Modern Paintings

Impressive early American modernist beach scene oil painting by Brooks Kelly (1935 - 2012). Framed. Oil on canvas, lain to board. Signed. Image size, 12H by 16L.

Marcel Vertes (French/Hungarian, 1895 – 1961) ‘Circus performance’ Oil on canvas board Signed `VERTES` (to the reverse) 20 x 24 in. (51 x 61 cm.) Provenance: With the Hammer Gallerie...

Still Life in Blue by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 15 x 21.5 inches Provenance: all the paintings we have by this artist...

Contemporay English School signed oil painting on copper panel framed: 13 x 14.5 inches panel: 8 x 10 inches provenance: private collection, England condition: overall very good

Oil on canvas realized by Sirio Pellegrini in 1960s. Hand signed lower right. Includes a wooden frame 37.5x27 cm. Very good condition. Sirio Pellegrini, born in Rome on March 1, ...

This artwork "Three Women" is an oil on canvas board by renown Turkish artist Ali Demir, 1931-2015. It is signed and dated at the lower right corner by the...

Mercedes Matter Reclining Nude, circa 1920 Signed "Mercedes Matter" on the overlap Oil on canvas 32 x 51 inches Known for his use of expressive and uninhibited color, Arthur B. Car...

Impressive contemporary abstract expressionist painting by Stephen Heigh. Oil on canvas. Signed. Image size, 14H x 11L.

Silent stillness and transient atmospherics draw me to paint the water and its reflections. There is a mystical infinite quality to the light, in particular the exquisite, vaporous a...

Set of Two Paired Studies 1960's British Modernist Drawing by Irina Hale (British 1932-2022) oil crayon drawings on light brown artist paper stuck on A4 artist paper, unframed overal...

Pastel Landscape by Irina Hale (British 1932-2022) pastel on brown artist tracing paper , unframed painting: 4.5 x 3.75 inches provenance: private collection, Cotswolds condition: ve...

Costa Rica! Still Life with Guitar, Fruit, Wine, and Newsprint in Oil on Canvas Still life in a semi-cubist style by Irene Pattinson (American, 1909-1999). On a reddish-purple table, there is a plate with two apples, a bottle of wine, and an acoustic guitar. The guitar's headstock is shown extending from where the neck meets the body, implying a cubist interpretation of the scene. At the back of the still life arrangement, there is a (collage) newspaper with "Costa Rica!" in the headline. At the left of the composition, there is a curtain or cloth draped across part of the scene. Signed "Irene Pattinson" on verso. No frame. Canvas size: 32"H x 24"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance:The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works) Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963; Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

Still life with red flowers is an artwork realized by Claude Decamps, mid-20th Century. Oil on canvas.  25 x 20 cm. Hand signed in red in lower margin. Good conditions!

A nice American modernist landscape painting, dating from the 1940s. This work is on the manner of E. Oscar Thalinger, but does not appear to be signed. The work is unframed, as it...

