Art

Gertrude A. Larter (1878-1954). Lake Landscape. ca. 1920-40 Pastel on sandpaper sheet. Measuring 9 x 11 inches Signed lower right. Unframed. Gertrude A. Larter was born in New...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Original "Clear the Way !!" Buy Bonds Fourth Liberty Loan vintage poster.. With Lady Liberty holding the U. S. Flag above the soldiers prepari...

We are honored to present for sale a captivating winter landscape painting by Anton Jonsson Genberg, completed in 1919. This piece is a pristine representation of Genberg's artistry,...

Lithograph on vélin des papeteries Lafúma paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Le manuscrit trouvé dans un chapeau, orné de dessins a la ...

This beautifully colored image features a pinup of actress and Hollywood bombshell Marilyn Monroe posed in a bathing suit with her leg uppoolside. Marilyn Monroe was one of the mo...

Oil on canvas by Louis BERTHOMME SAINT-ANDRE, France, 1940s. Young Red-haired Woman. with frame: 74x63 cm - 29.1x24.8 inches ; without frame: 61x50 cm - 24x19.7 inches. Format 12F. ...

Original vintage poster: FREEDOM FROM WANT, Ours to fight for ... Original. Artist: Normal Rockwell. Archival linen backed in fine condition, ready to frame. Note: All US Go...

Artist: Anders Zorn (Swedish, 1860-1920) Title: "Gulli I" Series: Gulli *Signed by Zorn in pencil lower right. It is also signed and dated in the plate (printed signature) lower right Year: 1914 (second state of two) Medium: Original Etching on cream Van Gelder Zonen laid paper Limited edition: approx. 50 impressions Printer: the artist Zorn himself, Mora, Sweden Publisher: the artist Zorn himself, Mora, Sweden Reference: Asplund No. 265; Hjert & Hjert No. 162 Sheet size (irregular margins): 12.88" x 10.13" Image size: 5.13" x 3.5" Condition: Faint UV stain. Minor toning to sheet and minor paper loss at bottom center margin. It is otherwise a strong impression in excellent condition Very rare Notes: Provenance: private collection - Santa Fe, NM. Fleur-de-lis shield (Van Gelder Zonen) watermark at left center margin. Pencil inscribed "Gulli No. 1" lower right in margin. Retains old paperwork from previous framing. Biography: Anders Leonard Zorn...

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

This is an Robert W. Wood Original Oil Painting 1941. Measures 34x28. Condition report painting has some damage. Small hole on top, hole that’s been repaired in the center. Minor scr...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

This impression (after the original woodcut) was printed on japon paper in 1943 in an edition of 250, and is one of Gauguin's beautiful Tahiti compositions. Image size: 6 1/4 x 12 in...

This black and white pinup style portrait features blonde actress and film icon Marilyn Monroe. Captured by celebrity photographer Frank Worth this sexy image features the actress se...

Kollwitz, Kathe. TOD UND FRAU (DEATH AND WOMAN). Knesebeck 107, State VII; Klipstein 103. Line etching, drypoint, sandpaper, soft ground with imprint of granulated tone paper and Zie...

Alfred Ekstam, a renowned artist from Mangskog, Sweden, is known for his exquisite landscape paintings. We are excited to present this painting by Ekstam, which is extra special because it is painted on both sides, offering two beautiful landscapes in one, with a reversible frame that can be turned over without having to take it down from the wall. On one side, you will be mesmerized by a stunning Art Nouveau landscape with a purple tone, featuring a mountain in the background, a lake, and trees in the foreground with shades of yellow, red, and green. On the other side, you will see a winter landscape with five red houses, likely to be Ekstam's own farm in Knaggen. The winter scene showcases sun rays shining down on the houses...

Work on wood sold with frame Total size with frame 80x62 cm Paul Chevallier is a French artist from the 19th to 20th century

Original linen backed 1949 International Jumping Steeple Chase Van Gent poster. The events were held at the Royal Cercle Equestre Gent; at the Feestpaleis The Royal Cercle Eque...

Pablo Picasso, Spanish (1881 - 1973) - Gravure Au Burin 1945, Year: 1945, Medium: Etching, Edition: 50 (edition not marked), Image Size: 8.75 x 13.75 inches, Size: 12.5 x 18.25 in. ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

The 1947 travel poster for Stresa, created by artist Theo Taimonti, is a breathtaking example of mid-century tourism advertising. Designed as part of Italy’s post-war tourism revival...

MODERNIST ABSTRACT Mid-Century New Hope Non-Objective oil American Modern WPA Louis Stone (1902-1984) "Abstract," 16 X 12 inches. Oil on canvas, signed lower right. An abstract pai...

Skyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. Housed in a stunn...

Bernard Brussel-Smith, 'City Scene II', wood engraving, 1949, artist's proof, edition 100. Signed, titled, and annotated 'A.P.' in pencil. A superb, richly-inked impression, on whit...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

A very good large antique oil on canvas painting by the celebrated Spanish artist Maximo Juderias Caballero (1867-1951), Paris 1910. The painting depicting an interior scene of 17th ...

