Six Women, Framed Modernist Portrait, Framed Figural Casein Painting Blue Orange
View Similar Items
Video Loading
Want more images or videos?
Request additional images or videos from the seller
1 of 12
Auction endedBrowse Current Auctions
Hildegarde HaasSix Women, Framed Modernist Portrait, Framed Figural Casein Painting Blue Orange
About the Item
- Creator:Hildegarde Haas (1926 - 2002, American)
- Dimensions:Height: 17.75 in (45.09 cm)Width: 29.5 in (74.93 cm)Depth: 1.25 in (3.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:very good to excellent vintage condition.
- Gallery Location:Denver, CO
- Reference Number:Seller: DCG-245691stDibs: LU2734830952
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1979
1stDibs seller since 2013
264 sales on 1stDibs
Typical response time: 5 hours
More From This SellerView All
- Victor, Colorado, 1940s Modernist Mountain Landscape with Town, Mining TownBy Martyl Suzanne Schweig LangsdorfLocated in Denver, CO'Victor, Colorado', 1942 oil painting on masonite by Martyl Suzanne Schweig (1918-2013). This classic Colorado landscape was painted overlooking a ghost town with the Rocky Mountains visible across the background, completed in rich tones of green, gold, and brown. This painting was completed on a trip with fellow artist, Adolph Dehn...Category
1940s American Modern Landscape Paintings
MaterialsMasonite, Oil
- City Park, Denver, Colorado, Large Semi Abstract Colorful Oil LandscapeBy Edward MarecakLocated in Denver, COLarge format oil painting on canvas of City Park in Denver, Colorado by 20th century Denver modernist, Edward Marecak. Semi-abstract park scene with various types of trees, figures, ...Category
20th Century American Modern Landscape Paintings
MaterialsOil, Canvas
- Sybil (The Prophetess), 1970s Abstract Figurative Oil Painting, Pink Blue RedBy Edward MarecakLocated in Denver, COSemi-Abstract figurative oil on burlap painting titled 'Sybil (The Prophetess)' by Edward Marecak (1919-1993) painted in 1976. Signed and dated by the artist in the lower right corne...Category
1970s American Modern Figurative Paintings
MaterialsBurlap, Oil
- 1950s Abstract Figurative Composition with Brown, White, and Black, Oil PaintingLocated in Denver, CO1950s abstract oil on canvas painting by Henriette "Yetti" Stolz from 1956. Completed in shades of brown, white, black, and gray. Signed by the artist in the lower right corner. Presented in a vintage frame measuring 42 ¾ x 16 ¾ inches. Image size measures 42 ¼ x 16 ¼ inches. Provenance: Estate of the Artist, Henriette "Yetti" Stolz Painting is in good condition - please contact us for a detailed condition report. About the Artist: Henriette “Yetti” Stolz was born in Serbia in 1935 ( and is still living ). Her family emigrated to Denver, Colorado, in the early 1950s after WWII and she attended East High School before studying art at Colorado College, in Colorado Springs in the mid to late 50s. While there studying she would have been exposed to modernist artists working both at the college ( ie. Mary...Category
1950s American Modern Abstract Paintings
MaterialsCanvas, Oil
- Artists Sketching, California, 1940s Large Modernist Gouache Landscape PaintingBy Frederick ShaneLocated in Denver, CO"Artists Sketching (California)" is an American Modernist scene of three artists working with mountains in the background. Gouache on paper, signed, titled, and dated by the artist in the lower margin. Housed in a custom frame with all archival materials measuring 25.5 x 37.5 x 1.5 inches; image dimensions measure 20.25 x 29.75 inches. Provenance: Estate of the Artist, Frederick Shane About the artist: Painter and printmaker, Missouri regionalist Frederick E. Shane specialized in genre scenes, landscapes, seascapes and portraits executed in a variety of media: oil, watercolor, mixed media, gouache, tempera and lithography. Fundamentally a realist, his work also contains some abstraction, expressionism and surrealism used in treating his subject matter. In the summers of 1925-26 Shane studied with Randall Davey at the recently-founded Broadmoor Academy in Colorado Springs. The Academy was established in 1919 by Spencer and Julie Penrose, prominent philanthropists and art patrons, who donated their family residence for the creation of a local art institution. In the 1940s and early 1950s Shane maintained his contact with Colorado Springs Fine Arts Center (the successor institution to the Broadmoor Academy in 1936). He participated in a number of its annual Artists West of the Mississippi exhibitions and also became a close friend of Boardman Robinson, the Center’s director, and visiting artist Adolph Dehn...Category
1940s American Modern Landscape Paintings
MaterialsGouache
- Fetishes, 1940s Abstract Figurative Southwestern Mixed Media Painting, Red GrayBy Howard SchleeterLocated in Denver, COAn original gouache and wax painting by New Mexico modernist, Howard Schleeter (1903-1976) signed and dated lower right from November 18, 1949. Presented in a custom frame created b...Category
1940s American Modern Abstract Paintings
MaterialsWax, Gouache, Archival Paper
You May Also Like
- Over and Above Surprise (Serpent), 1960s snake painting, Cleveland SchoolBy Clarence Holbrook CarterLocated in Beachwood, OHClarence Holbrook Carter (American, 1904-2000) Over and Above Surprise (Serpent), 1967 Casein on board Signed lower right 7.75 x 5.5 inches Clarence Holbrook Carter achieved a lev...Category
1960s American Modern Figurative Paintings
MaterialsCasein
- The Blue TopBy Robert VickreyLocated in Boston, MASigned verso: "Robert Vickrey". Titled verso: "The Blue Top". In fine condition.Category
Mid-20th Century American Modern Figurative Paintings
MaterialsCasein
- The Magician oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- St. Atomic oil and tempera painting by Julio de DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- Inevitable Day – Birth of the Atom oil and tempera painting by Julio De DiegoBy Julio de DiegoLocated in Hudson, NYJulio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...Category
1940s American Modern Abstract Paintings
MaterialsMasonite, Oil, Tempera
- Modernist Reclining Female Nude FigurativeLocated in Soquel, CAModernist reclining female nude figurative painting by an unknown artist (American, 20th Century). This vivid late 20th-century figural piece featur...Category
20th Century American Modern Nude Paintings
MaterialsMasonite, Tempera
Recently Viewed
View AllMore Ways To Browse
Naive Art France
Cuban Painter
New Orleans Vintage Signs
Degas Signed
Painting Seated Man
Vintage Art Calendar
Vintage Art Calendars
Vintage Fair Prizes
Mr Charles
Woman At The Window
1930s Culture
Oil On Plywood
South Indian Artist
Egypt Russia
Oil Paintings Of Jesus
Ladies Oil Painting
Horse Painting Italian
Hand Painted Backdrop