Giglio Raphael Dante Paintings

Poseidon is an original painting realized by Lucie Navier in 1933. Original Ink and tempera painting on paper. Dated on the lower right corner (23-6-2033). Fair conditions except...

Madame in the blossom garden is an original painting realized by Lucie Navier in the 1931. Original tempera on paper. Very good conditions. Colorful composition representing a f...

UN Poster Design American Scene Mid 20th Century Modernism WPA World Peace Jo Cain (1904 – 2003) We Are All Members of the Human Race: UN Poster Proposal 21 x...

The Temptation is a modern artwork realized by Georges Valmier in the early 20th Century. Mixed colored tempera painting. Hand signed on the lower m...

Mané-Katz (1894 - 1962) SCHOLARS AT STUDY Signed Mané Katz (lower right) Tempera (gouache) on paper laid down on card. 19 3/4 by 23 5/8 in. (50.2 by 60.1 cm) sight size. Frame size is 27 X 31 inches. Provenance: Sotheby's Impressionist & Modern art, 8 June 2017 (consigned by original owner who purchased it directly from artist) Mane-Katz (1894-1962) was a Litvak painter born in Ukraine best known for his depictions of the Jewish shtetl in Eastern Europe. Emmanuel Mané-Katz (Hebrew:מאנה כץ), born Mane Leyzerovich Kats (1894–1962), was a Litvak painter born in Kremenchuk, Ukraine, best known for his depictions of the Jewish shtetl in Eastern Europe. Particularly music figures and Jewish wedding scenes. Mane-Katz moved to Paris at the age of 19 to study art, although his father wanted him to be a rabbi. During the First World War he returned to Russia, at first working and exhibiting in Petrograd; following the October revolution, he traveled back to Kremenchuk, where he taught art. In 1921, due to the ongoing fighting in his hometown during the civil war, he moved once again to Paris. There he became friends with Pablo Picasso and other important French artists, and was affiliated with the art movement known as the School of Paris; together with other outstanding Jewish artists of that milieu, he is sometimes considered to be part of a group referred to specifically as the Jewish School of Paris. Includes Russian, Ukrainian and Polish painters Jankel Adler, Arbit Blatas, Marc Chagall, Jacques Chapiro, Michel Kikoine, Pinchus Kremegne, Sigmund Menkes, Jules Pascin, Issachar Ryback, Jacques Lipchitz,Chana Orloff, and Ossip Zadkine. Ecole de Paris In 1931, Mane-Katz's painting The Wailing Wall was awarded a gold medal at the Paris World's Fair. Early on, his style was classical and somber, but his palette changed in later years to bright, primary colors, with an emphasis on Jewish themes. His oils feature Judaic Hasidic characters, rabbis, Jewish musicians, beggars, yeshiva students and scenes from the East European shtetl made famous in the west by Sholem Aleichem and Tevye. Mane-Katz made his first trip to Mandate Palestine in 1928, and thereafter visited the country annually. He said his actual home was Paris, but his spiritual home was Eretz Yisrael, the Land of Israel. In 1939, as World War II was breaking out, he was drafted by the French and then was taken prisoner by the Germans. He escaped and went to the United States and remained there until 1945, exhibiting his paintings at Katia Granoff Gallery and Wildenstein Gallery. After the war, he returned to Paris where he had exhibited in the Salons. In Paris to the end of his career, he worked happily, painting hundreds of portraits of rabbis...

Signed verso: "Robert Vickrey". Titled verso: "The Blue Top". In fine condition.

Mosque in Constantinople is an original artwork realized in the mid-20th century, and attributed to Gustavo Francalancia. Original mixed colored tempera and watercolor on plywood. ...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Migration (The Horses) by Orovida Pissarro (1893-1968) Egg tempera on linen laid on board 76 x 101 cm (29 ⅞ x 39 ...

Interior of a Dacha is an original painting in tempera on paper realized by Leonid and Rimma Brailowsky. Hand-signed on the lower right. The state of preservation of the artwork i...

Antoon Catrie (Ronsele, Belgium, 1924-1977), ‘Ballerina dancer’, oil on panel – tempera technique like in icons. The work is signed.

Artwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3" Provenance: John Heller Gallery, NYC, circa 1975 (label verso) The artist's daughter Corbino Galleries, Sarasota, FL (1990)...