20th Century Paintings

Ole Saabye, Danish artist. Oil on panel. Abstract composition. Signed and dated 1990. In perfect condition. Dimensions: 64.0 cm x 79.0 cm. Total dimensions: 67.0 cm x 82.0 cm.

A lovely vintage French still life oil painting on panel of a red hyacinth in bloom, the vibrant hue of the flower is striking against the muted blue and beige stripe background. Art...

This is an original oil on plate painting estimated to be from the early 20th century. The motive is a lively café with the title: “I Kafeen” (At the café). It has a mark on the bac...

Fine danish expressive / abstract oilpainting 1930s-1950s. Oil on canvas. Signed back "P-Østergard".or " P-Ødtgård " Original frame. Incl frame: H. 80 cm / W. 70 cm / D. 4 cm pain...

Circa 1940s oil on canvas "Wahyah Bald Mt, Franklin, NC" by Elizabeth Paxton Oliver. American artist, 1891-1977. Filled with the life of Nantahala National Forest, a mountain man on ...

Framed Oil "Wild Roses" on Masonite Panel, by John Heliker, American (1909-2000). Retains Gallery Label from Kraushaar Galleries, New York. Kraushaar Galleries was founded in 1885 and is still in business. Determined to become an artist, Heliker dropped out of high school to copy paintings...

This is a pair of original Danish oil on canvas still life flower paintings from 1932 by artist CS. They are signed by the artist in the bottom right corner and framed in beautiful ...

A lovely vintage painting of a ballet dancer, made by the French artist Pierre Grisot. Oil painting on hardboard, framed in a classic frame. Dimensions frame: 47 x 42 cm Dimensions painting: 25 x 20 cm Free shipping Pierre Gristot. France, 1911-1995 Grisot was born in Paris, he was a French post-Impressionist artist who was a member of the Ecole des Beaux Arts in Paris. Grisot painted in a light-hearted style that was all his own. Whether he was painting fashionable ladies of the day, nudes or flowers, his work was always full of colour and life and was very different from the styles of his contemporary painters. His paintings now serve as vintage reminders of the style of the mid 20th Century. One of the most enduring features of Grisot's work was his brilliant use of color and his evocative renditions of the female visage. Grisot was born in 1911 in Paris. Grisot worked as an engineer but gave up this career and moved to Paris, where he studied painting for a year at the Ecole des Arts Décoratifs. After this he studied at the prestigious Ecole des Beaux Arts in Paris, where he obtained his diploma as a drawing teacher. Grisot taught drawing and painting for many years, but he also gave up this work to be able to paint freely. The first exhibition of Grisot's paintings took place in Paris in 1942. In 1951 he received a prize for engraving and in 1952 the French government awarded him a scholarship for a stay of several months in Tunisia. At that time the museum of Besançon acquired two of his works. Grisot took part in many exhibitions of paintings in Paris, especially in the Salons des Independants and with the group of "The Paris School", where he exhibited together with artists such as Vlaminck, Raoul Dufy and Villon. He produced an engaging oeuvre that depicts a colorful and light-hearted world of young dancing girls, nude models, coquettes and ladies of leisure...

Painted in England circa 1920, this half-moon shaped livestock portrait depicts a standing cow rendered in a naturalistic style, positioned against a backdrop of verdant pasture and ...

Large and expressive painting with a flower still life of sunflowers in a vase. Beautiful in impressionistic touch and thickly painted. A clear reference to the of Vincent van Gogh, ...

Peter Keil, Third Eye Abstract Portrait Germany, Circa 1970s This masterwork measuring 22 inches wide x 30 inches high is an oil on prepared artist board/masonite. Presented in ...

Excelente obra de temática costumbrista donde podemos observar una conversación entre bellas telas, instrumentos y armas firmado por el pintor Sánchez. Dimensiones marco: 59 x 49 cm ...

Copy of Orientalist painting of two harem girls resting by a fountain in a courtyard.

A wonderful and quite colorful oil on canvas painting by Swedish-American California artist Magnus Engstrom (1936- ). The painting features a futurist cityscape and is done in the neo-cubist abstract expressionist artistic painting style that Engstrom embraced. The painting is signed and dated (1970) by Engstrom. Would be a great addition to any Mid-Century Modern or California art painting collection...

