Charles Dufresne

Loge de Theatre (Preliminary study for a painting)

1910-1920

Loge de Theatre (Preliminary study for a painting) Graphite on paper Signed in pencil lower left Annotated with color notations by the artist (see photo) A early Parisian theme work ...

Sammy Lee Sleeping II Graphite on sketchbook paper, 2007 Signed by the artist in pencil lower right: "Sedrick Huckaby" (see photo) Condition: Excellent Sheet size: 9 x 12 inches Fram...

Post Office, New York Watercolor on paper, c. 1930 Signed with the Estate stamp lower left (see photo) Illustrated: Marbella Gallery, Robert Hallowell (188...

The Model Watercolor on paper, c. 1930 signed lower right (see photo) Condition: Excellent A few bits of adhesive residue verso Colors fresh and unfaded Housed in a Marin style metal gilt frame Sheet size: 19 1/4 x 25 1/4 inches Frame size: 30 x 35-1/2 x 1-1/2 inches A major example of the artist's cubist watercolors Provenance: Estate of the artist By decent to his daughter Gretchen Realted to a watercolor illustrated in William H. Robinson and Christine Fowler Shearer, "Against the Grain: Modernism in the Midwest," American Art Review Vol. XXII, no. 4 (August 2010), page 86 William C. Grauer (1895-1985) William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans...

Signed with the estate stamp initials lower right, Lugt 388a (see photo) Provenance: Richard Norton Gallery, Chicago (label verso) Fairweather-Hardin Gallery, Chicago (label verso) ...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. Condition: Excellent Sheet size: 9 1/4 x 6 1/4 inches Frame size: 16 x 12 1/2 inches Frank Duveneck (1848-1919) Born in Covington, Kentucky, Frank Duveneck had the birth name of Frank Decker. He became a well-trained academic painter whose work ranged from single figures in interiors to plein air canvases of figures in landscape and often included the depiction of low-life persons. His styles included Realism, Social Realism, and Impressionism, and his work was ever influenced by the dark tones and vigorous brush-strokes of the Munich style, which he learned at the Munich Academy in the 1870s. Art historian Matthew Baigell described Duveneck's mature style as having "loose highlights brushed over ruggedly blocked-out forms emerging from a richly suggestive chiaroscuro." He apprenticed to a church decorator, Wilhelm Lamprecht, in Cincinnati, and worked in Catholic Churches in Covington, Cincinnati, Latrobe, Pennsylvania and Quebec, Canada. At age 22, entered the Royal Academy of Munich where he intended to further his interest in church decoration but instead veered to fine-art painting on canvas. One of his most influential teachers was realist Wilhelm von Diez, and Duveneck, also impressed by the realism of French painter Gustave Courbet, became known for adopting this revolutionary approach with rich brushwork. In Munich, Duveneck shared a studio with William Merritt Chase. Returning to Cincinnati, he painted portraits and decorated churches and also taught art classes. At first he did not gain much attention, but an exhibition in Boston in 1875 gained him good attention. In 1875, he went back to Europe and opened an art school in Munich and also in Poling in Bavaria, and many Americans who became known as "Duveneck's Boys," studied with him. Several years later, he opened his school in Italy where he spent the winters in Florence and the summers in Venice. In 1879, he and his followers went to Venice where he began etching and briefly shared a studio with James Whistler in order to learn from him. He also did sculpture. During this period, his painting changed drastically from dark interiors with heavy, impasto paint to outdoor, plein air painting in much lighter colors giving the appearance of sunlight. Among his students was the future Impressionist painter John Henry Twachtmann, and also Elizabeth Boott, whom he married in 1886 and who died two years later. In 1888, he returned to Cincinnati where from 1900 he taught at the Cincinnati Art Academy. He spent the summers in Gloucester, Massachusetts painting...

Intimate still-life of firewood and tools by the hearth by Joseph Yeager (American, 20th Century). This piece is unsigned, but was acquired with a collection of Yeager work directly ...

Image dimensions: 7 ¼ x 10 ½ inches Framed dimensions: 16 ½ x 20 inches To produce his murals, Sargent painted monumental canvases in his studios in London and Boston, adhering them...

Fairy tale. 1950. Paper, watercolor, 26,5x19,5 cm

Italy. Paper, mixed media, 33х24 сm

Pastel and Coloured pencils on Hahnemühle archival paper 300g - Original Drawing, Interior, Flowers Work Title : Bouquet Artist : Gabriel Riesnert (Fr...

This graphite drawing on paper is in excellent condition and and has only been shown in a gallery setting. The size dimensions do not include the frame. Alvar pays homage to two of his favorite artists in De Piero a Picasso. Early Renaissance Italian painter Piero della Francesca and twentieth-century Modern artist Pablo Picasso frequently appear as sources of inspiration in Alvar’s homage works. Piero, nowadays celebrated as an artist, was regarded as a mathematician and geometer to his contemporaries in the fifteenth century. Alvar recognizes Piero’s advanced knowledge of perspective and color, his geometric orderliness, and skill in pictorial construction by including a reference to Piero’s History of the True Cross in the lower left corner. The sequence of frescoes painted by Piero circa 1451-1466 is considered an early Renaissance masterpiece. Creative muses in the center of the painting form a symbolic connection between Piero and Picasso, another artist from which Alvar receives continuing inspiration. A muse upholds a recreation of Picasso’s 1901...