Raoul Dufy, French (1877-1953) was born in Le Havre, Normandy and first attended the arts school of his hometown before studying at the École Nationale Supérieure des Beaux-Arts in Paris. From there, Dufy transferred to the studio of the French painter Léon Bonnat. Initially influenced by the Impressionists, a painting by Henri Matisse led him to Fauvism and his works became richer in color. Later he was also inspired by Braque's Cubism and the works by Cézanne. In 1906 Dufy had his first solo exhibition at the Galerie Berthe Weill in Paris. In addition to his paintings and drawings, he designed fabric patterns for the fashion house Poiret and created ceramics, woodblock prints and designs for tapestries. From 1920, he undertook regular trips to the South of France. Here he painted numerous sailing regattas, horse races and landscapes in luminous colors. For the Paris World Exhibition in 1937 Dufy created the Pavillon de la lumière; in 1952 he received the main painting prize at the Biennale in Venice. Some of his works were exhibited posthumously at the documenta I (1955) and the documenta III (1964) in Kassel. (cbo)
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1910 item #1344940 (stock #2690)
George F. Wetherbee, 1851-1920, Cincinnati, Ohio. This painting measures 31 1/4" by 50 1/2" and is in a 4" frame. This oil on canvas was painted in 1900 and is signed lower right. Provenance: Private MidWestern Collection, Stair Gallery, NY, Private NY Collection. Wetherbee painted in New York City, Ohio and London. He was a member of the Royal Institute of Painters, and exhibited in the Paris Salon in 1895, PAFA Ann in 1896097, St Louis Expo 1904, in Chicago and Paris. He is listed in Who was Who in American Art and is included in American Art at the 19th Century Paris Salons Fink and Exhibitions Records by Falk
Jacob Jordaens, Attrib: Antwerp, Belgium, 1593-1678. This exquisite oil on panel of an elderly man is 18.5cm W by 26cm H. It is apparently unsigned with a collection seal and an old Park Bernet Sticker. There is some minor in painting on the top edge of the painting and the panel is slightly convex but not split. It was in a prominent Cincinnati Collection. In 1607 he entered the studio of Adam van Noort, whose daughter he later married.In 1615 he became a member of the Guild of Saint Luke, and in 1621, its President. He painted only a few portraits, among them his well-known self-portraits. For the most part he worked on large and ambitious decorative projects, employing a staff of students and assistants. Born in another age or in another country, Jordaens might have been considered a great painter. But Vermeer, Rembrandt, Rubens and Van Dyck were all famous in the Low Countries at the same time as Jordaens and so he took a back seat to them. Painters of the time helped each other out on the monumental canvases they painted and some scholars believe that approximately thirty paintings and seventy drawings attributed to Rubens were really Jordaen's work. He died in 1678, the same day as his daughter.
George Colin, AmericanBorn and raised in California (b. 1929), George Colin lives in Salisbury, Illinois near Springfield, where he and his wife Winnie run their gallery Colin Folk Art. Though he calls himself a folk artist, Colin doesn't fit into the unschooled or outsider art genre. His early landscapes were representational, while his recent work has become more abstract, including studies of ballerinas, dogs, even turnips. He began painting and drawing during the 1950's after subscribing to a Norman Rockwell correspondence course, and amassed a collection of over 7,000 pieces before being "discovered" in the mid-1980's by a Chicago photographer. The retired flour mill worker has a body of work which includes over 10,000 drawings and painting as well as more than 4,000 pieces of wooden folk art and sculpture. To date his work can be found in the Museum of American Folk Art in New York City, within the private collections of both President George Bush and Oprah Winfrey, and within shops and restaurants throughout Chicago. Articles on Mr. Colin have appeared in the Chicago Tribune, North Shore Magazine, as well as on ABC News and NBC's "Weekends Away". Whether it's labeled as "Primative", "Post-Naive" or "Folk Art", George Colin's work is fresh, colorful and very original. , 1929
Suzanne-Marguerite Bertillon, French, 20th C. This fascinating oil on canvas, Portrait of a Woman is 18" by 24" in a wonderful Art Deco frame, signed LR.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1980 item #1310444 (stock #2682)
John Willenbecher, Macungie, PA, B.1936,active in New York City, Labyrinth 17.BII.72. Acrylic on masonite. Titled LL, signed LR. Bearing Sachs Gallery label en verso. Dated 1972. Arched top 48" x 36". His paintings sell for up to $5250. Studied: Brown Univ. (B.A., 1958); New York Univ. Inst. Fine Arts, 1958-61. Exhibited: Mixed Media & Pop Art, Albright-Knox Art Gal., Buffalo, 1963; Paintings & Constructions of the 60s, RISD, Providence, 1964; WMAA, 1964-66; Kunst-Lucht-Kunst, Stedelijk Mus., Eindhoven, Holland, 1966; Painting & Sculpture Today, Indianapolis Mus. Art, 1970. Collections: Whitney Museum of Modern Art, NY, Brooklyn Museum, Smithsonian American Art Museum, WMAA; Albright-Knox Art Gallery, Buffalo, NY; James A. Michener Found. Coll., Univ. Texas, Austin; Aldrich Mus. Contemp. Art, Ridgefield, CT; Solomon R. Guggenheim Museum, New York, Chicago Art Institute. Sources: WW73; David Bourdon (author), Out There with Willenbecher," Art Int., 9/20/1968. Teaching: lectures on painting, Philadelphia . College Art, 1972-73."
