Carmen Ventosa

Young girl portrait oil on canvas painting

c.1950

Joan Palet (1911 - 1996) - Self portrait- Oil on board Oil measures 36x31 cm. Frame size 49x44 cm. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wo...

Joan Vives Maristany (XX) - Boat ride - Oil on panel Oil measures 46x28 cm. Frameless.

Certainly a family of artists, such as, of course, Amadeu (1912-2004), known for a long artistic career, as a teacher of several generations of painters and as an artistic popularize...

Enrique Montserrat Foj (1935-2022) - Girl playing the flute - Oil Oil on canvas glued to cardboard. Oil measures 46x38 cm. Frameless. Romantic cartoonist, especially for the foreign market, and also a gymnast. Cartoonist linked to Editorial Bruguera and its agency Creaciones Editoriales. She got her start drawing girls' or adventure comics in Stories and the Sissi Graphic Novel Supplement. Much of her work from the 1960s was aimed at the European market for young women's magazines through the Selecciones Ilustradas agency. Anecdotally, he collaborated with Marvel Comics, drawing a romantic comic based on a script by Stan Lee for the title My Love (later republished in Our Love Story), credited there as Enrique Monserratt. He retired from comics in the 1980s to focus on painting. He was also an Olympic gymnast, a member of the Barcelona Gymnastics Center and the Barcino Tennis Club. He was champion of Spain in the third category (1955) and third in the Spanish Artistic Gymnastics Championships (1961). He participated in the Mediterranean Games (1959) and in the Rome Olympic...

Joan Vives Maristany (XX) - Woman in mourning - Oil on panel Oil measures 25x13.5 cm. Frameless.

Joan Vives Maristany (XX) - Sitges - Oil on panel Oil measures 22x31.5 cm. Frameless.

This piece is a pertinent example of Martha Walter's most precious oil portraitures. Her use of the pallet is effortless with bold brushwork, strong executions, and soft details. Wal...

'Portrait of a Bird in Snow', oil on board, by Anna Costa (circa 1960s). This is a unique still-life painted by the artist in warm colours in an Impressi...