Painted by one of America's great Modernist artists -- Salcia Bahnc -- in 1925, and evoking Igor Stravinksy's "Rite of Spring" ballet and the native folk costume of Poland, where the artist grew up, this large and important piece depicts 10 figures in brilliantly-hued dress, some in dance poses that suggest the choreography and costumes of Vaslav Nijinsky and Nicholas Roerich...

Valentina Guido Crepax lithograph 1980s multiple 90/99. The item is in excellent conservative condition, there are no major cosmetic or structural defects to report, just slight an...

Danish artist Børge Herman Hansen. Abstract oilpainting 1960s. Title: "Tema, Bornholm". Original frame. In front and back signed. Oil on plate. Framed 61 cm c 73,.5 cm / painting: 48...

Abstract Expressionism Modern Art Painting signed M Chavez geometric art abstract expressionism painting signed M Chavez oil on canvas board  in the style of Mark Rothko  original pr...

1960s French abstract oil painting No 4 from a series of four from the same source and by the same hand, Pierre Havret (b.1913) These four oils were fram...

French vintage oil on panel seashore landscape, signed E. Perdriel. This colorful work depicts a rising sun on the horizon, greeting a small fishing community of modest shacks on a p...

Wonderful original watercolor painting on paper by Austrian listed artist August Lohr. Dated and signed in the lower corner. The painting was painted in 19...

Rune P. Swedish artist. Oil on canvas. Modernist landscape, mid-20th century. The canvas measures: 89 x 64 cm. The frame measures: 2.5 cm. Signed. In very good condition. 20th c...

oil on canvas signed , probably Nice in France cote d azur dimensions of frame H 72 by 85 cm

Pair vintage framed temple relief rubbings showcases exquisite Thai art from the mid-century era. Both beautifully in faux bamboo wood frames and yellow silk matts. Sizes of each: 1)...

Large MCM abstract acrylic on panel original painting by listed artist Richard Mann, circa 1960s. The piece is in very good vintage condition and is presente...

Helca Martele A La Main Hammered Enamel Painting Gauguin Moulin en Bretagne. Item featured hand hammered enamel over copper, picture after the impre...

Large ornate gilt wood framed oil on canvas painting floral bouquet still life by American Artist James Moran. Skillfully applied textured flowers in a vas...

A monumental traditional Rajasthani painting professionally framed in a gilt frame. We often come across miniature versions of these which are ref...

Husain by Maqbul Fida Husain, Richard Bartholomew, Shiv S. Kapur · H. N. Abrams · hardback · 60 pages. A terrific copy of one of the best monographs on this important Indian artist. Illustrated in color and black & white. 60 pages of text and 192 illustrations. New York: Harry N. Abrams, 1st Edition 1972. First edition. Oblong hardcover. First printing. Text by Richard Bartholomew and Shiv S. Kapur. Includes 192 illustrations with 53 tipped in color plates. A fine and tight copy in a very near fine dust jacket price clipped dust jacket. Hardcover, bound in brown cloth. In a dust jacket. Title: Maqbool Fida Husain Author: BARTHOLOMEW, Richard and Shiv S. Kapur - Maqbool Fida Husain Book Condition Used PublisherHarry N. Abrams Place Of Publication New YorkDate Published1972 Keywords: Art Monographs. Maqbool Fida Husain Born ; 17 September 1915 Pandharpur, Maharashtra, British India Died : 9 June 2011 (aged 95) London, England, UK Nationality Indian (1915-2010) Qatari (2010–2011) Education Sir J. J. School of Art Known for Painting, drawing, writer, filmmaker Notable work Meenaxi a tale of three cities Through the eyes of a painter Movement Progressive Art Group Awards Padma Shri (1966) Padma Bhushan (1973) Padma Vibhushan (1991) Husain was associated with Indian modernism in the 1940s. His early association with the Progressive Artist's Group, or "PAG of Bombay" used modern technique, and was inspired by the "new" India after The Partition of 1947. His narrative paintings, executed in a modified Cubist style, can be caustic and funny as well as serious and sombre. His themes—sometimes treated in series—include topics as diverse as Mohandas K. Gandhi, Mother Teresa, the Ramayana, the Mahabharata, the British raj, and motifs of Indian urban and rural life. Early in his painting career, and until his death, he enjoyed depicting the lively and free spirit of horses in many of his works. Often referred to as the "Picasso of India", Husain is the most celebrated and internationally recognized Indian artist of the 20th century. Husain is primarily known for his paintings, but is also known for his drawings and his work as a printmaker, photographer, and filmmaker. Some of his later works stirred controversy, as they depicted traditional Deities of India in non traditional ways. He also directed a few movies. In 1967, he received the National Film Award for Best Experimental Film for Through The Eyes of a Painter.[3] In 2004, he directed Meenaxi: A Tale of Three Cities, a film he worked on with his artist son Owais Husain, which was screened in the Marché du Film section of the 2004 Cannes Film Festival. Husain was born on 17 september 1915 in Pandharpur to a Sulaymani Bohra family who trace their roots back to Gujarat within the last 200 years, and then originally to Yemen. He picked up taste in art through studying calligraphy while he stayed at a Madraasa in Baroda. Husain attended the Sir Jamsetjee Jeejebhoy School of Art in Mumbai. Early in his career Husain painted cinema posters in Mumbai. To earn extra money, he worked for a toy company designing and building toys. He often travelled to Gujarat to paint landscapes when he could afford to. This was a clique of young artists who wished to break with the nationalist traditions established by the Bengal school of art and to encourage an Indian avant-garde, engaged at an international level. The artists cite "The Partition" of India and Pakistan 14 August 1947, with its resulting religious rioting and heavy loss of life as their reason for forming The Progressive Artist's Group in Bombay in December 1947. The artists saw the Partition as a "turning point" for India, and their new style of art was urged on by, and was also a turning point for, (modern) Indian Art. Husain's first solo exhibit was in 1952 in Zurich. His first U.S.A. exhibit was at India House...

