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Element Mecanique: Fernand Leger

Catalogue: Fine Art: Drawings: Pencil: Pre 1930   item# 1234399 (stock# 2646)

Element Mecanique: Fernand Leger
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King Art
414-276-6779


Price on Request 

Fernand Leger, French,1881-1955. This stunning example of Fernand Leger's imagery at his peak period in the 1920's is graphite and gouache on paper. It is 34.5cm h by 25cm w in a beautiful frame 55cm h by 45cm w. It is signed lower right F. L. 22 and inscribed "A mon cher Ami Albert Fratellini cordialement F Leger". There is some wear on the edges of the paper as can be seen but no damage to the image. It has excellent provenance: bought from Gallery Louise Leiris in Paris by Prince Darius Tayarken of London (stamp verso), Private UK Collection, Private American Collection at present. Fernand Léger was born in 1881, the same year both Picasso and Braque were born, in Normandy; his father was a substantial cattle grazer. Fernand was trained as an architectural draughtsman and later worked as a professional retoucher of photographs. He was an abstract painter before the War, in which he had a brilliant record. He had visited the United States twice. In France, he lived in a villa next to some railroad tracks in a Paris suburb, and a farm in Normandy where he raised pigs and made cider.It is often said that Léger was the artist of the machine age, but he was not entirely a man of his time. He knew poverty as a child, was gassed in World War I, had to flee before the invading Nazis in World War II. But there is little of death and destruction in his work. Other men have painted with more passion, few with more exuberance.Léger returned to France at the end of 1945 after spending the war years traveling and lecturing in the United States. There had been three previous visits to America in the 1930s, all entrepreneurial adventures of only modest success. He had resumed his practice of making public appearances to explain his art to a sometimes curious, sometimes bewildered public. In addition, he enjoyed many celebrity encounters, like a holiday with Zelda and F. Scott Fitzgerald, an evening at the theatre with James Joyce and friendships with Ezra Pound and Henry Miller. His paintings sell for up to 37 Million and his paintings are in many museums.


Tete Cubiste: Henri Laurens

Catalogue: Fine Art: Drawings: Pencil: Pre 1920   item# 1234362 (stock# 2645)

Tete Cubiste: Henri Laurens
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King Art
414-276-6779


Price on Request 

Henri Laurens, Paris, 1885-1954. Cubiste Tete de Femme is pencil and gouache on paper signed H.L. 18 LR. It is 22.3cm by 18.7cm (8.75" by 7.6". The son of a workman, Laurens trained at an early age in a decoration studio, where he modeled period-style ornaments and drew architectural designs. Afterwards Henri Laurens worked on building sites and scaffolding, where he learnt the hands-on side of hewing stone. He also regularly attended the popular evening classes in drawing taught by "Papa Perrin," who instilled in his pupils a serious attitude to craftsmanship. Laurens' first sculptures were influenced by Auguste Rodin until he met Georges Braque in 1911. After encountering Cubism*, Henri Laurens began to translate the ideas of Analytical Cubism into sculpture, polychrome bas-relief* and collages*. Picasso, who liked what Laurens was doing, introduced the fledgling sculptor to Léonce Rosenberg, who was so enthusiastic about Laurens' work that he bought some of it and supported Laurens throughout the war years. A number of terracotta* and stone reliefs Henri Laurens did not long after the war reveal the influence of Jacques Lipchitz and African sculpture. By then repudiating Cubist geometric forms, Henri Laurens again approached nature, developing an organic, curvilinear style in which he produced highly abstract, rhythmic figures - usually female nudes - that were poetic and powerful. In numerous works Henri Laurens took up themes from Greco-Roman mythology and reinterpreted them. In 1944 Henri Laurens started producing designs for La Grande Sirène, and in 1953 he did Amphion, a bronze sculpture over four meters high commissioned by the university city of Caracas, Venezuela. Henri Laurens worked over each piece individually to ensure fullness and substance. Henri Laurens was awarded the Grand Prix for sculpture at the São Paolo Biennial* in 1953. Apart from sculpture, Laurens' legacy comprises a copious graphic œuvre: woodcuts, etchings and book illustrations. Henri Laurens died in Paris on 5 May 1954.


