Sacha Chimkevitch

Jazz : Hot Swing- Original handsigned lithograph - Limited /275

Sacha CHIMKEVITCH New Orleans : Hot Swing Original lithograph Handsigned in pencil Numbered /275copies On vellum 54 x 72 cm (c. 22 x 29 in) Excellent condition

Sacha CHIMKEVITCH New Orleans : Jazz Band Original lithograph Handsigned in pencil Limited /275copies On vellum 54 x 72 cm (c. 22 x 29 in) Excellent condition

Sacha CHIMKEVITCH (1920-2006) LOVE (Woman in Blue), 1983 Original watercolor and charcoals drawing Signed and dated bottom right On vellum 75 x 54 cm (c. 30 x 22") Excellent condition

Sacha CHIMKEVITCH (1920-2006) New Orleans - Street of Blues, 1982 Original charcoals drawing Signed and dated bottom left On vellum 73 x 52 cm (c. 29 x 21") Excellent condition

Sacha CHIMKEVITCH (1920-2006) Jazz Club, 1993 Original watercolor and charcoals drawing Signed and dated bottom left On vellum 57 x 34 cm (c. 23 x 14in) ...

Roger de la Fresnaye (after) Countryside : Girl Playing with a Dog Stone lithograph after a painting Printed in Mourlot workshop Printed signature in the plate On Arches vellum 65 ...

Beautifully painted and with an arresting subject, this piece -- with its male nude subject having removed his own fig leaf -- reveals the sly humor of its painter, Leon Dusso...

Depicting Amphora vessels, mounted in black frames, the smaller: 11.5 x 14.5 x 1.

Handcrafted collector decorative candle Holder blue porcelain with 24K gold design. Vintage handmade cobalt blue porcelain decorative piece with Classical Greek painting by Manousak...

Fine Greek folk art painting of king George Killing the dragon with Cyrillic script Painted on wood board Size 55 x 30 cm 22 x 12 inches Period ;Early 20th Century Provenance Je...

Very nice lot of two oils on panel, representing two still lifes. The realism is absolutely remarkable. The first alone represents the elegance and freshness of the Hostess. A magnificent white ceramic bowl sculpted with small harmonious ruffles, composed of red fruits and pears placed on a table where a small garden butterfly still cleverly blends into the decor. The second offers us all the robustness and generosity of the master of the house...

Tiffany Studios Greek key table lamp New York, USA, circa 1910 leaded glass, patinated bronze Dimensions: 26 height x 20 diameter in (66 x 51 cm)...

Hanging lamp. Model PH-4/4 Normal treph lamp patent P.H Treph lamp with glass shades Sing P.H-4 (D.R.P) = Deutsche Reichs Patent. glass measures 400mm 260mm 128mm Material: art glass and iron. Style: Art Deco. To take care of your property and the lives of our customers, the new wiring has been done. If you want to live in the golden years, this is the lighting that your project needs. If you are looking for an chandelier to match the set of sconces we have what you need. We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982.If you have any questions we are at your disposal. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Poul Henningsen (1894-1967), born in Copenhagen, Denmark, is an influential Danish designer, writer and cultural critic. As an indicator designer of the classic Danish lighting brand Louis Poulsen , he devoted his whole life to the exploration and experimentation of lighting, and was praised by the world as the first inventor who combined science and art. Representative works include PH lamp series, PH Artichoke, PH Septima...

Portrait of Felix Faure, president of France by Henri Rondel. The painting is signed and dated and was presented at the Salon of 1897. Henri Rondel was...

Greek Architectura Oil on canvas Dimensions: 47.24’’ x 63’’ Signed and dated 2021. Vernon is a sculptor artist emerging from the French art scene. He began his training with the Fr...

Panos Tsarouhas (born 1928), a Greek artist living in Sweden. Oil on panel. Abstract female figure. Signed and dated 1965. In excellent condition. ...

Central City (Colorado) 3/25 is a lithograph by Arnold Ronnebeck from 1933 depicting a city scene with buildings. Presented in a custom black frame, outer dimensions measure 24 ½ x 19 ⅝ x ⅝ inches. Image size is 14 ¾ x 10 inches. Piece is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private collection, Denver Expedited and internship shipping available - please contact us for a quote. About the Artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...

American modern lithograph on paper titled 'Mining Town' signed by artist Robert Beauchamp (1923-1995) featuring a figure walking and a cat sitting on a fence in a mining town. Image...

Lithograph on paper titled 'Colorado Gold Dredge, Breckenridge' by Arnold Ronnebeck (1885-1947) from 1932. Numbered 15/25. Depicted is a gold dredge in Colorado mining town Breckenridge with a mountain landscape in the background. Presented in a custom frame measuring 17 ¼ x 21 ¼ inches. Image size measures 10 ¼ x 14 ¼ inches. Print is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Arnold Ronnebeck Expedited and international shipping is available - please contact us for a quote. About the Artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...

'Gem Mining Company', lithograph by Arnold Ronnebeck from 1932. Colorado mining scene with several mining buildings amongst the mountains. Presented...

Printed in inky black, Man and Woman features a rubenesque woman standing in profile to the right of the picture, her hands placed lightly on her stomach. She glances past the viewer...

Here Kitaj depicts a sculpture of a nude woman, shaded delicately in black, printed on wonderfully textured handmade muted orange paper. The woman’s hand reaches to the inside of her...