Paintings

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1991, signed to the front and inscribed verso Title - View of Goose Eye Farm near Braithwaite Yorkshire, England...

A framed portrait painting of a man in the nude on wood. With wonderful texture, and muted greens, beiges, and browns, this painting will be a...

Albert CHUBAC (1925-2008), signed, circa 1960, France, mixed media on paper. Height: 100 cm, width: 145 cm, depth: 5 cm. Last painter of the school of Nice. This is an importan...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

“The important thing is not to find, but to seek ». These words by André Gide are deeply echoed in this midcentury oil painting, which offers no answers, but invites us on a quest: t...

Landscape painting with gold leaf frame painted by the artist Ole Ring (b.1902-d.1972), who lived in the Roskilde, Denmark area. The picture presumably illustrates the landscape arou...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Art Deco Framed Acrylic Artwork "At Last" (1991) with vibrant colors and geometric design adds vintage sophistication to any art collection. Some scratches and wear on the art wor...

A vintage Boho original oil painting on board. A chic composition of a male nude in beautiful shades of green. Framed in a brilliant gilt wood frame. Acquired from a Palm Beach estate.

Jeka Kemp (Scottish,1876–1966) "No 6 Fleurs", Still Life depicting orange lilies, blue, purple and white flowers in a yellow pitcher, sitting atop a table with fabric draped in the ...

Beautiful continuous line drawing by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

This painting comes from the Jilamara Design art center and dates back to 2013. It is made with earth ochres bound with acrylic pigment. Cornelia is considered a great artist of the first generation from this region. A certificate of authenticity is included. Cornelia Tipuamantumirri was born in Pirlangimpi (Garden Point), Melville Island, around 1930. Her father's ancestral land is Imalu Point, Melville Island, and her mother's ancestral land is Munupi, Melville Island. Her skin group is Warntarringa (Sun) and her dream is Jarrikalani (Turtle). Tipuamantumirri lives and works in Pirlangimpi, where she is an initiated and respected Tiwi elder. Tipuamantumirri uses the kayimwagakimi, a traditional carved wooden painting comb with a single row of teeth. Using a palette of ochres in pinks, yellows, blacks, and browns, her work depicts significant aspects of Tiwi life and culture with repeated dotted lines referencing yirrinkiripwoja (body painting) and the tidal movements of the surrounding seas. Tipuamantumirri, who began painting in 2010, is also an experienced weaver. Key recent solo and group exhibitions: - Warnarringa - Jarrikalani: Sun - Turtle, Alcaston Gallery, Melbourne (2014) - Cornelia Tipuamantumirri - New Paintings, Alcaston Gallery, Melbourne (2013) - Purunguparri (Stringy Bark Hut), Alcaston Gallery, Melbourne (2011) - Ngawa Munupula/Ngawa Kiripapiranjuwi: New Paintings from Munupi Art on the Tiwi Islands, Outstation Gallery, Darwin (2015) - Cornelia Tipuamantumirri and Delores Tipuamantumirri: New Paintings, Martin Browne Contemporary, Sydney (2015) - We are Tiwi: Munupi Arts from Melville Island, Artitja Fine Art, Fremantle, WA (2014) - The Tiwi: Art from Jilamara & Munupi Art Centres, Kluge-Ruhe Aboriginal Art Collection, Virginia, USA (2014) - Nginingawila Munupi Jilamara: Our Paintings from Munupi, Marshall Arts, Adelaide (2013) - Kirilima + Jarrikalani - Jungle Fowl + Loggerhead Turtle...

A wonderful, unique, and very engaging original indigenous painting by Australian Aboriginal artist Thompson Yulidjirri, (Circa 1930-2009) featuring two mythical creatures. The paint...

W. Melchinger - Bavarian Folksy Scene in Joinery 1956 An original vintage oil painting showing a Bavarian folksy family scene in the joinery. Painted in oil on cardboard, signed by W. Melchinger 1956. A great original painting in naive style. Alpine oil...

Very stylish, unique and original 1930's French fashion design, no doubt of Parisian origin. The painting, executed in gouache/ watercolor and pencil, is dated to the upper corne...

Oil painting by Ib Geertsen, 1959 Additional Information: Style: Mid century, Scandinavian Dimensions (W x H): 51.5 x 66.5 cm Condition: Good vintage condition

Our very large portrait of Jean Bonnardel (1899-1952), Countess Madeleine de Montgomery, by Federico Armando Beltran Masses (1885-1949) measures 77 3/8 ...

