Henri Félix Emmanuel Philippoteaux

Figures of Men - Drawing by Henri Félix Emmanuel Philippoteaux- Mid-19th Century

Mid-19th Century

Shadows is an original modern artwork realized the 1965s by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original pencil and watercolor drawing on Ivory cardboard. ...

Composition is an original Drawing in Pencil and watercolor realized by an anonymous artist in the mid-20th Century. Good Conditions. The artwork is depicted through strong strokes...

The Church is a Pencil Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a white paper. No signature. Reynold Arnould was born in Le Havre, Fr...

Abstract Composition is an original Ink and Watercolor drawing on paper applied realized by Maurice André in the Mid-20th Century. Good conditions. Han...

Enea e Didone (per Raffaele Carrieri) is a pencil drawing on paper, realized by Alberto Savinio in 1931, hand-signed and inscribed. Hand signed dedication to the italian writer and poet Raffaele Carrieri. Certificate of authenticity by Ruggero Savinio...

Hand signed lower right: “F. Depero”. Certificate of authenticity by the Archive of Fortunato Depero. There are different versions of drafts that the Italian artist Fortunato Depero realized before the final Collage poster...

Pencil, wax crayon, watercolour wash, pen and ink, crayon on cream medium weight wove Signed with pen and ink lower left 'Moore/39'

graphite on paper in vintage black wood frame 15 x 40 inches The contemporary, graphite work on paper is drawn in an abstracted, kinetic style where the artist drew continuous lines to portray a horizon of waterlilies in a landscape, creating a shard-like effect with great movement and speed. Sweeping lines of graphite arch and intersect to form abstracted circular standing flowers. The white cubist style flowers are contrasted against heavy, cross hatching lines of graphite. The artist fit the original drawing in a vintage brown wooden frame, measuring 15 x 40 inches. The frame exhibits some wear consistent with age, which is intentional by the artist. About the artist: A recent visit to David Dew Bruner’s train depot converted artist studio in Valatie, NY confirmed that the man does not sleep. Nor has he entirely put to rest the various series of graphite drawings on paper presented in a stunning array of mid-century and antique frames that were exhibited at the gallery last year. The still lives and figures inspired by artists like Velasquez, Morandi, and Lindner are morphing on a continuum of brilliance; the highly graphic influences of the Italian futurists like Giacomo Balla and Marcel du Champs, as well as the more obscure English Vortex movement have taken hold of Bruner’s intuitive approach to design as he channels it into his own drawings. The series of Infanta figures are emboldened with a new perspective and scaled up in size. A recent series of Arcs reference the gestural abstract shapes prevalent in the aesthetic of the Russian Constructivists. These works explore depth, movement, space and repetition that is more about design than reference. Bruner tastefully pairs drawings with a vintage frame from his collection, refashioning mirror frames from the 1960s or hand painting an antique Italian...

André Masson (1896-1987) Surrealistic flower Original colour pencil drawing Signed with the artist's stamp on the back (see photo) On 30.5 x 29 cm tracing paper (11.8 x 11.4 inche...

Flowing, organic abstract by Unger (20th Century). Several biomorphic shapes are flowing around each other, rendered in high-contrast shading. Signed and dated "Unger, 1975" on vers...

'Still Life with Strings', ink and pencil on paper, from the Italian School of artists (circa 1940s). This gallery acquired this artwork with two similar works for which this one may...

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...