Herbert Theurillat

At the fair

Work on canvas

Work on canvas Beige wooden frame 80 x 69 x 5 cm

Work on canvas Gray wooden frame 70 x 81 x 5.5 cm

Work on canvas Gray wooden frame 80 x 69 x 5 cm

Work on canvas

Work on canvas

Line 1213-13 is an abstract painting by contemporary Korean artist Ahn Hyun-Ju. Polyester, acrylic and epoxy on aluminum, 52 x 32 cm. Signed, sold unframed...

Lazy Summer Days Huguette Ginet-Lasnier (French 1927-2020), signed lower front inscribed verso oil painting on canvas in a thin white frame 36.5 x 29 inches. All the paintings we hav...

Oil on wood, 50 x 50 cm. Sold unframed. This painting by French artist Valérie de Sarrieu features the interior of a café with a few lonely silho...

Taureau XV (Bull xv, 2009-2012) by French contemporary artist Christophe Dupety. Acrylic on paper, 65 x 50 cm. With this series, the artist is addressing the subject of bullfight. Bu...

This atypical and terrifying painting by Jean-Frédéric Schall depicts the torture of a vestal virgin, condemned to be buried alive for having broken her vows. Dressed in a contempora...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Le Falstaff by Ludovic-Rodo Pissarro (1878-1952) Oil on canvas 46.4 x 61 cm (18 ¹/₄ x 24 inches) Signed lower right, Ludovic Rodo Titled on the reverse Executed circa 1910 This early painting is dated 1910 and represents the interior of The Falstaff in Paris, Montparnasse, a historical cafe which still exists today, on 42 Rue du Montparnasse. This work is accompanied by a certificate of authenticity from Lélia Pissarro. Artist biography: Ludovic-Rodolphe Pissarro, born in Paris in 1878, was Camille Pissarro’s fourth son. Encouraged by his father, he began drawing from nature at an early age. He was familiarly known as “Rodo” and generally signed his works "Ludovic-Rodo", or early on in his career simply "Rodo". The impact of Camille’s art and teaching on Rodo was considerable. His artistic production encompassed a wide range of media, including oil painting, tempera, watercolour, gouache, wood engraving, drawing and lithography. Rodo exhibited regularly at the Salon des Indépendants over a forty-year period. In 1894, at the age of sixteen, Rodo published his first wood engravings in the anarchist journal, Le Père Peinard. When Camille left France for the safety of Belgium during the anarchist upheavals of the same year, Rodo joined him there. Rodo moved into his first studio in Montmartre with his brother Georges in 1898. Works of this early important period until just after the death of his father in 1903 were post-impressionist and clearly painted under the influence of his father. By 1904 living in Paris, he found the nightlife and the habitués of the cafes, theatres, circuses and cabarets compelling subjects for his work and changed dramatically the style of his painting, affiliating himself to the Fauve artists. Rodo became close to artists such as Kees Van Dongen, Maurice de Vlaminck and Raoul Dufy. In 1905 he participated in the first Fauve exhibition at the Salon des Indépendants. In 1907 he visited Van Dongen in Rotterdam and the two artists continued to paint together, something they often did in Paris. In 1914 he married, though he never had children. Later that year at the outbreak of the War Rodo moved to England. Over the next seven years he lived mainly in and around West London. He worked closely with his brother Lucien to establish in 1915 the Monarro Group, formed with the aim of exhibiting work by contemporary artists inspired by Impressionism. Many of the works produced by Rodo while he was in England were of London landmarks but, he was also interested in the urbanisation of West London. After 1921, when Rodo had already returned to France, he divided his time between Paris and Les Andelys in Normandy, living and working closely with his elder brother Georges Manzana. Despite his rich artistic heritage and his achievements as an artist, Rodo is perhaps best remembered for his contribution to art history. For ten years he researched and compiled a catalogue of his father’s paintings...

This late 18th-century provincial oil painting depicts a cavalry battle involving various armies. It’s an unusual scene as it contains several uniforms and various weapons. The main figure is a soldier wearing a blue tunic...

French School, signed verso Late 19th century/ early 20th century oil painting on canvas, framed inscribed verso framed: 15 x 18 inches canvas: 9.5 x 13 inches provenance: French co...

Flower field. Purple. A holiday of succulent herbs on a summer day, the whole earth is warmed by warmth, lilac, purple, yellow flowers create an atmosp...

Marinas n°35, oil painting on wood panel by Spanish contemporary artist Calo Carratalá. 25 cm × 35 cm. This landscape painting takes the viewer to the coasts of Tanzania on the India...

Work on canvas

Mid 20th Century oil on artist board of a white house near Watsonville, California. 1950s landscape painting with house and trees. Presented i...

Original framed oil painting on burlap by Edward Marecak (1919-1993) titled "Autumn Harvest" from 1987. Signed and dated by the artist in the lower right corner. Presented in a custom framed, outer dimensions measure 20 x 29 x 1 ⅜ inches. Image size is 19 x 28 inches. Provenance: Estate of the Artist, Edward Marecak Painting is clean and in good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of “Peter and the Wolf,” awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier oeuvre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s, he was influenced by surrealist imagery and Paul Klee and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish...

Large format oil painting on canvas of City Park in Denver, Colorado by Edward Marecak. Semi-abstract park scene with various types of trees, figures, and a large pond. Presented as ...

Original 20th century oil painting by Wolfgang Pogzeba (1936-1982) with Native American figures standing in bright blankets with adobe buildings in...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...