Eliot Candee Clark, American, 1883-1980. This stunning pastel is 5.5"H by 11.5"W, pencil signed LL. Frame 13" by 19. Excellent condition. Born in NYC on March 27, 1883. Eliot was the son of artist Walter Clark. After studying briefly at the ASL under Potthast and Twachtman, he taught there during 1912-22. While based in NYC, he made painting trips to the West during the 1920s and 1930s. Small oils of Yosemite are extant. Member: Salmagundi Club; NA; NAC. Exh: NAD, 1912, 1922 (prizes); Biltmore Hotel (LA), 1928. In: NAD; Fort Worth Art Center; Maryland Inst. (Baltimore); MM; Woodrow Wilson House (Washington, DC); Baltimore Museum; San Antonio Museum; Dayton Art Inst. n.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1306733 (stock #2678)
Henry Ward Ranger, American (1858 - 1916, active/lived in New York, Connecticut. Henry Ranger is known for landscape painting-forest interiors. He was a leading artist of the Tonalist movement, was responsible for the establishment of the art colony at Old Lyme, Connecticut. Raised in Geneseo and Syracuse, New York, he studied art in France, where he was influenced by the Barbizon School and a group of Dutch painters called "The Hague." Ranger exhibited at the Paris Salon and the Paris Exposition, and had a one-man show at Knoedler's in New York in 1892. He became a successful lecturer and painter, exhibiting at the Brooklyn Art Association, the National Academy, the Art Institute of Chicago, Pennsylvania Academy of Fine Arts, the Corcoran Gallery, and several expositions. In the 1890s began painting in Old Lyme. Captivated by the area's beauty, he established the American Barbizon School there, which attracted many artists. While he sketched out-of-doors, Ranger finished his works in the studio in the traditional academic manner. Soon after Hassam's arrival, Ranger left Old Lyme to start a new colony at Noank, near Mystic on the Connecticut coast. Ranger died in 1916 without family and bequeathed his estate to the National Academy of Design to establish a fund for the acquisition of works by American artists. His own works are represented in many American museums.
Bartholomeus Schouten, 1941-2001, Dutch. This oil on canvas is a lovely French looking scene of people in a park. It is about 24" by 30" in a lovely frame and is in very good condition. It is signed LL Leroy his pen name Schouten painted in lovely post impressionist style, café and park scenes, still life paintings.
