Catalog: Fine Art (148)

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.

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 Eiffel 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.

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).

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

Maurice Utrillo, French, 1883-1955.Oil on cardstock, 6"h by 4.45"w signed LL, in good condition. Petit VaseBlanc de Fleures.

Albert Gleizes, French, 1881-1953. This vivid painting is Nature Morte, Gouache and pencil on paper, 23.8 cm by 31.8cm ( about 9 5/16" by 12 7/16" ),Signed LR ALB GLEIZES in pencil lr, Verso In Pencil, Nature Morte,Verso Excellent Provenance upon request. His paintings sell for up to $2,709,303 and works on paper sell for up to $150,000. This French painter and writer born Albert Leon Gleizes was raised in Paris and was the son of a fabric designer who ran a large industrial design workshop. After finishing secondary school, he worked with his father and then while serving in the army from 1902 to 1905 he began to paint seriously. 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.In 1914 Gleizes re-entered the military service. His paintings had become abstract by 1915. Galeries Daimau, Barcelona held his first one man show in 1916. Then beginning 1918 while in America, Gleizes developed an interest in spiritual values and as a result the theme of religious thought entered many of his subsequent writings. He founded Moly-Sabata, another untopian community of artists and craftsmen in Sablons. 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. From 1949 to 1950 Gleizes painted illustrations for Pascal’s Pensees and in 1952 he painted a fresco, Eucharist, for the chapel Les Fontaines at Chantilly. Gleizes died in Avignon on June 23, 1953.

Italian artist Duilio Barnabé (1914-1961). Oil on canvas in beautiful silver leafed frame. 21cm h by 28cm w. (8.6" by 11.2").

Abraham Bloemaert, Dutch, 1564-1651. This exquisite drawing in ink, wash and chaulk is a fine example of Bloemaert's talent. It is 13.2 cm h by 9.5 cm w.Provenance: Private Collection, Leslie Hindman Auction, Private Collection, Fine English Collection ( paper verso ). Condition is good and it has an old label from Folio fine Art LTD in London. The son of an architect, Abraham Bloemaert, known for painting, engraving and teaching, was born in Gorinchem, Holland in 1564. At age nine, he moved with his family to Utrecht where he became a pupil of Gerrit Splinter and Joos de Beer. Subsequently he studied in Paris for three years, and then returned to Holland to study with Hieronymus Francken. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends. He mostly painted history subjects and some landscapes. From 1591 to 1595, he was in Amsterdam, and then settled in Utrecht where he served as Dean of the Guild of Saint Luke, the city guild for painters and named for Saint Luke, the patron saint of artists. Of his artistic talents, it was written: "He excelled more as a colourist than as a draughtsman, was extremely productive, and painted and etched historical and allegorical pictures, landscapes, still-life, animal pictures and flower pieces." His works are in all the major museums.