McNaught Fine Art

Signed lower right, 'Dusso' for Leon D'Usseau, Jr. (American, 1918-1991) and painted circa 1965. A substantial, Modernist oil showing a mare and foal frolicking in a deep chestnut landscape interspersed with foliage and areas of bright color. Born in Los Angeles, Leon D'Usseau began training under the guidance of his father, who was among the earliest fine-art film directors to work in Hollywood. At the age of twelve, Leon was drawing seriously and, at fifteen, received a working scholarship at Chouinard School of Art where he studied under Merrill Gage and Alexander Archipenko. At this early age, he was also employed by Chouinard to teach a line-drawing class. Adopting the anglicized brush-name of Dusso, he exhibited widely and with success including at the Los Angeles County Museum of Art (1937-40), the California Palace Legion of Honor (1941), the Metropolitan Museum of Art (1942), the Laguna Festival of Arts, Los Angeles Artists Association (1945), the California Watercolor Society (1946) and the Audubon Association (1945). Leon Dusso...

Signed lower right, 'Zarbano' for Mary Zarbano (American, 1931-2019) and painted circa 1985. Born in Nebraska, Mary Zarbano received her MFA from Califor...

Signed lower left, 'Marguerite Bordet' (French, 1909-2014) and painted circa 1940. Additionally signed, verso, titled, 'La Vanite' and inscribed with artist's Paris address in the 16th arrondissement. From an early age, Marguerite Bordet avidly pursued both drawing and painting. In the late 1930's and early '40s, she attended the Académie de la Grande Chaumière in Paris where she studied with the sculptor, Antoniucci Volti (Italian, 1915-1989). After several years, and feeling increasingly disconnected with the academic atmosphere of the Salon, she left to develop her independent artistic style. Bordet's first public exhibition took place at the Galerie Claude (1947) and, for the next forty years, she continued to exhibit widely with success, both throughout France and internationally, including in Cairo (1955), Geneva (1960) and the United States (1966). A 1962 exhibition of her work showed a thematic rejection of the Academy's influence and the artist's shift to a more personal and spiritually driven style. Bordet continued to take frequent study trips to Italy, especially to Florence, where she was inspired by the Renaissance Masters. She also visited England (1975-76) where the works of J.M.W.Turner and John Martin at the Tate Museum had a pronounced impact on her development. In an interview with Hervé Serane, Marguerite Bordet described her artistic process in these words: "I start my painting with spots. Sometimes I cover it completely and everything is dark. But then it's stronger than me, I can't bear that there isn't an opening. Immediately, I place a Light. I need the shadow to bring out the Light. So I start with the shadow to create this Light. I cannot define why I need this Light so much. It's stronger than me. It's something that dominates me without my being able to explain it intellectually. It is for me an absolute necessity to seek the Light in the darkness.. You have to open like you open a window. You have to reveal. I remove the stains that obscure my painting to find the luminous background of the canvas.... I only paint with transparent colors and I apply several layers of glaze to preserve this light." Partial Exhibition Record: 1947 Paris, Galerie Claude 1951 Paris, Galerie Breteau - Cairo, Galerie Adam - Alexandria, l'Atelier 1954 Paris, Galerie Simone Bdinier 1955 Cairo, l'Atelier 1959 Paris, Galerie A. Weil 1960 Geneva, Galerie Motte 1962 Paris, Marignan Gallery 1964 Paris, Ror Volmar Gallery 1966 San Rafael (U.SA) International Museum 1966 Cagnes-sur-Mer, Castle Gallery...

Signed lower right, "Jean Kalisch" (American, 1912-1995) and painted circa 1965. Previously with: Pomeroy Galleries, San Francisco (stamped, verso, and with old label) Born in Japan, Jean Kalisch started her art training early and, when she was seven years, began to receive additional instruction in Chinese brush and ink...

Signed lower right, 'Caswell' for Helen Rayburn Caswell (American, 1923-2018) and painted circa 1955. A substantial, mid-century figural oil by this listed California woman artist who showed her talent at an early age. In Saratoga, Caswell began a successful career as an artist and portrait painter, displaying in galleries in Carmel and teaching artist workshops. In addition to her work as a fine artist and portrait painter, Helen wrote and illustrated over 30 books for children and adults. In 1981, Helen moved to Occidental in Sonoma County where, in addition to continuing to paint and teach, she designed stained glass windows for the Sebastopol United Methodist Church. She was also commissioned to paint numerous murals including at St. Ignatius Church in San Francisco and for the Elizabeth Seton Center in Menlo Park.

