Shan Merry Art

Temptation of Saint Anthony an etching in the manner of Hendrik Goltzius. Goltzius was born near Viersen in Bracht or Millebrecht, a village then in the Duchy of Julich, now in the ...

Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...

Bernard Picart, 'The Death of Hercules' from 'The Temple of the Muses', engraving, 1730. Signed in the plate, lower left. Titled in French, English, German, and Dutch. A superb, rich...

This is an excellent example of the kind of portraiture produced by Castiglione during the early part of the 17th century. In the image, we see the visage of a man with a mustache, wearing a fur-lined hat topped with a feathery decoration. The image is reminiscent of the work of Rembrandt van Rijn, himself known for his portraits in the form of etchings. 4 x 3.5 inches, image 15.25 x 13.25 inches, frame Inscribed "GC" in the plate, lower left This impression is from the edition ca. 1825 from the original plate of ca. 1635. Unlike many Italian artists, Giovanni Benedetto Castiglione was profoundly influenced by foreigners. He first studied with local artists in his native Genoa, absorbing not only Tuscan Mannerism and Caravaggism but also the style of Peter Paul Rubens, who had worked in Genoa. From 1621 Castiglione also worked in Anthony van Dyck's Genoa studio. Early on, he was attracted to Flemish animal...

Mid-century French transatlantic liner menu with printed illustration by French artist Jean Adrien Mercier. Signed in the print, top left and dated 1956 inside centre. This highly c...

Francois BOUCHER Allegory of Love : Woman surrounded by Angels and Doves Etching Unsigned On Vellum 38 x 50 cm (c. 15 x 20 in) Probably edited c. 1950 Excellent condition

"Sister Water" - St Francis of Assisi Linocut Wood Black pring of St Francis by Italian artist (printer of Assisi) Gastone Vignati (Italian, 20C)...

Study of a female nude in the Baroque style, by acclaimed California artist Ben Messick (American, 1891-1981). Signed "Ben Messick 40" in plate and pencil lower left, by the estate. Unframed. Image size, 4.75"L x 10.5"H; overall mat size is, 16"L x 20"H. Some foxing to over-mat. The following is submitted by Jim Lafferty whose sources include the autobiography of the artist: William Washington Messick married Sarah A. Bristow January 2,1889 and from this marriage a son, Benjamin Newton Messick was born on January 9, 1891 on a farm near Strafford, Missouri. His art talent was apparent from the time he was a child and later recognized by his commanding officer in World War I. He completed his training in Los Angeles at Chouinard in the late-1920s and is well-known for his Regionalist scenes and Modernist paintings. He was an instructor at Chouinard through the 1950s & influenced a generation of LA Modernists. Little is recorded in his autobiography about Messick's life from his teen years and service during the War. He enrolled at Chouinard Institute in the Fall of 1925, and was given a three-year scholarship by Mrs. Chouinard. In 1925 he won a cash award at the Los Angeles County Fair for a group of pen and charcoal drawings done in the parks and streets of Los Angeles. These works give the appearance of being spontaneous and fluid. In 1930 Messick left Chouinard as a full-time student and rented an apartment on West Eighth Street to use as a studio and living quarters. He had his own ideas on what he was trying to accomplish in art. "If you should ask what is the message of my drawings, I should say that they may explain themselves or may be just a technical exercise." By the mid 1940s, Messick's position in the art world had been well established as a teacher, painter, printmaker, writer and critic. Over his life time he had over 400 shows and exhibitions. Starting in 1939 he produced a number of stone lithographs that appear to the untrained eye as original drawings. To Messick the image was the most important aspect of his lithographs, and his signature in the plate was sufficient. Hand signing each lithograph did not seem necessary to him. He exhibited prints widely including the Albany Print Club and the Metropolitian Museum. To further substantiate the authenticity of Messick's prints the Eclectic Gallery under the authority of the Messick family posthumously pencil signed each estate-acquired stone lithograph. Messick had a childhood fascination with the circus and started drawing and painting the circus in 1935. His circus work, especially his clown studies, and his lithographs became his trademark work for in the 1940s and 1950s. A critic for ART REVIEW described his Big Top work this way: "His circus canvases...