Signed impressionist figurative oil on board circa 1940 by Russian painter Constantin Terechkovitch. The piece depicts a portrait of a lady in a dress and sun hat undressing in a wooded area beside a lake. The red of the dress contrasts beautifully against the deep blue of the water. Signature: Signed lower right Dimensions: Framed: 23.5"x15.5" Unframed: 18.5"x10.5" Provenance: Private French collection - Angers Konstantin Tereshkovich went to school in Moscow, where his family had moved in 1907. In 1917 he attended classes briefly at the Moscow School of Painting, Sculpture and Architecture. In 1920, after the revolution and civil war, during which he may have served as a Red soldier, he made his way to Paris, where, since his adolescence, he had always dreamed of being a painter in the city's vibrant artistic climate. To welcome him in Paris were Larionov (this was the time of the Ballets Russes) and Soutine, who were full of the experience of living along with Chagall, Modigliani and many others in La Ruche, the famous rotunda built for the Paris Exposition and later used for artists' studios. Making a living as best he could, Tereshkovich went to draw at the Académie de la Grande-Chaumière. He joined the Montparnasse circle of Kisling, Kremen and Lanskoy and later that of Roland Oudot, Maurice Brianchon and Raymond Legueult. Later they went on to form Réalité Poétique (Poetic Reality), a spontaneous group of painters that only became formalised in 1948. Tereshkovich joined the French Foreign Legion in 1939 but was demobilised in 1940. In 1944 he fled with his family to Avallon, where he had often painted. From 1950 he lived and worked in Menton, travelling, either in search of new subject matter or for pleasure, and once every four years went to the Olympic Games, to indulge his taste for sport. When Tereshkovich arrived in Paris he was overwhelmed by it, at first letting himself simply be carried away like a tourist, by shows like the French Can-Can, whose young dancers he painted both on stage and backstage; these paintings brought him some success. In 1933, he designed sets and costumes for the Ballets Russes de Monte Carlo. That year, he also married. His wife became his favourite model, and she was joined later by their two daughters, in countless family scenes that show his evident happiness down the years. He painted a wide variety of subjects, including Portrait of Frédéric Lefèvre, L'Espagnole, La Belle Danoise, and Avallon Town Crier, all of which were typical of his style. He also painted still-lifes and landscapes, such as Church near Avallon and Landscape at Villeneuve, and many horse racing scenes (he was a great racing enthusiast). In addition, he also produced many lithographs, some of which were illustrations for works by Colette or Chekhov, as well as designs for ceramics and tapestries. In his landscapes of the outskirts of Paris and the nearby countryside he would seize on a sudden intense ray of light piercing the mists on the Seine and turn it into something quite personal. During his travels, he went in search of ever more distant landscapes, both in France and beyond. Over the years, he also painted many portraits of his painter friends and others whom he met. Some of these portraits are entirely predictable, such as that of Bonnard, for whom he had nothing but admiration, but some of his other subjects are more surprising. These include: Soutine, Bonnard, Matisse, Utrillo, Vlaminck, Dunoyer de Segonzac, Rouault, Derain, Friesz, Van Dongen and Braque. Tereshkovich exhibited in various group exhibitions, including: from 1925 at the Salon d'Automne, Paris; in 1929, in Moscow, Tretyakov Gallery, along with Chagall, Soutine, Zadkine and Puni (the exhibition of Russian artists working in France). He went on to show work in many exhibitions around the world, such as: 1951, 1st Menton Biennale, where he won the Grand Prix; 1954 to 1958, 1963, the École de Paris exhibition at the Galerie Charpentier; regularly at the Salon des Peintres Témoins de leur Temps; 1972 Galerie des Granges, Geneva, Les Maîtres de la Réalité Poétique; and 2003, Musée de Montmartre, Paris, A Russian Summer in Montmartre: St Petersburg Artists in Paris in the Early 20th Century. He also showed work in solo exhibitions: 1927 Paris, Galerie Ch. Aug. Girard; 1934 Geneva, Musée de l'Athénée; 1937 Chicago, New York; 1938 Paris, Galerie de l'Élysée; 1942 Paris, Galerie Pétridès; 1946 Paris, Galerie Dubourg; 1948, 1951 Paris, Galerie Bernier; 1953 Paris, Galerie Pétridès, and Nice, Galerie Matarasso (watercolours and lithographs); 1957 Paris...

Basket Weaver with his Baskets for the Market 1950s figurative oil Expressive and detail portrait of a weaver and his baskets, heading to market by California impressionist nna Oley...

Portrait of a young boy, impressionist painting. Dimensions WITHOUT frame in cm 32 x 42

Herman Hyneman (1849-1907) Sunday Morning, 1907 Oil on board 15 3/4 x 11 1/2 in. Framed: 21 1/3 x 17 1/2 in. Signed lower right: Copyright 1907 by H.N. Hyneman Inscribed verso: Sunday Morning by H.N. Hyneman The following is from Peter Jung who credits "a friend named Jeff Gold on Long Island." Herman N. Hyneman (1849 - 1907) was born in 1849 to one of the most prominent Jewish families in Philadelphia. Unlike most Jewish families of the time, his embraced and encouraged his artistic talent. In 1874, Hyneman followed his first cousin Moses Ezekiel, National Academy member, to Europe to study. They first went to Germany and then to France where Hyneman began eight years of study with Leon Bonnat, the French Master. In Paris, the twenty-five year old Hyneman resided in a studio building at 75 Boulevard Clichy, with expatriates Frederic Arthur Bridgeman, Charles Sprague Pearce, Milne Ramsey, and Edwin Blashfield. Hyneman was clearly exposed to the works of these more experienced artists, as well as that of Walter Gay. In 1879, one of Hyneman's genre paintings, entitled "Desdemona", was accepted into the Paris Salon. That painting received favorable reviews both in Europe, and later in Philadlephia where it was exhibited alongside the works of other Philadelphia Artists exhibiting at the Salon that included Thomas Eakins, Pearce, Edward May...