Gontier, French. This beautiful Cezannesque landscape of a French hillside village is oil on board. It is in excellent condition, signed lower right, Palada, Gontier, 1926. It is 13 3/8"H by 9 3/4" W , 34 CM H by 25 CM W in a 2 1/4" Frame.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1990 item #1298327 (stock #2674)
Andrew Spence, born 1947, is active/lives in New York, California. Andrew Spence is known for abstract and non-objective painting. From his first exhibition in Los Angeles in the mid-1970s, Andrew Spence has pursued a hard-edge abstraction with work that is densely textured, richly colored and often with irregularly shaped canvas. Spence, who lives in New York City, was born and raised in Philadelphia, and took undergraduate study at the University of Oklahoma and at the Tyler School of Art in Philadelphia. Then he earned an MFA at the University of California at Santa Barbara. In addition to his fine art career, he has been a teacher with employment at Bennington College. Similar paintings sell for up to $6000.00. He is listed in AskART.com, The Artists Bluebook 34,000 North American Artists to March 2005, Davenport's Art Reference: The Gold Edition, Who's Who in American Art, 2004 2003 - 2004 (25th Edition), Falk, Peter Hastings (Editor) Who Was Who in American Art, 1564-1975, 3 volumes, Who's Who in American Art-1993-1994 20th Edition, 1987 Rifkin, Ned (organizer) 40th Biennial Exhibition Contemporary American Painting,(Exhibition catalog), Who's Who in American Art-1986 1986, 1982,Stewart, Albert, New New York (Exhibition catalog)
$12,000 for the 4 paintings
$12,000 for the 4 paintings
Georges Maillien, Brussels, Belgium, 1948-1987. Acrylic on paper, Quartet Composition: Revolution. 4 individual panels. His work is in the Musee Royaux des Beaux Arts des Belgique and has been published in several books about Modern Belgian Artists.
Lazar Markovich Lissitzky, 1890 – 1941, better known as El Lissitzky was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian Avant Garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van abbemuseum and the leading worldwide scholars, the Lissitzky foundation was established, to preserve the artist's legacy and preparing a catalogue raisone of the artist oeuvre.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1940 item #1280746 (stock #2671)
George Raab, Sheboygan, Wisconsin, 1866-1943. Raab began studies under Richard Lorenz at the Wisconsin School of Design. Raab was studying in Europe between 1891 and 1898, when his name did not appear in the Milwaukee city directories. He was, in fact, at the Weimar Art School under the Norwegian-born painter Carl Frithjof Smith (1859-1917) and reportedly in the Académie Colarossi in Paris, receiving instruction from Gustave Courtois. The combination of Courtois’ academic technique, the Munich style, American tonalism, and developments of French impressionism, as well as Art Nouveau, influenced Raab. An undated still-life features cloisonnisme techniques of Gauguin or Emile Bernard. Raab is closely identified with impressionism. Raab toured Italy in 1897, when Symbolism was prominent. As in France, there was a wealth of aesthetic activity. Raab was part of a period of intense cultural experimentation. Most likely, Raab would have visited the great museums to study old masters, whose destruction the Italian futurists would soon be urging.In Wisconsin in 1899, Raab became one of the founding members of the Society of Milwaukee Artists (1900). The group held exhibitions in the Milwaukee starting in 1901. Raab taught at the Milwaukee Art Students League and at the Wisconsin School of Art, and was named curator of the Layton Art Gallery in 1902. He became director of the Art Institute and Art School in Springfield, Illinois but soon left to direct the Decatur (Illinois) Art Institute. Raab later he became director of the School of Fine Arts at Millikin University, also in Decatur. He returned to Milwaukee in 1937. Besides painting, Raab executed outstanding block prints and sculptural reliefs. In the 1930s, Raab reflected Wisconsin regionalism. This versatile artist was an important educator and he was influential within his own local area. He died in Milwaukee on 24 September 1943.Pulication include: Lidtke, Thomas and Peter C. Merrill. George Raab: Prominence in 19th Century Regional Art. Traveling exh. cat. West Bend, WI: West Bend Art Museum, 1994; Merrill, Peter C. German-American Artists in Early Milwaukee: A Biographical Dictionary. Madison, WI: Friends of the Max Kade Institute, 1997, pp. 101-104.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 2000 item #1280741 (stock #2670)
