Paintings

This bold panel by German artist Eliade Ispas features red and black lacquer as well as gold and silver leaf accents. It is heavily influenced by cubist and constructivist design tra...

A unique oil painting of 1st violinist with the Boston Symphony Orchestra as well as the famous very popular Boston Pops, Mr. Einer Hansen. Mr. Hansen was born In Denmark in 1890 and...

Boldly painted in a palette of spring green, jet black and mango, this very strong Art Deco maquette for a book cover was painted in the late 1920s by a promising artist -- Helene Ha...

Lovely Art Deco impressionistic, interior still life study of a vase of vivid dahlias, circa 1930. Elegant matching 2 toned limed washed frame. 1930s USA.

A melancholy painting of still life in late 1800s. Oil on canvas, signed and framed. From Norway, Scandinavia. Later frame.

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 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...

Adrianus Marie van der Plas was borne in 1899 in Rotterdam and died in 1974 in Kerkrade. He was a painter, a sculptor and a graphic artist. “Het Rotterdams Nieuwsblad” wrote in 1969?...

Highly sophisticated and striking in conception and execution, this study for an Art Deco bathroom mural depicts -- appropriately -- male and female nud...

Clearly showing the influence of German Expressionism and American film noir, this deeply atmospheric, moody painting depicts two male figures in the foreground, deep in conversation...

Oil on canvas painting signed Hilgers bottom right. 1930s, depicting a young woman naked kind of Olympia in the Art Deco style.

Flower still life with dahlias, in beautiful, vibrant colors. Oil on canvas. The round format is very unusual. Frame and canvas are an original whole. The painting is signed in the paint on the lower right and dated, 1934. The painting is framed behind anti-reflective glass, which means that the colors are beautifully preserved. The frame is subtly carved in Art Deco style. A similar painting by the same painter is depicted in an old exhibition book by this painter. See picture. His work work has also been purchased by various museums. The book about Gaston Geleyn is beautifully illustrated, 170 pages and it is about the life and work of the artist. The book was published in 1933. Book is supplied with the painting. More information about the Gaston Geleyn follows below. Source: Paul Piron 'Art in Belgium'. GELEYN, Gaston (Brussels, 1892 - Grimbergen 1949). Painter. Stayed with a great uncle in Paris until he was 16 years old. After a short stay in Brussels, he returned to Paris and attended classes at the Ecole des Beaux-Arts led by Roll and Flaming. After the First World War he traveled the world and stayed in America, India and North Africa, among other places. He was under contract from 1919 to 1929 by a Dutch art dealer. His first exhibition was at the 'Giroux' Gallery in Brussels in 1933. Geleyn painted landscapes, marines, figure still lifes and flowers. He also painted the portrait of King Albert I. He had studios in Grimbergen and in Ostend. In Ostend, he painted the sea in all its forms, from the sleeping silver-gray sea...

Vivid and striking, this Classic Art Deco watercolor of an exotic female figure holding a bird in one hand was painted by Chasquest, perhaps as a costume design for a Hollywood produ...

This extraordinary painting brings together two remarkable talents -- John Rutherford Boyd, the superb painter and illustrator, who captures this scene -- and Jesse Crawford, one of ...

One of the most vivid and compelling accounts of the famed Century of Progress Exposition, which opened in Chicago in 1933, this view of the iconic Federal Building was painted in the second year of the fair by a Pennsylvania artist. The brilliantly-lit Art Deco...

Michèle DEMEDTS (1958-) , large oil on canvas signed DEMEDTS, Circa 1990

Beautifully executed French Art Deco female nude oil on canvas, signed by listed artist Gustave Florot, circa 1930.

American Art Deco (1928) vertical painted velvet wall hanging of Persian lady with 2 urns (attributed to GRANT SIMON).

Brilliantly conceived and executed by Trew Hocker, an important muralist who was strongly influenced by Thomas Hart Benton and Grant Wood, this portrait of a young African American m...

Full of drama and intrigue, both sensual and classical, this depiction of a female nude tiptoeing toward a curtain being pulled aside by a threatening, unseen figure, has all the noc...

Vivid and striking, classic French Art Deco watercolor of an exotic woman holding a flower in one hand was painted by Chasquest, perhaps as a costume design for a Hollywood productio...

France, 1920s Art Deco Gouache on paper Stylized portrait of a woman in profile on geometric background in grey, black and cream tones. 20 x 16 framed.

Beautifully painted in the deco manner of Tamara De Lempicka. Kirsta, a Russian artist escaped to Western Europe during the revolution, pursued a career as a painter and theatrical s...

Painted by Wilmot Heitland, one of America's great watercolorists in the 1930s, this sun-drenched depiction of a native Dominican, nude and stepping toward a pool of water, captures ...

Wallpaper design. Watercolor painting on paper representing a Chinese landscape, France, Art Deco, 1920s. Dim: 49.5 x 49.5cm excl frame. Another wallpaper design is available with a matching pattern and representing Chinese masks...

Beautiful lacquer wall panel depicting a family of swans with waterlilies with a gold leaf border. In the manner of Jean Dunand.

Michèle Demedts, large oil on canvas signed Demedts, circa 1990.

Michèle Demedts, large oil on canvas style Art Deco signed Demedts, circa 1980

French Art Deco oil on canvas painting of a couple in a boat by Lucien Joseph Fontanarosa, (Paris 1912-1989) . The canvas is laid down on a thin plywood pan...

Michèle DEMEDTS (1958-) , large oil on canvas signed DEMEDTS, Circa 1990

Very lovely and decorative large glass reverse-painted panel ("fixé sous verre"), representing a pair of deer in a peaceful, tropical setting, on a bl...

Graphically striking and boldly painted in a rich palette of purples, blues and oranges, this high style Art Deco painting by M. H. Forster depicts a female figure with curling tendr...

Wallpaper design. Watercolor painting on paper representing Chinese masks, France, Art Deco, 1920s. Dimensions: 49.5 x 49.5cm excl frame. Another wallpape...

A brilliant painting executed in vivid colors, this view of an African male youth holding a basket of gourds and an enormous bouquet of calla lilies, day lilies and other tropical bl...

Lovely period grand scale portrait of a young lady in equestrienne attire by Arthur Johnson. A landscape, portrait, genre painter and caricaturist, Arthur Johnson was born in Cinc...

Madonna oil painting on cardboard . Wonderful patina.

Signed original gouache painting by Romain de Tirtoff, aka Erté. This very rare original features a woman wearing fishnet stockings and a pearl-and-lace top with black gloves and a ...

French mid-century (1940s) oak framed horizontal wall mirror with reverse glass painted Neoclassic scenes. (attributed to Pierre Lardin).  

A magnificent example of her work, this portrait of a Navajo woman and her child has all the hallmarks of Martha Walter's mature work, confident and bold ...