Elegant Female Skier Portrait Alpine Scene circa 1930s Barcelona School Artist: Signed J. Barraguer School: Barcelona School Period: circa 1935–1945 Medium: Oil on canvas Signature: Signed lower right Support stamp: Casa Teixidor, Barcelona (verso) Dimensions: 61 × 50 cm (24 × 19.7 in) Frame: Unframed Condition: Good vintage condition consistent with age. Stable paint surface and fresh original colors. No visible restorations under normal inspection. DESCRIPTION Elegant alpine portrait of a female skier painted in Barcelona during the golden age of European winter tourism imagery, likely between the mid-1930s and early 1940s. The composition captures a refined winter sports aesthetic typical of pre-war Alpine visual culture, where skiing symbolized modernity, elegance and leisure rather than competition. The seated figure, dressed in a vivid blue jacket and striking red scarf, appears poised against a dramatic snowy mountain backdrop rendered with confident, atmospheric brushwork. The artist combines portrait sensitivity with poster-like clarity, creating an image that resonates strongly with the visual language of classic Swiss and French ski resort advertising from the same period. The palette is particularly effective: cool tonal snow fields contrast with warm facial modelling and bold accents of red, producing a balanced decorative presence ideal for interiors. The reverse bears a supplier stamp from Casa Teixidor, Barcelona, a well-known early twentieth-century artists’ material provider, supporting the proposed dating of the work. Today the painting reads both as a refined portrait and as an evocative example of early Alpine leisure imagery, making it especially suitable for mountain interiors, ski lodges, modernist homes or collectors interested in European travel culture of the interwar period. ARTIST BIO J. Barraguer was active in Barcelona during the first half of the twentieth century and worked within a pictorial language that bridges easel painting and illustration associated with the emergence of modern leisure culture in Europe. Artists of this generation frequently contributed to portraiture, decorative painting and tourism-related imagery that reflected the growing popularity of winter sports and Alpine travel between the 1920s and 1940s. Works such as this example demonstrate a confident handling of figure painting combined with a strong awareness of contemporary graphic aesthetics typical of the period. Paintings by Barcelona-based artists working in this hybrid decorative-figurative tradition are increasingly appreciated today for their ability to connect portraiture, design and early travel imagery within a single composition. Comparable in atmosphere to the refined Alpine winter imagery developed in Europe during the interwar period by artists associated with the golden age of ski resort poster design and leisure culture painting. The elegant treatment of the female skier and the stylized mountain backdrop resonate with the visual language found in works by artists such as Emil Cardinaux, Alex Walter Diggelmann, and Roger Broders, whose compositions helped define the iconic imagery of Alpine tourism between the 1920s and 1940s. The painting also shares affinities with the modern figurative approach to leisure subjects seen in Jean Gabriel Domergue, particularly in the refined depiction of fashionable female figures associated with elegance and travel culture of the period. Within the Iberian context, the work relates to the broader tradition of Catalan artists working between easel painting and decorative illustration during the early twentieth century, when winter sports imagery became part of the emerging visual identity of modern European tourism. female skier painting alpine skier portrait vintage ski painting...

Artist: Lucio Ranucci, Italian (1925 - ) Title: Three Women Year: 1971 Medium: Oil on Canvas, signed and dated upper left Size: 25 x 37 in. (63.5 x 93.98 cm)

John Leslie Berry (1920–2009) An Officer, Grande Armée, Hussars, Circa 1815 Oil on canvas Signed lower left Canvas size - 14 x 10 in Framed size - 18 1/2 x 14 1/2 in ohn Leslie Ber...

Late 20th Century oil on canvas view of a French bastide in a garden by Franco British artist Isabell Pardoe. The painting is not signed but came directly from the artist's atelier. ...

'Hidden Portraits IX', acrylic on canvas mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an intermediary of an ageing a...

John Leslie Berry (1920–2009) An Officer, Battalion Co., Cold Stream Guards, Circa 1821 Oil on canvas Signed lower right Canvas size - 14 x 10 in Framed size - 18 1/2 x 14 1/2 in o...

