Manhattan - Paintings

Pair of unique Impressionist paintings "Redemption" in patinated and engraved bronze and pewter with enamel cloisonne by Philip & Kelvin LaVerne, American 1960s (signed twice on on...

Oil on canvas, signed in the lower right. Measures 176" x 18.5" including the frame and 8" x 10.5" sight. Francois Gall 1912-1987 French Well listed artist in the Benezit. ...

Spanish Colonial Penitent Mary Magdalene Original oil on canvas painting XIX century Details Original period frame. Painting dimensi...

Oil on canvas. Painting by Hans Speidel, Berlin. Speidel was among a group of painters known as the 'Neue Sachlichkeit' (New Objectivity). This betwee...

Monica Perez "Lovers" from Love & Courage Original Acrylic Painting on Canvas, 2021. W 40" x H 60" Monica Perez’s works are expressions of emotion—impuls...

Oil on canvas, painting by Hans Speidel (1895-1976): Germany, Signed. Speidel, opposed the Hitlerian racial laws, and was a proponent of the German mo...

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Monica Perez "Let Them Go #3" Original Acrylic Painting on Canvas 2021. W 40" x 60" Monica Perez’s works are expressions of emotion—impulsive, spontane...

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Monica Perez "Title Processing" from Love & Courage. Original Acrylic Painting on Canvas 2021. W 40" x H 60" Monica Perez’s works are expressions of emo...

Pair of abstract gouache and pencil by Sidney Guberman. Signed: "Prado VII and Prado II Sidney Guberman 1998"

Domestic Segars, 2015. From the series Back Against The Wall: Graffiti Show. Silkscreen with spray paint. Original artwork by iconic Brooklyn artist RAE. This figurative abstract painting was commissioned by Joseph Carini in 2016 as a result of his passion for this artist's work and some successful collaborations in rug making. Fantastic paint surface with a thick texture, the painting has a very commanding presence. Fun colorful street artist painting with a dominant blue background. For over a decade, Brooklyn artist RAE, (aka RAE BK...

A set of four Italian chinoiserie painted panels, each within frames, depicting fanciful chinoiserie birds, vegetation, pagodas and figures at leisure, circa 1820. Possibly from Piem...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

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...

"Reflections," a frame oil on canvas /collage by artist Kathi Robinson Frank is an abstract composition in atmospheric shades of gray, black, white, orange and reddish-orange with th...

Each charger depicting a not-unwilling maiden being carried off by centaurs. Signed in Greek and Cyrillic by artist G. Landgraf. As stated in the Royal ...

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"Midsummer Blue", Swedish abstract expressionist watercolour collage painting on paper. Framed in white lacquered wood frame, measuring 41" length x 29.25" width x 1.25" depth. Painting measures 35.25" length x 24" width, unframed. Signed Peter Astrom...

An academic oil painting depicting a young man in profile holding a spear, seated. Some flaking in the background, consistent throughout. Framed in a vintage giltwood frame. Circa 1900.

Cristina Vergano painting "The Best of All Possible Worlds" oil on wood, 1990. Dimensions: Diam: 42" Cristina Vergano is known for her paintings that blend a classical style with...

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An exceptionally fine and quite larege Meissen hand-painted porcelain plaque depicting four royals hunting in the woods with a hunting dog and rifles. This is the finest quality of a...

Lovely oil on canvas by the French artist, Louis-Auguste-Paul Magne de la Croix (1875-1942) depicting a parade of thoroughbred horses before a race, led by their jockeys with lovely ...

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Great framed French 19th century watercolor of a Louis XIV chair covered in a red velvet fabric.

A Very Large and Unusual 19th Century KPM Porcelain Plaque by Carl Meinhelt. This plaque was produced by the Königliche Porzellan-Manufaktur (KPM) in Berlin and is signed by the art...

This neoclassical trompe l'oeil painting is an allegory of summer. It would have been hung with allegories of the other three seasons over the doors of a salon. Ceres, Roman goddess...

A 19th Century Meissen Porcelain Plaque of 'The Banishment of Ishmael and Hager', in its Original Frame. This fantastic Meissen porcelain plaque depicts...

"Deco Train" Original painting by Lynn Curlee This painting was used as an illustration in Trains, a picturebook for older kids published by Simon & Schus...

An Important and Large Walasse Ting Chinese Acrylics on Paper 'Two Geishas and Parrots' Painting. This painting is by Walasse Ting (1929–2010), a Chinese-American artist known for h...

Painting. Gouache on board. Signed Bela Kadar (Hungary, 1877-1955) Bela Kadar was born in Hungary in 1877. Amongst his early interests was mural painting. Like many of the artists of his day he was drawn to Paris and Berlin, and by 1910 he had visited both cities twice. In 1923, Kadar showed his paintings in Berlin at the invitation of Herwath Walden. Walden was an important figure in the German avant-garde, being the publisher of the journal Der Sturm which featured the works of Franz Marc, Paul Klee, Wassily Kandinsky, Marc Chagall and Oskar Kokoschka. During the group exhibition at Walden's gallery with other artists of Der Sturm, Kadar met Katherine Dreier whose Societe Anonyme was instrumental in bringing the work of the European avant-garde to New York. With her help two major exhibitions of his work were planned for the Brooklyn Museum of Art, the second of whom in September, 1928 Kadar travelled from Europe to attend. Bela Kadar incorporated themes of Hungarian folklore...

18th century master untitled oil on canvas. Figural religious scene, possibly Mary visiting St. Anne. Frame is in carved giltwood and painted black. Size...

