Unknown

Abstracted Nude Figure Drawing, Signed Shapiro

c. 20th Century

Mystery Artist Untitled, 20th century Ink on paper Sight: 12 x 8 5/8 in. Framed: 17 1/8 x 13 1/8 x 1 1/2 in. Signed lower left

Kevin McAlpin (American, 20th Century) Untitled, c. mid-20th century Mixed media on canvas 24 x 19 7/8 in. Framed: 30 x 26 x 1 1/4 in. Signed lower right: Kevin McAlpin

Lazzaro Donati (Italian, 1926-1977) Untitled (Abstract Woman), Mid-20th Century Oil on board 20 x 16 in. Framed: 25 3/4 x 21 7/8 in. Signed lower right Lazzaro Donati (1926-1977) was born in Florence in 1926 and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. Mr. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d'art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. Donati was a born host with a warm welcome, an elegant man who possessed enormous charm a good nature and a keen sense of humor. Apparently shy, he preferred to speak on subjects extraneous to his art, purposely distracting you from his paintings, then leading you back to them, tactfully and without pretension. He spoke fluent French and English as well as some Spanish and German. "After all", he said, "you've got to know how to sell a painting to everyone." He had no sympathy for the "drip and splash" studios of his contemporaries, preferring to keep his studio tidy and spotless. "Painting is a matter of precision", he said, "If a painter can't put his paint where he wants it to go, I don't see how he can call himself a painter. For me it is absolutely necessary to control the paint." When asked to reveal the technique he used to achieve the enamel-like finish typical of his paintings he answered, "That is a secret between me and my butler. Actually, most of my paintings are done by him!" But in fact behind the façade, Donati was a serious craftsman who devoted to his painting as a way of life and means of expression. From the beginning of his career, his paintings revealed a striving for perfection and continual research in problems of style and technique. His early works indicated a momentary interest in surrealism and abstract art; they were predominantly two dimensional, depending on line and strong color. But by 1958, with his painting The Lady with a Fan...

Mystery Artist Untitled, c. 1990s Sight: 32 1/4 x 21 in. Framed: 37 x 25 1/4 x 1 1/2 in. Signed bottom

America Martin "Woman With Knees Up" Pastel & Ink on Paper 24” x 18” 34" x 31" inches framed AMERICA MARTIN is an internationally represented Colombian-American fine artist based...

Abstracted Nude Figurative in Pastel on Paper Vivid abstracted figurative by Black Arts Bay Area artist, Kelvin Curry (American, 20th Century), circa 2000. A woman's profile of her face and her breasts and leg is shown in bold and playful colors of fluorescent purple, orange, pink and yellow. Black outlines of organic and tribal shapes creates even more contrast, making this piece read well from a distance. The tall and thin size of this piece makes this ideal for those difficult and odd sized walls Unsigned Presented "floating" on foam core with black mat surround. Mat size: 38"H x 16"W Paper size: 29"H x 10.75"W Born in Oakland, California Kelvin Curry's creative destiny was clear early in life. Initially using black and white graphite as his medium and later expanding into mixed media to bring about multi-dimension; as well as a sense of rhythm and grace in the abstract female figure. Kelvin Curry studied fine arts at San Jose State University and has been making and exhibiting art all his life. Curry has a keen understanding of the arts, particularly the black arts movement in and around the Bay Area. Kelvin has exhibited his work in hundred of juried festivals, exhibits, and galleries throughout the country. Visitors from countries such as South Africa, Japan, Australia, France, the United Kingdom, and China have chosen his work to adorn their homes in their native lands. Collectors include Randy Crawford, Nancy Wilson...

Modern abstracted nude figurative study in bold black ink by Louis Nadalini (American, 1927-1995). Signed in the top left corner under the mat, "L Nadalini"...

Artist/Designer; Manufacturer: Michael Goldberg (American, 1924-2007) Marking(s); notes: signed; 1952 Materials: color pastels on paper Dimensions (H, W, D): 23.25"h, 15.75"w; 36.25"...