Well done painting by Multidisciplinary American artist Beverly Lopez. A well developed male stands in semi nude posture. Framed in a rustic wood frame with linen mat. Signed under Alias Paul Whitney...

Painting Winter Landscape Tony Studio Art Icardi 1970s Measures: Height 70,5cm Width 89,5 cm Oil on canvas In good conservative condition, present signs of time due to use and ag...

THE RED ROCKS OF AGAY IN THE EVENING LIGHT Oil on Wood signed lower right: Jean Lafon Jean Lafon was born into a family of artists. He was the son of the ...

Robert Natkin mixed media/ painting from his Field Mouse series, which was primarily done in the years 1969 to 1972 after being after a trip to Europe and being influenced by some ...

Aleksei Alekseevich Shovkunenko (Ukrainian, 1884-1974), Standing Nude Man, Oil on Canvas, signed lower left, signed "Olexiy Shovkunenko / 1884-1974" and in Cyrillic to verso, unframe...

These are a set of 12 Lenox orchid plates from the 1920s. Each one is hand painted with a different orchid by W. H. Morley, who is a famous Lenox a...

Danish artist Ejnar R. Kragh (1903-1981) born in Nykøbing Falster. Kragh was a student of Carl Schwenn and Svend Lindstrøm and a student at the Academy of Fine Arts in Copenhagen, ...

Selection of colorful modern art or gallery wall, circa 1940s-1970s. They are: Top row, left to right: 1) Color Lithograph by Sonia Delaunay, French, circa 1950s. Pencil signed at lower right. It measures 16.5" H x 13.5" W. 2) Cubist oil painting, probably American, circa 1940s. It has been framed in a vintage gilt frame. Various rubs and wear as seen in photos. It measures 22.75" H x 19" W. 3) Naïve modernist portrait painting, American, circa 1950s. Retains original gilt frame. It measures 21.5" H x 19.5" W. Bottom row, left to right: 4) Color lithograph by Jean Lurcat, French, circa 1950s. It has been professionally framed in a black lacquer gallery frame under UV resistant glass. It measures 15.5" H x 19.5" W. 5) Colorful original painting of beach scene...

This Bengali unsigned  abstract oil on canvas was purchased in Dhaka in the 70's alongside a Quamrul Hassan one. It is very much in the style of of Mohammad Kibria especially with th...

Original oil painting by noted California Artist William Norris Dakin. Titled "Ranch at Waldo, Marin County, Calif. 1932" Waldo is a region in Marin County in Northern California. Ne...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Large still life oil on canvas Painting Artwork. Unsigned, believed to be early 20th Century as judged by the frame. In good antique condition with minor knocks, marks, age related ...

Exquisitely accomplished, this lovely male nude by Paul Goadby Stone is the earliest piece we have ever offered by the artist. Although it has the a...

