François-Louis Schmied Furniture

A pair of Art Deco painting of industrial scenes. Both signed J. Hollister. Measures: Sight 12" W x 13.5" H Framed 13.5" W x 15" H x 1.25" D.

The painter Emil Fiala (8.9.1896 Prossnitz - Mähren Czech Republic - Dec. 1960 Vienna) studied at the Viennese Academy by Franz Rumpler, August Eisenmenger, Julius Schmid, Christian ...

Stupendous pastel painting designed by Fried Pal in the 1930s,the theme of the nude in the Art Deco period was of important relevance,the author in this painting demonstrates great s...

Art Deco painting of Spanish dancer by Yves Diey.

Unframed painting in oil and glycéro spray on canvas titled "Red Target" of The Targets I by artist and furniture designer François Arnal, in excellent ...

This painting is an oil on canvas and signed in the lower right, dating to about 1920. It does has craquelure which would be expected for an untouched painting of this age, but it d...

Male nude oil on canvas by New Hope School modernist Faye Swengel Badura (1904-1991). 23.75"Wide x 37.5"High Gilt WoodFramed, Canvas is 19.25"Wide x 33.5...

Art Deco Nude by John Montroue, signed in lower right corner and reverse reads - "Grace" Air brush technique by John Montroue, 8/70. Dramatic silhouette of a female nude, cubist/mode...

PIETER GERARDUS VAN OS Dutch, 1776-1839 Shepherd with Flock in a Pastoral Landscape (1821) Oil on canvas Signed lower left "PG Van Os f 1821" Item # 204GPP23A An extensive and brilliantly detailed scene, this fine woodland pastoral landscape highlights the ability of Pieter Gerardus van Os to manipulate light for dramatic and somewhat ecclesiastical effect. There is a certain other-worldly insinuation in the golden light as it pierces the dense cover of the leaves to highlight the shepherd and his flock as the focal point for the painting. Here we find the young boy entirely at peace on the bank surrounded by long golden grasses with his hat and staff tossed aside while watching the action of the small waterfall on the otherwise tranquil stream. His small dog stands beside him while the sheep graze carelessly, each showing total disregard for the two men and their dog hunting in shadows of the woods behind them. Across the bank a pair of unattended billy goats graze on the trees of the deeply shaded forest floor. There is a harmony and perfect sense of balance in this intricately detailed scene, an effective infusion of the transcendental into a quiet landscape scene. The work is signed lower left in his typical scrawling script "PG [intertwined] Van Os f 1821" and the back of the frame retains an early Christie's label. It is presented in a very fine carved giltwood frame. PIETER GERARDUS VAN OS Born in The Hague on October 8th of 1776 into the renowned Van Os family of painters, Pieter would spend his early years studying under his father Jan together with his brother Georgius Johannes Jacobus (Dutch, 1782-1861) in their father's studio. The three men had remarkable careers and would become some of the most influential painters in the Netherlands throughout the first half of the 19th century. Unlike his brother and father, Pieter moved away from still-life paintings and focused his work on rural landscapes of the Dutch countryside. He was self-taught in this pursuit, first as a copyist of the renowned Dutch "Golden Age" painters Karel Dujardin (Dutch, 1626-1678) and Paulus Potter (Dutch, 1625-1654) while also being heavily influenced by the landscape work of Jacob van Ruisdael and the allegorical landscapes of Nicolaes Pieterszoon Berchem. From his studio in Amsterdam, Pieter taught such notable pupils as Wouterus Verschuur...

French Art Deco mixed-media painting on panel by Vanvinckenray (School: Beaux-Arts of Brussels). Provenance: Daughter of the artist.

Diptych paintings of Adam and Eve, in a highly stylized art deco manner, by the Italian American artist Joseph Collazzi (1914-1989), dated 1987. He began his career in Italy in the 1...

The Spiritual in Art: Abstract Painting 1890-1985 Art Book. Judi Freeman, Carel Blotkamp Abbeville Press, 1987 - Art - 435 pages. Paperback. Traces the use of geometric signs by the Nabis and other French artists and relates this to the development of abstraction. The author describes some of the sources of ideas about the symbolism of geometric signs, in particular the writings of Helena P. Blavatsky, and traces the impact of these on the Nabis, possibly through the stimulus of Gauguin whose paintings from his Brittany period encouraged a mystical conception of art in which sacred geometry figured as one component. By demonstrating the huge impact of mysticism and the occult on 20th-century artists from Gauguin to Pollack, Mondrian to O'Keefe, this work effectively refutes the popular fallacy that modernism is concerned solely with line, form, and color. He goes on to discuss in detail the paintings of Paul Serusier, Paul Ranson...