Edouard Manet and future impressionists Jean Renoir and Claude Monet. Unlike the realists and the impressionists, Fantin did not paint out of doors, as he preferred literary subjects, still lifes, and portraits that could be painted in his studio. In addition to portraits and still lifes, he made numerous paintings, and more than 150 prints that were fantasy works and dream visions, paving the way for symbolist artists. These works were inspired by allegorical and mythological subjects as well as motivated by contemporary Romantic German composers such as Schumann, Berlioz, and Wagner. In November 1901, Fantin-Latour wrote: “Never again flowers or portraits. I amuse myself painting whatever comes to mind.” The present picture, which has been dated to 1902, is an example of the late imaginative works that the artist—freed from the necessity of painting portraits or commercial still-lifes—made at the end of his career. They were distinctive for their loose, spontaneous execution and delicate harmonies of color, in addition to their fantastical subject matter.


Tour De Eifel: Robert Delaunay

Catalogue: Fine Art: Paintings: Watercolor: Pre 1940   item# 1237032 (stock# 2656)

Tour De Eifel: Robert Delaunay
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King Art
414-276-6779


POR 

Robert Delaunay was born in Paris in 1885, a few years after Braque and Picasso to 1941 Montpelier. This stunning watercolor on paper is of the Eifel Tower, 37cm by 25.8cm (14.6" by 10.2") signed LL. He was a big blond bright-eyed man, the son of a well-off engineer and so he was not afflicted by the poverty that befell most of his fellow artists. After training as a decorative commercial painter he took up an artistic career in 1904. About 1906 he became interested in Neo-Impressionism and the color theories of Eugene Cheuvrel and embarked upon the research into the aesthetic applications of color which remained the central motive throughout his artistic life. He gave all of his time to painting. Delaunay was lucky in his marriage, too. He met Russian-born Sonia Terk in 1909 and they were married in 1910. She was also a gifted artist and they worked out an unusually harmonious balance between their talents. They started talking art as soon as they woke up. In his worse moments, Delaunay was a crashing bore, capable of empying a room with his theoretical diatribes. It was said that he was, to the last, an only child. Delaunay belonged to no movement. His rainbow-hued paintings shared very little with cubism. He painted the Eiffel Tower over and over again. He made a series of compositions based on brightly banded circles, one of which ""The First Disc"" painted in 1912, is almost certainly the first abstract picture painted in France by a Frenchman. He associated with members of the cubist movement and exhibited with them at the Salon des Independants; also the Blaue Reiter group in Germany. Franz Marc, August Macke and Paul Klee in particular were influenced by his color. The 1914 war caught the Delaunays unaware; they were in Portugal and they stayed there and in Spain until 1920. In so doing, he missed the horrors of the front. Portugese police who saw him painting enormous disks on vast expanses of canvas at his seaside villa near Lisbon suspected him of drawing signals for German submarines. They found that Delaunay's circles were meaningless. For some reason his painting, after he got back to Paris, was never quite to regain the life-affirming energy of his prewar work. From then on his wife became the stronger half of the creative partnership. He died of cancer in 1941 in exile in Montpelier.


Abstract Composition: Sergei Poliakoff

Catalogue: Fine Art: Paintings: Watercolor: Pre 1970   item# 1237031 (stock# 2655)

Abstract Composition: Sergei Poliakoff
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King Art
414-276-6779


POR 

Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). Serge Poliakoff was born in Moscow in 1906 -1969 in Paris. This stunning gouache is 39cm by 29cm (15.4" by 11.4"), signed LR Serge Poliakoff. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist. He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumičre*. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous* colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich. With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability. In 1962 a room was given over to his paintings by the Venice Biennial*, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sčvres. He influenced the paintings of Arman. In 2006, works by Poliakoff were chosen by the Musée du Luxembourg for their exhibition entitled 'L'Envolée lyrique(lit:'lyric Flight'), Paris 1945-1956', namely 'Composition en brun', 1947, Ny Carlsberg Glypothek, Copenhagen; 'Composition rouge avec trait', 1952, Cologne Museum; 'Composition IV', 1954)