Mbuti painting on Bark Cloth Ituri Forest, DR Congo 20th century 0.54 x 0.75m (1’9″ x 2’6″) The eccentric biomorphic and linear geometries of Mbuti bark cloths, painted by women, ar...

Higgins and Bower Print on Canvass signed W M Chase. Higgins & Bowers used the Oleograph English technique, which involved photographing the original painting, then making a high qua...

Mid Century Impasto Cityscape by Coletta. Nice heavy brushstokes made up this amazing cityscape. Deep colors of purple, black, white and yellow make up this busy composition. Perfect...

Large and striking, this painting by Robert Childers presents a reclining ballet dancer, clothed above the waist in a dancer's sleeveless shirt, but nude below, holding a pink ribbon and accompanied by three wire-back chairs. Enigmatic and full of symbolism, the dancer is facing away from the viewer so his expression cannot be seen; the three chairs with heart-shaped backs suggest that the man may be in love. Childers himself had been a dancer for two years; he also studied painting at the Philadelphia Museum School of Art, the Pennsylvania Academy of Fine Arts, and Fleisher Art Memorial, all in Philadelphia. Later he led a peripatetic life, designing for greeting card companies, and creating fabrics, toys and illustrations at one time or another in New York and elsewhere. The painting is oil on canvas, and retains its original wormy chestnut frame...

A funky 1960's mushroom/forrest scene by Lee Reynolds. Nicely done in dark greens/browns and framed in aluminium frame. Measures approx. 41"x41". Framed, stamped on the back "Vanguar...

A beautiful and important painting by the great artist Enzo Benedetto, an absolute protagonist of the so-called ‘Second Futurism’. It depicts a seascape captured in its essence of natural energy with the waves of the sea crashing powerfully on the coast, probably a glimpse of his homeland, Calabria. This artwork, never before on the market, comes from an important private collection and is beautified by an impressive original frame in wood, in almost perfect condition. Enzo Benedetto (Reggio Calabria 1905 - Rome 1993) Benedetto, called Record by Filippo Tommaso Marinetti, approached the Second Futurism in 1924 after meeting Mino Somenzi and was active as a Futurist until his death, becoming a tenacious continuer of the movement's principles, revisited in 1967 with the Futurism Today manifesto. Benedetto theorised and practised the union of colour with the word and coined the term chrome-paroise to define the synthesis of painting and writing. In 1926 he promoted the futurist hall for the 4th Calabrian Art Biennial in Reggio Calabria where Depero, Dottori, Tato, Fillia, Pozzo, Benedetto Marinetti and himself, amongst others, exhibited. In 1927 he participated in the National Futurist Exhibition in Palermo. He moved permanently to Rome in 1927 and joined the Manifesto in 1931. In a short time he took part in the ‘great Futurist exhibition’ in Imola, the ‘first exhibition of Calabrian art’ in Rome, the ‘33 Futurists’ exhibition at the Pesaro gallery in Milan, and above all the ‘great Futurist exhibition’ at the ‘international artistic circle’ in Via Margutta in Rome. Benedetto had begun flying in 1926, as a photo of the time documents. That same year, inspired by the exploits of the aviator of the same name, he had executed the painting De Pinedo. He adhered to the Manifesto already signed by Balla, Marinetti, Depero, Dottori, Tato, Prampolini and Fillia, which advocated the triumph of a spatiality enhanced by flight in its dynamic effects and freed from the fixity of the horizon. In World War II he was imprisoned in Africa by British troops until the end of the conflict. Benedetto continued his Futurist activities in the second half of the 20th century. From 1939 to 1946 he volunteered for the African campaign and was sent to Libya, after which he was imprisoned for six years in the concentration camps in Alexandria, Ismailia, and in India in Bangalore and Yol in Kashmir. During this imprisonment he was able to paint and some canvases from this period were brought back to Italy, rolled up as personal luggage, In January 1943, he painted Yol, a new psychological oil portrait of Francesco Tommaso Marinetti. In 1946, he returned to Italy and in April 1947 presented his first solo exhibition in Rome. The exhibition dedicated to the great Italian poet and founder of Futurism was opened by Benedetta Marinetti. He adhered to the Manifesto already signed by Balla, Marinetti, Depero, Dottori, Tato, Prampolini and Fillia, which advocated the triumph of a spatiality enhanced by flight in its dynamic effects and freed from the fixity of the horizon. In World War II he was imprisoned in Africa by British troops until the end of the conflict. Benedetto continued his Futurist activities in the second half of the 20th century. From 1939 to 1946 he volunteered for the African campaign and was sent to Libya, after which he was imprisoned for six years in the concentration camps in Alexandria, Ismailia, and in India in Bangalore and Yol in Kashmir. During this imprisonment he was able to paint and some canvases from this period were brought back to Italy, rolled up as personal luggage, In January 1943, he painted Yol, a new psychological oil portrait of Francesco Tommaso Marinetti. In 1946, he returned to Italy and in April 1947 presented his first solo exhibition in Rome. The exhibition dedicated to the great Italian poet and founder of Futurism was opened by Benedetta Marinetti. In 1948 he had a personal exhibition in Capri at the gallery, ‘l'oblò’, and in Reggio Calabria in the Hall of the ‘Francesco Cilea’ Municipal Theatre. In 1949 he took part in the Calabrian Biennial in Reggio Calabria. In 1950 quanta took part with ceramics in the Selective Exhibition of Artistic Craftsmanship in the Angelicum in Milan, and with paintings in the Historical Review of Futurism in the Palazzo di Re Enzo in Bologna. He then held an important solo exhibition in Milan, at the ‘Centro d'Arte San Babila’ and participated in the sixth Quadrennial in Rome. He had a solo exhibition in Fano and another exhibition in Rome in the Galleria del Palazzo delle Esposizioni and in the Galleria del Teatro ‘il Millimetro’. In 1951 he took part in the collective exhibition ‘Mostra Nazionale della Pittura e della Scultura futurista’ (National Exhibition of Futurist Painting and Sculpture) in Bologna, Palazzo del Podestà, with Acquaviva, Giacomo Balla, Primo Conti, Tullio Crali...