Warren Brandt was born in Greensboro, North Carolina on February 26, 1918-2002 He studied at Pratt Institute from 1935 to 1938, Washington University, with Philip Guston and Max Beckmann and the Art Students League with Yasuo Kuniyoshi. He was head of the Art Department of Salem College from 1949 to 1950. He taught at Pratt Institute from 1950 to 1952 and was an instructor at Guilford College in Greensboro, North Carolina in 1952. He was named chairman of the Art Department of the University of Mississippi from 1957 to 1959, taught at Southern Illinois University from 1959 to 1961; School of Visual Art, New York City from 1962 through 1963 and Director of the New York Studio School in 1967. He became a Member Academician of the National Academy of venerable tradition of studio still life. His roots are in Matisse and Bonnard - simply curvaceous line, precious gobs of paint and elaborate studio set-ups. His is an earthy celebration of the abundance of things. What is so ingratiating about Brandt's work is how much he loves it, loves paint, loves his cluttered studio. Publications include: Gerrit Henry in Art in America, March 1987, Who's Who in American Art, R.R. Bowker 1993-94, Dictionary of Contemporary American Artists, edited by Paul Cummings. He has a very extensive exhibition record and is in many museums and collections including: The Metropolitan Museum of Art, New York The Hirshhorn Museum and Sculpture Garden, Washington, D.C., The National Collection of Fine Arts, Washington, D.C, Museum of Art, Carnegie Institute, Pittsburgh, PA, The Museum of Fine Arts, Santa Fe, NM, The Rochester Museum, Rochester, NY, The Lannan Foundation, Los Angeles, CA, Washington Museum of Modern Art, Washington, D.C., The James Michener Foundation, Austin, TX, The Chrysler Museum, Norfolk, VA, The Parrish Art Museum, Southampton, NY, Springfield Museum of Art, Springfield, MO, RCA American Communications, Inc., Princeton, NJ, Paul, Weiss, Rifkind, Wharton and Garrison, New York, H.J. Heintz Corporation, Pittsburgh, PA, Chase Manhattan Bank of North America, New York, Smithsonian American Art Museum, Washington DC, Metropolitan Museum of Art, NY, Museum of New Mexico
Godfried Schalcken or Gottfried Schalken (1643 – November 16, 1706), was a Dutch genre and portrait painter. He was noted for his mastery in reproducing the effect of candlelight, and painted in the exquisite and highly polished manner of the Leiden fijnschilders. Godfried Schalcken was born in 1643 at Dordrecht, and he studied under Samuel van Hoogstraten in Dordrecht before he moved to Leiden, into the studio of Gerard Dou (1613–1675), one of Rembrandt's most famous pupils. His earlier genre pictures very closely resemble Dou's work. He worked in Leiden until c. 1675, then returned to Dordrecht until 1691, after which he settled in The Hague, where he continued to paint until his death, near age 63, in 1706. He also visited England (1692–1697), but his uncouth manners and bad temper alienated him from the society there. In 1703 he was employed by Johann Wilhelm, Elector Palatine in Düsseldorf. He died in The Hague. Schalcken painted several portraits, of which the half-length of William III of England, now in the Rijksmuseum, Amsterdam, is a good example. Like Dou, Schalcken specialized in small scenes lit by candlelight, a technique that found favour with the fijnschilders (fine art painters). Examples are in Buckingham Palace, the Louvre, Vienna and Dresden. His painting, Lady, Come into the Garden (Buckingham Palace), was singled out by his pupil Arnold Houbraken as representative of his oeuvre. Other good examples are Old Woman Scouring a Pan and Soldier Giving Money to a Woman (London, National Gallery), Ceres Seeking Proserpine and Old Man Writing (Louvre), Woman (National Museum of Serbia), Girl Blowing Out Taper (Munich), Girl Reading Letter (Dresden Gallery), The Boy Angling (Berlin); and Toilet by Candle (The Hague). The Buckingham Palace collection also possesses an interior by Schalcken. His history paintings are less-well known. The atmospheric work of Schalcken provided the inspiration for Sheridan Le Fanu's gothic horror story Strange Event in the Life of Schalken the Painter (sic), which was adapted as Schalcken the Painter, and broadcast by the BBC on 23 December in 1979.
Domenico Ghirlandaio, Italian, 1449-1494, Florence. Oil on panel in sepia tones. He lived when the Italian Renaissance was gathering speed and producing an astonishing succession of painters of genius. "Now that I have begun to get into the spirit of this art, I wish they would give me the walls of Florence to paint the whole circuit with stories." This is said to be Ghirlandaio's reaction to painting.popes, princes and members of the newly flourishing class of merchants. Banks gave him plenty of walls in Rome and Florence to cover with scenes from scripture and from the lives of saints. Through most of the scenes he scattered recognizable portraits of people of the day. Ghirlandaio seems to have been a born portrait artist. His full name was Domenico di Tommaso Curradi de Daffo Bigardi. Like many Renaissance painters, he began as a goldsmith, learning his trade from his father. His name is a nickname, meaning "garland maker", coming from the gold and silver garlands made in his father's shop and fashionable among Florentine ladies. The boy learned drawing by designing jewelry, and became so facile that, sitting in the shop doorway, he could catch the likenesses of passers-by. He entered the studio of Baldovenetti and became one of the most distinguished mosaicists and painters of his time. His designs were more correct and graceful than had ever been known before. He established a flourishing workshop in Florence with his two younger brothers. He had little inclination for the avant-garde of the day or for the movements we associate with Botticelli (with whom he worked at the Sistine Chapel). It is probable that Michelangelo owed more to the sound craftsmanship of Ghirlandaio, to whom he was apprenticed, than he cared to acknowledge.
