Paintings

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

DIMENSIONS: Height: 16.25 inches Width: 13.5 inches Depth: 2.25 inches Frame width: 2.5 inches ABOUT MODEL Encarnación López Júlvez, known as La Argentinita (Buenos Aires, March 3, 1898 – New York, September 24, 1945) was a Spanish-Argentine flamenco dancer (bailaora), choreographer and singer. La Argentinita was considered the highest expression of this art form during that time. López Júlvez was the daughter of Spanish immigrants in Argentina, where her father had a fabric business. While living there, two of her siblings died in a scarlet fever epidemic. Consequently, she was brought to the north coast of Spain in 1901, where she began to learn Spanish regional dances. When she was only four years old, she started learning flamenco from Julia Castelao. Her first public performance was at the age of eight at the Teatro-Circo de San Sebastián, in the Basque Country. She chose the name "La Argentinita" in deference to the famous flamenco dancer Antonia Mercé (La Argentina). After travelling throughout Spain as a child prodigy, she settled in Madrid to perform at Teatro La Latina, Teatro de la Comedia, Teatro de La Princesa, Teatro Apolo and Teatro Príncipe Alfonso. Her success led her to tour in Barcelona, Portugal and Paris, and then Latin America. In the early 1920s, she returned to Spain, where she worked in Madrid. Among her early performances was the 1920 premiere of Federico García Lorca's musical play El maleficio de la mariposa as "the Butterfly". She announced her retirement in 1926, but would quickly return to the show business as part of the artistic renewal that led her to the Generation of ‘27, in which she combined flamenco, tango, bulerías and boleros. She danced to the compositions of Manuel de Falla, Joaquín Turina, Isaac Albéniz, Enrique Granados and Maurice Ravel. She helped in the development of Ballet Español. Adapting pieces to popular tradition, she toured Europe, triumphing in Paris and Berlin and participating in the artistic movements of that time along with Spanish poets such as Rafael Alberti, Federico García Lorca, Edgar Neville and Ignacio Sanchez Mejias. Sánchez Mejías, an intellectual and bullfighter, was a married man and her lover. La Argentinita retired a second time to maintain her clandestine relationship with him. However, she would return to the stage with the aid of Sánchez Mejías, who participated in the search and employment of interpreters for her subsequent performances. In 1931, López Júlvez and García Lorca recorded five gramophone slate records, which were accompanied by García Lorca's piano. The selection of songs was prepared, adapted and titled Colección de Canciones Populares Españolas by García Lorca. Among the ten songs were "Los cuatro muleros", "Zorongo gitano", "Anda Jaleo" and "En el Café de Chinitas". With the beginning of the Second Spanish Republic, López Júlvez formed her own ballet company called Bailes Españoles de la Argentinita together with her sister, Pilar López Júlvez, and García Lorca. López Júlvez staged several flamenco theatrical shows, including an adaption of Falla's El amor brujo (Love, the Magician) in 1933, and Las Calles de Cádiz (The Streets of Cadiz) in 1933 and 1940.[7] She travelled through Spain and Paris, where she was recognized as one of the most important flamenco artists of her time. Her company included the flamenco figures Juana la Macarrona, La Malena, Fernanda Antúnez, Rafael Ortega and Antonio de Triana, who was her first dancing partner until the 1940s. At the end of her tour around Spain, her lover Sánchez Mejías was gored to death in 1934 in the Manzanares bullring. She sought refuge in her work and moved to Buenos Aires to dance at the Teatro Colón; from there she embarked on a long American tour. In 1936 she achieved success in New York. Afterwards, she returned to Spain but was forced to flee the country shortly before the outbreak of the Spanish Civil War. She travelled through Morocco, France, the UK, the Netherlands, Belgium and the USA, where she remained in exile in New York. From then until her death in 1945, she developed her career and became one of the biggest stars of international dance, and even participated in movies. In 1943, she presented the flamenco troupe El Café de Chinitas at the Metropolitan Opera House in New York, with her own choreography, texts by García Lorca, scenery by Salvador Dalí and the orchestra directed by José Iturbi. In addition, she performed at the Washington DC Watergate complex with her sister. On May 28, 1945, she gave her last performance at the Metropolitan of the orchestral work El Capricho Español, composed in 1887 by Nikolai Rimsky-Korsakov and based on Spanish melodies. At the end of the event, she had to be admitted to a hospital, where she died on September 24 from a tumor in her abdomen. She did not want to have it operated on because she did not wish to abandon dancing. Her body was repatriated to Spain in December and buried in the Spanish capital. That same year, the company of Bailes Españoles de la Argentinita was dissolved. Among the honors she received after her death was a plaque consecrated at the Metropolitan Opera House, positioned among the medals of Alfonso X El Sabio and La Orden de Isabel la Católica to honor her merits in the field of culture. ABOUT ARTIST Emmanuel Fougerat (French, 1869 – 1958) was a renowned French painter, museum curator and art historian. A former student of the Regional School of Fine Arts in Rennes, Fougerat studied in the studio of Albert Maignan and that of Jean-Paul Laurens in Paris. He was appointed director of the Nantes School of Fine Arts and was also the founder and curator of the Museum of Fine Arts in the same city. Emmanuel Fougerat was named Chevalier of the Legion of Honor in 1912. In 1923, he was placed on temporary leave from the French State in order to carry out a mandate as director of fine arts education in the Province of Quebec, Canada; where he served as an art teacher and director of the École des beaux-arts de Montréal from 1923 to 1925. Emmanuel Fougerat’s paintings are in the following public collections: • Nantes Museum of Fine Arts, France. • Museum of Modern Art in Paris, France. • Rennes Town Hall: permanent decorations. • Museum of Fine Arts of Saint-Nazaire (destroyed in 1944), France • National Museum of Fine Arts of Quebec, Canada. Emmanuel Fougerat is also the author of works on several French painters, including Albert Besnard, Paul Baudry...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates...

