Ginette Rapp Paintings

JOHN HAYMSON – "BROOKLYN BRIDGE" ⚜ Oil on Canvas ⚜ Hand Signed ⚜ Conservation Frame NEW YORK ICON IN VIVID DETAIL This atmospheric oil painting by John Haymson captures the enduring...

A nice American modernist landscape painting, dating from the 1940s. This work is on the manner of E. Oscar Thalinger, but does not appear to be signed. The work is unframed, as it...

This large painting is a ca. 1960 copy of a famous Rockwell Kent painting that was executed in Vermont in 1921. The work is oil on canvas and well represents the original image, tho...

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...

A fantastic early painting from Kahn’s iconic barn series depicting Dr. Middleton’s property in West Brattleboro, VT. Here, Kahn turns a familiar rural motif into something hovering ...

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...

"6th Avenue El" American Scene Social Realism Mid-20th Century New York City Ernest Fiene (1894-1965) "6th Avenue El" 12 1/4 x 14 1/4 Oil on canvas board, c. 1940s Signed lower righ...

Artist: Francisco Carbonell Massabé (Barcelona, 1928) Title: Las Ramblas de las Flores, Barcelona Medium: Oil on canvas Dimensions Height: 60 cm Width: 73 cm (23.62 × 28.74 in) Signature: Signed lower right; signed and titled on the reverse Frame: Unframed Condition: Very good condition. Firm canvas and stable paint layer Charming impressionist street scene depicting the famous Las Ramblas flower market in Barcelona, one of the city’s most iconic and vibrant locations. The composition captures the lively atmosphere of the historic boulevard, where flower stalls filled with colorful bouquets line the promenade while pedestrians stroll beneath the trees. The artist organizes the scene through a dynamic interplay of figures, market stands and architecture, creating a sense of movement and urban life. Executed with a loose and expressive impressionist brushwork, the painting emphasizes light, color and atmosphere. The rich palette of warm earth tones, greens and floral colors gives the scene a vivid Mediterranean character while maintaining an elegant pictorial balance. Paintings representing Barcelona and Las Ramblas are highly sought after by collectors and interior designers, as they evoke the cultural identity and vibrant lifestyle of the city. The subject matter, combined with the decorative strength of the composition, makes this work particularly appealing for display in both classic and contemporary interiors. An attractive and lively cityscape painting capturing the spirit of Barcelona’s most famous avenue. Francisco Carbonell Massabé (Barcelona, 1928) is a Spanish painter trained at the Schools of Fine Arts and at La Llotja in Barcelona. His artistic career has focused primarily on landscape and urban scenes, strongly influenced by Mediterranean impressionism. His work is characterized by loose brushwork, luminous color and a vibrant treatment of everyday life. He exhibited in various Spanish and European cities, developing a body of work appreciated for its evocative depictions of Mediterranean cities and landscapes. His scenes of Barcelona remain among his most recognizable and collectible subjects. Barcelona painting Las Ramblas painting Barcelona street scene Flower market painting...

Gabriel Casarrubios Martín (b. 1953) Spanish Beach Scene Circa 2000 Oil on panel Dimensions: Height: 22 cm (8.67 in) Width: 27 cm (10.63 in) Frameless. This luminous small-format ...

Maestro active in Venice in the 19th Century Title: View of Venice with the Island of San Giorgio Maggiore and the Basilica Medium: Oil on canvas Dimensions: without frame 29 × 41 c...

Spanish Post-Impressionist Rural Landscape Painting, Mediterranean Countryside Oil c.1940 Title: Spanish Post-Impressionist Rural Landscape Painting, Mediterranean Countryside Oil Artist: Spanish School Date: circa 1940 Medium: Oil on burlap...

Elegant Ladies on the Beach Spanish Seaside Figurative Oil Painting Artist: Domenech (Spanish School, 20th century) Technique: Oil on canvas Signature: Signed lower right Dimensions...