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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.


Cubiste Composition: George Valmier

Catalogue: Fine Art: Paintings: Watercolor: Pre 1920   item# 1236820 (stock# 2650)

Cubiste Composition: George Valmier
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King Art
414-276-6779


POR 

George Valmier, French, 1885-1937. 3 oil and collage on board, approximately 29.3cm by 22.3cm ( 11.5" by 8.9" ) all signed L G. Valmier,are available as a group or individually. Born and educated in France, Georges Valmier was a pioneer of the Cubist Movement. He studied with Luc-Olivier Merson at the Ecole des Beaux-Arts from 1905 to 1909. As early as 1911, he adapted the Cubist designs for practical application such as futuristic decorations for Marinetti’s theater. He exhibited his works in Paris at the Salon des Indépendants. In 1932 Valmier joined the Abstraction-Creation group, and in this later period of his career created three large panels for the French railway SNCF company’s pavilion at the International Exhibition of 1937 in Paris. Valmier was also an accomplished musician, and this love comes forth clearly in works throughout his career. In fact, beginning in 1919, he began giving his paintings musical titles such as Improvisation and Scherzo. Collections: Solomon R. Guggenheim Museum, New York Musée National d’Art Moderne, Paris Exhibitions: Salon des Indépendents, 1913, 1914, 1930 L’Effort Moderne, (1st one-man exhibition) 1921, 1922, 1928 Marcoussis & Oze, 1922 Contemporary French Art, Kunstlerhaus Vienna, 1926 Brooklyn Museum, New York, 1926, 1937 Katherine Dreier Gallery, New York, 1927 Galerie Hern Wolfsberg, Paris, 1930 Expositionm Internationale d’Art Nouveau Prague, 1931 Galerie des Beaux-Arts, Paris, 1935 Galerie Fels, Paris, 1955 Galerie Thot Avignon, 1970 Galerie Melki, Paris, 1973 Paris-New York, Musée Beaubourg, 1977 Galerie Héraut-Bresson, Paris, 1980


Cubiste Composition: George Valmier

Catalogue: Fine Art: Paintings: Watercolor: Pre 1920   item# 1236819 (stock# 2649)

Cubiste Composition: George Valmier
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King Art
414-276-6779


POR 

George Valmier, French, 1885-1937. 3 gouache on paper, approximately 18.6cm by 11.5cm ( 7.8" by 4.5" )all signed LR G. Valmier,are available as a group or individually. Born and educated in France, Georges Valmier was a pioneer of the Cubist Movement. He studied with Luc-Olivier Merson at the Ecole des Beaux-Arts from 1905 to 1909. As early as 1911, he adapted the Cubist designs for practical application such as futuristic decorations for Marinetti’s theater. He exhibited his works in Paris at the Salon des Indépendants. In 1932 Valmier joined the Abstraction-Creation group, and in this later period of his career created three large panels for the French railway SNCF company’s pavilion at the International Exhibition of 1937 in Paris. Valmier was also an accomplished musician, and this love comes forth clearly in works throughout his career. In fact, beginning in 1919, he began giving his paintings musical titles such as Improvisation and Scherzo. Collections: Solomon R. Guggenheim Museum, New York Musée National d’Art Moderne, Paris Exhibitions: Salon des Indépendents, 1913, 1914, 1930 L’Effort Moderne, (1st one-man exhibition) 1921, 1922, 1928 Marcoussis & Oze, 1922 Contemporary French Art, Kunstlerhaus Vienna, 1926 Brooklyn Museum, New York, 1926, 1937 Katherine Dreier Gallery, New York, 1927 Galerie Hern Wolfsberg, Paris, 1930 Expositionm Internationale d’Art Nouveau Prague, 1931 Galerie des Beaux-Arts, Paris, 1935 Galerie Fels, Paris, 1955 Galerie Thot Avignon, 1970 Galerie Melki, Paris, 1973 Paris-New York, Musée Beaubourg, 1977 Galerie Héraut-Bresson, Paris, 1980


Cubiste Natur Morte Avec Guitare: Henri Laurens

Catalogue: Fine Art: Paintings: Watercolor: Pre 1920   item# 1236816 (stock# 2647)

Cubiste Natur Morte Avec Guitare: Henri Laurens
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King Art
414-276-6779


POR 

Henri Laurens, Paris, 1885-1954.These 2 pieces are Cubiste Natur Morte Avec Guitare are Gouache, Pencil and collage on paper both signed H. Laurens. 18. They are #1: Horizaontal 23.8cm by 29.2cm (9.7" by 11.5".#2: Vertical 26.5cm by 22.5cm (10.4" by 8.8") 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.


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


"$30,000" 

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.

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