Signed, verso, in Cyrillic, 'Leontev V.E.' for Valentin Nikolaevich Leontiev (Russian, 1912-1984) and inscribed, 'City of Yarolsavl on the River Volga. Painter, Leontev V.E. Showing Ilaskaya Church, symbol of 17th Century architecture'. Painted circa 1965. Accompanied by old framing label bearing title, 'Church of the Prophet Elijah'. Displayed in a burnished gilt-wood frame; framed dimensions: 21.5 H x 17.5 W x 1.5 D inches Valentin Nikolaevich Leontiev; painter, teacher. Honored Worker of Culture of the USSR (1973). Member of the Great Patriotic War of 1941-1945. He was awarded a commemorative medal. Medal "For Valiant Labor. In commemoration of the 100th anniversary of the birth of V.I. Lenin. Member of the Union of Artists of Russia (1947). Chairman of the Board of the Yaroslavl Union of Artists (1961-1964), member of the board until 1982. In 1931 he graduated from the Yaroslavl Art and Pedagogical College (teacher - S.F. Shitov) and continued his studies in Leningrad (teachers - I.I. Brodsky, A.A. Osmerkin, B.V. Ioganson). He was a Stalin scholarship holder. In 1941, from the 6th graduation course of the institute at the Academy of Arts, he volunteered for the front. Participated in battles near Narva and Kingisepp (North-Western Front). When the regiment left the encirclement, he was captured, in April 1945 he was liberated by the allied forces in Germany on the river. Elbe. After his release, he fought on the 2nd Belorussian Front, participated in the battles near Königsberg. In 1947 he graduated from the Leningrad Institute of Painting, Sculpture and Architecture. I.E. Repin of the Academy of Arts of the USSR, having defending his thesis - the monumental composition "Meeting of the Winners". After graduation, he taught at the Cheboksary (Chuvash ASSR) art school (1949-1951). In 1951 he returned to Yaroslavl and for 32 years (1951-1983) taught at an art school. There are many well-known artists among the students of Valentin Nikolaevich Leontiev. In addition to many landscapes ( " Morning in Yaroslavl " (1967), " Industrial motive " , " The Church of Elijah the Prophet " (1956), " Hoarfrost "(1979) and others), as well as chamber works in the genre of still life, V.N. Leontiev created several significant thematic canvases, including: " Weekend Morning in Cheboksary " (1950 - Chuvash State Art Museum), " Building Communism " (1951, YAHM). Participant of regional, interregional, zonal, regional, republican and all-Union exhibitions. Personal exhibitions in Yaroslavl: 1972, 1983 and 1997. V.N. Leontiev participated in the work of several congresses of the Union of Artists of the RSFSR and the Union of Artists of the USSR, in the formation of regional exhibitions. Works by V.N. Leontiev are kept in the museum collections of Yaroslavl, in Russian and foreign private collections. From the introductory article to the exhibition catalog "Valentin Nikolaevich Leontiev and his students ” , 2008 Art critic Olga Shikhanova. He was loved by both students and fellow artists. Many even now remember with a smile many funny stories associated with the name of Valentin Nikolaevich Leontiev, one of the most significant painters of Yaroslavl. Many are still grateful to him for the lessons of mastery, for patience and tolerance, for a sincere interest in their first, albeit timid, steps in art and for a personal example of passion for creativity. A native Yaroslavl, Leontiev was born on February 5, 1912. His father was a wagon coupler on the railroad and died when his son was 7 years old. Mother Alexandra Nikolaevna worked all her life as a painter at one of the oldest paint and varnish enterprises in the country - the Victory of Workers plant. An inquisitive and active boy at the age of ten joined the first pioneer detachment on Krasny Perekop and from that time became addicted to drawing. Valentin received his initial art diploma in the then popular working studios of fine arts, and in the Yaroslavl Art School, where he entered in 1928, his teachers were wonderful teachers Sergei Fedorovich Shitov and Pyotr Nikolaevich Shadrikov, who stood at the origins of the Yaroslavl art school. In 1931, after defending his diploma, Leontiev received a referral to the Victory of Workers factory, where he conscientiously performed the usual work for a factory artist: he wrote slogans, drew wall newspapers, designed stands with the results of socialist competitions. Such work could not give real creative satisfaction to a person with his pictorial possibilities. In 1933, Valentin first entered the preparatory classes of the All-Russian Academy of Arts, and in 1935 became a student. Art and creative work carried away, and the names of the teachers I. Brodsky, A. Osmyorkin, B. Ioganson, E. Serov, R. Frentz, A. Zaitsev, who had already entered the history of Russian art, turned their heads. In 1940, for excellent progress, Vadentin was awarded the highest student award - a state scholarship. Even then, Leontiev's leadership qualities appeared, and in 1938 he was elected a member of the Student Youth Council under the Central Committee of the Komsomol. For the diploma, he painted a large-scale painting "Children on the Volga" (headed by A.I. Savinov). These few Leningrad years were the happiest in Leontiev's life. After all, it was there, within the walls of the Academy, that he met a friend for life - Evsey Moiseenko, and there he met his only love, Tanya Edelson. The wedding was played in a student hostel in January 1941. But June 1941, like many young people of his generation, dramatically changed the life that had begun so wonderfully. The terrible word "War!" Leontiev and Moiseenko, academic scholarship holders, on whom great hopes were placed, were completely exempted from military service, but both made the only choice possible for them at that time: instead of defending their diploma, in July 1941 they signed up as volunteers in the people's militia. On a memorable day, a large group of students gathered at the Academy - future historians, artists, musicians - all of whom the slogan "Leningrad is in danger!" also did not leave indifferent. From there, everyone went first to the militia, and then to the front. Private of the 4th Volunteer Division, Leontiev participated in the construction of defensive fortifications around Leningrad. The militias dug the ground, constructing anti-tank ditches and pillboxes. After heavy fighting near Narva and Koenigsberg, some colonel undertook to take them out of the encirclement. And so it happened that led untrained soldiers directly to the Germans. So Leontiev was captured, and soon ended up in Germany. Repeated attempts to escape each time ended in raids and brutal reprisals. Finally, he was given as free slaves to a German farm, where he stayed until the arrival of the Red Army. It was a difficult time for Leontiev's wife, Tatyana: in November 1941, their son Vladik was born in Anapa. She survived nine months of occupation and the inability to learn anything about the fate of her husband. Freed from captivity, Leontiev served in the 128th separate communications battalion of the 24th Army of the Belorussian Front until October 1945, and all this time he tried to contact his relatives. He was considered missing. Finally, Valentin was reunited with his family, and then a wonderful portrait of his son appeared, which the artist painted on the same day - “Vladik. Meeting with my son. Leontiev's graduation work was lost during the war years. Having written under the guidance of B.V. Ioganson and V.A. Serov's new large painting "Meeting of the Winners" (280x350), Valentin in 1947 defended his diploma. The high commission rated...