Composition Abstact: Sergei Poliakoff

Catalogue: Fine Art: Paintings: Watercolor: Pre 1920   item# 1237029 (stock# 2654)

Composition Abstact: Sergei Poliakoff
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King Art
414-276-6779


POR 

Serge Poliakoff was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris (Tachisme). Serge Poliakoff was born in Moscow in 1906-1968, Paris, France. This gouache on paper is 46.6cm by 28.7cm (18.3" by 11.3"), signed LCenter Sergie Poliakoff. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist. He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumičre*. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous* colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Gérard Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.In 1962 a room was given over to his paintings by the Venice Biennial*, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationale de Sčvres. He influenced the paintings of Arman.In 2006, works by Poliakoff were chosen by the Musée du Luxembourg for their exhibition entitled 'L'Envolée lyrique(lit:'lyric Flight'), Paris 1945-1956', namely 'Composition en brun', 1947, Ny Carlsberg Glypothek, Copenhagen; 'Composition rouge avec trait', 1952, Cologne Museum; 'Composition IV', 1954)


Natura Morta con Guitara: Gino Severini

Catalogue: Fine Art: Paintings: Watercolor: Pre 1920   item# 1237024 (stock# 2653)

Natura Morta con Guitara: Gino Severini
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King Art
414-276-6779


POR 

Gino Severini was born in Cortona, Italy on 7 April 1883 - Paris February 26, 1966. This gouache on paper is 26cm by 35.4cm ( 10.2" by 13.9" ), signed LR G. Severini. In 1899 the Italian painter, graphic artist and sculptor went to Rome in 1899 to attend evening classes at the Villa Medici. After a decisive encounter with Giacomo Balla and Umberto Boccioni he began working as an artist in 1901. Balla introduced him to the divisionistic colour technique of the Neo-Impressionists*. Gino Severini moved to Paris in 1906 where he studied the Impressionists*, was fascinated with Seurat's paintings and met Signac. Beside Modigliani, Picasso, Braque and Gris he further encountered various well-known poets and thinkers of his time. Marinetti and Boccioni invited him to join the Futurist* movement. On 11 February 1910 Severini signed the 'Manifesto of Futurist Painting' and thus became a co-founder of this style. In contrast to his artist colleagues, Severini was barely interested in the dynamic of machines, but in the depiction of human bodies in motion. His cabaret scenes and depictions of dancers were made during his period. Works such as Blue Dancer (1912) show the typical Futurist principles of faceting and simultaneous effects. Severini exhibited works in 1912 at the Futurist exhibitions in Paris, London and Berlin and developed relationships between Italy and France. The artist's work became Cubist* after 1915. From now on the artist increasingly focused on the harmony of geometric constructions such as the golden section. His favourite subjects were the still lifes with musical instruments and scenes from the Commedia dell' Arte. Between 1924 and 1935 Severini was commissioned with numerous murals and mosaics. He led an exciting life between Rome and Paris and published theoretical texts and books on art. Severini was awarded the Grand Prize of the Venice Biennale* in 1950. The divisionist concept of the picture, together with a Cubist-Futurist style, which was adopted by Balla, is typical of Severini's entire oeuvre*. He analyzed light, movement and events, which happened after one another but are linked by memory. Gino Severini died in Paris on 26 February 1966. Important works by the artist are today exhibited in Milan (Collection Gianni Mattioli) and Rotterdam (Museum Boymans-van-Beuningen).


