Leon Herbo Art

Bernard Pothast (1882-1966) Although born in Belgium in 1882, Bernard Pothast was the...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Woman artist Kiki Lamers portrait of a Young Girl is Signed and dated with title on the reverse the painting "Dutch Girl" by Kiki Lamers is framed in a silv...

Oil on board study of a Blue Agave in its landscape by French artist Louis Michel Bernard. Signed bottom right and with atelier stamp to the rear of the panel. Presented in fine custom carved wood, gesso, silver leaf and patinated frame. A charming painting of an iconic plant, the thick tendril leaves reaching out from the centre ground surrounded by the ancient oaks and olive tress in the landscape. Bernard has used browns and ochres for the ground surrounding the plant and trees which gives the painting almost an abstract quality. His use of material gives a vivacity to the composition and texture to the surface of the painting. A wonderful addition to any collection or interior. Louis Michel Bernard (1885–1962) was a French artist who primarily focused on landscapes, and he gained recognition as an Orientalist painter...

Realistic portrait of an older rabbi visiting and blessing a child in a European marketplace. Here the artist conveys a sense of quiet grandeur th...

Frederick Dielman (Hanover 1847 – Washington 1935) - Portrait of a woman. 57x45cm. Oil on canvas, unframed. Work signed: "Frederick Dielman". Condition report: Painting subjected...

Frame size 83x73 cm. Mariano Tur de Montis (Ibiza 1904 -1994). Son of the Ibizan general Don Juan Tur y Palau, of an old patrician family on the island, and of Doña Cristina de Montis and von der Klee. Ibiza painter who felt great admiration for the Spanish classics and the influence of Central European painting of the late 18th and early 19th centuries, and especially that of the painter Manuel Benedito. He received multiple praises in his various artistic exhibitions not only in Ibiza, but also in Palma de Mallorca, Mahón, Barcelona, ​​Madrid and in European capitals such as London or Paris. When he was only fifteen, he decided to go to meet Sorolla - when he was painting "The Smugglers" in the vicinity of his family mansion - to find out what opinion he deserved on the first portrait he had made of his mother. A few years later, and undoubtedly encouraged by the praiseworthy response received, he was already successfully overcoming the successive sieves of artistic criticism, until he stood out with the “subtle and aristocratic” style that characterized him, in such relevant competitions as the National Exhibition de Bellas Artes or at the Paris Salon. Delving into his biography it is possible to recognize the main factors that would converge in this rapid and justified progression: the very cultural and artistic environment that surrounded him since his birth. The specific preparation with which his refined mother channeled his innate qualities and marked sensitivity. As well as, and above all, his own need to create beauty. Despite a brilliant degree in Law, he attended the Sant Jordi Academy of Fine Arts in Barcelona, ​​complementing his training in Rome, Florence and Paris. At the early date of 1925, the local press was pleased to transcribe the reviews of his exhibition in the Galerías Layetanas of Barcelona, ​​and in which the acquisition of one of his works "Frivolities" for the Museum of Art took place. Modern of Palermo (Sicily). After participating in 1926 in the Autumn Salon of Palma de Mallorca, together with Narcís Puget Viñas, and in 1929 in the Permanent Exhibition of Levante Art, one of his emblematic satisfactions would arrive: the praises that King Alfonso XIII himself dedicated to the stop before his painting Céfora, a painting in which his sister Guadalupe Tur de Montis was the model, during the National Exhibition of Fine Arts, held in Madrid. Oil that also deserved attention in the prestigious magazine La Esfera, which dedicated the cover of its number 20 of July 5, 1930, or the French magazine La Revue Moderne. In the magazine Arte y Hogar- in its number 56, the Marqués de Lozoya Director General of Fine Arts wrote a nice eulogy of the painter and his work in the photographic report dedicated to the beautiful and elegant Casa de los Tur de Ibiza. It was precisely in 1930, when Tur de Montis began to interact amicably and professionally, with a select group of painters, both Spanish (Pla, Rigoberto Soler, Amadeo Roca and Laureano Barrau...

Child with a dog - Nicola Del Basso Italia 1999 - Oil on canvas cm.100x80 This beautiful oil on canvas portrays a little girl sitting in the meadow with her dog, a magnificent Germa...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

Male portrait from the Art Nouveau era. An enigmatic and magnetic image of the man, on whose face there is just a hint of a smile. Technique: oil on canvas. Relined. In good conditio...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

ARTIST: Harold Williamson (1898-1972) Brtiish TITLE: " A Geneva Window" SIGNED: lower right MEDIUM: oil on board SIZE: 43cm x 36cm inc frame CONDITION: excellent DETAIL: Painter...