Rene Couturier Art

Alberto"El Cuervo" Bustillos (Mexico, 1950) 'Descubrir tus paisajes', 2007 etching, aquatint on paper Deponte 300 g. 12.3 x 10.3 in. (31 x 26 cm.) ID: CUR-108 Unframed

Bertha G. Davis (1911-1997) Untitled, ca. 1960's Oil on cradled masonite panel. 16 x 20 inches; 24 x 28 inches framed. Signed lower left. Artist estate stamp on verso. Vintage custom wormy chestnut frame. A painter of cityscapes, landscapes, and abstracts in Texas, Bertha G Davis was primarily a self-taught artist whose style was influenced by her early life experiences in pre-World War II Lithuania and later Mexico. Her style is expressionistic*, relying on color to denote her profound feelings. She works primarily in watercolor and acrylic with some mixed media*. She is the daughter of Abraham and Dvora Germaize of Vilna, Lithuania and grew up in Jewish ghettos in Vilna, Alita, and Kovno. Davis was influenced by her father who was a decorative wood-worker and carpenter in Lithuania. The family of five daughters and a son escaped to Mexico City in the late 1920’s because of Jewish oppression. The images and emotions she experienced had no outlet. She was known as a beauty, and at age 17 was named Jewish Miss Mexico, barely able to speak Spanish having just emigrated from Eastern Europe. Irving Davis, a merchant from Texas who had also come from Eastern Europe via Cuba, saw her at this event where she was crowned Jewish Miss Mexico, and three days later asked for her hand in marriage. They moved to a small town in Texas, raising a family. Her daughter, Sylvia, was born when Davis was 20 and they were inseparable. As Sylvia became an actress, painter, and sculptor, Davis was amazed at the capacity for creativity. Davis didn’t begin her own artistic journey until she was 47, when her daughter Sylvia Caplan encouraged her to try. She was inspired by this daughter who gave her a drugstore palette of watercolors, paper and brushes and told her to “just try.” Davis did not put down her palette and brushes until her death in 1997. Bertha G Davis was primarily self-taught but maintained a style oriented toward color and texture that reflected her strong feelings. Most of her early work was done while she lived in McAllen, Texas where she was known for her contribution to art and showed her work and the work of other artists at the Bertha Davis Gallery. She studied with Stewart Van Orden, at Pan American College in 1960-61; and was a student at the Art Institute San Miguel Allende, Mexico, 1965. She was also a student of Harold Phenix...

Plate XII, Le Cocu Magnifique Etching & aquatyint, 1968 From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 impressions The s...

Original title: Die Tanzerin This original etching and aquatint, blue ink on ivory colored paper is hand-signed in pencil on lower-left. Edition of 530 prints. Including a poem by Amadée de la Houlette. Representing a vintage erotic scene...

A glowing lemon-yellow wash of color floods this erotic beach landscape with light. Hidden in the dappled shadow of a tree, a nude woman glances downward as she applies sunscreen. A ...

These artworks by Carl Holty are only sold as a pair. Each painting measures 9" x 11" and framed 18" x 20.25" x 2.5" The red and gold work is signed "Carl Holty" in the lower right. About this artists: Carl Holty was awakened to his interest in art as a child through visits to the Layton Art Gallery of Milwaukee, and began painting lessons with Friedrich Wilhelm Heine at a young age. Though born in Freiburg, Germany, in 1900, he was raised in Wisconsin and enrolled at Marquette University. Before long, Holty abandoned his pre-medical studies in order to pursue art. He spent a summer at the School of the Chicago Art Institute in Saugatuck, Michigan, and set off for New York in 1920. He then studied at the National Academy of Design under Francis Coates Jones...

Plate IV, Le Cocu Magnifique etching & aquatint, 1968 Unsigned on the print Signed on the portfolio justification page (see photo) From the unsigned edition of 200 impressions printe...

Sylvia Rutkoff (1919-2011) Sr5-1 c.1960s “Crossed Arms” Acrylic on Masonite 36x42 period frame Unsigned Collection acquired from family estate

Ben Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand s...

A richly colored abstraction by Japanese artist Naohiko Inukai. This early work demonstrates the artist's fluidity and expression with paint prior to wh...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed lower right, signed and dated verso. 62.25 x 56.25 in. 64 x 58 in. (framed) Custom framed in a natural cherry wood floater. Provenance Washburn Gallery, New York Behnke Doherty Gallery, Washington Depot, CT Born in 1908 in Chicago, John Opper moved with his family to Cleveland, Ohio, in 1916. In high school, he began studying art and attending classes at the Cleveland Museum of Art. After graduation, he enrolled in the Cleveland School of Art (now Cleveland Institute of Art), only to withdraw after a year and move to Chicago, where he took classes at the Art Institute of Chicago. He eventually returned to Cleveland, enrolling at Western Reserve University (now Case Western Reserve), receiving his bachelor’s degree in 1931. The Depression has taken hold during this period, so Opper found work by teaching metalworking and sketching classes at the Karamu Settlement House, the oldest African American theater in the United States. In 1933, Opper traveled to Gloucester, Massachusetts, eventually connecting with the artist Hans Hofmann, who was teaching at the school run by Ernest Thurn. Hofmann encouraged Opper to work “in a more modern vein and start finding what it’s all about.” Heeding this advice, Opper relocated to New York, co-founding a mail-order club of American and British prints for dissemination to schools and museums. By the mid-1930s, he joined the Works Progress Administration (WPA) Easel Division, and also began attending the 57th Street school that Hans Hofmann had established after leaving the Art Students League. Looking back at his time at the school, Opper felt that beyond Hofmann’s teaching, most advantageous was his contact with fellow artists, including Byron Browne, Rosalind Bengelsdorf, and George McNeil. At the time, he also met Giorgio Cavallon and the sculptor Wilfrid Zogbaum. In 1936, Opper became a founding member of the American Abstract Artists, along with Balcomb and Gertrude Greene. The organization was formed to provide an opportunity for artists to show abstract works at a time when such opportunities were scarce. This led to his first solo show in 1937 at the Artists’ Gallery in New York. During his summer in Gloucester in 1933, Opper came to know Milton Avery. Painting in Avery’s informal studio in New York City the following winter, he became acquainted with Adolph Gottlieb and Mark Rothko. Opper participated in a couple of shows during the 1930s of the American Artists Congress Against War and Fascism, whose president was Stuart Davis. About the same period, Opper joined the Artists’ Union and served as the business manager of its publication, Art Front. During World War II, Opper worked for a ship design company creating drawings for piping systems used in PT boats...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed verso. Some scratched out, illegible writing in paint and graphite verso, which may ha...