Paul Hermann Wagner Art

The Menthol Mood, 2009, Nancy Lamb, Oil on canvas, 48 x 85" Nancy Lamb (American, born 1956), sculptor and painter. Formally trained at Texas Christian Un...

One of Jim Dine’s most iconic motifs, the romantic Rancho Woodcut Heart work illustrates the story of hope and love through a symbolic image of a large red heart. With the contrast o...

CHRISTOFFEL LUBIENIECKI (1659-1729) Pair of portraits of a gentleman and a lady, both in silk kimono, before a country house (circa 1680) Indistinctly signed “C.......” on a box under the man’s left hand Oil on canvas, 79.5 x 67 cm each Both sitters are portrayed wearing a silk “Japanese” coat. During the second half of the seventeenth the Japanese silk coat, an adapted Japanese kimono, became a real vogue in the Dutch elite. The exclusive Dutch trade contacts with Japan can explain the popularity of the kimono-style silk coats in the Netherlands. Everybody who could afford one, dressed in such a fashionable and comfortable coat and, like the present sitters, some proud owners had themselves portrayed in a “Japanese” coat often together with an oriental carpet to underline their standing and international connections. These portraits are the work of the Polish-born portraitist Christoffel Lubieniecki (also known as Lubienitski, Lubinitski or Lubiniecki) Lubieniecki was first trained in Hamburg under Julian Stuhr and after 1675 in Amsterdam under Adriaen Backer and Gerard de Lairesse. He specialized in landscapes, generally of an Italianate character, and in portraits. The loving execution of these contented burghers, enjoying the garden vistas of their country house, places him alongside Amsterdam portraitists such as Constantijn Netscher and Michiel van Musscher...

An original mid century modern woodblock print. This work is hand signed illegibly and titled "Wedding Party".

Erasmus Quellinus The Continence of Scipio Oil on Canvas The painting is included in the Catalogue Raisonné of the artist. The Roman commande...

Aline Feldman was born in 1928 and grew up in Kansas. She studied design and printmaking at Washington University in St. Louis under Werner Drewes and Fred Becker, respectively. She studied painting at Indiana University...

Toilet. (After a drawing by Norval Gray.) 1923. Wood engraving on sycamore, end grain. Physick 256. 4 1/2 x 2 1/2 (sheet 5 5/8 x 4 1/8). Proof printed on sturdy Japanese mulberry lai...

. Wood engraving. Physick catalog 827. 5 3/4 x 2 3/4 (sheet 8 1/16 x 3 7/16). Proof printed on simili-Japan paper with one side deckle edge. Unsigned. Eric Gill was a painter, scu...

Provenance: Private Collection, New York, until 2022. Martín de Porres was born in Lima in 1579, the illegitimate son of a Spanish-American father, J...

This delightful turn of the century (early 20th century) oil on canvas painting represents an Italian landscape with one of the most famous squares in the world: Piazza San Marco in ...

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...

Elia Shiwoohamba (* 1981 , Windhoek, Namibia ) Harvesting Time • African School • Linoleum cut • Sheet ca. 34.5 x 43 cm (Image is smaller) • Bottom left numbered 8/50 and titled • ...