This plate comes from the book on the rock published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

Signed by J.E. Gourgue, noted Haitian painter, this large scale artwork is destined for a major collection, a culinary enthusiast or even a restaur...

Unknown Scandinavian artist. Oil on canvas. Abstract composition. 1960s. The canvas measures: 80 x 60 cm. The frame measures: 6 cm. In excellen...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called Classic Black showing a collage of the interior of the Seagram's build in the perspective style of Mies Van Der Rohe. Each plate is related to a scene and some lines from the book. Plate 001: CLASSIC BLACK "The floor is smooth as a Japanese sharpening rock, a composite of volcanic ash...

Countryside Landscape, Oil on canvas, signed. Beginning of the 19th century FRENCH

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

Greek Architectura Oil on canvas Dimensions: 47.24’’ x 63’’ Signed and dated 2021. Vernon is a sculptor artist emerging from the French art scene. He began his training with the Fr...

Joseph Thony Moises (TiTonton) (b. 1933 -?) - Haitian Artist Medium: Original Oil on Canvas. Subject: The Shoe Seller. Created: Circa 1950's. Painting Measures: 20"h x 16"w Frame Measures: 22"h x 18"w The work is in excellent condition with no damage. Joseph Thony (“TiTonton”) Moïse was born in Port-au-Prince, Haiti on June 18, 1933. He began working as an artist in 1952 at the age of 19, studying at the Center d'Art in Port-au-Prince under the guidance of Dewitt Peters, where he met and worked alongside Normil, Lazare, Obas and other great Haitian artists; continuing his education at “Foyer Des Arts Plastiques” with a group of friends. The artist’s best-known painting is Dechoukaj (Uprooting), which depicts the jubilation of the Haitian people at the end of the Duvalier regime in 1986 and hung for many years in the office of the Haitian Prime Minister. Moïse participated in numerous art exhibitions in Haiti, the United States, Canada and other countries, including at the Suski Gallery and Rutgers University. His work has been recognized in the New York Times; and one of his paintings, of the Haitian flag...

Large and impressive mixed media painting by important Danish artist Erik Nyholm (1911-1990). The painting is made out of thick layers of paint and smaller objects, like iron screws ...

Original artwork by Eduardo Dhelomme. Signed and dated 1988. This large scale artwork measures 5 by 3. Eduardo Dhelomme (1922-2006) is a Franco-Br...

Greg Parker, American, b. 1952 Untitled, 1988 Graphite and oil on gessoed panel Signed and dated to verso. Geometric composition in monochromatic variations ending on a graphite...

