Charles Paine Art

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...

Artist: Pablo Picasso (Spanish, 1881-1973) Title: "L'Écuyère (The Horsewoman)" *Unsigned edition, though signed by Picasso in the plate (printed signature) lower right Year: 1960 Med...

A charming 1930s Western watercolor painting by American artist Lloyd Moylan, depicting a tender scene of horses and a foal set within a softly rendered Southwestern landscape. This...

THÉO TOBIASSE (1927–2012) – “LES SIÈCLES COULENT ENTRE NOS RÊVES” Lithograph on Arches Paper ⚜ Hand Signed and Numbered ⚜ Gilt Wood Frame A LUMINOUS MEDITATION ON MEMORY, INTIMACY, AND THE PASSAGE OF TIME From the acclaimed suite Un Chant d’Exil et de Lumière (A Song of Exile and Light), this richly saturated lithograph is one image from a series of six distinct compositions published in 1997 by Klim Art Publisher, Toronto, and printed by master lithographer Pierre Chave at his celebrated atelier in Saint-Paul-de-Vence. The multi-color lithographic process, employing up to twenty-three separate color passes, produces the extraordinary depth and chromatic intensity visible across the entire composition. Two figures sit together at a table, each holding a glass of wine. A samovar and two lit candles anchor the still life at center, surrounded by scattered fruit and a bowl bearing an olive branch. A vibrant rainbow canopy arcs across the upper portion of the image, while a dove takes flight at upper right. Behind the couple hangs a decorative tablet adorned with flowering branches and scrolled columns. The title, inscribed in the artist’s hand within the composition, translates as “The centuries flow between our dreams,” a poetic distillation of the suite’s overarching contemplation of generational memory passing through shared moments of intimacy. What initially reads as a warm, intimate gathering reveals itself as a layered reflection on heritage, belonging, and the rituals that connect one generation to the next. The samovar recalls Tobiasse’s Eastern European childhood, while the olive branch and candles carry associations of renewal and hope. The dove and rainbow reinforce themes of peace and covenant that recur throughout Tobiasse’s oeuvre. Rendered on heavy Arches paper with deckled edges, the print retains a tactile, handmade quality that complements its emotional warmth. Presented in a crosshatch gilt wood frame the work suits interiors that embrace color and narrative, from a Mediterranean-inspired living space to a collector’s library or a gallery wall dedicated to the School of Paris tradition. WHY COLLECT THIS WORK? ✓ Suite Provenance – One of six distinct compositions from Tobiasse’s acclaimed Un Chant d’Exil et de Lumière series, published in 1997 ✓ Master Printed – Produced by Pierre Chave in Saint-Paul-de-Vence using up to twenty-three color passes ✓ Hand Signed and Numbered – Pencil signed lower right, numbered 87/199 ✓ Rich Symbolic Composition – Dove, rainbow, samovar, olive branch, and candle layered with personal and cultural meaning ✓ Gilt Wood Frame – Crosshatch gilt finish, ready to display ARTWORK DETAILS: ▸ Title: Les Siècles Coulent Entre Nos Rêves (The Centuries Flow Between Our Dreams) ▸ Suite: Un Chant d’Exil et de Lumière (A Song of Exile and Light) ▸ Artist: Théo Tobiasse (1927–2012) ▸ Medium: Lithograph on Arches Paper with Deckled Edges ▸ Year of Creation: 1997 ▸ Signature: Hand Signed Lower Right in Pencil ▸ Edition: 87/199 ▸ Publisher: Klim Art Publisher, Toronto, Canada ▸ Printer: Pierre Chave, Saint-Paul-de-Vence, France ▸ Provenance: Michael Hittleman Gallery, Los Angeles ▸ Country of Origin: France ▸ Dimensions: — ◼︎ Image Area: 30.5 x 22 inches — ◼︎ Paper Size: 36 x 27.25 inches — ◻︎ Frame Size: 44 x 35 x 0.875 inches ▸ Condition: Excellent, commensurate with age ▸ Framing: Crosshatch Gilt Wood Frame, ready to display INCLUDED DOCUMENTATION: ✓ Certificate of Authenticity ✓ Artist Biography Document THE ARTIST: Théo Tobiasse (born Tobias Eidesas, 1927, Jaffa, Israel; died 2012...

This is an exclusive handprinted limited edition cyanotype. This diptych is titled "Japanese Zen Pond Ripples", and shows ripples of water from a calming pond. Details: + Title: Ja...

Derriere Le Miroir-No. 190-Page 14-15 Color lithograph, 1971 Unsigned (as issued) From: Derriere Le Miroir, No. 190, 1971 Publisher: Aime Maeght, Paris Printer: L’Imprimerie Arts, Pa...

Machine Age Industrial WPA Era American Scene Social Realism Mid 20th Century Jo Cain (1904 - 2003) Elliot 17 ¼ x 35 ¾ inches Gouache on board, c. 1930s Signed lower left 27 x 46 in...