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage an...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

Watercolor and ink panoramic South of France Landscape by Bernard Labbe (French mid 20th century) Original watercolor and ink on paper Size: 5.75 x 11.75 inches Unsigned , stampe...

SPRING LIGHT, American West / California rocky Pacific coast oil on canvas landscape picture by American painter / artist Rod Goebel (1946-1993) impressionist style, signed front low...

Wooden pad with trefoil patterns used to decorate fabrics. India, early 20th century.

Rare truly. Summer camp play backdrop depicting an abstract interpretation of the Rocky Mountain range. Condition is very good, this was found rolled up in a garage likely in place f...

French landscape by Bernard Labbe (French mid 20th century), stamped verso original watercolor/gouache painting on paper overall size: 13 x 19.75 inches condition: very good and...

Painting of a Gypsy, Bohemian woman drawing the cards. Representation of a Cartomancer and Fortune Teller. Oil on canvas. Very well represented. fine and pleasant features. Delicate work. Signed lower right by M. Callewaert circa 1940 Maurice CALLEWAERT is a Belgian artist born in Belgium in 1900 and died in France in Paris in 1986. Belgian painter from West Flanders...

Pair of M.E. Fager Reverse Mirror Paintings – Signed, 1950s American Design A rare and captivating pair of reverse mirror paintings by renowne...

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage an...

Vintage Asian Batik hand painted fabric art. The beautiful batik is a depiction of a pair of Masai couples in traditional tribal clothing. The batik is a wonderful example of a hand painted wall art. Batik is one of many methodologies of fabric art in a long and rich folk textile tradition around the world. It is a wax-resist type of dyeing operation where certain sections of a textile are pigmented while others are tied-off and shielded from coloring. Batik designs are created in various geometric motifs that have certain symbolism and convey status within society, but now too they use batik methods to achieve what in essence are paintings on fabric. Dimensions: 26” x 31” Date of Manufacture: 3rd Quarter of the 1900s Place of Origin: Africa Material: Textile Condition: Wear consistent with age and use The Persian Knot, SKU: 2264 Vintage Batik Painting...

The framed vintage Chinese oil canvas titled "Lewis" features an impressionist portrayal of a Chinese emperor. The emperor is depicted in traditional robes, with loose, expressive br...

Watercolor and ink panoramic French landscape of Fields below Hills by Bernard Labbe (French mid 20th century) original watercolor and ink on paper image Size: 6.75 x 9.8 inches sheet: 9.5 x 12.5 inches unsigned , stamped verso condition: very good and ready to be enjoyed provenance: the artists atelier/ studio, France (stamped verso) A summer view of a French rural scene...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

“Nr 6” Oil Painting by Harry Booström, 1955 Additional Information: Style: Mid century, Scandinavian Dimensions (W x H): 60.5 x 60 cm Condition: Good v...

French School, circa 1970’s signed oil painting on canvas, unframed canvas size: 19.5 x 24 inches condition report: overall very good, a few light scuff marks to the surface.