ABOUT An original 19th century Mexican folk retablo. Oil paint on tin. Subject unknown. CREATOR Unknown. DATE OF MANUFACTURE c.1880. MATERIALS AND TECHNIQUES Oil Paint on Tin. CONDITION Good. Wear consistent with age and use. DIMENSIONS H 14 in. W 10 in. HISTORY Retablos, better known as 'laminas' in Mexico, are small oil paintings on tin, wood and sometimes copper which were used in home altars to venerate the almost infinite number of Catholic saints. The literal translation for 'retablo' is 'behind the altar.' This unique genre of art, deeply rooted in European history, was brought to Mexico with the arrival of the Spanish and then ultimately adopted by New World mestizo natives to become what is known today as the Mexican folk retablo. The retablo was an art form that flourished in post conquest Mexico and then ultimately, with the introduction of inexpensive mediums such as tin, reached its pinnacle of popularity in the last quarter of the 19th century. With some exceptions, mostly untrained artists from the provinces worked to produce and reproduce these sacred images; some subjects painted more prolifically than others. A typical "retablero" may have reproduced the same image hundreds, if not thousands of times in his or her career. These oil paintings were sold to devout believers who displayed them in home altars to honor their patron saints. There are virtually hundreds of saints, each invoked to remedy a different situation. "San Ysidro Labrador," the patron saint of farmers, is venerated for good weather...

This superbly painted view of the mountains framing a river valley in northern New Mexico is attributed to Frank Guy Applegate, who lived and worked in the state during the 1920s, and is known for his watercolors -- such as this -- that present strong, abstracted views of the local landscapes, all in vivid colors and bold strokes of paint. Applegate was considered one of the New Mexico Modernists, and was accompanied on some of his painting forays by B.J.O. Nordfeldt, Andrew Dasburg and Josef Bakos. Applegate also had enormous respect for the culture and artistry of the native people, and encouraged a revival of the Pueblo style...

Two Chinese paintings of figures in court dress 19th century, opaque pigments on paper, each depicting a figure wearing robes decorated with dragon motifs on yellow-grounds. Pr...

Treasures of the Vatican: St. Peter's Basilica, The Vatican Museums and Galleries, The Treasure of St. Peter's, The Vatican Grottos and Necropolis, and The Vatican Palaces by Maurizi...

Really nice Mid-Century Modern heavily textured green abstract painting in the style of Gerhard Richter, acrylic on canvas.

Very cool heavily textured Mid-Century Modern blue abstract in the style of Gerhard Richter.

A Beautiful oil on board antique portrait of a boy by an unknown artist. The artist succeeded in capturing this boys striking expression. Age related wear and patina. May have had...

Abstract night scene with moon. Impasto. Great expression and movement. Original.

In this painting, the viewer is presented with a figure that seems to embody the concept of nonduality and the interconnectedness of all things. The figure is depicted with a futuris...

In this John Brevard painting, we see a strange and surreal creature that seems to inhabit a multidimensional world. The overall theme of the painting...

"Fantastical Realms: A Nondual Landscape" is a breathtaking painting that captures the wonder and magic of a world beyond the boundaries of reality. The scene is bathed in a soft, et...

Description: Artist: Jan Luigi Fini Italia (1901-1973) Mix Technique: Acrylic, collage, and insertions on canvas Artwork dimensions: 60x42cm Total measurements: 61 x 43cm Sig...

In this painting by John Brevard, the theme of the work is nonduality, illustrating the concept that all things are interconnected and inseparable. At the center of the painting, th...

In this John Brevard painting, we see strange and surreal creatures that seems to inhabit a multidimensional world. The overall theme of the painting ...

This colourful painting is of an abstract village scene in the geometric style. The elegant 'tray' frame keeps the focus on the picture itself. Si...

The ‘Multicolored Man’ depicts a head with an enlarged nose and ear and worried looking eyes and mouth. The characteristics are yellow, orange, blue, wh...

In this painting, the viewer is transported to a world beyond the boundaries of the material world. At the center of the painting, we see a female ethereal character, with a transluc...

Contemporary American abstract painting made of painted concrete with a lighter top section and darker gray below with a textured surface, mounted in a rectangular wooden frame.

Captivating surrealist Asian countryside landscape scene. Artist has incorporated surrealism into this landscape; using details and colors to make shadows the backdrop of the painting, highlighted by a central stream of light...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her stud...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting pastoral scene, bucolic landscape with animals and popular characters of good pictorial quality. Paint...

