Gérard Willemenot Paintings

Antique American impressionist nude women landscape oil painting. Oil on canvas. Framed. Signed "Wolfe". In excellent original condition. Handsomely framed in a giltwood molding....

Mid century figurative landscape of a nude female figure with tree at El Capitan, Yosemite, California by Margaret Wherry Ziegler (American, 1909-1989). Signed "M. Ziegler" lower right. Displayed in a rustic new silver gilt frame. Image, 24"H x 12"W. Margaret Wherry Ziegler was born in Cincinnati, Ohio on November 27, 1909. At a young age she traveled with her parents to the Philippines, Japan, India, Italy, Greece, and Europe. She studied art at the Cincinnati Art Academy, Minneapolis Art Institute, the University of the Philippines, and the California College of Arts and Crafts. While in Japan she studied Japanese brush painting...

“The Holy Hour” German School, circa 1930's signed lower corner oil painting on canvas, framed The painting is a copy after the earlier work: THE HOLY HOUR; DIE HEILIGE STUNDE. by LUDWIG FAHRENKROG (1867-1952). painting: 51cm x 81cm provenance: private collection, Germany Fine quality Symbolist oil painting from the 1930...

A surreal underwater portrait by Sula Repani, this painting captures the striking presence of a female swimmer gliding in silence through deep blue waters. Her face, calm yet intense...

Landscape with nudes, vintage oil painting of bathing nudes in a landscape by French artist Jean Chevauchet (b.1937). An unusual and interesting almost dreamlike or indeeed Symbolis...

Rare and well painted modernist nude composition. Oil on canvas. Signed. Framed. Image size, 18H by 24L inches.

This interesting British 1940's oil painting is attributed to Harry Jefferson Barnes. Barnes trained at the Slade School of Art and later went on to become Director of the Glasgow Sc...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

15th Century Maestro della Pala Sforzesca Title: Ecce Homo Medium: Tempera on Panel Dimensions: without frame 64.9 x 53.2 – with frame 82 x 70 x 5 cm Beautiful "cassetta" frame in e...

Signed and dated oil on board nudes in landscape by French post-impressionist painter Georges Manzana Pissarro. The work depicts nude bathers at a lake, sunbathing and paddling in th...

It's just a little embarassing. Our young bather went for a skinny dip in the river and now needs to snatch her clothes without being spotted by the elderly artist on the river bank ...

Artist/ School: Miguel Anibal (Chile, b. 1935), signed and dated 2013 'Paris'. Miguel Anibal is a painter, fresco artist and engraver born in 1935 in Chi...