Claire Vergez Art

JOSÉ GALLEGOS Y ARNOSA Spanish, 1857 - 1917 THE PRAYER signed & dedicated "J. Gallegos, A MI AMIGO PASSARGE” (lower left) watercolor on cardboar...

One of the characters in this scene is a mature man, kneeling with his head bowed and hands clasped near his chest in a gesture of supplication. His posture conveys a sense of humili...

Signed: by Richard Geiger (1870 – 1945), Austrian - Hungarian painter. Also pencils inscriptions on reverse with date 33 (1933). By the 1920s, he worked illustrating books, bookplates and posters. His paintings included portraits, nudes, genre paintings, and mythological scenes, but he was known for his illustrations, especially his carnival motifs. Spectacular masterwork. Size app.: 18 x 23.3 cm (roughly 7.1 x 9,2 in), framed 31.7 x 36.4 cm (roughly 12.5 x 14.3 in). Very Good condition, minimal age wear. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Please study good resolution images for overall cosmetic condition. Glass will be removed prior to shipment for safe transit. Weight of app. 0,5 kg (without glass!) is going to measure some 2 kg volume weight packed for shipment. R. Geiger was born in Vienna. He first attended a drawing school and then studied at the Academy of Fine Arts Vienna, where he studied under Christian Griepenkerl and August Eisenmenger. He studied sculpture with Fritz Klimsch at the Academy of Arts in Berlin. There he took part in the exhibitions of the Academy with his portrait busts and sculptures. In Paris he studied at the Julian Academy and worked in the studio of François Flameng...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

GEORGE ELGAR HICKS (1824-1914) Portrait of a Young Gentleman Signed and dated 1858 Watercolour and bodycolour, oval 30 by 25 cm., 11 ¾ by 9 ¾ in. (frame size 50 by 41 cm., 19 ¾ b...

SOLD UNFRAMED Jeune Montagnarde des Environs de Truskaniva by Franciszek Tepa (1829-1889) Watercolour 26 x 20.5 cm (10 ¼ x 8 ⅛ inches) Signed and dated lower left, Franciszek Tepa ...

SOLD UNFRAMED Paysan Centenaire, Soldat de l'Armée du Général Kosenisko by Franciszek Tepa (1829-1889) Watercolour 26.3 x 30 cm (10 ⅜ x 11 ¾ inches) Initialed and dated lower left, ...

SOLD UNFRAMED Montagnard des Environs de Szczaronica by Franciszek Tepa (1829-1889) Watercolour 26.3 x 20 cm (10 ⅜ x 7 ⅞ inches) Signed and dated lower right, F. Tepa 1873 Artist ...

John Collingham Moore (England, 1829-1880) four children, circa 1860s Rare pencil, watercolor and white wash by listed artist John Collingham Moore, 19th century. Here we have the children of Henry and Elizabeth Young...

Jules Monge (1855-1934) French soldiers, six different watercolors in a same mount Each one signed (4 on lower right, 2 on lower left) Each one 9.5 x 14...

Dina introduces a sense of movement to her gouache Bird by Bird series with her miniature portrait, Ocellated Crake. Wings spread, beaks open wide, and legs hover in the air. This dy...

Signed lower right, 'J. Norall' for John Norall (American, 1920-2024) and painted circa 1993. Exhibited: Mill Valley Library Gallery, 1993 Born in North Platte, John Norall studied ...