Robert Lavin Art

"Summer Pier Fishing" American Scene Social Realism WPA Mid-20th Century Modern Syd J. Browne (1907-1991) "Summer Pier Fishing" 22 x 30 inches Oil on canvas. c. 1930s Signed lower r...

Signed oil on canvas nudes in landscape circa 1910 by Belgian neo-impressionist painter Georges Lemmen. The work depicts nude bathers on a sunny beach beside the sea. Signature: Signed lower left with the cachet of painter Dimensions: Framed: 23.5"x24.5" Unframed: 14.5"x15.5" Provenance: Olivier Bertrand (expert on the painter) has confirmed the authenticity of this work Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation. Museum and Gallery Holdings: Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...

Understated town-scape in grays and muted blues. It's a painting that looks better as you get closer to it. Koch brings the same serene intimacy to an outdoor scene as his interiors....

Hayley Lever Boat on Beach, 1952 Oil on canvasboard 5 3/4 x 8 5/8 inches Provenance The artist Davis Galleries, New York (#DG 188) Private Collection, Ne...

About this work: “Sierra Heights, 1971” by Paul Grimm (1892-1974). A beautiful view of the Sierra Nevada mountains by Grimm, one of the most beloved painters of the California lands...

Robert Watson British, (1855-1920) Highland Cattle by a Stream Oil on canvas, signed & dated 1920 Image size: 19.25 inches x 29.25 inches Size including frame: 27 inches x 37 in...

Spectacular example of Warren Sheppard's work, from what most consider his best period. Sunset (possibly, sunrise) executed with strong orange/red palette, and rock formations, maki...

Peaches in a Pot, c. 1970s/80s, oil on canvas, signed lower right, 16 x 20 inches, original label verso, presented in its original frame Peaches in a Pot is an excellent example of...

World War II Invades Central Park, 1943, oil on canvas, signed lower right, 30 x 36 inches, literature: Barton, Phyllis, Cecil C. Bell, McGrew Color Graphics (Kansas City, MO, 1976),...

Jessie Agnes Schley (American, 1854-1928) was born in Wisconsin, the daughter of Charles Schley, a prominent Milwaukee real estate agent. A devout Catholic, Schley tried twice to bec...

William Luker Snr British, (1828-1905) Sheep in a Sussex Lane with Pevensey Bay in the distance Oil on canvas, signed & dated 1875 Image size: 17.25 inches x 25.25 inches Size including frame: 23.25 inches x 31.25 inches A tranquil landscape scene of a shepherd and his flock resting in a lane near Pevensey Bay, Sussex by William Luker. The ruins of Pevensey Castle can be seen in the distance with the sea beyond. William Luker Snr was born in 1828 at Faringdon, Berkshire to William and Jane Luker (née Charlwood). His father was a plumber and glazier by trade and the family lived at London Street in Faringdon. Little is known about his early education and it is believed for the most part he was self -taught. However, given the quality of his work and the fact that his family were able to keep a servant, he may well have received some artistic tuition. By the early 1850’s, he had begun earning a living as an artist by advertising in local directories, earning commissions from local landowners. He made his debut at the Royal Society of British Artists in 1851 and was a prolific exhibitor there for over 40 years. He began exhibiting at the Royal Academy in 1852 and also exhibited at the British Institution. He married the artist Ada Augusta Margetts (1839-1930) on 27 October 1864. Their eldest son William Luker Jnr (1867-1951) also became a well-known artist. The couple soon moved to London where they lived at 22 Gloucester Terrace, Campden Hill from where they both exhibited. From 1867, they lived at 15 Sheffield Terrace in Kensington until 1874 when they moved for the final time to 22 Notting Hill Square, later renamed Campden Hill Square in 1893. He died at Campden Hill-square on 28 February, 1905. Luker specialised in landscapes featuring animals such as sheep and cattle, horses and deer. He travelled around visiting areas such as Sussex, Buckinghamshire, Kent, Wales and the Highlands. However, he also made trips to Egypt and Libya producing a series of Oriental scenes in the early 1860’s. His works show a great attention to detail and his use of a lighter palette gives his subjects a luminous quality that instantly attracts the viewer. Examples of his paintings are held by the Atkinson Art Gallery, National Library of Wales, Newstead Abbey...

Robert Hamblen (American, 1932-2017) Untitled, c. 20th century Oil on board 12 x 15 3/4 in. Framed: 16 x 19 3/4 x 1 3/4 Signed lower right: Hamblen Rob...