Abstract Painting on Canvas. Thick Paint on a cream background. Paint shows typical signs of cracking in the heavy paint. Looks like original period frame. Signed bottom right 19...

A large Martin Sumers painting.

Beautiful large oil painting on wood of nude woman. Shades of blue, peach, and brown with great texture. Unsigned. Newly framed in a natural walnut wood frame.

Highly atmospheric and richly colored, this 1929 vintage landscape by a Swedish painter depicts layers of history and tradition, from the man in traditional Arab garb plowing the fie...

1990s Oil Painting on Canvas of Bali Woman Faces Signed: Awan Bali ‘96 Carved Wood Frame Some corners of frame need to be reattached as shown in pi...

Otto Pilny (Swiss, 1866-1936) A very fine orientalist oil on canvas "The Slave Market", depicting a desert scene with the offering of two female slaves. Signed and Dated (l/r): Otto Pilny, 1910. Canvas height: 31 1/2 inches (80 cm). Canvas width: 47 1/4 inches (120 cm). Frame height: 37 inches (94 cm). Frame width: 52 inches (132.1 cm). Previously offered at Christie's New York, 19th Century European Art, Sale 2521 on October 12, 2011, Lot 84. Latest Otto Pilny Sale: Christie's London - The Orientalist Sale including Works from the Najd Collection on 30 March 2021 - Lot 49 "Dance in the Desert" was sold for £100,800 ($138,500) There is not that much information about Otto Pilny who began his artistic education in Prague. Pilny also lived in Vienna and ended up settling in Zurich. Just like Ludwig Deutsch (1855-1935), Rudolf Ernst (1854-1932), and Carl Leopold Müller (1834-1892), Pilny was encouraged to travel abroad. During his two trips to Egypt, a favorite destination of the Austro-Hungarian school, the first one in 1889 and later en 1892, he acquired the taste of painting Orientalist scenes of Middle Eastern landscapes...

Diminutive and striking, this Mannerist male nude by Raoul Pène du Bois, the great Broadway designer, depicts a confident figure in the full bloom of youth, with golden hair and blus...

A stunning set of four Japanese silk mounted vertical hanging scrolls. Dating from C.1920 Taisho Period. The watercolour and ink on silk depicts a larg...

A 1930s futurist watercolor painting of a motorbike race by Italian futurist artist Aris Bacci. Mounted in original geometric cream mottled frame, with stun...

Rare set of four Japanese Showa period door panels known as Fusuma in Japanese architecture. Similar to a Shoji room divider but made of an opaque materia...