Items Similar to 19th Century French Academic Study of a Hand
Want more images or videos?
Request additional images or videos from the seller
1 of 10
Unknown19th Century French Academic Study of a Hand
About the Item
French Academic Study of a Hand
Circa 1900
Oil on Cardboard
13 3/8 x 8 3/8 (19 1/8 x 14 1/8 frame) inches
Signed lower left "M. Granet"
A very finely detailed and sensitive study of a hand with a possible case of dupuytrens contracture.
- Dimensions:Height: 14.38 in (36.53 cm)Width: 19.38 in (49.23 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:The painting is in very good condition with very little wear expected to be found on a piece of this age. The frame is a newer replacement.
- Gallery Location:SANTA FE, NM
- Reference Number:1stDibs: LU140829104302
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 1995
1stDibs seller since 2020
89 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: Santa Fe, NM
- Return PolicyA return for this item may be initiated within 2 days of delivery.
More From This SellerView All
- Antique Italian School Late 17th - Early 18th "Cherubs (A)" Pen drawing of PuttiLocated in SANTA FE, NM"Cherubs" (A) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...Category
Late 17th Century Old Masters Figurative Paintings
MaterialsPaper, Ink, Pen
- Antique Italian School Late 17th - Early 18th "Cherubs (B)" Pen drawing of PuttiLocated in SANTA FE, NM"Cherubs" (B) Pen and Ink drawing of Putto Italian School Late 17th early 18th century. Pen and ink on paper 6 ½ x 17 ½ (22 ½ x 11 ½) inches Antique scenes of putto and a faun cele...Category
Late 17th Century Old Masters Figurative Paintings
MaterialsInk, Paper, Pen
- "Portrait of Horace" by Emin Abbasov (b. 1950, Azerbaijan), oil on cardboardLocated in SANTA FE, NM"Portrait of Horace" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 7/8 x 3 7/8 (16 3/4 x 14 3/4 frame) inches Emin Abbasov is classicall...Category
21st Century and Contemporary Realist Portrait Paintings
MaterialsOil, Cardboard
- Native American "Portrait of a Jolly Man" -Emin Abbasov (b. 1950, Azerbaijan)Located in SANTA FE, NMNative American "Portrait of a Jolly Man" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 5 7/8 x 3 3/4 (17 1/2 x 15 1/2 frame) inches Emin ...Category
21st Century and Contemporary Realist Portrait Paintings
MaterialsOil, Cardboard
- "Portrait of The Sage" by Emin Abbasov (b. 1950, Azerbaijan), oil on cardboardLocated in SANTA FE, NM"Portrait of The Sage" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 7/8 x 3 1/2 (16 x 14 1/2 frame) inches Emin Abbasov is classically ...Category
21st Century and Contemporary Realist Portrait Paintings
MaterialsOil, Cardboard
- "Portrait of Zola" by Emin Abbasov (b. 1950, Azerbaijan), oil on cardboardLocated in SANTA FE, NM"Portrait of Zola" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 7/8 x 3 7/8 (16 1/2 x 15 3/8 frame) inches Emin Abbasov is classically ...Category
21st Century and Contemporary Realist Portrait Paintings
MaterialsOil, Cardboard
You May Also Like
- Morning. Women's act. 1959. Oil on cardboard, 95x71 cmBy Alfejs BromultsLocated in Riga, LVThe morning hour. Act. 1959. Oil on cardboard, 95x71 cm Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University at studies to R.Suta, J....Category
1950s Realist Nude Paintings
MaterialsCardboard, Oil
- Redhead. 1967., cardboard, oil, 78x48.5 cmLocated in Riga, LVMerija Bernere (1903-1984) Redhead. 1967., cardboard, oil, 78x48.5 cmCategory
1960s Realist Nude Paintings
MaterialsOil, Cardboard
- Act. 1979. Oil on cardboard, 96x70 cmBy Alfejs BromultsLocated in Riga, LVAct. 1979. Oil on cardboard, 96x70 cm Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University at studies to R.Suta, J. Bine and G. Skilt...Category
1970s Realist Nude Paintings
MaterialsOil, Cardboard
- Audrey #1Located in Denver, CODave Seeley's "Audrey #1" is an original, handmade oil painting that depicts a nude female model reclining on blue velvet fabric as she turns her face away from the viewer.Category
21st Century and Contemporary Realist Figurative Paintings
MaterialsCanvas, Oil, Board
- "Nude, " Arnold Blanch, Woodstock School, WPA, FigurativeBy Arnold BlanchLocated in New York, NYArnold Blanch Nude Signed lower right Oil on board 20 x 16 inches Provenance: G. David Thompson Collection, Pittsburgh Private Collection, New York Bo...Category
1930s Realist Nude Paintings
MaterialsBoard, Oil
- Nandor Vagh Weinmann, Oil on cardboard, Naked Back, 1930sLocated in Saint Amans des cots, FROil on cardboard by Nandor VAGH WEINMANN (1897-1978), France, 1930s. Naked back. With frame: 64x56 cm - 25.2x22 inches ; without frame: 46x38cm - 18.1x15 inches. 8F format. Signed "Nandor V. Weinmann" lower left. In its Montparnasse frame. Very good condition. Born October 3, 1897 in Budapest, Nándor is the older brother of Elemer and Maurice Vagh-Weinmann. He came to Paris to present his work in 1931. He died on December 12, 1978 near Montereau (Seine-et-Marne) following an automobile accident. He is the most colorful of the three “expressionist” brothers. Painter of figures, landscapes, especially open mountains, and bouquets in bright colors. He is also a religious painter and then finds the tragic condition. Born in BUDAPEST on October 3, 1897, Nandor Vagh Weinmann belongs to a profoundly artistic people. Living in the heart of Central Europe where they came from Asia a millennium ago, the Hungarians have preserved a strong ethnic individuality whose mark is their very synthetic, non-Indo-European language. Resistant to secular invasions, they