Anna Sylverberg Oil Pastel, Nude Serie 1962, as Monogram

Anna Sylverberg oil pastel, part of a nude série, AS monogram, 1962. Depicting a languid nude woman enhanced by touches of blue and jet-black hair. frame dimensions 94 cm 63,5 cm

Oil pastel by Anna Sylverberg, part of a series of nudes, monogrammed AS, 1962. Depiction of a nude woman seated in a languorous position, her face made up and her chestnut hair ador...

Painting on the theme of the countryside at the water's edge, depicting a boat moored on the shore and two children drying off after taking a bath and dryin...

Large abstract painting signed by Asimon and dated 1960 Large canvas mounted on frame, abstract style signed at the lower level by Asimon, technique of pigments applied with a palet...

Early 20th-century oil on canvas entitled "Jardins de l'ancienne préfecture" by Dante Donzelli, Charming forest setting with different species of trees and colors. Through the trees,...

Unique heron sculpture by Sakari Pykälä, 1962. Signed by the artist.  

A stunning vintage Boho original oil painting. A chic male nude signed and dated 1962. Beautiful vintage frame. Acquired from a Palm Beach estate.

Painted by the late Donald K Ryan and signed in 1993. His work spans mostly from the 80s to late 2000s. Donald K Ryan’s work was exhibited at The San Die...

This beautiful pastel portrait was recently acquired from a London, England estate and it dates to the late 1920s. The artist Robert Louis Raymond Duflos was known for his pastel por...

Francisco Zúñiga (Mexican, 1912-1998) Seated nude with extended legs. This woman with eyes heavy in meditation shows a myriad of emotions including humility, vulnerability and fatigue. The figure makes the viewer appreciate those who do all the mundane and heavy lifting service work for us teaching us sympathy and empathy. Another very powerful work by Zuniga worthy of any art space. Black and sepia Conté Crayons made from a blend of natural pigments, kaolin clay, and graphite on paper. Signed and dated lower left: Zúñiga / 1975 Ariel Zúñiga personally confirmed the authenticity of this drawing when I acquired it. This painting will be included in his forthcoming Francisco Zúñiga: Catalogue Raisonné, Volume V. Sheet Size: 19-5/8 x 25-1/2 inches (49.8 x 64.8 cm) Framed Dimensions 28.5 X 34 Inches Condition: Excellent original condition. Sheet hinged to mat; pinholes to the corner, inherent to the works creation. Original solid wood frame with wear and touch ups. AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. José Jesús Francisco Zúñiga Chavarría (December 27, 1912 – August 9, 1998) was a Costa Rican-born Mexican artist, known both for his painting and his sculpture. Journalist Fernando González Gortázar lists Zúñiga as one of the 100 most notable Mexicans of the 20th century, while the Encyclopædia Britannica calls him "perhaps the best sculptor" of the Mexican political modern style. Zúñiga was born in Guadalupe, Barrio de San José, Costa Rica on December 27, 1912 to Manuel Maria Zúñiga and María Chavarría, both sculptors. His father worked as a sculptor of religious figures, and in stone work. His artistic inclinations began early and by the age of twelve had already read books on the history of art, artistic anatomy and the life of various Renaissance painters. At age fifteen he began working in his father’s shop. This experience sensitized him to shape and spaces. In 1926 he enrolled in the Escuela de Bellas Artes in Mexico, but left the following year to continue on his own. As part of his self-study, he studied German Expressionism and the writings of Alexander Heilmayer, through which he learned of the work of two French sculptors, Aristide Maillol and Auguste Rodin, coming to appreciate the idea of subordinating technique to expression. Zúñiga’s painting and sculpting work began receiving recognition in 1929. His first stone sculpture won second prize at the Exposición Nacional de Bellas Artes. In the following two years continued to win top prizes at this event. This work made critics recommend him for study abroad. He won first prize in a 1935 Latin American sculpture competition, the Salón de Escultura en Costa Rica, for his stone sculpture La maternidad,[8] but the work caused controversy and the government rescinded its award. In the 1930s, he began to research pre Hispanic art and its importance to contemporary Latin American art, as well as what was happening artistically in Mexico. The scholarship never materialized so various colleagues organized his first individual exhibition in Costa Rica. The earnings from this endeavor earned his passage to Mexico City. In 1936 he immigrated to Mexico permanently. In the capital, his first contact with Manuel Rodríguez...

A large Martin Sumers painting.

Hans Viksten’s oil painting from 1962 titled MALLORCA (signed on back) is a striking summer depiction of a Mediterranean memory. The Swedish maestro has a gestural quality to his p...