The Guildhall, Worcester English School, mid 20th century indistinctly signed verso oil on canvas canvas: 20 x 24 inches provenance: private collection, UK condition: very good and sound condition The Worcester Guildhall was originally built as a meeting place for Worcester merchants around 1227. As with many other guildhalls, it became the centre for civic administration, a role it maintained after the merchant guild had disappeared. The present Worcester Guildhall is a superb Queen Anne building, begun in 1722 by Thomas White, a pupil of Sir Christopher Wren. White was badly paid for his efforts, and he died in poverty in 1738, bestowing the money he was owed on the Worcester Royal Infirmary. The city finally paid its debt in 1753. The exterior of the Guildhall is brick, dressed with stone. White himself is said to have carved the figure of Queen Anne over the entry, as well as those of Charles I and II, a reminder of the city's long history of royal support. The interior is superb, boasting exceptional period decoration. The Tourist Information Centre is now located in the Guildhall. HISTORY In 1227 Henry III granted the citizens of Worcester a royal charter granting them the right to establish a guild of merchants. The guild was responsible for controlling trade in the city, but their meeting place gradually became the main centre of administration for city government and acted as a courthouse. So, in effect, the Guildhall was the town hall, and though the city guilds have long since vanished, the Guildhall name lives on. The medieval guild merchants would not recognise the building that faces onto High Street now. Their guildhall was a large timber-framed building, occupying the same site, with a piazza for shops fronting the street, courts of justice at each end, and a prison to the north of the building. Part of the prison was a cell called 'the peephole', which gained a notorious reputation. There was a gaoler's house, and attached to it an alehouse from which the gaoler sold ale at extremely high prices to any prisoner who could afford the cost. In 1717 the city administration decided on a new Guildhall, and they knew just who to call; upon to build it. Thomas White was not an architect in the way we think of it today, but a stonemason. In 1705 he had carved a statue of Queen Anne to stand in front of the medieval Guildhall and was made a Freeman of the City. The total cost of the fashionable new red-brick building was £3727. The Corporation only put forward £800, and the rest had to be raised by public subscription. The centre section of the new Guildhall was finished by 1724 and has remained almost unchanged since then. The central facade is a wonderful example of early Georgian style, with three bays flanked by Corinthian pillars. Over the entrance is a huge carving incorporating the Hanoverian royal arms. White's earlier statue of Queen Anne was placed in a niche over the door, and on either side were statues of Charles I, depicted holding a church, and Charles II, with an orb and royal sceptre. On the rooftop are figures of Labour, Peace, Justice, Plenty, and Chastisement. North and south wings were added within a few years of the central block. The south wing was used as a judge's lodging when the assizes were taking place, but throughout the rest of the year it housed a coffee shop. The most striking external feature of the Guildhall is a set of iron gates...

A Quiet, Picturesque 1930s American Scene Country Landscape Painting of a Wisconsin or Michigan Farm in Late Autumn by Famed Chicago Modern Artist, Francis Chapin (Am. 1899-1965). A...

Alexander Mikhailovich Kishchenko (1933–1997) was an outstanding Belarusian monumentalist artist whose work significantly influenced the development of visual arts in Belarus during ...

A charming 1950s modernist oil on canvas by Claude Richard Mazier (France, 1926–2011), this composition captures a poetic village scene where architecture and nature merge into a dre...

Alexander Mikhailovich Kishchenko (1933–1997) was an outstanding Belarusian monumentalist artist whose work significantly influenced the development of visual arts in Belarus during ...

Antique American modernist oil painting. Oil on board, circa 1950. Housed in a vintage frame. Image size, 16L x 11H. Signed.

Antique American modernist still life oil painting. Oil on canvas, lain to board. Framed. Measuring: 29 by 23 inches overall, and 24 by 18 painting alone. Excellent condition, read...

"Florentine Expressions: A Portrait Series XII", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an intermediary of an ageing art professor from the Istituto di Arte di Porta Romana, Florence, Italy. The professor released works of artists whom he mentored over the years. We are unsure who painted the series we acquired as several are just signed, 'Giacomo', or, left completely unsigned, yet many are clearly by the same artist. This one is in good overall condition and has been newly framed with a French-style linen slip. The canvas is textural like one of the vintage maps...

Yellow Landscape signed by Lucien Gondret (French 1941-2023) signed oil on canvas, unframed canvas: 18 x 24 inches provenance: the artists estate, Franc...

A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...

A charming, diminutive 1930s Modern painting depicting laundry hanging in a Vermont lake house window by notable Chicago artist Harold Haydon. Artwork size: 8 x 8 1/4 inches. Fram...