Signed lower right, 'Pauer' for Jacalyn Pauer (American, 20th century) and dated 1991. Additionally signed, verso, and titled, 'The Family Dinner'. A su...

Initialed lower right, 'R.S.' for Robert Schlegel (American, 1947-2021), additionally signed, verso, titled, 'Standing Horse' and dated 2014. A substa...

Signed lower left, 'L. Macouillard' for Louis Macouillard (American, 1913-1987) and painted circa 1975. Louis Macouillard was born in San Francisco, CA on Sept. 8, 1913 of French descent and first graduated from Polytechnic High School and the CCAC (1934) before further study at the Art Students League in NYC. Returning to San Francisco, he became art director for the Velvetone Poster Company and maintained a studio on Hotaling Place. He began painting scenes of San Francisco in watercolor during the 1930's and also worked in mosaics and as a muralist. He exhibited with success including at the Oakland Art Gallery (later the Oakland Museum) 1934, and at the San Francisco Art Association (1935). During WWII, he served in the Navy in the South Pacific and produced many artworks of that area which were featured in a six-page spread and cover of the October 1943 issue of Life magazine. As well as fine art, his work included book illustrations and the designs for two U.S. postage stamps (Daniel Boone...

Signed lower right, 'Tremewen' for Ian Tremewen (Australian, born 1954), additionally signed, verso, dated 1993 and titled, 'Poster Idea, #9328, Pink Palms, Rainforest Beach' A watercolor and gouache study for a gallery exhibition at the Village Gallery, Lahaina, Maui, Hawaii. Ian Tremewen began showing his watercolors with Village Gallery in 1976 while living on Maui. Born in Montreal and now based in Australia, Tremewen has spent much of his life in the Caribbean and Hawaiian tropics. Tremewen's work reflects the interest he feels for light, space and shadow working in sculpture, contemporary glass and textiles. His abstract interpretation of the amorphic shapes of nature, coupled with his design and composition enable him to present his work with a view that is distinctly his own. Artist's Statement: "As an artist, I can experiment with many aspects and combinations. I've always been fascinated by the psychedelic colours hidden in rainforests. For me, these elements invite abstraction, where a shape, along with colour and texture, defines an object. There now appears to be a refreshing openness emerging in the art world. I feel there is a freedom to stretch and explore ideas and alternatives like never before using mediums and concepts that are expanding the world of art and design.” Solo Exhibitions: Napua Gallery, USA Village Gallery Contemporary, USA Karratha Art Centre, Australia Metro Arts, Australia Gold Coast City Art Gallery, Australia Grand Orbit, Australia Paperworks Gallery, Canada Corporate Art West, USA Budds Beach Gallery, Australia Pandanus Art, Australia Tremewen@Marine, Australia Group Exhibitions: S.H. Ervin Gallery, Australia Ritz-Carlton, USA Contemporary Art Gallery, USA Parliament Building, Australia Gold Coast City Art Gallery, Australia Nordstroms, USA Tattersalls Club, Australia Honolulu Academy of Art, USA Federation...What About the Nation? Museums and Galleries Foundation, Australia Selected Awards: Hui Noeau, USA Suncorp Biennial, Australia S.O.S. Festival, Australia Hawaii Watercolour Society, USA Heritage Art Festival, Australia R.E.I.Q. Bicentennial, Australia Woven Image, Australia Art Maui, USA Courier Mail Art Prize, Australia Tweed Regional Art Gallery, Australia Paradise Art Award, Australia Commissions: Sydney Airports Corporation, Australia Lloyds Of London...

