Manuel Luque Art

Algerian women in an interior. Oil on panel. Signed. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck...

Nelson Mandela, Hand of Africa, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his ...

Work : Original Oil Painting, Handmade Artwork, Unique Work. Ready to Hang. Medium : Oil on coated wood. Artist : Raphaël Renaud Subject : Coin de AS (Title), (EN : Corner of AS). T...

Provenance: Palazzo Pisani at San Stefano, Venice Mrs. F. Craighead (possibly Mrs. Fay Stinson Craighead, Evansville, Indiana) Sale, Sotheby Parke Bernet, New York, 7 June 1978, lot 310, as Bonifazio Veronese Daniel M. Friedenberg, New York, until 2011; and by descent to: Russell Friedenberg, until 2014 Literature: Giuseppe Pavanello, Gli Inventari di Pietro Edwards nella Biblioteca del Seminario Patriarcale di Venezia, Venice 2006, pp. 132, 140, as no. 10 in Pietro Edwards’ inventory of the Palazzo Pisani: “Giuseppe che fugge dalla moglie di Pitifarre” by Bonifacio Veronese. Philip Cottrell and Peter Humfrey, Bonifacio de’ Pitati, (forthcoming), cat. no. 166h. Antonio Palma is the least well-known member of the illustrious Palma family of Venetian painters of the 16th century. He was the nephew of Jacopo Palma—Palma il Vecchio—and upon his uncle’s death in 1528, he began to work with Palma Vecchio’s principal student and the inheritor of the elder artist’s studio, Bonifazio de’ Pitati (Bonifazio Veronese). Antonio worked with Bonifazio as his principal assistant and right-hand man until Bonifazio’s death in 1553, after which he continued his independent career. He married a niece of his master, and their second son, Jacopo, born in 1648, would achieve fame as Palma il Giovane...

The Lute Player, the Flute Player and Singers making Music • 18thC Oil on iron sheet, ca. 32 x 26.5 cm • Later Frame, ca. 40 x 34 cm Here we have a...

Laurent Parcelier was born in 1962 in France. Interested in art from an early age, Parcelier attended the Applied Arts School in Dordogne. His obvious talent soon materialized into t...

CHERET, JULES (1836 - 1932) "Quinquina Dubonnet" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #28, 1898. Plate #109 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The “Maitres de l’Affiche,” were issued as separate numbered sheets, referred to as “plates”. They were numbered, with the printers name “Imprimerie Chaix,” in the margin at the bottom left hand corner, “PL.1” to “PL.240.” In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret’s. The smaller format and the fact the “Maitres” were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the “Maitres de l’Affiche,” usually far exceeds that of their larger counterparts. “The Dubonnet poster...

Laurent Parcelier was born in 1962 in France. Interested in art from an early age, Parcelier attended the Applied Arts School in Dordogne. His obvious talent soon materialized into t...

Work : Original Oil Painting, Handmade Artwork, Unique Work. Ready to Hang. Medium : Oil on coated wood. Artist : Raphaël Renaud Subject : Coin bas de VH (Title), (EN : Low Corner o...

Starry Night is a lithograph based on a watercolour by Charlie Mackesy. The edition is limited to 150 and each piece has been signed by Charlie Mackesy...

RENOIR, PIERRE AUGUSTE (1841 -1919) "Femme au cep de vigne, 4th variante" Woman by the Grape Vine, 4th variant Delteil 48, Stella 48 Original lithograph in black ink, 1904 -1905 On...

CHARPENTIER, ALEX (1856 -1909) "Grande Tuilerie d’Ivry" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, issue # 33, 1898. Plate #131 Unframed Size: 11 3/8 x 15 3/4”The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. The text reads "Great Tileworks of Ivry, founded in 1854, Ivry-Port near Paris; the largest ceramics factory in the world for building, industry and art productions; Emille Muller stoneware; execution of works by masters of statuary; architectural facings; decorative sculpture; showroom and salesroom, 3 rue Halevy; the only tile able to bear the names Muller and Ivry; (tiles) guaranteed against frost" Given the commission for an extremely text heavy poster, the artist executes a masterful design. The angelic young boy holds the wares of this famous ceramics factory, against an abstract background awash in organic green hues. The handling of the immense text that flows from top to bottom in every available space shows great artistic skill, as the overall beauty of the design is intact. In 1989 the Metropolitan Museum of art acquired a stoneware plaque...