Author: Bernard Leemker (Groningen, 1899 – 1990) Title: Portrait of a Boy with Teddy Bear Date: 1984 Technique: Oil on canvas Dimensions: 55 × 45 cm — 21.7 × 17.7 in Support / Mounti...

Green Valleys by Irina Hale (British 1932-2022) oil painting on artist paper , unframed painting: 5.25 x 8 inches provenance: private collection, Cotswolds condition: very good Irin...

Posing Nude by Mikhail Turovsky, Russian (1933) Date: 2001 Oil on Masonite, signed lower left Size: 48 x 30.5 in. (121.92 x 77.47 cm)

Antique American school modernist watermelon still life pastel painting. Pastel on paper. Signed. Framed. Measuring 18 by 22 inches overall and 16 by 20 painting alone.

Antique American modernist abstract landscape oil painting. Oil on canvas. Framed.

Incredible early American modernist portrait by Stephen H Booker (1933 - 2016). Oil on canvas. Signed verso. Finely framed. Measuring 24 by 28 inches overall and 16 by 20 paintin...

Bright Flowers in Vase by Irina Hale (British 1932-2022) signed initials gouache painting on board unframed size: 6.5 x 6 inches provenance: private collection, Cotswolds condition:...

About this work: “Mascara (Mask), 2000” by Justino Alves (Portuguese, 1940-2015). A magnetic work by one of Portugal’s most distinguished postwar painters. This painting has all of ...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 48 by 48 inches overall and 40 by 40 painting alone. In excellent original condition. Hands...

Pastel Landscape by Irina Hale (British 1932-2022) pastel sketch on brown artist tracing paper , unframed painting: 4.5 x 3.75 inches provenance: private collection, Cotswolds condit...