Signed, lower right, "Di Gesu" for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Ce...

Signed lower right, 'Z. Kavin' for Zena Kavin (American, 1912-2003) and dated 1966. Born in Berkeley, California, Zena Kavin studied at the California School of Fine Arts in San Francisco and, privately, with Kravchenko in Moscow. She lived in Berkeley and in Oakland her entire life, except for four years spent in New Mexico in the late 1930s. In 1949, she married artist Jon Cornin and settled with him in Oakland. Under the peudonym Corka, the Cornins produced cartoons for the Saturday Evening Post and the New Yorker. Kavin worked in various media, including wood engraving, lithography and sculpture. She was a member of the San Francisco Artists Association and exhibited with them as well as at the San Francisco Museum of Art Inaugural (1935), the California–Pacific International Exposition, San Diego (1935), the Golden Gate International Exposition (1939). Her work is held in the permanent collections of the Davis Art Center, the New Mexico Museum of Art and the Oakland Museum of California. Reference: Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 1, page 610; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 2, page 1801; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, Peter Smith...

Signed lower left, 'D. Guillot' for Donat Guillot (French, 19th Century) and painted circa 1870. Displayed in a period and antique, carved giltwood and gesso frame...

Signed lower right, 'A. W. Kerr' for Alexander Kerr (Australian, 1875-1950) and painted circa 1920. Inscribed on original frame, 'Menam River, Bangkok, ...

Signed lower left, 'J.da Silveira' for Jose Da Silveira (French-American, born 1965), titled, 'The Soul is Music' and painted circa 2002. Additionally signed and titled, and with figural drawing, verso; Previously with: Chabot Gallery, Campbell, California Born in a tiny jungle village in Mozambique to a Portuguese bullfighter and the daughter of one of the leaders of the French Resistance...

Signed lower left, 'Louis Weiner' (Russian-American, 1892-1967) and dated 1929. Born in Vinnitza, Russia, Louis Weiner moved to Chicago where he studied with Reynolds, Higgins, Pool...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Signed lower right, "Canete" and further signed, verso. Painted in 2015. A lyrical, Post-Impressionist beach scene showing a young woman in a bathing suit at the edge of the Pacifi...

Signed lower right, 'Dusso' for Leon D'Usseau, Jr. (American, 1918-1991) and painted circa 1965. A substantial oil painting showing two lovers reclining in a barge on a stream before a Persian palace crowned with domes and minarets; the pair elegantly dressed, with the young woman bejeweled and the young man playing a lute. Born in Los Angeles, Leon D'Usseau began training under the guidance of his father, who was among the earliest fine art film directors in Hollywood. At the age of twelve, he was drawing seriously and, at fifteen, he received a working scholarship at Chouinard School of Art where he studied under Merrill Gage and Alexander Archipenko and also taught a line-drawing class. Adopting the anglicized brush-name of Dusso, he exhibited widely and with success including at the Los Angeles County Museum of Art (1937-40), the California Palace Legion of Honor (1941), the Metropolitan Museum of Art (1942), the Laguna Festival of Arts, Los Angeles Artists Association (1945), the California Watercolor Society (1946) and the Audubon Association (1945). Leon Dusso...

Stamped, verso, with certification of authenticity for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended th...

