André Cottavoz Figurative Paintings

Lively Paris street. 1973. Oil on canvas. 54 x 73cm Hiro Yamagata was born near Kyoto, Japan, went to Paris to study art, and considers himself an American artist. In his Los Angeles studio, Yamagata paints minutely detailed scenes of Paris streets, cafes and parks. He captures the essence of the naif style by presenting life in simple terms, and the world in the happiest light. His creative synthesis of photorealist and neo-folk techniques has won countless admirers and collectors. Yamagata's vision is unequivocally cheerful and his imagery is endlessly inventive. He works from a palette of over 100 shades of acrylic paints, and renders in exacting detail with brushes with as small as two hairs. Serigraphs of some of Yamagata's most popular paintings...

This artwork makes part of my new period in my artistic expression. This painting dedicated to "Women" series is a special one since it is all about my strong deep personal transfor...

"Figure de Notier" oil on canvas painting of a human figure by Max Papart. Signed Max Papart on front. Signed and titled "Max Papart Figure de Notier" on back. Additional markings o...

A fantastic WPA-era painting of a Georgia moonshiner by famed Italian-American artist Athos Menaboni (1895-1990). This work depicts an older man sporting a brown hat, brown jacket, ...

Lisa Fricker's "Sara's Morning" is an original, handmade oil painting that depicts a close up nude portrait of a woman in front of a earth toned , geometrical abstracted background. ...

“The Big City, 1948” by Anna Elkan Meltzer (American, 1896-1974) One of Meltzer’s finest works, this painting encapsulates the organized chaos of Grand Central Terminal in NYC in th...

“The Champ, 1942” by Theodore Fried (1902-1980) This important portrait by Hungarian-American artist Theodore Fried depicts the legendary boxer Joe Louis aka “The Brown Bomber” and ...

Chicago Modernist, William Schwartz, painted this intimate painting of a woman reading titled On the Beach. He studied at the Art Institute of Chicago shortly after emigrating to th...

Carlo Pollonera (1849-1923) 'Dolomites at Santa Cristina' ‍ Oil on cardboard 48.5 x 69 cm Signed and dated lower left 1921 1920's landscape painting of the Dolomite Mountains in It...

Impressionist Mediterranean Harbor Painting Port de la Selva Costa Brava Fishing Boats Oil Canvas Artist: Lazarotti Title: Port de la Selva Medium: Oil on canvas Dimensions: 60 × 73 cm (23.6 × 28.7 in) Signature: Signed lower right Inscription: Titled on reverse Frame: Unframed Condition: Very good condition. Stable paint surface with original impasto visible Origin: Spain Atmospheric Mediterranean harbor scene depicting Port de la Selva on the Costa Brava, one of the most picturesque fishing villages in northeastern Spain near Cap de Creus. The composition presents a lively shoreline animated by traditional fishing boats resting along the beach and floating gently across reflective harbor waters. Whitewashed architecture rises against the mountainous backdrop, creating a luminous contrast with the turquoise sea and expansive sky. Executed with confident impressionist brushwork, the painting captures shifting reflections and coastal light through layered strokes of blue, rose, ochre and soft green tonal transitions. The surface retains visible impasto that enhances depth and movement across the water. Mediterranean harbor paintings of this type are especially sought after for their decorative clarity, collector accessibility and strong interior presence, particularly within coastal and modern European painting collections. The inscription “Port de la Selva” on the reverse confirms the exact Catalan location represented. This work belongs to the Mediterranean impressionist...