Tete Cubiste: Henri Laurens

Catalogue: Fine Art: Drawings: Pen: Pre 1920   item# 1234342 (stock# 2644)

Tete Cubiste: Henri Laurens
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King Art
414-276-6779


"$17,000 each" 

Henri Laurens, Paris, 1885-1954.These 4 pieces are Cubiste Head ink on paper signed LR. They are 22.8cm by 18.5cm (9" by 7.3". The son of a workman, Laurens trained at an early age in a decoration studio, where he modeled period-style ornaments and drew architectural designs. Afterwards Henri Laurens worked on building sites and scaffolding, where he learnt the hands-on side of hewing stone. He also regularly attended the popular evening classes in drawing taught by "Papa Perrin," who instilled in his pupils a serious attitude to craftsmanship. Laurens' first sculptures were influenced by Auguste Rodin until he met Georges Braque in 1911. After encountering Cubism*, Henri Laurens began to translate the ideas of Analytical Cubism into sculpture, polychrome bas-relief* and collages*. Picasso, who liked what Laurens was doing, introduced the fledgling sculptor to Léonce Rosenberg, who was so enthusiastic about Laurens' work that he bought some of it and supported Laurens throughout the war years. A number of terracotta* and stone reliefs Henri Laurens did not long after the war reveal the influence of Jacques Lipchitz and African sculpture. By then repudiating Cubist geometric forms, Henri Laurens again approached nature, developing an organic, curvilinear style in which he produced highly abstract, rhythmic figures - usually female nudes - that were poetic and powerful. In numerous works Henri Laurens took up themes from Greco-Roman mythology and reinterpreted them. In 1944 Henri Laurens started producing designs for La Grande Sirène, and in 1953 he did Amphion, a bronze sculpture over four meters high commissioned by the university city of Caracas, Venezuela. Henri Laurens worked over each piece individually to ensure fullness and substance. Henri Laurens was awarded the Grand Prix for sculpture at the São Paolo Biennial* in 1953. Apart from sculpture, Laurens' legacy comprises a copious graphic œuvre: woodcuts, etchings and book illustrations. Henri Laurens died in Paris on 5 May 1954.


Jeune Fille Assise: Marie Laurencin

Catalogue: Fine Art: Paintings: Watercolor: Pre 1940   item# 1234339 (stock# 2643)

Jeune Fille Assise: Marie Laurencin
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King Art
414-276-6779


"$70,000" 

Marie Laurencin,French, 1885-1956. This etheral portrait of a young girl is a beautiful example of Laurencin's genius. It is watercolor on paper signed upper right. Size is 31.5cm by 24.2cm (12.5" by 9.5"). It has good Provenance and is in good condition. Laurencin was an intimate of Braque, Picasso, Matisse and Appollinaire. She held a celebrated place in the early part of the 20th century during a period when Art exploded with genius. She lived in the Montmartre District of Paris and became part of the circle revolving around the Steins. Though her early portraits show the imprint of the Fauves and Cubists, her romantic and delicate temperament asserted itself against these schools. She was prim, conservative and always wore a kitchen apron when she painted. She had a celebrated love affair with Guilliame Appollinaire, great French modern critic, but was never able to marry him because of demands of her domineering mother. Called the 'muse' by her fellow painters, her works are loved for their fragile beauty. Though they may be feminine in subject and execution, the distortion of form and the simplicity of expression mark her for a Modern Master.Girls, pretty girls, were the subject of practically all Laurencin's oils. She painted girls in all kinds of poses and all had her personal mark, smooth young faces, pale skin and dark eyes. Her early work was not easily accepted; it showed the influence of Toulouse-Lautrec and of cubism. World War I took her out of the Paris circle for a while; she married a German painter, Otto von Waetjen, and they were forced to leave France. They lived in Spain, then she got a divorce and returned to Paris. In her later years, she became almost a hermit, although mothers with daughters in tow still came to her. Her paintings are in many museums and sell for up to about #1.2 Million USD for oils and about $100 K for watercolors on paper.