Signed lower left, 'Marguerite Bordet' (French, 1909-2014) and painted circa 1965. Titled, on old label, 'Le Modele'. Previously with: Crocker Galleries, CA From an early age, Marguerite Bordet avidly pursued both drawing and painting. In the late 1930's and early '40s, she attended the Académie de la Grande Chaumière in Paris where she studied with the sculptor, Antoniucci Volti (Italian, 1915-1989). After several years, and feeling increasingly disconnected with the academic atmosphere of the Salon, she left to develop her independent artistic style. Bordet's first public exhibition took place at the Galerie Claude (1947) and, for the next forty years, she continued to exhibit widely with success, both throughout France and internationally, including in Cairo (1955), Geneva (1960) and the United States (1966). A 1962 exhibition of her work showed a thematic rejection of the Academy's influence and the artist's shift to a more personal and spiritually driven style. Bordet continued to take frequent study trips to Italy, especially to Florence, where she was inspired by the Renaissance Masters. She also visited England (1975-76) where the works of J.M.W.Turner and John Martin at the Tate Museum had a pronounced impact on her development. In an interview with Hervé Serane, Marguerite Bordet described her artistic process in these words: "I start my painting with spots. Sometimes I cover it completely and everything is dark. But then it's stronger than me, I can't bear that there isn't an opening. Immediately, I place a Light. I need the shadow to bring out the Light. So I start with the shadow to create this Light. I cannot define why I need this Light so much. It's stronger than me. It's something that dominates me without my being able to explain it intellectually. It is for me an absolute necessity to seek the Light in the darkness.. You have to open like you open a window. You have to reveal. I remove the stains that obscure my painting to find the luminous background of the canvas.... I only paint with transparent colors and I apply several layers of glaze to preserve this light." Partial Exhibition Record: 1947 Paris, Galerie Claude 1951 Paris, Galerie Breteau - Cairo, Galerie Adam - Alexandria, l'Atelier 1954 Paris, Galerie Simone Bdinier 1955 Cairo, l'Atelier 1959 Paris, Galerie A. Weil 1960 Geneva, Galerie Motte 1962 Paris, Marignan Gallery 1964 Paris, Ror Volmar Gallery 1966 San Rafael (U.SA) International Museum 1966 Cagnes-sur-Mer, Castle Gallery...

Signed lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Cen...

Signed lower left, 'Frank N Ashley' (American, 1920-2007) and painted circa 1985. Additionally signed, verso, and titled, 'Steeplechase, Los Altos Hunt'. Bea...

Signed lower right, 'Dedrick B Stuber' for Dedrick Brandes Stuber (American, 1878-1954) and painted circa 1925. A substantial, early twentieth-century California coastal landscape showing the Pacific Coast's Monterey Bay on a sunny day with lightly scudding clouds against an azure sky. A particularly fine work with jewel-like, spring flowers scattered along the grassy bluff and a panoramic view across the bay towards lavender coastal hills. This luminous California plein-air painting happily retains its original title-plate. Born in New York City, Dedrick Stuber first studied at the Art Students League and, later, with Julian Onderdonk and Clinton Peters. In 1920, he moved to Los Angeles where he became known primarily as a painter of California pastoral and marine scenes, preferring to paint his "plein air" works in the cool and shade of the early morning. Over the course of a long career, Stuber exhibited widely and with success and was the recipient of numerous medals and juried awards. He was a member of the Painters and Sculptors of Los Angeles and the Laguna Beach Art Association and his works are held in numerous private and public collections, including the permanent collection of The Smithsonian Museum and The Pasadena Art Museum. Reference: Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 2, page 1076; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 3, page 3211; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith...

Signed lower right, 'Vivian R. Huebler' for Vivian Ruth Lewis Huebler (American, 1890-1975); additionally signed, verso, with artist address and painted circa 1955. Vivian Huebler...

Signed lower right, 'Jay Risling' (American, 1896-1993) and dated 1941. A psychologically penetrating study of a contented, golden-eyed ginger cat shown re...

Signed verso, 'Ant McNaught', (American, born 1952), titled 'Port de Vendres', dated 2022 and inscribed '(After Derain, 1905)'. This California Post-Impressionist and Abstract Expre...

Signed lower left, 'Edward Glafke' (American, 1925-1997); additionally signed, verso, titled, 'Point Lobos, China Cove', and dated 1993. Edward Glafke w...

Signed lower left, 'George A Rohrer' (American, born 1929), additionally signed, verso, and dated 1988. A lyrical and light-filled seascape showing a view of the Pacific Ocean with the sun breaking through clouds and illuminating the breakers rolling in towards the coast of Northern California's Mendocino county. This listed California artist lives on the Mendocino Coast...

Estate stamped, lower left, 'Wm. A. Gaw' for William Alexander Gaw (American, 1891-1973) and painted circa 1935. William Alexander Gaw was born ...

Signed lower right, 'Olga' for Her Imperial Highness, Olga Alexandrovna, Grand Duchess of Russia and painted circa 1935. Additionally inscribed in Danish, verso, 'Malet af Storfyrstinde Olga, Rusland der senere bosatte sig i Ballerup. Emma Davidsen' (Painted by Grand Duchess Olga...