Hazel Guggenheim King-Farlow McKinley (American, London, New Orleans, 1903-1995), "Paris Rooftops" c. 1930 Oil paint on wood panel Attributed, dated and titled verso (I am not sure in whose hand not signed by the artist herself). Dimensions H.- 18 in., W.- 15 in., Framed- H.- 26 1/2 in., W.- 23 in. Provenance: From an estate New Orleans, Louisiana. Hazel Guggenheim King-Farlow McKinley (born Barbara Hazel Guggenheim; April 30, 1903 – June 10, 1995) was an American painter, art collector, and art benefactor. Hazel Guggenheim was born in New York City to Benjamin Guggenheim and Fleurette (Seligman) Guggenheim. The marriage united two wealthy German-Jewish families. Born into the well-known Guggenheim family, a niece of Solomon Guggenheim who founded the Guggenheim Museum, she grew up in New York, alongside her sisters Benita Guggenheim and Marguerite Peggy Guggenheim who would become the influential gallery proprietor, art collector, museum founder, and midwife to the Abstract Expressionism art movement. Her father Benjamin gave up much of his financial interest in the family's mining business to start his own business in Paris. With his business failing, in 1912 he set out to return to the United States in time for McKinley's ninth birthday on the Titanic. Following the shipwreck, he drowned aged 46; his body was not recovered. McKinley inherited $450,000. She later inherited money on the deaths of her mother, and of her older sister, Benita, who died in childbirth. The loss of her father haunted McKinley for the rest of her life, and in 1969 she recorded "In Memoriam, Titanic Lifeboat Blues." McKinley began painting as a teenager and was a prolific artist throughout her life. When she fled New York for Paris at age 19 she studied at the Sorbonne and became part of 1920's bohemian Paris, France, where she was taught by key modernism artists of the time. Her primary mediums were ink, water color, tempera, and crayon. Some of her work is hand signed and some is not. In 1928 her sister Peggy moved to London and mar­ried the British writer John Holmes. In 1931, McKinley married the Englishman Denys King-Farlow. They settled in Sussex, UK, and had two children, John King-Farlow, who became a philosopher and poet, and Barbara Benita King-Farlow, who became an artist in her own right. In 1938 Peggy opened Guggenheim Jeune, a London gallery of mod­ern art, starring Wassily Kandinsky, Henry Moore, Salvador dali, Constantin Brancusi, Max Ernst, Pablo Pic­asso and Jean Miro with whom they socialized. Whilst living in the south of England with Denys King-Farlow in the 1930s, McKinley was influenced by a group of avant-garde artists, and had her first solo exhibition in London in April 1937 at the Coolings Gallery. She received instruction from British artists Rowland Suddaby, Raymond Coxon, and Edna Ginesi, becoming associated with the London Group and the Euston Road School. She painted primarily in watercolor. Her work included still-life, portraits, townscapes and landscapes. Although her first work was done in a "slightly plain palette," her later work in the 1930s brightened, sometimes falling within the realm of fauvism. "Under the influence of the Surrealist artists, Hazel's paintings after the 1930's became freer, though her work was far more whimsical and humorous than many artists more closely associated with the surrealism movement." In 1939 McKinley fled Europe due to the impending war and returned to the US, living mostly in California. She took brief art lessons from her sister Peggy's one-time husband Max Ernst and much later attended several summer schools taught by muralist and renowned teacher Xavier Gonzalez. In her life in the United States and abroad, McKinley met many prominent artists of the Paris, London, and New York art scenes including Jackson Pollock. McKinley continued to paint, and ran a small gallery of her own in the late 1950s and early 1960s in West Cornwall, Connecticut. One show at her gallery featured the works of British and Irish painters including Rowland Suddaby, Frank Beteson, Tom Nisbett, and Patrick Swift. McKinley showed two of her own works in the same exhibit, a watercolor painted at Positano, Italy and one painted at the Tuileries, Paris. Another featured work was a surrealistic water color portrait of McKinley by London artist Mervyn Peake. McKinley exhibited her work both in Europe and the United States throughout her long career, mostly at smaller venues. An incomplete listing of her exhibits and museum acquisitions of her work include: Berkshire Museum, the Galerie Raymond Duncan in Paris, Stendahl Galleries, the Jake Zeitlin Gallery, the Montgomery Museum of Fine Art, the Artists' Own Gallery in London, the Manchester City Art Gallery, and Santa Fe Art Museum. McKinley's work was only once included in a show by her sister Peggy. In 1943 McKinley was selected to exhibit a painting in Peggy's infamous show Exhibition by 31 Women in her New York gallery Art of This Century. The exhibition was radical at the time for being one of the first all-woman exhibitions, as well as showing only abstract or Surrealist works. The Exhibition by 31 Women was conceived by Peggy Guggenheim in collaboration with Marcel Duchamp, who is usually credited with suggesting the idea. The participating artists were selected by a jury that included André Breton, Max Ernst Duchamp, and Guggenheim. Advice was sought from Alfred H. Barr Jr., first director of the Museum of Modern Art in New York, who provided Guggenheim with five names, of which three were included in the exhibition, Suzy Frelinghuysen, Irene Rice Pereira, and Esphyr Slobodkina. Those already known to Guggenheim through their partners included Xenia Cage, wife of the composer John Cage, Frida Kahlo, wife of Diego Rivera, who was noted for his frescoes, Sophie Taeuber-Arp, wife of the sculptor, Hans Jean Arp, and Jacqueline Lamba, ex-wife of the surrealist André Breton. Guggenheim’s sister, Hazel Guggenheim McKinley and her daughter, Pegeen Vail Guggenheim exhibited. Also in the exhibition was the burlesque dancer, Gypsy Rose Lee, another friend of Guggenheim, who was possibly included more to help publicise the event than for her artistic skills. Other artists were friends of Guggenheim or of Max Ernst. One, Dorothea Tanning, was Ernst's lover, leading Guggenheim to say: "I realized that I should have only had thirty women in the show". Only one artist is known to have refused the invitation to submit works, Georgia O'Keeffe, who reportedly responded that she wished to be identified as a painter, and not singled out because of her gender. In the late 1950s, McKinley moved back to Europe for a while, before returning to the United States in 1969. She lived in New Orleans until her death in 1995. On her death, her only living son, John King-Farlow, wrote a poem in his mother's honor, entitled "Eulogy For My Mother (Hazel Guggenheim McKinley, Artist)." A short obituary distributed by the Associated Press noted she was a member of the illustrious New York Guggenheim family, that she was determined to make a name for herself as an artist, that her art works were shown in museums in the United States and Europe, and were in the collections of such celebrities as Greer Garson, Benny Goodman, and Jason Robards. In 1998 after her death, one of her paintings was exhibited in Peggy Guggenheim's Venice home museum the Palazzo Venier dei Leoni. Guggenheim’s work in various media and her connections to influential artists and collectors provide glimpses into the complex tapestry of the art world in the first half of the 20th century. In her later life she settled in New Orleans, where she continued painting, exhibiting, and studying art into her eighties at Newcomb College, New Orleans. She was part of a regional art scene that included Ida Kohlmeyer, George Rodrigue, Noel Rockmore and Hunt Slonem. Towards the end of her life while confined to bed, her last works were colored pen drawings and sketches. McKinley collected major contemporary artworks and she donated many of these works to public institutions. She donated over 15 works to Wakefield Art Gallery, UK, in the 1930s, and in 1938 presented the painting Cossacks...