Composition of Pure Abstract Forms 1914: Franz Marc

Catalogue: Fine Art: Paintings: Oil: Europe: German: Pre 1920   item# 1221956 (stock# 2642)

Composition of Pure Abstract Forms 1914: Franz Marc
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King Art
414-276-6779


POR 

Franz Marc, 1880 (Munich)- 1916 (Verdun, Austira)"Komposition Rein Abstrakter Formen 1914. Oil or tempera over pencil on paper Size: 11.5 in x 9.5 in. (29.1 cm x 24.1 cm) Condition: Excellent – no tears, stains or folds. Verso 1. Signature initials “FZM” (front, lower right) 2. “Franz Marc Komposition rein abstrakter formen 1914” (verso, bottom center, pencil) – roughly translates “Composition of purely abstract form” 3. Stamp “Konstantin S. Redko, Schluterstr. 35, Charlottenburg” (verso, upper left, blue ink) 4. Stamp “Axel Meyer, Paris” (verso, top center, black ink) 5. Stamp “Der Sturm, (illegible) ,Berlin/Potsdamer Straße 134a (verso, top center, purple/red ink) 6. Stamp “Herwarth Walden, Berlin W 15 / Kurfürstendamm 173” (verso, bottom right, black ink) 7. Stamp “ Sammlung G. W. Stein - Zurich” (verso, upper right, , purple/red ink) Franz Marc was born in Munich, Germany in 1880. His father was a successful Munich landscape and genre artist who influenced him strongly. Marc studied at the Munich Academy. He left there for Paris, then went home full of the doings of the Fauves and Cubists. In 1911 he joined with Klee and Kandinsky to found a group called the Blue Rider (Blaue Reiter). Their members aspired to nothing less than painting the essence of things. They put feeling first, faithfulness to nature or to formal conventions last. They were the clear sweet dawn of German expressionism. a school that later languished from too much heaviness, bitterness and swagger. For Marc, as for his friend and mentor, Kandinsky, implementation of new art forms was indeed a religious crusade. He saw pure abstract art as truth and worked toward it with the same fervor he had once directed toward the study of theology. Marc loathed conflict of any kind. Man therefore revolted him, and animals he painted with strong, elaborately rhythmical compositions. He transformed their animality with flashing colors; a horse might be sky blue or fire red. Marc's career ended abruptly with his conscription in 1914. He died in 1916 in Verdun.


Les Disques: Fernand Leger

Catalogue: Fine Art: Paintings: Oil: Europe: French: Pre 1930   item# 1221955 (stock# 2641)

Les Disques: Fernand Leger
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King Art
414-276-6779


POR 

Fernand Leger, French,1881-1955. This stunning example of Fernand Leger's imagery at his early cubust period in the 1920's is pencil on paper. It is 21.5cm w by 25cm h in a beautiful frame 45cm w by 47.5cm h. It is signed lower left F. L. 20. Fernand Léger was born in 1881, the same year both Picasso and Braque were born, in Normandy; his father was a substantial cattle grazer. Fernand was trained as an architectural draughtsman and later worked as a professional retoucher of photographs. He was an abstract painter before the War, in which he had a brilliant record. He had visited the United States twice. In France, he lived in a villa next to some railroad tracks in a Paris suburb, and a farm in Normandy where he raised pigs and made cider.It is often said that Léger was the artist of the machine age, but he was not entirely a man of his time. He knew poverty as a child, was gassed in World War I, had to flee before the invading Nazis in World War II. But there is little of death and destruction in his work. Other men have painted with more passion, few with more exuberance.Léger returned to France at the end of 1945 after spending the war years traveling and lecturing in the United States. There had been three previous visits to America in the 1930s, all entrepreneurial adventures of only modest success. He had resumed his practice of making public appearances to explain his art to a sometimes curious, sometimes bewildered public. In addition, he enjoyed many celebrity encounters, like a holiday with Zelda and F. Scott Fitzgerald, an evening at the theatre with James Joyce and friendships with Ezra Pound and Henry Miller. His paintings sell for up to 37 Million and his paintings are in many museums.