Signed lower right, 'Olga' for Her Imperial Highness, Olga Alexandrovna, Grand Duchess of Russia and painted circa 1925. Provenance: Formerly in the ...

Signed lower left, 'M. V. Mujica' for Manuel Vicente Mujica (Venezuelan, 1924-2002). A bright and breezy oil painting of a dark-haired young woman wearing a wide-brimmed, floral hat and seated at a table decorated with a large vase of flowers. A charming and period work by this European-trained Venezuelan Post-Impressionist. Manuel Mujica first studied at the School of Plastic and Applied Arts under Antonio Edmundo Monsanto and Rafael Ramón González (1939-1942). Over the course of a long and successful career, he exhibited widely and with success including at the Salón Anual de Artistas Independientes held by the Caracas Museo de Bellas Artes...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. A graphite drawing of a young woman, shown nude and seated with her chin cupped in...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. A graphite study of a young woman shown nude and seated in an armchair. Winner of...

A substantial, Impressionist botanical oil showing a bevy of purple and yellow irises swaying in an evening breeze and silhouetted against a sunset sky. Signed lower right, 'J. C. B...

Signed lower right, 'Lebadang' and with number and limitation, 163/215, lower left. Also known as Dang Lebadang (Vietnamese-French, 1922-2015) this not...

Signed lower left, 'A. Manganaro' for 'Antonio Manganaro (Italian, 20th Century), and titled lower center, 'Ability of the Working Classes to Enjoy Meals Under Humble Surroundings'. ...

Signed lower right, 'G. Kosmiadi' for Georg Kosmiadi (Ukranian-German, 1886-1967) and dated, '66'; additionally signed verso, 'Georg Kosmiadi', inscribed with serial number and dated, '20/9/66'. Georg Kosmiadi was a resident of Rivne before moving to Hamburg in 1940 where he worked as an art teacher. Kosmiadi exhibited at the Rivne Regional Museum and a regional art...

Inscribed verso, 'P. Johnstone' (American, 20th century) and painted circa 1965. A substantial Modernist figural oil of a young woman shown reading a book in a rose-colored room, wi...

Signed lower left, 'Hortense M. Gordon' for Hortense Crompton Mattice Gordon (Canadian, 1886-1961) and dated 1949. Previously with: Dominion Gallery of Montreal (stamp, verso). Photo courtesy of Art Gallery of Hamilton, Ontario, Canada. Hamilton artist Hortense Crompton Mattice Gordon was one of Canada’s earliest non-representational painters, embracing abstraction in the 1930s. She was also an active member of Canada's first English-speaking abstract group, Painters Eleven. A scholarship recipient, Hortense Mattice first attended the Hamilton Art School and, subsequently, moved to Chatham, Ontario. Initially focusing on porcelain painting, Mattice quickly began building a portfolio of oils and, from 1908, was exhibiting both her porcelain and landscapes at what is now the Chatham Cultural Centre (1908) and the Art Gallery of Ontario (1909). During this time, Mattice frequently traveled to the United States and, in 1915, visited the National Gallery of Art in Washington, DC, where she would have seen early works by important modernists including Picasso and Matisse. She started her teaching career in Chatham but, having received a job offer from the artist John Sloan Gordon, returned to Hamilton to teach at the Hamilton Art School in 1918. The two artists married in 1920. In 1922, Gordon and her husband took a study trip to France and, inspired by the fervent of Modernist ideas in Paris, expanded her own approaches to art, developing an increasingly soft, loose paint handling style. It was not until the 1930’s, after a few more trips to France and her discovery of Piet Mondrian’s work, that elements of abstraction began to appear in Gordon’s work. After the death of her husband in 1940, Gordon attended the Cranbrook Academy of Art and studied with Hans Hoffmann (1941-1945) whose influence and friendship pushed her to explore non-objective painting. After her training with Hofmann and in Cranbrook, Gordon began to exhibit regularly and with success in both Canada and the United States including at the Riverside Museum (New York, 1947), Creative Gallery (New York, 1952), in Ann Arbor (Michigan, 1952), Phillips Gallery (Detroit, 1952), the Flint Institute of Arts (Michigan, 1952), Mount Allison University (New Brunswick, 1952), the Galerie Agnes Lefort in Montréal and Art Gallery of Hamilton (retrospective, 1960). She was a member of the Contemporary Artists of Hamilton (honorary president in 1948), the Ontario Society of Artists, the Hamilton Women...

Signed lower right, 'M.S. Bremer' for Marlene Bremer (German-American, 1937-2018) and painted circa 1995. Additionally signed, verso, 'Marlene Bremer'. ...