Double Personage Color lithograph, 1975 (?) Unsigned (as issued) Edition: Large Edition Limited, (estimated to be approximately 2000) Published in: XXe Siecle, No. 52, Juin 1979 Published: G. di San Lazzaro Printer: Mourlot Imprimeur, Paris, France Reference: Lam-Tonneau-Ryckelynck L7513 Condition: Excellent, fresh colors Traces of glue residue along margin edge where it was bound in the book Image/sheet size: 12 1/4 x 9 1/4 inches Wilfredo Lam (1902-1982) Biography Wifredo Lam was born in Sagua la Grande, Cuba, on December 8, 1902. He was the eighth child born to Lam-Yam―born in Canton around 1820, an immigrant to the Americas in 1860―and to Ana Serafina Catilla―born in 1862 in Cuba of mixed African and Spanish ancestry. The luxuriant nature of Sagua la Grande had a strong impact on Lam from early childhood. One night in 1907, he was startled by the strange shadows cast on the wall of his bedroom of a bat in flight. He often recounted the incident as his first magnificent awakening to another dimension to existence. In 1916, Lam and part of his family settled in Havana. He was enrolled in the Escuela Profesional de Pintura y Escultura, Academia de San Alejandro, where he remained a student until 1923. This period, with exhibitions at the Salón de Bellas artes, was determinant in his choice to become a painter. In 1923, the municipality of Sagua la Grande awarded him a grant to study in Europe and by the autumn of that year, at the age of twenty-one, he left the country for Spain. His time in Spain―initially intended as a short stay on his way to Paris―lasted 14 years. In Madrid, he was exposed to the ideas and movements of modern art. He spent long hours at the Archeological Museum and the Prado. He studied the great masters of Spanish painting, Velázquez and Goya, but felt particularly drawn to the works of Bosch and Bruegel the Elder. In 1931, his first wife, Eva (Sébastiana Piriz) and their son Wilfredo Victor died of tuberculosis. The terrible suffering he endured led to numerous paintings of mother and child. Lam found solace in the company of his Spanish friends and made contact with several political organizations. In 1936, with the help of his friend Faustino Cordón, he joined the Republican forces in their fight against Franco. He designed anti-Fascist posters and took part in the struggle by working in a munitions factory. The violence of the struggle inspired his painting La Guerra Civil. In 1938, Lam left Spain for Paris. Shortly before leaving, he met Helena Holzer, who would become his wife in 1944. His meeting Picasso in his studio on the Rue des Grands Augustins proved decisive. Picasso introduced his new “cousin” to his painter, poet and art critic friends, Braque, Matisse, Miró, Léger, Eluard, Leiris, Tzara, Kahnweiler, Zervos. Lam also met Pierre Loeb, the owner of the Galerie Pierre in Paris, which hosted Lam’s first solo exhibition in 1939. Shortly before the Germans arrived, Lam left Paris for Bordeaux and then Marseille, where many of his friends, for the most part surrealists, had gathered around André Breton in the Villa Air Bel: Pierre Mabille, René Char, Max Ernst, Victor Brauner, Oscar Domínguez, André Masson, Benjamin Péret. In the Villa Air Bel, a meeting place for creativity and experimentation, Lam worked and produced, most notably, a series of ink drawings that set the tone for what would become his signature style of hybrid figures, a vocabulary he would develop more fully during his years in Cuba from 1941 to 1947. In January and February 1941, Lam illustrated Breton’s poem Fata Morgana which was censored by the Vichy government. On March 25, Lam and Helena Holzer embarked on the “Capitaine Paul Lemerle” headed for Martinique, in the company of some 300 other artists and intellectuals―André Breton and Claude Lévi-Strauss among them. Upon arrival, the passengers were interred at Trois Îles. It was during this forced passage in Martinique and before leaving for Cuba that Lam and Aimé Césaire met for the first time to become life-long friends. Newly settled in his native land after almost twenty years, Lam delved deeper into his artistic investigations, finding nourishment for his ideas in the surroundings of his childhood and youth. His sister Eloisa, whom he was closest to, explained to him in much detail the workings of Afro-Cuban rituals and he began attending ritual ceremonies with some of his friends. This contact with Afro-Cuban culture brought new impetus to his art. He painted over one hundred canvases, most notably La Jungla, making the year 1942 his most productive of this period. Over the next few years, a number of exhibitions followed in the United States, at the Institute of Modern Art of Boston, at the MoMA of New York, at the Galerie Pierre Matisse, where La Jungla was presented and created a scandal. In 1946, Lam and Helena travel to Haiti and attend voodoo ceremonies in the company of Pierre Mabille and André Breton. Talking about his experience in Haiti, Lam said, “It is often assumed that my work took its final form in Haiti, but my stay there, like the trips I made to Venezuela, Colombia or to the Brazilian Mato Grosso only broadened its scope. I could have been a good painter from the School of Paris, but I felt like a snail out of its shell. What really broadened my painting is the presence of African poetry.” Picasso_Lam_Vallauris_1954_vignette Wifredo Lam et Pablo Picasso, Vallauris, 1954 Lam then went on to New York where he renewed contact with Marcel Duchamp and made new acquaintances: Jeanne Reynal, James Johnson Sweeney, Arshile Gorky, John Cage, Roger Wilcox, Mercedes Matter, Ian Hugo, Jesse Fernández, John Cage, Sonia Sekula and Yves Tanguy. By the end of the 1940s, Lam divided his time between Europe, Havana and New York, where they stayed with Pierre and Teeny Matisse...

French gouache fashion sketch of a casual day outfit, circa 1980. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sleeve and Certificate of ...

Well presented in a large white mount. Signed. On watercolour paper.

HENRY MOORE (1898–1986) – "FOUR STANDING FIGURES" Color Lithograph on Wove Paper ⚜ Hand Signed and Numbered ⚜ Custom Conservation Frame A SCULPTOR’S MEDITATION ON THE STANDING FIGU...

Original Painting Undersea Whale Life Mag Published 1953 Illustration Ocean Sea Antonio Petruccelli (1907 – 1994) Underwater Whale Life Illustration published, c. November 7, 1953 1...