Oil Paintings

Signed lower left 'Moessel' for Julius Moessel (American, 1872-1960) and dated 1943; additionally titled verso, 'In the Artist's Garden'. A substantial, mid-century horticultural oi...

A "Thumb Box" (diminutive) painting of the Gospel Hall in Calais, VT by Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada i...

A "Thumb Box" (or diminutive) painting of sailors in Hanover, NH by Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canad...

"Day of Rest" San Pedro Harbor Fishing Boats Oil on Linen 1948 Oil on linen of San Pedro fishing docks, Los Angeles, California by California artist Harry (Harris) Mishkin (American/...

Portrait of Molly ( Le Bas ) Brocas Burrows, this picture was painted by her brother Edward. The significance of the mirror is of paramount importance to the paintings subject, the r...

Vintage signed large abstract oil painting. Oil on canvas. Signed.

Antique American modernist signed still life oil painting. Oil on board. Signed. Framed. Image size, 21L x 18H.

Beautiful oil on canvas painting with aerosol spray paint of two reclining figures by the well known Russian/American artist, Nahum Tschacbasov. Signed upper right and dated 1949. ...

This retablo was purchased by the gallery in Mexico City. I knew the family that sold this retablo to me. The writing says" Puebla 1940,. It is a prayer to St. George thanking him that his dog saved him from being attached from a snake. He is is thankful that his dog was not bitten by the snake. Bernardino Pantoja This ex-voto is in excellent condition. It is framed behind conservatorship glass. The framed size is 14" x 15". The class should only be cleaned with ammonia free cleaner. An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow (hence the Latin term, short for ex voto suscepto, "from the vow made") or in gratitude or devotion. Ex-votos are placed in a church or chapel where the worshiper seeks grace or wishes to give thanks. The destinations of pilgrimages often include shrines decorated with ex-votos. Ex-votos can take a wide variety of forms. They are not only intended for the helping figure, but also as a testimony to later visitors of the received help. As such they may include texts explaining a miracle attributed to the helper, or symbols such as a painted or modeled reproduction of a miraculously healed body part, or a directly related item such as a crutch given by a person formerly lame. There are places where a very old tradition of depositing ex-votos existed, such as Abydos in ancient Egypt. Especially in the Latin world, there is a tradition of votive paintings, typically depicting a dangerous incident which the offeror survived. The votive paintings of Mexico...

Original, oil-on-canvas painting by French artist, Albert Andre'. "Jardin a Bagnols-sur-Ceze". Signed lower right. Period, gilt wood frame.

Saint-Germain-des-Prés. 1946. Oil on canvas, 73x92 cm

Oil Painting of River Forest Landscape in Ireland by 20th Century Post War Irish Artist, Tobias Everet Spence Art measures 20 x 16 inches Frame measures inches 24 x 20 inches

A "Thumb Box" (Diminutive) painting of Vermont by Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came ...

Blue Lake in the Rockies and Hunter - Oil on Linen Cascades and snow capped mountains over look a blue lake with a successful hunter carrying his trophy deer by Vern Byers (American...

Joseph Raskin painted still lifes throughout his career, often using them for formal and technical experimentation. Here, the artist renders a bouquet of a wide variety of flowers in...

Includes a Certificate of Authenticity

Everett Spruce (1908 - 2002) Austin Artist Image Size: 18 x 15 Frame Size: 28 x 25 Medium: Oil on paper / Mixed Exhibited at a University of Texas Faculty art show in 1947 Unsigned Biography Everett Spruce (1908 - 2002) The following, submitted by a researcher of the Ashworth Collection of Native American and Western Art, is from the artist's obituary in the Fort Smith, Arkansas "Times Record" newspaper, October 20, 2002. Everett F. Spruce, well-known artist, teacher, professor emeritus, died Friday, Oct. 18, 2002, at age 94. Everett Spruce was born on a farm in Conway to William E. and Fannie McCarty Spruce. He came to Dallas, at age 17, on a scholarship to study at the Dallas Art Institute, under Olin Travis and Thomas M. Stell Jr. In 1931, he became gallery assistant at the Dallas Museum of Fine Arts and in 1934 married Alice V. Kramer, a fellow art student. He was one of the "Dallas Nine" group of Southwest artists...