Femme: Sonia Delaunay

Catalogue: Fine Art: Paintings: Watercolor: Pre 1940   item# 1221173 (stock# 2640)

Femme: Sonia Delaunay
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King Art
414-276-6779


"$30,000 USD" 

Sonia Delaunay was born in the Ukraine in 1885 and raised in St. Petersburg. This piece is gouache on paper, 25cm by 18cm (9.8" by 7.1") signed and in good condition. After studying drawing at Karlsruhe under Schmidt-Reutter she came to Paris in 1905 to be close to avant-garde circles. She studied at the Academie de la Palette, where Ozenfant and Dunoyer de Segonzac were fellow students. Her early work was influenced by the Fauves; some of her pictures from this period have an expressionist edge that contrasts with the gaiety of her later work. She had a short-lived marriage to Wilhelm Uhde. Her first show was in 1908; she married Robert Delaunay in 1910. She did not exhibit her paintings again in any number until 1953, twelve years after her husband's death. Although she would not compete with her husband, Sonia painted throughout her life. Delaunay was not regarded as a great artist, but she was important. Her work was dismissed as being too decorative; but she did not diminish painting, she elevated the decorative arts. With her husband, she developed a style, sometimes called orphism, that was a spin-off of cubism. She was part of the radical drive to purify and elevate art through abstraction. At the same time, she helped direct art toward the gently decorative, a natural development, since decoration is itself generally abstract. She worked continually throughout her long life in many artistic media beside painting. From the creation of a pieced quilt for her son in which she synthesized Russian peasant blanket design with Cubism, she moved on to collage, bookbinding, book illustration and eventually, to costume and theatre design, fashion design and decorative arts. She died in Paris in 1979 at the age of ninety-four.


Abstract Composition: Sonia Delaunay

Catalogue: Fine Art: Paintings: Watercolor: Pre 1940   item# 1221172 (stock# 2639)

Abstract Composition: Sonia Delaunay
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King Art
414-276-6779


Price on Request 

Sonia Delaunay, France, USA, Russia, 1885: Ukraine and raised in St. Petersburg. After studying drawing at Karlsruhe under Schmidt-Reutter she came to Paris in 1905 to be close to avant-garde circles. She studied at the Academie de la Palette, where Ozenfant and Dunoyer de Segonzac were fellow students. Her early work was influenced by the Fauves; some of her pictures from this period have an expressionist edge that contrasts with the gaiety of her later work. She had a short-lived marriage to Wilhelm Uhde. Her first show was in 1908; she married Robert Delaunay in 1910. She did not exhibit her paintings again in any number until 1953, twelve years after her husband's death. Although she would not compete with her husband, Sonia painted throughout her life. Delaunay was not regarded as a great artist, but she was important. Her work was dismissed as being too decorative; but she did not diminish painting, she elevated the decorative arts. With her husband, she developed a style, sometimes called orphism, that was a spin-off of cubism. She was part of the radical drive to purify and elevate art through abstraction. At the same time, she helped direct art toward the gently decorative, a natural development, since decoration is itself generally abstract.She worked continually throughout her long life in many artistic media beside painting. From the creation of a pieced quilt for her son in which she synthesized Russian peasant blanket design with Cubism, she moved on to collage, bookbinding, book illustration and eventually, to costume and theatre design, fashion design and decorative arts. She died in Paris in 1979 at the age of ninety-four.