Signed verso, 'Barr' for Charles Barr (American, 1929-2019); additionally inscribed and painted circa 1965. From the Pittsburgh Post-Gazette, 2019: CHARLES "CHUCK" BARR Age 89, of Highland Park, graduated from human life on August 11. Although no headlines marked the event, he was a great man. People ranging from fellow Pittsburghers to New York art collectors have known Chuck as a wonderful self-taught artist and creative jazz musician. But above all, everyone touched by his joy knew him as a carrier of the Great Spirit. Ten minutes with Chuck could do more than make your day. It could open your heart to the boundless possibilities that life offers, if only we live from love. Chuck was raised in a working-class musical family in Beechview. Leaving home as a teenager to play tenor sax in a Chicago nightclub alongside brother, Tommy, a pianist, he burned out on the late-night routine. He then spent years trying to fit into so-called normal society, working various jobs in places from Yokohama (with the U.S. Army) to Philadelphia. Around 1969, Chuck returned to Pittsburgh to rediscover his calling and became a local legend. A Post-Gazette article dubbed him the city's "rambling minstrel" for his sax and flute recitals in public. College-trained artists marveled at the dynamic, visually musical paintings...

Painted circa 1965 by Ray Radliff (American, 1900-1974) and accompanied by certificate of authenticity. Framed dimensions: 30.5 x 40.5 inches. This California artist exhibited widel...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Signed lower left, 'McCullough' for Jane McCullough (American, 20th century) and painted circa 1985. Jane McCullough was an avid California plein air painter, exhibiting and took ar...

Signed on palette, lower right, 'John Diallo Jones' (American, 20th century) and dated 1992. A dramatic figural oil showing the artist flanked by two whispering skeletons, one of wh...

Signed lower right, 'Arthur Dawson' (American, 1857-1922) and painted circa 1915; additionally inscribed, verso, 'The Stream'. Bearing old framing label: Ferguson Art Shop, Flint, Mi...

Signed upper right, "Joffrin" for Guily-Jeanne Joffrin (French, 1909-2007) and painted circa 1965. Photo of the artist in her studio, 1995. Courtesy of Wikipedia. Born in Paris, Joffrin first attended the École Supérieure Sophie-Germain before, in 1928, studying at the École des Beaux-Arts, initially in the studio of Lucien Simon. She continued her studies there for several years in the studios of Jacques Despierre and Lucien Fontanarosa. After receiving her diploma, Joffrin was appointed Professor of Drawing and taught in Paris until 1945, when she began to devote herself exclusively to her career as a fine artist. Over the course of a long career, she exhibited internationally with success including at more than forty exhibitions in France (Paris, Aurillac, Rennes, Strasbourg, Reims, Rodez, Toulouse, Barbizon, Saint-Paul-de-Vence, Cannes) as well as in Geneva, Vevey, San Francisco and Tokyo among other cities. The human face was of particular interest to Joffrin and she created many portraits of academic notables including Paul Guth...

Signed lower left, 'J. Bedwell' for Jeanette Bedwell (American, 20th century) and painted circa 1975; additionally signed, verso, on canvas. A vibrant, mid-century oil still-life b...

Signed lower right, 'L. Curtis' for Lynn Curtis (American, 20th century) and painted circa 1985. Exhibited: Lodi Art Center, 11th Annual Art Exhibition (from accompanying label). Framed dimensions: 38.25 H x 60.5 W x 1.75 D Inches. A very substantial, oil and mixed media Modernist work showing a profusion of spring wild-flowers bursting through panels of wind-billowed canvas. A dynamic expression of spring's power of growth overcoming all physical restraint. Lynn Curtis holds a Bachelor’s Degree from Dartmouth College and a Masters in painting and drawing from The University of Iowa. She received a postgraduate certificate in printmaking from London's Slade School...

Signed lower left, 'Karl Goldschmidt' (Anglo-German, 1912-1995) and painted circa 1930. Photo of Karl Goldschmidt (Kenneth Gay) with Robert Graves courte...

Signed lower center, 'D. M. Hildreth' for Donald Hildreth (American, born 1941), additionally signed, verso, titled, 'Provincetown' and dated 1997. Los Angeles native Donald Hildreth worked as an aerospace engineer and in real estate before following his career as an artist. He then studied under Kim English, Ovanes Berberian and Ted Goerschner...