The Martyrdom of Saint Agatha after the painting by his father, Giovanni Battista Tiepolo (see photo) Etching, c. 1780 Signature: unsigned Watermark: Letter A (similar to Bromberg 4...

Francois BOUCHER Peaceful Maternity : the Sleeping Baby Etching Unsigned On Vellum 38 x 50 cm (c. 15 x 20 in) Probably edited c. 1950 Excellent condition

Mixed media collage print serigraph on canvas. Hand signed Dimensions: 22 X 19 inches including the frame Post Soviet Russian Jewish Israeli Artwork In this limited edition artwork the artists incorporates different imagery, creating layers of artt, music compositions cut-outs and a group of figures dressed in a 1920s fashion, and a still life of a vase with flowers. A variety of elements. Tanya Wissotzky and Alexander Galtchansky were born in the same year, 1959, in Crimea (U.S.S.R.). Their careers began in art school. Alexander studied in Dnepropetrovsk, Ukraine and Wissotzky in Simferopol. They continued their studies at the Kiev institute of the Arts; Wissotzky as a painter and Alexander as a book illustrator. After getting married, they emigrated to Israel. Alexander Wissotzky was in reality a name used by two artists who were married and collaborated together to make their art. Tanya Wissotzky was born in 1959 in the Crimea. She started to study art in Simferopol specializing in painting. She then moved to Kiev to further her studies. There she met her husband Alexander Galtchansky who was studying book illustration. He was also born in 1959 in the Crimea and began his art studies in Dnepropetrovsk. Galtchansky also decided to continue his art education at the Kiev Institute of the Arts. After they fell in love and got married they began to collaborate artistically to produce their works of art. With the opening up of the Soviet Union and Russia, Tanya Wissotzky and Alexander Galtchansky took the opportunity to emigrate to Israel. Working in a combination of acrylic, pen and ink, and collage the couple produced art that is both nostalgic and romantic. Their work harks back to a time, the 1920’s and a place, Paris, which helps conjure up the image of love, and this makes their art very accessible to the general public. Some of Wissotzky and Alexander’s mixed media pieces remind one of figures in the ‘Belle Epoch’ while their still life paintings of flowers seem to step out of an English garden guide. Wissotzky and Alexander found it difficult to adjust to life in Israel and eventually they returned to Europe settling in the Czech republic. Tanya Wissotzky and Alexander Galtchansky exhibited their work widely during their lifetime. There is a book that was published about their life and work ‘G. Alexander and Wissotzky T.’ Alexander Wissotzky art can be found online and in permanent exhibitions, galleries and collections around the world including the International Conference Center in the center of Jerusalem. Their works have been shown with Itzchak Tarkay and Isaac Maimon. They have shown at the prestigious Safrai Art Gallery in Jerusalem Israel and has been exhibited with Raphael Abecassis, Ben Simhon, Yosl Bergner, Naftali Bezem , Sami Briss, Amram Ebgi, Alexander Klevan, Gregory Kohelet, Yuval Mahler, Ran Haya Graetz, Zina Rothman, Michael Rozenvein, David Sharir, Reuven Rubin, Theo Tobiasse, Yuri Tremler, Shraga Weil, Wissotzky and Avigail Yoresh.

Pablo PICASSO (1881-1973) Comédie Humaine, The Girl and the Old Man, 1954 , Original lithograph (Mourlot workshop) Unsigned On paper 26 .5 x 35.5 cm (c. 10,2 x 13.7 in) INFORMATION : Created for portfolio Verve n°29-30 "La comédie humaine, suite de 180 dessins de Picasso...