Albert Chubac (1925-2008), Composition, Oil on paper, Representing a man with balloons and horses, Workshop stamp lower right, Framed, circa 1960, France. Measures : Width 65 cm, Height 50 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac: exhibition, Nice, Museum of Modern and Contemporary Art, January 29 - May 16, 2004. - Albert Chubac, Galerie Harter, 2013. - Albert Chubac, a lifetime of artist, Patrick Boussu and Cynthia Lemesle, South Art éditions, 2021. During the workshop auctions in Nice and Marseille, the Harter Gallery acquired the largest part of his work. Personal exhibitions: - 1950: Personal exhibition in Athens at the Zappéion museum. - 1954: Exhibition at the Arman Gallery in Geneva. - 1956: Exhibition at the Galerie Connaître in Geneva. - 1957: Exhibition at the Galerie La Palette in Zurich. - 1958: Exhibition at the Galerie L’Entracte in Lausanne. - 1960: Exhibition at the World House Gallery in New York. - 1967: Exhibition at the Galerie Loo in Geneva, at the Salon Comparaison in Paris, Aspects in Chexbres in Switzerland. - 1968: “Paintings” exhibitions from March 30 to May 11 at the Galerie Alexandre de la Salle. - 1970: Exhibition at the Maison des Jeunes et de la Culture de Magnan in Nice, at the Maison de la Culture Le Corbusier in Firminy entitled "Chubac recent works" and at the Galerie Royal Luxembourg in Nice. - 1971: Exhibition at the Galerie Germain in Paris and at the Fernand Léger School in Malakoff. - 1972: Exhibition on the village square of Aspremont, at the Galerie Royal Luxembourg in Nice. - 1973: Exhibition at the Galerie Ferrero in Nice. - 1974: Exhibition at Art-club in Antibes. - 1975: Exhibition at the Galerie Jacques Boudin rue de Dijon in Nice. - 1978: Exhibition at the Galerie Anne Roger in Nice. - 1980: Exhibition at the Galerie de la Salle in Saint-Paul de Vence from August 8 to September 9. - 1981: Exhibition at Lieu 5 in Nice from February 13 to March 20. - 1983: Exhibition at the Galerie d'Art Contemporain in Nice, at Anne Roger. - 1984: Exhibition "Lille Nice" at the Galerie GodArt in Lille from April 14 to May 17 and at the Galerie Luisella d´Alessandro in Turin. - 1985: Exhibition in Thonon les Bains at the Galerie Galise. - 1988: Exhibitions at Galerie Argéco in Nice and Galerie Triade in Barbizon - 1989: Exhibitions at the Galerie de la Salle, at Lola Gassin's in Nice, in galleries in Nice - 1990: he made four mobiles for the MAMAC in Nice, Exhibitions at the Galerie François Moulin in Lyon and Golden Gallery, ArtJunction in Nice. - 1991: Exhibition at the Galerie de la Salle in Saint-Paul. - 1992: Exhibitions at the Espace du consulat suisse in Nice, Besançon and opening of the Espace Chubac in Tourrette-Levens. - 1993: Exhibition at the Maison Comoni in Revest-les-Eaux, at the Galerie François Moulin in Lyon. - 1994: Exhibition at the Espace Caravadossi in Aspremont. - 1996: Exhibition at the Espace Dellile in Nice. - 1997: Exhibition at the Galerie de la Salle in Saint-Paul. - 1998: Last personal exhibition at the Galerie de la Salle in Saint-Paul. - 2000: Exhibition at Lympia college in Nice. - 2001: Exhibition at the Espace Chubac in Tourette-Levens. - 2002: Exhibition at the Galerie Scholtès in Nice and in Carcès in the Var entitled "Albert Chubac-Couleurs mobiles". - 2004: Great Albert Chubac retrospective at MAMAC in Nice. - 2011: Permanent exhibition at the Galerie Harter in Nice. - 2012: Exhibition at the Olympia Show in London at the Christopher Jones Gallery and at the Serge Castella Interiors Gallery in Bascara, Spain. - 2013: Exhibition at the Municipal Contemporary Art Gallery of Pochettes in Nice. - 2019/2021: Exhibition of works belonging to the permanent collection of MAMAC in Nice and exhibition "Geometry according to Albert Chubac" at the Galerie Harter in Nice. - 2021/2021: Permanent exhibition at Galerie Atelier 55...

Blue landscape by Bernard Labbe (French mid 20th century), stamped verso original oil painting on paper overall size: 14 75 x 22 inches condition: very good and ready to be enjo...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 1 m, width 70 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac: exhibition, Nice, Museum of Modern and Contemporary Art, January 29 - May 16, 2004. - Albert Chubac, Galerie Harter, 2013. - Albert Chubac, a lifetime of artist, Patrick Boussu and Cynthia Lemesle, South Art éditions, 2021. During the workshop auctions in Nice and Marseille, the Harter Gallery acquired the largest part of his work. Personal exhibitions: - 1950: Personal exhibition in Athens at the Zappéion museum. - 1954: Exhibition at the Arman Gallery in Geneva. - 1956: Exhibition at the Galerie Connaître in Geneva. - 1957: Exhibition at the Galerie La Palette in Zurich. - 1958: Exhibition at the Galerie L’Entracte in Lausanne. - 1960: Exhibition at the World House Gallery in New York. - 1967: Exhibition at the Galerie Loo in Geneva, at the Salon Comparaison in Paris, Aspects in Chexbres in Switzerland. - 1968: “Paintings” exhibitions from March 30 to May 11 at the Galerie Alexandre de la Salle...