This charming woman nude pencil study is by Russian-French painter Alexandre Pavlovitch Chemetoff (or Chemetov,) also known as Chem (1891 - 1981). It is a striking representation in ...

Carl Frederick Gaertner (American, 1898-1952) Rocky Cove, 1947 Oil on canvas Signed lower left 24 x 30 inches 31 x 37 inches, framed Carl Gaer...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Artist: Pablo Picasso Title: Round Head of a Man with Tiny Features (Plate XVII) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18"...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1940s. Two Figures, 1949, ebony wood, 24 x 7 x 5 inches, unsigned, but comes from Thomas' daughters and includes a copy of a 1949 photo of this work listing the artist's name, title of work and date Robert Chester Thomas was a California sculptor. A native of Wichita, Kansas, Thomas moved with his family to Southern California as a child. During World War II, he joined the army and served for a time in the European theater. When he returned to California, he studied sculpture with David Green in Pasadena in 1946 and 1947, before taking advantage of the GI Bill in 1948 to study with Ossip Zadkine in Paris. He first exhibited at Galerie St. Placide as part of an exhibition of American artists working in late 1940s Paris...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

Casablanca is a 1942 American romantic drama film directed by Michael Curtiz, and starring Humphrey Bogart, Ingrid Bergman, and Paul Henreid. Filmed and set during World War II, it focuses on an American expatriate (Bogart) who must choose between his love for a woman (Bergman) and helping her and her husband (Henreid), a Czech resistance leader, escape from the Vichy-controlled city of Casablanca to continue his fight against the Germans. The screenplay is based on Everybody Comes to Rick's, an unproduced stage play by Murray Burnett and Joan Alison. The supporting cast features Claude Rains, Conrad Veidt...

'Provencal Plane Trees in Winter', gouache on art paper, by Max Escalon de Fonton (1946). The plane trees found in Provence in the South of France are a hybrid of the Asian and Ameri...

Carlota Rosales Martínez de Pedrosa was born in Madrid in 1872 and was the second daughter of the painter Eduardo Rosales, after the birth the Rosales...

Medium: lithograph (after the original Edouard Vuillard lithograph). Printed on Renage wove paper in 1948 by the atelier Mourlot and published in an edition of 2500. Size: 12 3/8 x 9...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Pablo Picasso L'Atelier (The Studio), 1948 Lithograph Hand signed by artist and numbered 45/50 from an edition of 50. Measures: 25.5 x 19.5 inches In the artist's catalogue "Picasso Lithographe II...

Humphris is a highly acclaimed American sculptor and created a large body of work of Western subject matter, particularly of the American Indian so rare to get a soldier. He did liv...

Wonderful German genre painting of 17th century tavern scene in style of Franz Hals by Karl Josef Muller (German, 1864-1942) dated 1918. Signed and dated lower left corner "Karl Muller - Hamburg 1918". Condition: Good; professionally restored: Canvas restreched on new stretcher bars; five repairs made to small tears in canvas (see image); cleaned and re-varnished with UV-resistant varnish. Unframed. Image size: 39.5"H x 55"W. We have the original frame which needs some extensive repair to the gesso. Happy to include the frame with the painting as is. Karl Müller was born in Hamburg-Altstadt in 1865. His wealthy Jewish parents Abraham Müller (1832-1896), citizen of the Hanseatic city since 1869, and Henriette "Jette", b. Burchard (born 1832 Neubuckow / Mecklenburg), had a cigar factory at Spielbudenplatz 5 in St.Pauli. When Karl Müller was ten years old, next to factory and warehouse, now at Speersort 11 (Altstadt), there was also a branch in Altona-Ottensen with the address Am Felde 68. The family lived at the time at Pferdemarkt 13 (Old Town). After attending the Jewish Foundation School at the Zeughausmarkt, Karl Müller completed a three-year lithography apprenticeship. From 1886 to 1888, he studied at the Royal Saxon School of Applied Arts in Dresden with the history and decoration painter Donadini, then with Professor Hanke of the Prussian Academy of Arts in Berlin. Karl Müller's painting style was conventional-realistic and did not follow modern trends. In 1891, the oil paintings "Preparation for the Service", "In the guardroom", tattoo", "gymnastics lesson", "covert patrol” and "return from the field service exercise”, whose main motive almost always soldiers formed.In 1893, he painted the" invasion of the 76er " as a horizontal format in black and white, the painting was acquired by the Museum of Hamburg History in 1930. The disposition of Karl Müller could be classified as "kaisertreu" and "national" (Maike Bruhns) at this time - not by chance he acted with his Nicknamed "Soldatenmüller", he successfully participated in exhibitions in Berlin and Hamburg before the turn of the century. Even at this time, the frequent change of residence is striking: 1893 Papendamm 25 (Rotherbaum), 1896 Bundesstraße 9 (Rotherbaum). In 1898 he was in the Hamburg address book as a "genre and portrait painter" with the residential address 1. average 43 (Rotherbaum) out. At the age of 38, Karl married in 1903 in the Hanseatic city of the Jewish Louise Hauer (born 12.2.1872 in Hamburg), called "Lieschen". Before her marriage, she lived with her mother at Grindelberg 78. Her father, Martin Hauer (1836-1897), also born in Hamburg and was a citizen of the city since 1862, owned a factory for soap and perfume. In 1904 and 1911, the two daughters Karla and Lotte were born. 1904, the family lived at this time in the Bogenstraße 20, Karl Müller commissioned a portrait of the emigrated hamburger Henry Jones opening the same lodge in the Hartungstraße 9-11. Already at this time he might have been a member of the Hamburg Artists Association of 1832. Starting from 1908 further change of dwellings on the basis of the telephone books are comprehensible: nearly yearly the family moved and moved thereby from the Grindel quarter over Hoheluft east to Harvestehude and Winterhude. Around 1912 she moved into an apartment in Sierichstraße 156. Here, the landlord Schröder provided the artist with an area of ​​around 45 square meters as a studio on the dry floor. But the building police criticized this use and after some disputes, the painter had to move once again with family and studio. The official telephone directory recorded as an address from 1914 to 1918 Klosterallee 20 (Harvestehude). Friedrich Jansa described Karl Müller's changed motif choice in his artist's glossary in 1912: "In recent years he has been watercolouring a lot in the Hamburg area and now mainly takes his motifs from Hamburg harbor...

