David Gilboa Art

Flower bouquet design. Sealed on the back with the design studio name and number 484 We offer a small number of these original illustration designs by this design studio based in Al...

Birds design. Sealed on the back with the design studio name and number 98 We offer a small number of these original illustration designs by this design studio based in Alcoy (Spain)...

Provenance Kennedy Galleries, New York; DC Moore Gallery, New York; Private collection, Ireland, until 2012 Exhibitions New York, DC Moore Gallery, Charles Burchfield Paintings, 19...

One of the characters in this scene is a mature man, kneeling with his head bowed and hands clasped near his chest in a gesture of supplication. His posture conveys a sense of humili...

French School, Portrait of a Lady, Rococo, 18th Century, Fine drawing in Pastel/ Oil Pastel on Paper in the style of Vivien. The Lady might be a woman from Marie Antoinette's Court. It is part of a Pendant (see the other listing with the portrait of Queen Marie Antoinette...

Provenance An American Place, New York; World House Galleries, New York, 1953; Private collection, New York; Betty Krulik Fine Art, 2007; Avery Galleries until present Exhibitions An American Place, New York, Exhibition of New Arthur G. Dove Paintings...

Initialed lower left Framed dimensions: 16 x 18 7/8 inches Provenance The artist; Collection of Henry Dubin, Philadelphia until 2018 Exhibitions Avery Galleries, Bryn Mawr, Pennsylvania, Living Color Modern Life: Hugh Henry Breckenridge and Arthur B. Carles, October 5-November 2, 2018. The Philadelphia modernist Arthur B. Carles was a brilliant colorist and an extraordinarily innovative painter. Though Carles trained initially at the Pennsylvania Academy of the Fine Arts, soaking up the more conservative teaching of William Merritt Chase and Thomas Anshutz, he was deeply influenced by the avant-garde art scene in Paris during his first trip there in 1905. In 1907, Carles won the prestigious Cresson Traveling Scholarship, which enabled him to return to Paris for several more years. This experience had a profound impact on Carles as an artist; he was extremely affected by modern French painting, especially the work of Cezanne and Matisse, and by the time Carles returned home to Philadelphia in 1912, he was a confirmed modernist. This small landscape sketch was probably painted early during Carles's career, and yet, it already reveals his strong interest in abstraction. Indeed, Landscape Abstraction demonstrates both his daring exploration of lyrical color harmonies as well as his interest in two-dimensional surface design. Painted loosely in the spontaneous medium of watercolor, Carles used thin washes and delicate pools of paint to suggest the foreground area and surrounding trees. His color palette is rich and expressive, ranging from pale greens and blues to deep red, yellow, and even purple. In addition to his remarkable career as an artist, Carles was also an incredibly gifted teacher. He taught at PAFA from 1917 to 1925 and had a very deep impact on a number of his students such as Morris Blackburn, Quita Brodhead, and Jane Piper...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Industrial Street), c. 1940s, watercolor on paper mounted on illustration board, estate stamp verso (signed by Peter Corbridge, the artist’s son); 14 x 21 inches; unframed Edgar Corbridge was a Massachusetts-based precisionist painter who mainly worked in watercolor. In 1916, three years after immigrating from England, Corbridge completed a course of study in sign painting at the Fall River, Massachusetts Technical High School and obtained an apprenticeship with the Armour Sign Shop. Throughout his career, Corbridge was mainly self-taught as a fine artist. In 1918, Corbridge received his first recognition as an artist for his entry in a Fall River Women’s Club poster competition. During much of his professional life, Corbridge worked as a self-employed window trimmer and operator of the Corbridge Display Service, supplemented by income from the occasional sale of his paintings. Corbridge gleaned the subjects for his works in and around his home in Fall River, Massachusetts, as well as Provincetown. In the 1940s, Corbridge began to exhibit frequently, including at the annual exhibitions at the Jordan Marsh Company...

Jules-Eugène Lenepveu (1819-1898) Portrait of a man in profile signed on the lower right Pencil and heightenings of white gouache on paper 19.5 x 13 cm Framed : 29 x 22.7 cm Jules-Eugène Lenepveu is of course particularly well known for his large-scale paintings, such as the one on the ceiling of the Paris Opera, but his work here is much more delicate and intimate. We recognise the artist's mastery of talent, but the play of textures, with its highlights of white that enliven and illuminate the model's face, is also very subtle. There's a particularly charming sense of life and impression of light. Jules-Eugène Lenepveu was born in Angers on 12 December 1819, on the site of the street that now bears his name, into a family of small shopkeepers. The painter showed a deep attachment to his family throughout his life through his correspondence and the many portraits of his relatives. He entered the drawing school in Angers in 1833, where he was a pupil of Jean-Michel Mercier. There he rubbed shoulders with the sculptor Ferdinand Taluet. He arrived in Paris in 1837 and entered the Beaux-Arts, where he was officially admitted to François-Édouard Picot's studio in 1838. He exhibited his work "L'Idylle" at the Salon of 1843 and, that same year, left for his first visit to Italy. He was awarded the Second Prix de Rome in 1843 for "Cincinnatus recevant les députés du Sénat" (Cincinnatus receiving the deputies of the Senate), then the First Prize in 1847 for "La Mort de Vitellius" (The Death of Vitellius). A resident at the Villa Médicis from 1848, he was surrounded by painters Alexandre Cabanel, Léon Benouville, Gustave Boulanger, Félix Barrias...

The portrait shows Mme Silvestre. Born in Paris, Silvestre was the daughter of Charles-Antoine Hérault and his wife Marie-Geneviève, who were her first teachers. In 1706 she married the painter Louis de Silvestre, moving with him in 1716 to Dresden. The couple's daughter Marie-Maximilienne became a pastellist. Silvestre died in Dresden, the year before her husband retired and returned to Paris. Her surviving pastels show the influence of Rosalba Carriera...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Watercolor on paper, 12 x 9 ½ inches unframed sheet, 15 x 12 ½ inches framed, signed lower left About the Artist: Nan Watson...

Francois Grenier de Saint Martin (1793-1867) A Young Lady on the beach, 1829, signed and dated on the lower left watercolor on paper 17 x 19.5 cm F...