Bertrand PY Art

Etching on cream wove paper. 6 5/16 x 3 3/4 inches (159 x 94 mm), full margin. Signed in pencil lower center margin, from the edition of 111. A well inked impression with a minor cre...

on Hahnemuhle paper, hand signed and numbered. poster is not included. These depict synagogue interiors, Rabbis at prayer etc. Judaic religious events. Mauritz Lennart Rosensohn , bo...

MANE-KATZ RABBIS, c. 1935 Oil on canvas 18 H. x 14 W. 1/2 in. (45.5 x 35.8 cm.) Signed PROVENANCE Dominion Gallery, Montreal Christies, New York, November 04, 1982. Lot 177: $11,000 Private Collection, New Jersey, 1982-2021 Estate of the above, 2021. Raised in an orthodox Jewish family in Russia, Mane-Katz was born in the Ukraine and became an early 20th-century artist, known especially for portraits and paintings with Jewish themes. From childhood, he had been influenced by stories of Jewish mysticism, which was reflected in his paintings. He had a peripatetic life between Russia, France, Israel, and America. He first studied art in Kiev at the Beaux Arts Academy, and in 1913, went to Paris where he associated with Chaim Soutine and Marc Chagall and continued his art studies there at the Beaux Arts Academy. During World War I, he tried to join the Foreign Legion but was rejected because he was too short. He went back in Russia again, this time joining the Soviet Revolution but rejected the cause because he was so horrified by Josef Stalin. He worked briefly for the Russian ballets, and in 1921, he returned to Paris where in 1927 he took French citizenship. For the next twelve years, he traveled widely, showing his art work and doing many paintings. In 1939, as World War II was breaking out, he was drafted by the French and then was taken prisoner by the Germans. He escaped and went to the United States and remained there until 1945, exhibiting his paintings at Katia Granoff Gallery and Wildenstein Gallery. After the war, he returned to Paris where he had exhibited in the Salons. In Paris to the end of his career, he worked happily, painting hundreds of portraits of rabbis...

About the Artist: Karen Offutt was born and raised in Dallas, Texas by a creative family who encouraged her to explore her artistic talent from an early age. Her father is an artist ...

Leo Feldman (American, XX), Portrait of a Female Nude Figure, Oil on Canvas, signed on top edge and verso, unframed. 30" H x 24" W. Provenance: From the Allen Tucker Memorial Colle...

Lower Manhattan and the Seaport as the artist imagined it would have appeared before 1835. New York: 1907. Etching with drypoint on Japon paper, 13 7/8 x 9 3/4 inches (353 x 248 mm...

Pocket Persimmon Fruit by Dani Humberstone [2022] original and hand signed by artist Oil paint on canvas Image size: H:5 cm x W:5 cm Complete Size of Unframed Work: H:5 cm x W:5 cm x D:3cm Frame Size: H:16 cm x W:16 cm x D:3.5cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Please note that insitu images are purely an indication of how a piece may look. Pocket Persimmon Fruit is an original oil painting by Dani Humberstone as part of her pocket fruit series.

Corralled Horse is a rare WPA-era modernist etching by acclaimed American artist Ethel Magafan, created in the 1940s. This artist’s proof depicts a lone dark horse within a wooden co...

Dutch School Dutch Still Life of Hanging Flower Basket Oil on board 14 by 18 in, w/ frame 17 ¾ by 21 ¾ in

This painting is Bruno Surdo’s contemporary reimagining of Saint Sebastian, one of the most enduring subjects in Western art. From Mantegna and Botticelli to Guido Reni and Caravaggio, Sebastian has long been depicted as the bound, arrow-pierced martyr whose physical suffering becomes an image of spiritual transcendence. Surdo clearly situates himself within this lineage: the contrapposto pose, uplifted gaze, and carefully modeled anatomy reflect his atelier training and deep engagement with Renaissance ideals of the heroic nude. The flesh is luminous and sculptural, recalling Michelangelo’s influence on the canon of the male body as both aesthetic and symbolic form. Yet Surdo decisively destabilizes the tradition. The arrows piercing the body are not lethal shafts but rubber suction-cup darts—objects associated with toys and staged play. This substitution transforms martyrdom into performance. The gravity of sacred suffering is undercut by irony, even absurdity. The saint is no longer impaled by instruments of death but by harmless projectiles, suggesting that contemporary suffering may be theatricalized, trivialized, or culturally mediated. At the same time, the figure’s expression remains sincere and emotionally vulnerable; the psychological intensity is real, even if the wounds are not. This tension between authentic emotion and artificial harm introduces a modern critique of spectacle—how pain can be aestheticized, simulated, or consumed. The graffiti-covered urban wall further collapses sacred history into contemporary space. Instead of a devotional landscape or heavenly backdrop, Surdo situates his Sebastian against a chaotic, tagged surface, merging classical beauty with raw urban immediacy. Saint Sebastian has long functioned not only as a symbol of faith but also as an emblem of sensualized male beauty and coded identity in art history. Surdo acknowledges that layered tradition while reframing it through irony and cultural commentary. By replacing deadly arrows with toy darts, he transforms martyrdom into a meditation on vulnerability in an age where suffering may be symbolic rather than fatal—performed, projected, or socially inflicted rather than divinely ordained. As in much of his work, Surdo grounds contemporary psychological tension in the authority of Renaissance form, using the language of history painting to question what sanctity, sacrifice, and spectacle mean today. Bruno Surdo Paradox of St. Sebastian oil on canvas 60h x 36w in 152.40h x 91.44w cm Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden...

Faun`s sweet dream, 2021, 90x80 cm

An original oil on canvas which is attributed verso to Isaac Mucheron with figure by Vandveldt. The scene depicts a nude in an Arcadia classical landscape with ruins. Fresh colour an...