You are viewing a wonderful Duch still life oil painting A vivid floral spray in a vase that would brighten up any room or interior Comes in elegant gilt frame Good size at almost fo...

Artist/ School: Claude Lagouche (French 1943-2020) Title: Abstract Composition, signed and dated 63' Medium: watercolour drawing on paper, stuck on card frame. Size: paintin...

A Red Roofed Village in France by Bernard Labbe (French mid 20th century) original watercolor, ink and gouache on paper size: 13.75 x 10.6 inches unsigned, stamped verso conditi...

Beautiful original landscape scene by acclaimed artist Seth Winegar. This piece titled “Marshland Farmington” from 1999 showcases the light in nature from...

Large oil painting on canvas. Modernist Abstract, by Jim Bray, circa 1963. Charming image. Child-like. Great use of color, texture, space.

Tuba Player by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10.5 x 7.25 inches condition: very good and ready to ...

Watercolor and ink French landscape of a town and bridge spanning a river by Bernard Labbe (French Mid-20th century) original watercolor and ink on paper Size: 6.4 x 9.4 inches u...

Portrait sketch original drawing by Jean-Paul LE VERRIER (1922-1996) studio stamped pencil drawing on paper, unframed Double sided 10.5x 8.25 inches provenance: private colle...

Wonderful original pencil drawing depicting a vintage motor car racing scene from the 1930's. The drawing is by - "K. B. White" - a British illustrator and motoring artist who was working in the 1930's. The drawing perfectly capture the glamorous spirit of vintage motoring - the noise, the crowds, the dust flying through the air - goggles, scarves - the drama of the occasion! Completely original and unique and perfect for any sporting interior themed room - or a great gift for a man cave or 'boys room'.

Wacky Interior Scene by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10 x 8.75 inches condition: very good and re...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner Image : 12 x 9.5 inches Superbly decorative 1960's French po...

Portrait sketch original drawing by Jean-Paul LE VERRIER (1922-1996) studio stamped ink on paper, unframed Double sided 10.5 x 8.25 inches provenance: private collection of t...

English Country (20th Century) painted and carved wall plaque of golf sign.

"Rural Field" by Camille Meriot (French 1887-1975) pastel on unframed paper paper: 6.75 x 9.5 inches Fine original French Impressionist painting by the well listed and popular...

Oil on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's aptitude for creating fantastical landscapes. Contrasting oxen / bulls and flamingos with a castle backdrop creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Singed on verso. Bio from the Philadelphia Museum of Art: Born Princeton, Michigan, 1910; died Greenwich, Connecticut, 1995 Bruno Del Favero moved from Michigan to northern Italy with his parents at age five, returning in 1928 and settling in Greenwich, Connecticut, where he married and remained for the rest of his days. He made his living as a mason, chauffeur, and landscape gardener. It is not known exactly when or why he began to paint his delicate and mysterious landscapes, but he was exhibiting in local art shows by the early 1970s and took himself seriously enough as an artist to join the Greenwich Art Society. He maintained a studio in the basement of his home, but never shared his art with his wife and five children. After the artist's death his family introduced his work to New York dealers Shari Cavin...

M. PLASKETT - Vintage folk art autumn landscape oil painting on prepared pressed paper board - signed lower right - vintage painted & gilt soft wood frame - Canada - mid 20th Century...

Oil painting framed in a gilded wooden frame with the motif of a cabin out in a mountain landscape. Signed by P. Svarter from the 1970s Dimensions: L:50cm W:60cm

Large Modern Framed Artwork Decorative Painting Landscape LA CA Art Gallery . Wall Art Decorative Hand painted Oil on Canvas Falling Vessel sculpted hand crafted silvered Frame. "Fa...

My uncle Bob was a country lawyer in rural Alabama and Moses Tolliver was one of his friends and clients. The pair of original paintings you see here were given to my uncle by Mr. Tolliver in exchange for legal services in the 1980s. Both the human figure and the snake were painted on scrap wood paneling and each has an aluminum beer pull-tab on the back for hanging. The works have been framed so the pull tab is not visible; if you prefer, simply remove the frames and both pieces will be as created. The snake painting...

Artforms: An Introduction to the Visual Arts Duane and Sarah Preble Softcover Book. 5th Edition 1994. Publisher: Harpercollins College Div, 1994. For Art Appreciation, Art for Non...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely Antique Chinese Ancestral Portrait on the ori...