Original oil on masonite painting of Fleet Week with sailors flirting with young women on the dock by the American artist, Sarah Pace Carothers Rhode. ...

Expressionist style self portrait of the artist, Cornelis Ruhtenberg (1923-2008), oil on board painted in 1949. Signed by the artist on verso. Interior scene of the artist painted in...

Joaquín Asensio Mariné (1890-1961) - Still life of flowers - Oil on canvas Oil measures 38x46 cm. Frame measures 62x70 cm. Asensio Mariné (Barcelona, 1890-1961) was a painter who sp...

Original oil on artist canvas board of a sunset on a rural country lane by the American artist, Margaret E. Nugent. Signed lower left and verso as well. Circa 1940. Condition of pain...

Josep Puigdengolas Barrella (Barcelona (1906 - 1987), was a Spanish landscape painter of the 20th century. The Marqués de Lozoya said of Puigdengolas that ...

Signed Lower Left by Artist Anderson was commissioned by the Interwoven Stocking Company in the 1940s to create a series of pieces related to colonial themes, with emphasis upon the...

Work on canvas Golden wooden frame 65 x 77 x 2.5 cm

Thomas M. Dietrich 1912-1998 The Death of Crispus Attucks, 1943 Tempera and oil on board 21 x 15 inches Signed and dated: Tom Dietrich 1943 Thomas M. Dietrich was an artist in residence at Lawrence College for 30 years and painted in the American Regionalist style. He exhibited yearly at the Art Institute of Chicago where he also received the acclaimed International William Tuthill Prize for watercolors in 1941 (Charles Burchfield won the associated Logan prize that same year) Dietrich also received a Louis Comfort Tiffany Foundation fellowship and was a founding member of the Wisconsin Watercolor Society. In 1943 Deitrich painted The Death of Crispus Attucks, depicting the historical battle known as the Boston Massacre...

Winter by MIGUEL TUSQUELLAS CORBELLA (Spanish, 1884-1969) signed - and painted on artists studio stamped board oil painting on board, unframed board: 5.5 x 8.5 inches provenance: pri...

Still life with Calla Lily is an oil painting on masonite realized by Ugo Celada da Virgilio. Hand-signed on the lower left. Provenance: Galerie Sigfrid O...

Le Fiacre au Cheval Blanc, Pont St. Michel – Paris ( 1945 ) Dimensions: 21 5/16 x 28 3/8 in (54.1 x 72 cm) Medium: Oil on board Signed and inscribed ‘Fr. Gall Pont St. Michel Paris’ (lower right) Painted in Paris in 1945 Provenance Private Collection rancois Gall – Gáll Ferenc was born in Kolozsvar Hungary (at the time)from where he moved to France. After having Aurel Popp for the first master, he studied art at the Royal Academy of Fine Arts – Workshop Coromaldi in Rome before joining the Collegium Hungaricum (equivalent to Villa Medici), then travel to Europe through Scholarship to study obtained for his talents as a sculptor, ceramicist, designer, painter and portraitist already large, including Roman and Hungarian families, bystanders and onlookers, friends, musicians, singers, street scenes of markets and caravans circuses street. The first exhibition of his work was organized by his hometown in 1932, the second to the Gallery Moderna in Rome, where he presents his many social issues. Arriving in Paris in 1936, he enrolled at the Fine Arts (workshops Charles Guerin and Andrew Devambez), meet other artists such as Christian Bérard, Othon Friesz, André Derain and Pablo Picasso, is befriended fishermen Seine, the booksellers who help to learn French through versifications Victor Hugo Gavillon the family with whom he exchanges breads and cakes against tables, their daughter Nadine – who has the reputation of the House Dalloyau around the world – is on one of them in a pram between Samaritan and Belle Jardinière. Happy in this free country dreamed, he walks Paris Montmartre to Montparnasse, through the docks and the Grands Boulevards, in search of new subjects. This is the animation of the Parisian life that he will present the summer of 1937 to Szalmasy Gallery in Budapest. Success is complete! Back to Paris in 1938, Ferenc Gall receives Honorable Mention for his painting “The Spanish refugees” acquired by the French State. 1939 Silver Medal at the Salon d’Asnieres. Early in 1939 he was recalled to Kolosvàr with his dying father, but he can not return to France, the declaration of war is imminent .. Liberated by the Allies in Wels in Austria, where it is then medical director and caregiver (a moving letter many Jews with typhus demonstrates), it is finally repatriated to Paris, returning to his attic of 16 Dauphine. He resumed his artistic activities, meeting on the banks of the Pont Neuf his bride a young Quercy, Eugenie Chassaing, which will give him three children, three future models: Lize-Marie (1947), Jean-François (1948), Elizabeth – Anne (1956 – year of the Budapest uprising) but will die in 1980 in a serious car accident, leaving the artist destroyed … 1947 – year of the bread crisis – his canvas “bread for the people”, highlight of French Artists “(4000 works and 800 exhibitors) the title of an article in France-Soir , he receives Gold Medal. Commented by Bourdan Pierre, Minister of Youth, Arts and Letters, is reproduced on the cover of all the newspapers and reviews of art. This year was also marked by his participation in a important collective exhibition gallery in Paris Debussy, along with Fernand Léger , Lhote and Lurgat presented by Jean Cassou . This is the Barreiro Gallery François Gall befriends Kisling who wishes to take a picture of this beautiful brunette that is Eugenie, languid on a sofa … but it does ask for her husband, who is now experiencing a growing reputation in Switzerland, England and Scandinavia. 1946, he joined his friend Marco G.de group Free Art “receives the Silver Medal at the French for his canvas” Exodus “that the” Pont Saint Michel fall “in his first solo exhibition in Paris Galerie Alexandre, then” Honfleur “Galerie Saint Philippe du Roule are acquired by State. 1949 good year again, his pride in being finally naturalized French, and get a solo exhibition at the gallery of the Impressionists, Durand-Ruel , where one of his paintings, “The port ‘of Honfleur “is acquired by State. This honor is due to the private secretary of the great gallery owner who discovered the young artist painting in all weathers on the banks of the Seine, Gall was organizing raffles with his sketches for the production of large canvases. Some of them are now found on sale at Christie’s, Sotheby’s. Marlborough Fine Art Gallery in London brings together thirty of his works that are very successful and is warmly welcomed by Dunoyer de Segonzac which follows immediately after exposure. The same gallery will present its 1951 “Landscapes of France” From the beginning of the 1950s traveling exhibitions and multiply throughout France and the world, including Belgium, the USA, where the artist is also slated to play the role of Manet cinema, but his participation in the other exhibitions “prevents” the French Week “in Sweden where he befriends Maurice Chevalier which he made sketches and portraits, Mexico, Israel. Then the ports and beaches to attract, he went there during the school holidays with his family he does ask, before returning home parents Eugenie Martel-en-Quercy and the landscape of the Causses around. Martel, where you can meet Gen Paul and his bicycle. In 1954, Gall family acquired the romantic house with workshop and yard flowered acacia, purchased from the widow of the painter J.Emile Zingg at 8 Villa Brune, in the 14th arrondissement of Paris. In 1961, wanting to replace an older worker on the ladder while hanging paintings in the organization of the Salon des Independants, François Gall suffered a fall of several meters Grand Palais and remains paralyzed in a plaster shell for more than a year. Participating each year in Paris at the Salon of Painters witness to its time, the price Francis Smith he was awarded in 1963, the Galliera Museum . This enables him to make a study tour to Portugal, he comes back amazed and a rich amount of bright and colorful paintings, exhibited at the Casa Portugal to Paris. Artist increasingly recognized, François Gall became laureate of the Institut de France and his works are subject, in the late 1960s, prestigious exhibitions in France and abroad. They took him to Italy, Rome, Florence, Venice, Germany, Switzerland, where he has a permanent exhibition in Bern and Neuchâtel Bevaix and Corsica, Austria, Spain, Russia, Canada at the Dominion Gallery Max Stern, which discovered the first fake paintings of the artist from Eastern Europe, including Romania. Recognized portraitist, he worked among other portraits, that of his muse Edith Piaf, Marielle Goetschel, France Gall...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Gershon Benjamin (1899 – 1985). An American Modernist of portraits, landscapes, still lifes, and urban scene...

Rafael Llimona Benet (1896-1957) - Girl reading - Oil on canvas Oil measures 116x89 cm. Frameless. Rafael Llimona i Benet (1896-1957) was a Spanish pai...

Beautiful Blue Eyed Boy Vintage Portrait California Impressionist Wonderful 1940s portrait of young boy on cusp of adulthood. His piercing blue eyes draw y...

An oil on board painting by Gustave Weigand (1870 - 1957), signed lower right. Painting measures 16 x 12 inches. Wiegand was born in Bremen, Germany in 1870. Wiegand studied at the R...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Gershon Benjamin (1899 – 1985). An American Modernist of portraits, landscapes, still lifes, and urban scene...

Julio 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...

Work on canvas

Work on cardboard

Charles Harsanyi (American, 1905-1973) The Ferry No 2, 1946 Oil on board 40 x 52 in. Framed: 46 x 58 in. Signed and inscribed verso Exhibited: Grand Central Art Galleries, 1946 Charles E. Harsanyi was born in Tapolcza, Hungary in 1905. He studied at the Royal Academy in Budapest, Hungary with A. Bankhard from 1923 to 1928. Nineteen years later, in 1947, Harsanyi moved to the U. S., settling in Jackson Heights, New York. The painter and drawing specialist became a member of numerous prestigious art clubs including the Salmagundi Club, The Society of Independent Artists and the Allied Artists of America. Harsanyi served as an awards director and chairman of admissions for the Audubon Artists Association during the 1950s. Later in life after living in Stephentown, New York and Cape Coral...

Julio 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...

Nice modernist American school painting. Oil and watercolor and gouache on board. Signed. Framed. Image size, 18L x 23H.

Up for sale is an interesting original vintage oil painting on canvas by Famous British Artist Ernest Burnett Hood, (1932 to 1988), depicting a portrait of a man in costume. Ernest...

ALBERT MARQUET (BORDEAUX, 1875 – PARIS, 1947) Audierne, les tonneaux Vers 1940 Huile sur toile 49,8 x 61 cm. Signée en bas à gauche Certificat Wildenstein Institute Provenance Mme Albert Marquet (par descendance de l’artiste) ; Vente Mac-Arthur Kohn, Paris, 17 décembre 1997, lot 33 ; Guy Heytens, Monaco (acquis par vente chez Sotheby’s, Londres, 28 juin 2000, lot 154) ; Collection privée, Connecticut ; Vente Christie’s, New-York, 10 mai 2007, lot 302. Suivant une composition subtilement géométrique, ce paysage portuaire s’organise autour de l’axe central d’un fanal marquant l’entrée du port. A sa base, le quai se déploie en angle droit, formant une pointe saillante dans la toile. De part et d’autres, sur la mer des embarcations aux mâts parallèles et d’un même jaune que le fanal...

Antique American modernist still life painting. Oil on canvas, circa 1950. Housed in a period frame. Image size, 31L x 23H.

La Fenetre Ouvrete Dimensions: 33 x 35.75 inches Medium: Oil on canvas Provenance Private Collection, Paris Walter Brown Collection, Texas Anders Osterl...

Original oil on canvas painting by the well known Russian/American artist, Nahum Tschacbasov. Signed middle right and dated 1943. Condition is very good. Unlined canvas. The painti...

Work on canvas

Work signed but artist unknown from the gallery- Sold with frame, total size with frame is 82x67 cm

Amoco Gas Advertisement

Signed by Artist Lower Right Amoco Oil Advertisements

Work on canvas Molded plaster frame and gilded wood 74 x 93 x 6 cm

Bryon Browne was an important American modernist painter. Signed upper right; signed, dated and situated 'New York' on reverse

Work on canvas Golden wooden frame 62 x 76 x 5.5 cm

Bathers 1940s Mid 20th Century American Scene Social Realism WPA Modern Ashcan Marion Gilmore (1909-1984) Bathers 15 1/2 x 19 1/2 inches oil on canvas boar...

Dressed in traditional clothing, a handsome Chinese man is depicted as he sits resolutely with one hand on his leg and the other holding a baton. Female Artist Joyce Ballantyne...

Signed and titled verso on stretcher "Lea Ancient Revel". Subtitled verso on label in artist's hand: "An attempt to marry ancient mineral matter with people". Exhibited at the 194...

Work on canvas Golden wooden frame 85 x 70 x 4 cm

UNKNOWN Woman in Green Scarf with Cat 1940 Oil on canvas 16 x 12.5 inches Framed: 21 x 18 inches

Julio 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...

Work on canvas with a frame; total size 80x93 cm