“Untitled, 1946” by Louis K. Stone (1902-1984). A strong and charming example of mid-century American modernism by one of the most important artists working in New Hope, PA. This wa...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

Antique American signed modernist flower still life oil painting. Oil on canvas. Signed. Framed. Image size, 16L x 30H.

Antique American modernist portrait oil painting by Salpi Miriam Mavian (Born 1908). Oil on canvas, circa 1930. Signed. Displayed in a giltwoo...

Stephen Harty, Untitled (Bird Abstraction), gouache, 1953. Signed and dated lower left. A fine, meticulously rendered, mid-century, modernist gouache painting, with fresh colors on 1...

Oil on canvas. Hand monogrammed lower right. Exhibited at the 19th Biennale di Venezia, in 1934. Framed, in very good condition.

A lovely scene of the canals in Annecy, France by renowned American artist Emma Fordyce MacRae (1887-1974). This work highlights the geometric nature of the historic architecture al...

Very impressive modernist still life by Miguel Guzman. Oil on canvas. Nicely framed. Great color and composition.

Work on cardboard

Impressive early American modernist seascape painting by Lawrence Butcher, Jr. (Born 1936). Watercolor and gouache on paper. Framed. Signed. Image size, 8 by 11 inches.

René Mels (1909-1977) Portrait of a young man, signed lower right oil on canvas 73 x 60 cm Framed : 77.5 x 64.5 This impressive portrait is obviously tou...

Edward Zutrau Untitled, 1956 Signed and dated on the reverse Oil on linen 40 x 82 inches Edward Zutrau (1922–1993) was an American painter whose career spanned from the 1940s throu...

Exceptionally well painted African landscape painting. Oil on board. Framed. Signed. Image size, 22L x 26H.

Greenery and Country House singed initials by Irina Hale (British 1932-2022) oil paintings on artist paper mounted in a frame Glass covering overall framed: 16.5 x 12.5 inches Top pa...

Ink Abstract by Jacqueline Boisselot, French late 20th century size: 19.75 x 26 inches ink painting on thin paper, unframed condition: very good and ready to enjoy provenance: from...

Paired Studies of Lions in Profile 1960's British Modernist Drawing by Irina Hale (British 1932-2022) oil crayon drawings on brown artist paper stuck on A4 artist paper, unframed ove...

Abstract Colours Jacqueline Boisselot, French, late 20th century oil on canvas, unframed Canvas: 9.5 x 7.5 inches Provenance: from a private collection of this artists work, Paris, F...