Georges Rouault, 1871-1898, Paris. Vase De Fleurs is oil on canvas, 36cm H by 23cm W (14 2.5/8" by 9 1/8") It is signed LR G Rouault and signed verso plus test colors of paint in strips. His father was a cabinet-maker in a piano factory. His paternal grandfather was a lover of art, an admirer of Manet and Daumier, who hoped the child would become a painter. When Rouault was a teenager he was apprenticed to a stained glass maker. This early contact with stained glass influenced immensely his later career as painter and printmaker. At the same time he attended evening classes at the Ecole des Arts Decoratifs, and studied painting at the Louvre. He entered the Ecole des Beaux Arts under Elie Delaunay, who died soon after. He became the favorite pupil and a close friend of Gustave Moreau. Moreau died in 1898 and the same year Rouault's parents left France to be with their daughter in Algeria whose husband had just died. Rouault was named Director of the new Musee Gustave Moreau. He turned to painting landscapes; he had a period of bad health which he spent in Evian. Rouault always saw himself as an artisan, an anonymous laborer making devotional images. He used black outline to reinforce the brilliancy of color and expressive gesture in the manner of mosaics or medieval miniatures. He drew freely from various sources in order to give conventual overtones to his modern statement of human dilemma. His preoccupation over the years with the plight of prostitutes, tragicomic clowns and biblical martyrs, who as outcasts from society, suffer the burden of insoluble ethical demands, reflects the existential dread of despair he, as an artist, suffered himself. In 1891 he entered the Ecole des Beaux-Arts, where with Matisse, he was a pupil of Symbolist painter Gustave Moreau, a brilliant and sympathetic teacher. Rouault was Moreau’s favorite student and he became the first curator of the Musée Moreau which opened in Paris in 1903. In 1902 Rouault helped to found the Salon d’Automne, an independant exhibition for those artists rejected by the official Paris Salon, where he showed alongside the Fauves. Although Rouault associated with Matisse and the Fauves, he did not adopt their brilliant colors or their typical subjects; instead he painted characters such as clowns, acrobats, dancers, outcasts and judges in jewel-like colors outlined in thick black lines reminiscent of Vincent Van Gogh. His sympathies were for the poor and downtrodden, and he commented that his imagination was stimulated by "the contrast between brilliant, scintillating things intended to amuse and this infinitely sad life." In 1894 he was awarded the first prize at the Concours Chenavard and, in 1910, Rouault would have his first one man show at Galerie Drouet in Paris. Rouault married Marthe le Sidaner, the sister of Impressionist painter Henri Le Sidaner, in 1908—they would have four children. Rouault’s achieved financial success after Ambroise Vollard became his art dealer-publisher in 1917 and he gained an international reputation through the 1930s. In 1937 he had his first American one-man show at Pierre Matisse Gallery in New York City and in 1938 the Museum of Modern Art held an exhibition of his graphic prints. Rouault adeptly worked in the various printmaking techniques of woodcuts, lithographs and etchings, often for book illustrations commissioned by Vollard. From the 1930s and on Rouault, a staunch Catholic, devoted himself almost exclusively to religious themes in his art interpreting the works in an almost icon-like austerity with intensively bright colors reminiscent of medieval stained glass windows. He believed in the teaching of the Gospel and stated that his “only ambition is to be able to paint a Christ so moving that those who see Him will be converted.” Rouault spent the last decade of his life working to achieve the high standard of perfection he had set for himself. After the sudden death of his dealer Vollard in 1939, Rouault eventually gained back some 400+ paintings from the estate, of which, he destroyed 315. Georges Rouault died on February 13, 1958 at the age of 87. He received the national honor of a state funeral. In 1908, Rouault married Martha Le Sidoner. They had four children. Rouault exhibited with the Fauves, though he was never closely associated with that movement. His work from then until the end of his life was concerned with printmaking, designing costumes and scenery, illustrating books, etc.