Beautiful and evocative oil painting by the great French school modern artist Moya Dyring specializing in marinas. It depicts a harbor with boats probably from the French Riviera painted with great intensity but giving, at the same time, a sweet sense of serenity. Moya Claire Dyring was born in Coburg, Victoria in 1909. She produced drawings, oil paintings and pastels. She was one of the first women artists to embrace Modernism and exhibit cubist paintings in Melbourne. For several years she was a member of the modern art community known as the Heide Circle, named after the home of art collectors John and Sunday Reed, and now the Heide Museum of Modern Art. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Dyring then travelled to the USA and France, where she lived most her life. Her work is held in the Heide Museum as well as the National Gallery of Australia. One of her earliest works in cubist in style, Melanctha, 1934, was acquired by Sunday Reed. In 1934 Dyring also painted Portrait of Sunday Reed which went into the Reed's collection, along with a cubist style Portrait of a Woman from the same year. While her early works were figurative or cubist, in France she turned to landscape as she travelled to various towns throughout France. In her later years, unable to travel freely, she painted children against the backdrop of Paris. As time passed, she was largely glossed over and not included in major exhibitions of artists, especially women artists, of the 30s, 40, and 50s. In 2002, at the University of Melbourne, Gaynor Patricia Cuthbert delved into her life and work for a doctoral thesis, helping to bring back attention to her work. Collection The Heide Museum of Modern Art holds many paintings and drawings, some acquired through the John and Sydney Reed collection. The National Gallery of Australia, Canberra includes one drawing. The Art Gallery of New South Wales holds multiple works. Third child of Carl Peter Wilhelm Dyring, medical practitioner, and his second wife Dagmar Alexandra Esther, née Cohn, both Victorian born. Moya was educated (1917-27) at Firbank Church of England Girls' Grammar School, Brighton. After visiting Paris in 1928, she studied (1929-32) at the National Gallery schools, Melbourne, and shared fellow student Sam Atyeo's interest in artistic innovation. Classical modernism engaged her attention in the early 1930s. She painted at the George Bell school and studied under Rah Fizelle in Sydney; Mary Alice Evatt and Cynthia Reed were her colleagues. For several months in 1937 she took charge of Heide, the home and garden of John and Sunday Reed, at Bulleen, Melbourne. The Reeds were pivotal both to her sympathy for modernism and her belief in congenial fellowship. She enjoyed something of the intense relationship with Sunday Reed that the latter would subsequently extend to Joy Hester. In June Dyring held an exhibition, opened by H. V. Evatt, at the Riddell Gallery, Melbourne. Less enthusiastic than the Reeds and the Evatts about her art, Basil Burdett wrote of her 'somewhat incoherent interpretation of modern ideas', although he did acknowledge that her work had 'audacity of colour and a certain monumental feeling for form . . . qualities rare enough in Australian painting'. In August Dyring embarked for Panama whence she travelled by bus to New York, breaking her journey to view major galleries. She had intended to paint in the United States of America, but disliked the work of contemporary American artists and sailed for France. In 1938 she was based in Paris, taking advantage of Atyeo's contacts within the avant-garde. She studied at the Académie Colarossi, the Académie de la Grande Chaumière and with Andre Lhote, although by October she denounced him as a 'racketeer'. In 1939 Dyring and Atyeo settled on a farm at Vence, France; inspired by memories of Heide, they grew fruit and flowers. Sam accepted a commission to decorate a house in Dominica, West Indies, leaving Moya at Vence. Evacuated to Australia via South Africa, where she painted and searched for tribal art, she then journeyed to Dominica and married Atyeo. They were not happy, neither painted and Dyring was ill. Evatt offered Atyeo work and Dyring accompanied him to the U.S.A. She viewed art, painted occasionally and claimed to have exhibited in Washington in 1943. After World War II Evatt found Sam various postings, while Moya returned to Paris to pursue a full-time career in art. They were to be divorced in 1950. From about 1946 Dyring's art was more personal than innovative. She gained a considerable reputation among French regionalist and nationalist artists for her sympathetic appreciation of provincial scenes and life. Bernard Smith placed her in the French tradition of intimiste painters. In 1948 she leased and renovated an apartment on the Ile St Louis, which, as Chez Moya, became a centre for Australians who enjoyed her hospitality, cooking and practical assistance. She revisited Australia and exhibited in various cities in 1950, 1953, 1956, 1960 and 1963; the press carried her reports of Parisian cultural life. Dyring held a solo exhibition in London in December 1949 and was in close contact with expatriate Australians, among them Loudon Sainthill...

"History of US Postal Service" American Scene Social Realism WPA Modern Chicago Harold Haydon "History of the U.S. Postal Service" 21 x 25 1/2 inches O...