Outstanding male portrait by 20th-century American artist, Vito Tomasello. Portrait of a young man, c.1950. Pencil on paper, sheet measures 14 x 17 inches. Excellent condition. S...

Artist: Pablo Picasso Title: Square Head of a Man with Clenched Mouth (Plate IX) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18"...

A substantial, sunlit landscape showing a fruit-tree in blossom in the foreground with verdant fields receding towards rolling hills beneath turquoise and lavender clouds. Signed ...

A dramatic mid-century western figurative action scene depicting a shootout in an old western town by Randy Steffen (American, 1917-1977), 1947. Several ...

Albert Einstein giving a lecture at a podium, 1946. Albert Einstein was a German-born theoretical physicist who developed the theory of relativity, one of the two pillars of modern ...

Medium: Lithograph and stencil on vélin Polifilo paper Year: 1947 Paper Size: 13.78 x 10.24 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, I...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Kathe Kollwitz, Ten Lithographs. Published by Henry C. Kleemann and...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Robert Vale Faro, 'Hold that Tiger', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '91' and '15/16' in pen. A fine impression, with fresh colors, on heavy, coated, off-white wove paper; the full sheet with margins (13/16 to 1 1/2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 14 x 9 3/8 inches (356 x 239 mm); sheet size 17 x 11 1/4 inches (432 x 285 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal of Chicago. The Brooklyn Museum mounted a show of Vanguard artists' work in 1946, which subsequently toured several other institutions in the United States. Faro's visionary graphics from the 1940s are a sophisticated blend of Abstract Expressionism, Surrealism, and Indian Space...

Medium: original etching. This Hermann Struck etching was printed in 1919 and published in Berlin by Paul Cassirer. Plate size: 8 x 5 3/4 inches (205 x 145mm). A good impression on w...

American Impressionist

5-2620 Vintage original colored pastel on paper displayed in a gilt wood frame under glass.Arist unknown

BARBIER, George. Nijinsky as 'the poet' in Les Sylphides. London, C. W. Beaumont, 1913. ‘The designs, although somewhat fantastic in treatment, do convey the impression produced b...

Faces is a linocut realized by Mino Maccari in the 1940s. 50 x 30 cm. Handisigned in the lower right part. Edition of 12 copies. Reference; Cat. Meloni , pag 367, n.1741. Good c...

3765 New England landscape painting Set in a hand carved wood frame Image size 7.5x9.5"

Black and white glamour shot of Rita Hayworth posed smiling on bed. Rita Hayworth was an American actress, dancer, and pin-up girl. She achieved fame in the 1940s as one of the top ...

In parallel to his studies of architecture, Lebourg takes courses at the school of the Beaux-Arts of Rouen. After a stay of several years in Alger, where he taught drawing, he returned to France and exhibited in the salon from 1878 and then regularly until 1914. He participated in the Impressionists' exhibition in 1879 and became a member of the National Society of Fine Arts in 1894. He was promoted to Knight of the Legion of Honor in 1903 and then to the rank of Officer in 1924. Winter landscapes and waterfront sites had the preference of the artist, for whom values prevail over tones. Lebourg did not divide the tone but fragmented the key to make the color vibrate. In 1916 a major exhibition will be devoted to his work with more than 200 painted works exposed. Museums : Alger – Agen – Aix les Bains...

Very nicely painted, early American impressionist landscape painting. Oil on board. Housed in a period and valuable gold giltwood frame. Image size, 8 by 10 inches. Circa 1910.