'Midcentury Biomorphic Abstract', NYMoMA, Paris, XXXII Venice Biennale, MALI, Lima, Peru Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

Signed lower left, 'S. Omori', for Sakue Omori (Japanese, 1919-2001) and painted circa 1965; additionally signed in Kanji, verso, with artist's name 大森 朔衛 (Omori Sakue) and titled, 'Mount Fuji'. A large and exuberant, mid-century oil by this well-listed Japanese Modernist and Professor of Fine Art who studied in Paris and is particularly known for his lyrical landscape abstractions. Sakusuke (Sakue) Omori was born in Takamatsu City in Kagawa Prefecture. He drew enthusiastically as a child and, by the age of 12, had resolved to become an artist. At the age of 13, he encountered the work of the Japanese Modernist, Takeji Fujishima, which further confirmed his vocation. Omori moved to Tokyo at the age of 18 and, despite his parents objections, entered the Japan Art School where he majored in oil painting. In 1940, at the age of 21, he was granted his first public exhibition. In 1941, he was selected as an exhibitor for the Independent Art Exhibition and, in 1942, for the Art Creators Association Exhibition. In 1943, Omori won the Kagawa Prefectural Governor's Award and also received the Naval Association Award at the Great Japan Maritime Art Exhibition. After the war, with his studio and his work having been destroyed by fire, he returned to Tokyo to build a new atelier in Yochomachi. In 1950, Omori became a founding member of Japan's Modern Art Association and a member of the Action Art Association. In 1960, he was awarded the prestigious K-shi prize at the Contemporary Japanese Art...

Signed lower right 'G. Pisani', (Italian, born 1935), titled verso 'Paesaggio con Valigia' (Landscape with Luggage) and dated 1963. Provenance: Galleria El Centro, Naples, Italy 1963. (from original label, copied verso). A very substantial, mid-century abstracted landscape comprising an assembled group of Fendi shopping bags in the fashion designer's signature tones of cream, bistre and scarlet, shown contrasted against a lyrical, sunset-coral background. This powerful and lyrical oil was awarded the 1963 Michetti Painting Prize. Gianni Pisani studied at the Accademia de Bella Arti in Naples under Emilio Notte. Much of his career in the 1960s and 70s involved reinvigorating the Neapolitan art scene with assemblages, ‘object art’ and performance art, an approach that was critically described and acclaimed by poet and writer, Edoardo Sanguineti. The recipient of numerous medals, prizes and juried awards, including the Prize City Cesenatico (1955). Pisani exhibited widely and with success from the early 1950's including at the 8th Biennale of San Benedetto del Tronto (1969), Palazzo Dugnani (1983) and at the Non-Existent Gallery. Other solo and group exhibitions include a three-time participation in the National Quadrennial Art Shows (VIII, Rome, 1960; IX, Palazzo dei Esposizione, 1965/66; XI, Palazzo dei Congressi, 1986) and the 1995 Venice Biennale. An ardent exponent, and influential teacher, of Modernism, Pisani taught at the Academy of Fine Arts of Brera in Milan and, for many years, at the Academy of Fine Arts in Naples, of which he was later appointed director. Gianni Pisani’s works are held in the permanent collections of numerous museums including the Museum of Capodimonte, the Museum of Contemporary Art Donna Regina (MADRE), Museum of Contemporary Religious Art...

A substantial, mid-century Post Impressionist oil still-life comprising a fish on a platter with four lemons, a raffia-wrapped bottle of Italian chianti...

Signed, lower left, with monogram, 'E. A.', for Edna Wright Andrade (American, 1917-2008) and dated 1954. Additionally signed, verso. A luminous, mid-ce...

Signed lower left, 'J. W. Nicoll' for John W. Nicoll (American, 1865-1943), titled lower left, 'Santa Barbara' and painted circa 1925. Sheet dimensions: 9 x 12.75 inches. A luminous, early twentieth-century landscape showing a picturesque view of a Spanish style cottage set in a lush garden with a view beyond towards the Santa Ynez Mountains rising towards clouded, blue skies. An unusual and elegant view of old-time Santa Barbara that retains much of its crispness and freshness of color. Born in New York, John Nicoll first studied with his uncle, the landscape painter, James Nicoll. He subsequently moved to Paris where he furthered his education for three years under Bouguereau and Ferrier at the Académie Julian. He then continued on to Seville where he studied for three years at the Academia Real, spending his winters traveling and painting in North Africa. By 1899, Nicoll had settled in Pasadena where he painted, exhibited and taught drawing at the College of Fine Arts from 1906-1935. Upon his retirement, he moved to San Diego where he continued to paint and exhibit until his death in 1943. Over the course of a long career, James Nicoll exhibited widely and with success including at the Stickley Building, Pasadena, 1899; Blanchard Hall, Los Angeles, 1899; the Louisiana Purchase Exposition, St Louis, 1904; the Ruskin Art Club, Los Angeles, 1904; Lewis & Clark Expo Portland, 1905 (Bronze Medal); the Painters Club, Los Angeles, 1906-09; the Nicholson Gallery...