David Burliuk

Vase of Flowers on the Seashore

1882-1967

ARTHUR SEGAL 1875-1944 Jassy, Rumania 1875-1944 London (Romanian) Title: Still Life and Fruits, 1911 Technique: Original Signed Oil Painting on cardboard size: 61 x 86 cm ...

MANE KATZ [Katz Emmanuel] 1894-1962 Kremenchug, Ukraine 1894-1962 Tel Aviv (Russian / Ukrainian / French / Israeli) Title: Vase of Flowers Tech...

SEWERYN SZRAJER 1899-1947 Chelm 1899 - 1947 Paris (Polish/French) Title: The Flowers Technique: Original Signed Oil on Canvas size: 65 x 54 cm / 25.6 x 21.2 in Addition...

SERGE FERAT 1881-1958 (Le Comte Sergueï Yastrebzov) Moscow 1881-1958 Paris (Russian/French) Title: Still Life with Guitar on Gueridon, circ...

The painting is signed, inscribed "Jerusalem" and dated "1931" at the lower right corner. Condition: Good Condition. unexamined out of the frame. Note: This work will be shipped from Israel...

This painting is hand signed by the artist at the lower left corner Provenance: Twentieth Century Art, Christie's Amsterdam, 5th June 2007, lot 36, page 26. Condition: Good

"Eighty Primary Shapes on Green" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful combination of geometric shapes in a classy gamut of colors. The use of pa...

Powerful visual done at Stella's peak period of creativity in Barbados. Signed lower right. Provenance: Doyle, New York Elegantly framed.

"Primary Colors on Light Yellow" is an abstract painting diptych by Spanish artist Natalia Roman. It is a beautiful combination of geometric shapes in a classy gamut of colors. The u...

Joseph Stella creates a beautiful and colorful still life rendered in lush expressive bright colors and quick spontaneous bravura brushstrokes.. Signed Lower Right Joseph Stella Fra...

Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures . 18th century, oil on canvas, with original gilt-wood frames. This pair is an exce...

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...