Everett Shinn

Untitled (Woman in Stockings)

c. 1905-09

Standing Female Nude Colored chalks on tan Strathmore paper, c. 1975 Signed in chalk upper right (see photo) Condition: Excellent Housed in an 8 play acid free rag matting S...

Seated Female Nude (Devora) Watercolor on paper, c. 1970 Signed in pencil lower right (see photo) A folio from the artist's sketchbook. Done while the artist was in Florida. Conditio...

Preliminary Study for Cretan Dancer Bronze Graphite on tracing paper, 1930 Unsigned Note: The bronze sculpture measures 24 1/2 x 33 5/8 inches and is signed and dated 1930 on the base (see image on right). It is currently being offered for sale by Taylor Graham Gallery in New York. (see photo) “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Image size: 6 1/2 x 6 1/2 inches Condition: Repaired tear in the lower left corner (see detail photo) Boris Lovet-Lorski Lithuanian/Russian/American 1894-1973 Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade. Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists. He died in Los Angeles in 1973. Regarding his iconic Art Deco sculptures of Cretan Dancers: “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Lovet-Lorski created sculptures of the following major figures I.J. Paderewski, Prime Minister of Poland Arturo Toscanini, Italian Conductor Lilian Gish, Actress President Franklin D. Roosevelt Mrs. M. C. Niarchos, wife of Stavros Niarchos President Abraham Lincoln James Forrestal, Secretary of...

Femme nue de dos allongee Charcoal and white chalk on laid paper Signed in charcoal, lower right "Steinlen" (see photo) Note: Similar reclining nude drawing illustrated Slatkin No. 12 (See window on right) Similar drawing, same model, same media, Proute 1971, Catalog Dandre Bardon, no. 115 There also other similar finished drawings of nudes in similar poses and with the same couch, white blanket...

Standing Female Nude Ink on paper Signed by the artist with his initials lower left "AB" Related to numerous drawings of the same model illustrate...

Conte crayon on paper, c. 1905-1909 Signed lower right Archival frame by Graham Gallery, New York, hand carved frame with silk matting and gold fillet (...

Signed, dated, and titled, lower left: L Ury/ 1883/ Studie zum Hiob Provenance: Mr. and Mrs. Dennis Berger, New York, until 2005; thence by descent. Literature: Illustrated in...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

Italian School, 16th Century Provenance: Private Collection, New York This intriguing drawing is a study by an anonymous 16th-century Italian artist after a vignette in Michelangelo’s fresco of The Last Judgement in the Sistine Chapel. The altar wall of the Sistine Chapel was already richly decorated when Pope Clement VII commissioned Michelangelo to paint his Last Judgment...

Provenance: Dr. George Hamilton, Massachusetts; and by descent. Private Collection, Ohio, until 2021. Exhibited: (Possibly) Clark Art Institute, Massachusetts (according to a handwritten inscription on the reverse). This drawing by an anonymous, 16th-century German hand presents a delightful scene of nymphs—mostly nude but some draped with cloth—making music in an outdoor setting. The composition is executed within a roundel and centers on the harpsichord played by the figure seen from behind. She is accompanied by a host of other instruments, including horns, a harp, and a lira da gamba played by figures gathered nearby, several of which are positioned along the curved edges of the visual field. Two satyrs observe the merrymaking—one leans on the harpsichord while the other holds aloft a cup, presumably of wine, adding a bacchic element to the revelry. The drawing was previously owned by Dr. George Hamilton, scholar of modern art and Director of the Sterling and Francine Clark Art Institute in Williamstown (1966–1977). Hamilton played...

Provenance: John Barnard, London (Lugt 1419) or possibly Saint John Dent, London and Milton (Lugt 1438) Unidentified collector’s mark “W,” lower left of the mount (Lugt 2591a) Private Collection, USA. This expressive and boldly executed drawing is a work by Francesco Maffei...

Seated nude. Washed ink and pencil. Signed and dated 1931.