Cubiste Compostion circa 1920's; Albert Gleizes

Catalogue: Fine Art: Paintings: Oil: Europe: French: Pre 1930   item# 1220966 (stock# 2633)

Cubiste Compostion circa 1920's; Albert Gleizes
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King Art
414-276-6779


Price on Request 

Albert Gleizes, French, 1881-1953.This vivid painting is Cubiste Composition, Gouache and pencil on heavy paper, 20.2 cm by 28.3cm (about 7 15/16" by 11.2"), signed LR ALB GLEIZES in black, Verso In Pencil, Miette Braive, Rue Chauehat (or Chauchat) Paris, Circa 1920's. Miette Braive (1916-2000) was a cubist painter in Paris in the circle of Albert Gleizes.\ Excellent Provenance upon request. His paintings sell for up to $2,709,303 and works on paper sell for up to $150,000. Initially influenced by the Impressionists, at twenty-one his work La Seine a Asnieres was exhibited at the Societe Nationale des Beaux-Arts in 1902. With several friends in 1906 he founded the Abbaye de Creteil outside Paris. This commune of artists and writers scorned bourgeois society and sought to create nonallegorical, epic art based on modern themes. The commune closed in 1908 due to financial restraints and in 1909 he came under the influence of Fernand Leger, Robert Delauney, Jean Metzinger and later to Henri Faucconnier who led Gleizes to his cubist style. In 1910 he exhibited at the Salon des Independents, Paris and the Jack of Diamonds in Moscow. His paintings had become abstract by 1915. Galeries Daimau, Barcelona held his first one man show in 1916. Later in his career he was commissioned for murals for the Paris Worlds Fair of 1937. In 1947, a major Gleizes retrospective occurred in Lyons at the Chapelle du Lycee Ampere.


17th C Angels in Clouds: Giovanni Battista Gaulli

Catalogue: Fine Art: Paintings: Oil: Europe: Italian: Pre 1700   item# 1214357 (stock# 2638)

17th C Angels in Clouds: Giovanni Battista Gaulli
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King Art
414-276-6779


Price on Request 

Giovanni Battista Gaulli, Italian, 1639-1709, called Baccico or Baccicia. Italian Angels or Putti on Clouds plus a small portrait of a man is a charming example of Gaulli's work. It is 5" by 7 3/4" of pen and sepia brown ink on paper. Provenance is Leslie Hindman Auction, Collection of P Waite, English Collection until 1994, German Collection Basenge. Condition good upper life corner restored. Giovanni Battista Gaulliwas a painter of the Italian High Baroque verging onto that of the Rococo. He is best known for his grand, Gianlorenzo Bernini-influenced illusionistic vault fresco in the church of the Gesù in Rome.Gaulli was born in Genoa, where his parents died from the plague of 1657. In mid-17th century, Gaulli's Genoa was a cosmopolitan Italian artistic center open to both commercial and artistic enterprises from north European countries, including countries with non-Catholic populations such as England and the Dutch provinces. Painters such as Peter Paul Rubens and Anthony van Dyck stayed in Genoa for a few years. Gaulli's earliest influences would have come from an eclectic mix of these foreign painters and other local artists including Valerio Castello, Giovanni Benedetto Castiglione, and Bernardo Strozzi, whose warm palette Gaulli adopted. In the 1660s, he experimented with the cooler palette and linear style of Bolognese classicism. He soon, however, moved to Rome. In 1662, he was accepted into the Roman artists' guild, the Accademia di San Luca (Academy of Saint Luke), where he was to later hold several offices. The next year, he received his first public commission for an altarpiece, in the church of San Rocco, Rome. He received many private commissions for mythological and religious works. From 1669, Gaulli's painting took on a more painterly (less linear) aspect, and the composition, organized di sotto in su ("from below looking up"), would influence his later masterpiece. At his height, Gaulli was one of Rome's most esteemed portrait painters. Gaulli is not well known for any other medium but paint, though many drawings in many media have survived. All are studies for paintings.

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