have kept the virtues of a very ancient humanity that have become rare in our modern world, especially since their way of life has remained essentially rural until today. In the arts they know how to express a generous, extreme sensibility and by the poetic verb, by the musical rhythms and also by a popular art of a richness, an exceptional harmony. Until the age of thirty-four, during the decisive years of childhood and youth, Nandor Vagh Weinmann was intimately imbued with popular life and the soul of Hungary. From the capital where his father was a jeweler and had a family of ten children, Nandor was the fifth, he knew first of all the suburbs, the populated districts, the rigors in winter of the cold and the snow. A very mobile existence made him acquainted with all of Hungary, from the Danube to Transylvania, its infinite plains and its wild mountains, its immense villages with ample low houses, and its towns which are still immense villages. The painter is passionate about rustic works, harvest scenes, beautiful folk costumes. Coming into direct contact with the peasants, he learned to know their soul. These contacts gave the artist a direct feeling for popular life and soul, as Millet once understood the peasants of Barbizon and Normandy whose existence he shared. What fascinated Nandor Vagh Weinmann above all were the festivals which enlivened the dreary life of the countryside, the circuses, the merry-go-rounds, the gypsies unleashing orgies of music, light and color. In the party, and especially the Hungarian party, the whole soul of a people, all its energy, its need for movement, for intensity, is expressed in its pure state and realizes the primary and essential form of what is called beauty. And as if melted at the party, there is the infinite steppe where herds of horses and oxen circulate where terrible storms sometimes roar where the seasons unfold their grandiose splendours. The young Nandor Vagh Weinmann nourishes his sensitivity to his inexhaustible shows, both eternal and always new, a sensitivity which very early declared itself that of a painter. Since the age of fourteen he painted, and since then he never stopped doing it. Two of his brothers Maurice, two years his junior, who had a remarkable career similar to that of Nandor and later Elemer who became Maurice's pupil, also devoted themselves to painting, despite family obstacles. And the three brothers united by a common passion worked together in Hungary and later in France. Painting was so much in the blood of the family, as in the past among the Veroneses, the Breughels, the Lenains, the Van Loos and so many other artistic dynasties, that three sons of the Vagh Weinmanns became painters in their turn. One of these, Emeric, son of Nandor, today occupies an important place in the contemporary school. Nandor, at fifteen, was a pupil of the Academy of Fine Arts in Budapest where he worked diligently, then at that of Vienna. He painted many portraits, but also landscapes, compositions and, by his relentless work, managed to live from his brush, although married very young and having to overcome many hardships. He therefore knew the hardships and miseries of life. These strongly impregnated his vision as an artist and explain the thrill of humanity that runs through all his work. A particularly moving experience was reserved for him at the age of twenty. In the hospitals of Budapest he had to paint extraordinary cases, operations, frightful wounds, the deformations to which our poor body is subjected by traumas and physiological decompositions. In these circumstances, it is not a question of gratuitous art, of formal research but of immediate, authentic expressions of our flesh and our being. We know that Breughel Velázquez and Goya had been haunted by the sight of cripples and of madmen Géricault by that of corpses. But life is ultimately stronger than anything, and it is life that Nandor Vagh Weinmann has passionately observed and translated through all the places where he has always painted on nature. Nothing stopped him. It happened to him to paint, for example in front of the mill of Linselles by a weather so cold, that nobody could stay outside, and that he did not leave the place before having finished his work. Because he works constantly on the ground, under the sky, in the silence he loves. His reputation is established. He exhibited at the national fair in Budapest, in the big cities of Hungary Szeged, Szombathely, Veszprém, Kaposvar. In 1931, like all artists in the world, he came to France. But unlike the others, he did not settle in Paris. Because Nandor Vagh Weinmann does not belong to this group of cosmopolitans that we call the School of Paris. He settled in Toulouse, where he remained for a long time with his brothers, and traveled throughout France, eager for new ties, exhibiting in the most diverse cities, in Bordeaux, Marseille, Lyon, Agen, Bayonne, Dax, Tarbes, Grenoble, Nice, Cannes, Strasbourg, Mulhouse, Colmar, Lille. He even crossed borders. He was in Saint Sebastian, in Geneva, and once in Egypt in 1927 where he painted King Fouad...Category
1930s Expressionist Figurative Paintings
MaterialsOil, Cardboard
Recently Viewed
View AllMore Ways To Browse
Antique Cardboard Sign
L Perrier
Paintings In The 1600s
Minute Man
1600 Oil Paint
Hand Painted Framed Fan
Pre Raphaelite Oil Paintings
Saturday Evening Post Artist
Elvis Painting
Britto Romero
Circus Horse
Somerset Poster
18th Ship Paintings
Oil Paintings Woman In Blue Dress
Nude Bathing
Lithuanian Oil
Lilac Flowers Oil Painting
Whimsical Art On Pastels