An exceptional French oil on canvas, "Feeding the Doves", Signed and Dated by E. Munier, 1890. Émile Munier is one of the most sought after and most talented French artists of the 18...

"Mexican Sun," an oil on canvas by artist Kathi Robinson Frank is an abstract composition in sunny golds, whites and blacks inspired by the earth and brill...

- Composition II by Georges Ferrato - Oil on Canvas - Signed at bottom right, signed dated and titled on the back Ferrato’s work is often associated with the abstractionist traditio...

Unframed Collection painted scientific illustrations of various insects from the early 20th century: Each measures approximately: 8" x 6" ...

Memorie, #13062, by Italian artist Gianfranco Asveri mixed media on paper, gallery framed in white wood frame and under glass. Depicted are some of his favorite subjects, his mother, his dog, and his cat. Live image measures 19.5 x 11.75 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most Important Exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

Cubist Painting by Hungarian Painter, Koroly Glonczy. Oil on cardboard. References: Modern and contemporary art. European 20th century, Mid-Century Modern.

Contemporary American ceramic artist Richard Hirsch's encaustic "Paintings of Nothing Series" #1, #3, #4, #5, #6 and #7 are made of ceramic raw materials, dry pigment and wax. These ...

Portraits pair Danish early 19th century, Denmark mahogany Frame. A pair of portraits of Queen Frederikke and King Christian VIII. In original mahogany frames.

"Magnolia, XVII" is from the series of paintings of this Native American flower by Kelley. Each one depicts the magnolia blossom in a different state of unfurling. John Woodrow Ke...

A Orientalist watercolor picture of "A lady at the Bazaar" from the 19th century is a cacophony of colors and textures. The lady demurely lowers her gaze while sensuously caressing t...

Signed and dated in the bottom right corner “L.M.03” Dimensions: Height: 28 inches (70cm) Width: 40 inches (100 cm) Lev Leonidovich Mezhberg (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova...

Painting by Madeleine Arbus A mysterious nature Morte of the "Neue Sachlickeit" movement featuring a glass and candlestick by Madeleine Arbus, the daughter of Andre Arbus. ...

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...

Large "Tower of Babel" painting in patinated and engraved bronze and pewter with enamel cloisonne and bamboo motif frame by Philip & Kelvin LaVerne, 1960's (signed “Phillip. Kelvin L...

A dynamic expressionist work by Hans Kessler, a student of Kandinsky at the Bauhaus. Signed H.Kessler, 1925 at bottom. Gouache comes with Photocopy of ...

From the whimsical world of German artist Otmar Alt comes this great mixed media on paper, circa 1969. He is known as one of the most significant contemporary artists in Germany. Along with Horst Antes and HAP Grieshaber...

Inscribed on back 'The Gwynant in Wales', also impressed 'Copeland'. Signed in front lower left 'W Yale' (William Yale b. 1843). Size of plaque 16 x 24.

An incredible and very rare 19th Century Meissen porcelain plaque depicting Rembrandt and Saskia in the Tavern. Meissen plaques are incredibly rar...

A pair of monumental and rare Antique German hand-painted polychrome enamel and raised gold porcelain plaques depicting orientalist/Turkish women standing in castles of exquisite cra...

Oil on linen painitng by the American artist Ross Bleckner. Titled "Time (mechanism)", 2009-2010. On a black thin metal frame. Painting with out frame is 72" x 72". Emerging as a pro...

Painting of flowers by James Antonie. Signed. Acrylic on paper. The painting is filled with exuberant color, light, vitality and life Framed in white wood with plexi-glass. Dim...

Memorie, #13062, by Italian artist Gianfranco Asveri mixed media on paper, gallery framed in white wood frame and under glass. Depicted are his recurring themes of his favourite subjects: his mother, his dog, his cat, his farm, and his farm animals. Live image measures 19.75 x 12.25 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most Important Exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

Charles Stuart (British 1838-1907) "Their Mountain Home" from 1895-1897 is on oil on canvas and is signed as well as dated. This gorgeous highland landscape depicts a stag herd retreating down the mountain from the impending mists. Stuart captures the swirling movement and material quality of the fog, which obscures the towering mountains adding an element of mystery and magic to the painting. In juxtaposition, the foreground of the painting is rendered in precise detail from the rippling tides to the leaves of grass. Each stag is differentiated adding an element of naturalism. Charles Stuart, F. S. A. was a landscape painter active from 1881 to 1904. Born to a long line of painters, Stuart exhibited at the Royal Society of British Artists and the Royal Academy. He was a fellow of the Society of Antiquaries of London, and the prestigious Savage Club whose members included Charles Dickens. He was married to Jane Maria Bowkett...

This wonderful romantic painting depicts figures bustling along a Manhattan street during a snowstorm. Signed lower right. Johann Henrik Carl Berthelsen (1883–1972) Coming to America as a child, he enjoyed early success as an opera singer and music teacher. His friendship with the artist Wayman Adams resulted in a move to New York and experimentation with painting. When the great depression took a toll on his musical career, Berthelsen began selling oil scenes of his beloved New York City, which quickly found prominent buyers including William Randolph Hearst...

Charming oil on canvas in period frame by the Russian-born American artist, Charles Polowetski (1884-1955) depicting a lovely seated female. Stretcher 21.5 by 29.5 inches and the fr...

Neue Sachlichkeit drawing by Beeldens, unframed, pencil & charcoal on paper. Neue Sachlichkeit (The New Objectivity). New objectivity painters infus...