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Unknown
'Abstract Composition in Colour' by Lemaire

Circa 1960s

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  • 'Abstract of Lines and Colours' German School (circa 1960s)
    Located in London, GB
    'Abstract of Lines and Colours', oil on panel (circa 1960s), German School, signed, 'X. Kruger'. This artwork is a clear homage to Piet Mondrian (1872-1944). Recognised for the purit...
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  • 'Cubist Still Life', School of Berlin
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  • 'Abstract of Lines and Colours II' German School (circa 1960s)
    Located in London, GB
    'Abstract of Lines and Colours II', oil on panel (circa 1960s), German School, signed, 'X. Kruger'. This artwork is a clear homage to Piet Mondrian (1872-1944). Recognised for the pu...
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    1960s Abstract Abstract Paintings

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  • Dinosaur Me & Baby
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    'Dinosaur Me & Baby' abstract composition, mixed media on soft board, Japanese ink, oil, pencil and gouache by Erez Yardeni (2018). The scribblings of a c...
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    2010s Abstract Abstract Drawings and Watercolors

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    $4,576 Sale Price
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  • Untitled
    By Erez Yardeni
    Located in London, GB
    'Untitled' abstract composition, mixed media on soft board, Japanese ink, oil, pencil and gouache by Erez Yardeni (2018). Beautifully balanced, stunningly...
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    2010s Abstract Abstract Drawings and Watercolors

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    $4,068 Sale Price
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  • Still Life with Fruit
    By Juliane Solignac
    Located in London, GB
    'Still Life with Fruit', oil on board (1968), by Juliane Solignac. An engaging yet unusual artwork with vibrant colours, thickly applied with a painting knife. Nonetheless, through the thick paint there is an unfinished quality to the work leaving the impression that the raw canvas - or board in this case - is revealed. Some of the colour seems to have been scored on to the work with an artist's knife leaving lines and creating angles as in a cubist painting. There are layers of paint with no evident brush strokes. One may believe in this instance, Madame Solignac used this technique to create a visual effect which would deliberately have upset traditionalists. Be reminded that the Impressionists were criticised for creating patchy, incomplete works because there were strong notions about the correct way to paint in those days. Picasso once said, 'To finish a work is to kill it.' It is unsure how Mme Solignac would have felt about that. Regardless of this conjecture, the painting is colourful, compelling and rewards the viewer with a curious interest. The work is in fair vintage condition, newly framed with a linen slip. It is signed: 'Julian Solignac 68'. About the Artist: Juliane Solignac (born 1904). Regrettably, there is not much information available about the artist (including what year she may have died). She is referenced as a resident artist in Montmartre in the 1930s, one of only a handful of women in an otherwise sea of male names. In addition, Solignac is mentioned in both French and Dutch references as a creator of fabrics. These may have been more artistic 'tapis' which are hung on the wall like a painting. A Dutch museum references having one of her designs in their collection. Here is a quote from the magazine, 'COTE', Edition Nº 9 (March 2009): "Until 20 April, Pierre Frey is exhibiting 50 printed fabric works from their own collection dating from 1936 to today. Most were produced in liaison with artists like Jean Chatanay, Irène Rohr, Juliane Solignac, Rieffel Anossof, Janine Janet...
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    Materials

    Oil, Board

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