A fine orientalist painting of two women in a harem by Stiepevich A fine orientalist oil painting depicting two women conversing in a harem. Artist: Vincent G. Stiepevich (Russo-...

Mid-20th century Modernist artwork birds abstract watercolor on paper Saul Steinlauf. Signed Steinlauf Steinlauf was active in southern California ...

This is a desirable original Oil on Canvas from American Muralist BIFF ELROD. Very large (183 x 138cm) Oil painting on canvas 1994. American Fine Art Artis...

Large antique Victorian pastel painting showing a still life of a variety of fruit, in a faux wood grain oval frame. Measures: 45.2” x 0.75” x 23.25” / Sans frame - 39.5” x 17.25”...

Pop Art influenced abstract portrait of a young boy by Berlin artist Peter Keil. The artist is known for expressionistic works using vivid colors and absence of realism. His works fr...

Author unknown Mixed technique, oil on canvas Working dimensions 39/39 This work is framed Work dated to the second half of the 20th century. Original vintage condition.

Antique Framed Oil Painting on Canvas by Berthe Otten-Rosier (1885-1973) will make the perfect addition to your collection, featuring a cool palette depicting a hilly, lush countrysi...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

Daniel Belliard Enamel on copper small framed painting fisherman in boat on lake. Item features an enamel on copper painting, distressed wooden frame...

Oil on artist panel by Frederick Conway. Unsigned, but this painting came directly from the collection from the Estate of Joan Conway Crancer. It me...

The Namur painter and engraver, Louis Decoeur (1884-1960) became a member of “L’Effort” around 1910. This artist’s association provided a free studio for painters in Brussels, on the first floor of a building located at Quai au Bois à Brûler number 31. Here innovative artists who the official salons did not appreciate were given a forum. The members of “L’Effort” opposed academism. Some names of artists who have worked in the studio spaces of "L'Effort" are: Jean Brusselmans...

Christie's London, Nureyev Part I and II. Pair of Christies 1st ed catalogs, London: Christie's, 1995. Volume I hardcover with dust jacket Volume II softcover. With old master and 19th century paintings, drawings, prints, books, sculpture, furniture, textiles, ballet costumes...

Richard Geiger Large Oil on Canvas Master Painting Scene of the Commedia dell’arte. The Commedia dell’arte is an early form of theater in Italy. Various performers in the troupe w...

Painting of hard stones of the xix century. Elegant painting made with hard stones of different colors. Very nice work. Made in firenze-Italy in the XIX century. Measures:34 x 28Y16 ...

An amazing signed vintage MCM original mixed media oil painting. A beautiful Abstract composition on board. Signed by the artist. Acquired from a Palm Beach estate.

Erik Hoppe (Danish painter) 1896-1968. Painting depicting "Wilder's Plads", in Copenhagen, 1936-1937. Oil on canvas. Measurements with frame: H 104 cm ...

Rayograph He´liogravure by Man Ray for Compagnie Parisienne de Distribution d'Electricite´, 1931. Printed in Heliogravure and signed in the negative 500 copies. Man Ray (1890–...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Miniature on copper...

A Highly Decorative Pair of Still Life's, Oil On Canvas's, Both framed same, one indistinctly signed other presumed by same hand. Both are very attr...

Interests: Royalty, Enlightened Absolutism, 18th century European painting, Joseph Hickel, Marie Antoinette A fine pair of 18th century portraits depicting Maria Theresa, Holy Roman Empress consort, Queen consort of Germany, Hungary, Croatia and Bohemia and Archduchess of Austria and her son Joseph II, Holy Roman Emperor, King of the Romans, Germany and Archduke of Austria. Empress Maria...

Temptations of San Antonio Abad. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene located inside a cave. To the right, you can see a cross standing, supported; to the left, a hut; and in the center of the painting appears an elderly, bearded man, leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloth and clothing. San Antonio Abad or Antonio Magno (251-356) was a Christian monk, considered the founder of the eremitical movement. He was tempted numerous times by the devil while he was in the desert, becoming a subject frequently represented in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitals) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they). David Teniers II or El Joven was a prominent Flemish painter and engraver, son of David Teniers El Viejo or I and father of David Teniers III, much appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony...