Alfred Hermann Helberger

'Study of a Young Woman', Karlsruhe, Berlin, Danish Post-Impressionist, Benezit

1914

Inscribed verso "Dora Masters" and painted circa 1960. A large, Post-Impressionist figural oil of a young woman shown facing the viewer with her gaze averted and surrounded and over...

Signed lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and dated 1971; additionally signed, verso, and titled, 'Leslie'. Winner of the Prix Othon Friesz, Victor di G...

Initialed lower left, 'H.S.' for Henrik Schouboe (Danish, 1876-1949) and painted circa 1915. Henrik Schouboe first studied at the Copenhagen's Royal Academy of Fine Arts from 1894-1901 and, from 1903-1910, in Italy and Paris. He was awarded numerous stipends and scholarships including the Larssen (1902-3) and the Akademie Scholarship in 1908. In 1906, he had exhibited for the first time at the Charlottenborg where his submitted entry was purchased by the leading Danish painter of the time, Kristian Zahrtmann, for his personal collection. Schouboe continued to exhibit both domestically and internationally for over thirty years and was the recipient of a variety of prizes, medals and juried awards including the purchase of his 1908 Charlottenborg entry, 'Young Couple in a Landscape', by the State Museum of Art for inclusion in the Danish national collection. Schouboe's work is held in the permanent collections of numerous museums including Copenhagen, Aabenraa, Maribo and the Aalborg Art Museums. We are pleased to offer a delicate and psychologically penetrating portrait of this beautiful and determined girl on the cusp of womanhood. Reference: Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 30, p. 269; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 12, p. 520; Weilbach, Dansk Kunstnerleksikon, the Castle and Cultural Agency, Copenhagen; Dansk Kunst (Charlottenborg), 1927: Taf. 27, 1928: Taf. 38, 1929: Taf. 46; S. Michaëlis i: Art VII, 1905-06; Vilh. Wanscher i: Kunstbl. 1909-10, 71f; Harald Giersing...

Signed lower right, "Di Gesu", for Victor Di Gesu (American, 1914-1988); further signed and titled verso, and bearing original exhibition label. A substantial figural oil showing Victor di Gesu's wife, the artist Janet Ament, with a white shawl over her knees and seated cross-legged in front of a large ficus. A major work by this notable California Fauve...

Signed lower left, 'Georg W. Rössner' for Georg Walter Rössner (German, 1885-1972), titled 'Bildnis Lieselotte Friedländer' and painted circa 1926; original artist card verso. A substantial, Modernist portrait of the fashion designer, Lieselotte Friedländer, shown seated in a chrome-steel Bauhaus chair with a view beyond to a sunlit, woodland grove. Georg Rössner first studied in Berlin and, later, in Paris with Lovis Corinth. Rössner was a member of both the Berlin and Munich Sezession committees and, in 1920, was appointed professor at Berlin’s Staatliche Kunstschule. Over the course of a long career, Rössner exhibited internationally with success including at the 1929 Paris Exhibition des Peintres-Graveurs Allemands. His work is held in prominent private and public collections including the permanent collection of the National Gallery in Berlin.  Born in 1898, Lieselotte Friedländer moved to Berlin with her family in 1909. By the mid-1920s, she had established herself as the Weimar Republic...

Signed lower left, 'Hugo V.P.' for Hugo Vilfred Pedersen (Danish, 1870-1959) and painted circa 1900. An antique oil painting of an Indian gentleman wearing a saffron and coral turban...

Mid-century fauvist portrait of a girl with colorful, textured impasto by Mary Sheppard (American, 20th Century), 1956. Signed and dated "Mary Sheppard '56" lower right. Unframed. Im...

In my artwork, I've poured my soul into capturing the complex tapestry of human emotion. With each stroke of oil paint, I've interwoven a sense of resilience amidst adversity, the su...

A striking c.1930 French post-impressionist oil on board portrait of a gentleman smoking a pipe by Antonin Guéton. Excellent quality and condition post-impressionist portrait. Signed...

A beautiful post impressionist/fauvist impasto oil on board portrait of a lady gardener resting on a bench, by modern British artist Paul Beauvais. Excellent quality early work by ...

Framed 26 x 13 image 20 x 6.5 inches. YITSKHOK LIKHTENSHTEYN (ISAAC LICHTENSTEIN) (1888-1981) (Icchok, Izrael) was born in Lodz, Poland. Initially he was studying at Yehuda Pen school in Witebsk. In the same school where young Marc Chagall started to paint his shtetl Jews, Jewish neighbourhoods and personages. As many young Jewish children who decided painting to be their passion Isaac moved to Paris where he was one of the co-founders of Machmadim - a group of Jewish artists (mostly émigré from Eastern Europe) who dedicated their art to traditional Jewish themes. Later Isaac Lichtenstein studied with Boris Schatz and painted at Bezalel, Jerusalem. Until age seven he was raised in Warsaw; later, when his father received a position with Poznański, he lived with his parents in Lodz. There he studied in a state public school. He demonstrated talent for painting while still quite young, and in 1906 he began to attend the Cracow art academy, before going on to study painting in Rome, Florence, and Munich. In 1908 he entered the Bezalel Art School in Jerusalem. In 1910 he returned to Cracow, lived for a short time in Munich, 1911 in Paris, 1912-1913 again in the land of Israel, and in 1914 he returned to Paris, that very year setting off for the United States. He lived in New York during WWI, where he became part of Jewish literary and artistic circles, and contributed as a graphic artist to a variety of Jewish publications, among them: M. Basin’s Antologye (Anthology), the collection Velt ayn, velt oys (World in, world out), and designed frontispieces, little vignettes, and letters for Yiddish-language books. In 1916 he also began to write and published articles on the plastic arts in: Tsukunft (Future) in New York; the collection Shriften (Writings), vol. 6; Onheyb (Beginning), edited by Z. Vaynper; Morgn-zhurnal (Morning journal); Der amerikaner (The American); Forverts (Forward); and Di tsayt (The times). He did journalistic work also for M. F. Seidman’s correspondence bureau in New York. In 1918 he departed with the Jewish Legion for Israel. In 1920 he came to London, was demobilized there, and was a contributor to the journal Renesans (Renaissance), edited by Leo Kenig, and to the daily newspaper Di tsayt, edited by Morris Meyer. In 1924 he returned to Poland, exhibited his drawings in Warsaw, Lodz, Vilna, and other cities, gave speeches on art (general and Jewish), and published work in: Haynt (Today), Moment (Moment), Folkstsaytung (People’s newspaper), and Literarishe bleter (Literary leaves)—in Warsaw; Unzer lebn (Our life) in Grodno; Voliner lebn (Volhynia life); Nayer folksblat (New people’s newspaper) in Lodz; and elsewhere. He also published impressions from his travels and memoirs of the Jewish Legion in Haynt. He was part of the loose association of émigré artists known collectively as the École de Paris, the majority (among them Marc Chagall, Isaac Dobrinksy, Henri Epstein...

In creating this piece, I immersed myself in the delicate balance between strength and vulnerability. Her gaze conveys a narrative of resilience, a silent poise amidst a dreamy backd...