Cubiste Figure: Louis Marcoussis

Catalogue: Fine Art: Paintings: Watercolor: Pre 1940   item# 1236823 (stock# 2652)

Cubiste Figure: Louis Marcoussis
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King Art
414-276-6779


POR 

Louis Marcoussis (Ludwig Casimir Ladislas Markus) Warsaw,Poland,1878-1941. In 1901 he entered the Academy of Fine Arts of Cracow to study painting with Jan Crzegorz Stanislawski. In 1903 Markus moved to Paris, where he worked briefly under Jules Lefebvre at the Académie Julian* and became a friend of La Fresnaye and Robert Lotiron. He exhibited for the first time at the Salon d'Automne* in 1905 and at the Salon des Indépendants* in 1906, and was often represented in both salons in subsequent years. In Paris he made his living by selling caricatures* to satirical periodicals, including La Vie Parisienne and Le Journal. He frequented the cafés, such as the Rotonde, Cirque Médrano and the Ermitage, where he met Edgar Degas about 1906 and Braque, Picasso and Apollinaire in 1910. In 1907 Markus abandoned painting; when he began to paint again in 1910, he discarded his earlier Impressionist* style to adopt the new Cubist* idiom. About 1911, at the suggestion of Apollinaire, be began calling himself Marcoussis, the name of a village near Monthéry. In 1912 the artist participated in the Salon de la Section d'Or at the Galerie de la Boétie in Paris. By this time his circle included Gris, Léger, Picabia, Metzinger and Max Jacob. He served in the army from 1914 to 1919, returning to Poland for a visit after his demobilization. Marcoussis exhibited in 1921 at the gallery of Der Sturm in Berlin with Gleizes, Villon and others. He was given his first one-man show at Galerie Pierre, Paris, in 1925. This was followed by solo exhibitions in 1928 at the Galerie Le Centaure in Brussels, a city he visited on that occasion, and at the Galerie Georges Bernheim in Paris in 1929. In 1930 the artist made the first of many trips to England and ma Helena Rubinstein, who became his supporter. In 1934-35 be stayed for several months in the United States, where one-man shows of his prints opened a The Arts Club of Chicago in 1934 and Knoedler Gallery* and Co. in New York in 1935. Marcoussis worked almost exclusively in graphics from 1930 to 1937; a retrospective of his prints took place at the Palais des Beaux-Arts in Brussels in 1936. The artist traveled in England and Italy in 1938, and during the following year was given a solo exhibition at the London Gallery in London. In 1940, as the German army advanced, Marcoussis left Paris for Cusset, near Vichy, where he died on October 22, 1941.


Nude Holding Apple: Bela Kadar

Catalogue: Fine Art: Paintings: Watercolor: Pre 1930   item# 1236822 (stock# 2651)

Nude Holding Apple: Bela Kadar
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King Art
414-276-6779


POR 

Béla Kádár, Hugarian, 1877-1956. Nude Holding Apple is a lovely gouache on paper, 39 cm by 29.5cm, signed LR. Born in Budapest, he became a distinctive modernist painter whose career spanned several decades. Kádár began his studies in 1896, he travel to Paris and Munich. He attended the Academy of Fine Arts in Budapest and won the Kohner prize in 1910. Kádár's early works, which he began exhibiting in 1918, showed the influence of the Secessionists and Post-impressionists. In 1923 he exhibited with his friend Hugo Scheiber in Berlin at Walden's Der Sturm Gallery; 57 of his works were shown. Der Sturm was one of the most important avant-garde galleries in Europe, Kádár continued to exhibit there for several years. Kádár traveled to the United States and stayed for a year. He exhibited with the Société Anonyme at the Brooklyn Museum. In 1929 he returned to Budapest to exhibit his works in his home country. Kádár was personal friends with Chagall, Picasso, Kandinsky and Kokoschka. Like his contemporaries his style evolved through the decades of the 20th century. Always a modernist, his works have elements of Cubism, Futurism, Neo-Primitivism, Constructivism, and Expressionism. His subjects range from Hungarian legends, metaphysical, portraits, and fanciful decorative themes. Kádár's place in the history of Modern Art has been assured by the recent publication of two books on his life and works.

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