Anatomy of a Horse, Original French Artwork Equestrian Anatomy Study

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in blue folder/ thick paper, unframed size: 14.5 x 9.25 ...

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in blue folder/ thick paper, unframed drawing: 11.75 x 1...

Abstract design Signed By Louis Bellon (French 1908-1998) From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed measurements: 10 x 12.5 inches provenance: private collection of the artists work, Provence, France Condition report: very good, colour strong The painting is an excellent example of this much sought after French painters work. Louis Bellon, born in Dijon, began to draw at the age of 14. Enrolled in the School of Fine Arts in Lyon, he was taught by Antoine Chartres, an extremely cultivated professor who introduced his young pupil to both art and literature. Bellon was also influenced by the works of André Lhote which he encountered a few years later. Bellon drew his inspiration from a multitude of sources: the Neo-Impressionism of Georges Seurat, the flat colors of the Nabis, the intimacy of works by Pierre Bonnard, the subtle delicacy of Paul Cézanne, the Cubism of Georges Braque, Pablo Picasso, and Jacques Villon, both the exciting palette of Matisse and the richness of his line, the Orphism (so named by the poet Guillaume Apollinaire) of Robert and Sonia Delaunay. In 1938, Bellon was elected a member of the Salon of the South-East, one of the most prestigious arts organizations of Lyon where many important contemporary artists exhibited. It was there that Bellon met the Nabi painter Paul Sérusier...

"Mother & Child" by Carlos Carnero (Uruguay/ French 1922-1980). watercolour painting, on very thin paper, unframed. Paper: 10.75 x 8.25 inches. Provenance: the artists estate, Paris Fine original French drawing by the important and fascinating painter, Carlos Carnero (1922-1980). The painting has excellent provenance, having come from the artists estate sale in Paris. The artists close connection to one of the 20th centuries most important artists, Fernand Leger is of important significance, with his own work being widely collected and appreciated. The artist: Carlos Carnero (1922-1980), a native of Montevideo, emigrates to Paris and joins Fernand Léger's studio workshop at the end of the 1940s. Located on the Boulevard de Clichy, the workshop-school has some seventy-five students. At the end of his life, Léger elaborates a protest against Cubism advocates the return to the human figure. The head of the workshop, Nadia Khodasievich, brilliant painter, first pupil of Malevich, then of Leger in the mid-1920s, became the assistant thenthe mistress of this one and the wife in 1952. In the workshop, Carlos Carnero, soon nicknamed "Carlos" is noted for his talent and involvement. In addition to art education, the couple Léger entrusts the task of the secretariat of the workshop: movements of the stocks, inventory paintings, material organization of exhibitions. After the death of Léger in 1955, Carlos becomes very close to Nadia, rigorous in the construction of the posterity of the master. With his new companion Georges Bauquier, they found, on their own funds, the museum Fernand Léger de Biot - Carnero gives his assistance. Carnero's style is very close to that of his master, filled with joy and colorful dynamism. At the beginning of the 50's, he tried the cubisante figuration of the portraits of Picasso then adopts the abstract balances between lines, shapes and colors of Léger. Some dates: Classical studies in Montevideo (Uruguay). 1941 to 1946 School of Fine Arts, architecture section (Montevideo). 1947 Travel grant (Italy, Spain, France). 1948 Painting workshop at André Lhote workshop. 1949 Entered the Académie Fernand Léger, first student, then 1949 to 1955 Assistant-collaborator of Fernand Léger. 1955 to 1970 Collaborator of Nadia Khodasievitch and Georges Bauquier. Exhibitions: 1950 Galerie Jeanne Bucher, Paris, Atelier Fernand Léger, Exposition collective, juillet 1950. 1951 Académie des Beaux-Arts, Paris, Atelier Fernand Léger, exposition annuelle, décembre 1951. 1953 Salon des Artistes indépendants, Paris. 1953-1954 Galerie Gentilhommière, Paris, Groupe 53. 1957-1958 Première Biennale de la “Jeune Peinture”, musée des Arts décoratifs, Paris, mai-juin 1957, Francfort, Montréal, 1958. 1959 “École de Paris” à Vienne, Linz, Gratz. Galerie de France, “Cinq peintres – Un sculpteur”. 1960 Galerie Création à Roubaix. Exposition personnelle. 1961 Galerie Pierre Weiller à Paris. Exposition personnelle. Salon des Réalités nouvelles. Palais des Beaux-Arts de Bruxelles. Exposition personnelle, mai 1961. 1962 Musée des Arts décoratifs, Paris, “Antagonismes 2 - L’objet”, juillet-octobre 1962. Galerie Pierre Weiller, Paris, “Poèmes Peints”, mars-avril 1962. Exposition personnelle. Musée d’Art moderne de la Ville de Paris : “L’art latino-américain à Paris”. 1962-1963 Exposition de peinture contemporaine, Communauté européenne, Prix Marzotto. Italie, Allemagne, Belgique, France. Exposition des Artistes latino-américains, Musée d’Art moderne de la Ville de Paris. “Expressions Nouvelles”, Antibes. 1962 à 1965 Salon “Comparaisons”. L’Oeil de Boeuf, Galerie 7...

Architectural Study of a Grand Stone Archway by Maurice Mazeilie (French, 1924-2021) watercolor painting on artist paper, unframed unsigned sta...

Beautiful group of nine (9) original French watercolour paintings - mainly of a floral and landscape nature. The works date between 1904 and 1941 - with the majority being around the 1910's and 1920's period. The paintings are all inscribed extensively, as well as being dated and some signed by their artist. What their original purpose or intention was, we are not sure - possibly music programme covers or designs. Either way, today, they offer the interior designer a wonderful and very unique opportunity to acquire such a rare grouping of original antique artwork...

“EQUESTRIAN WASHINGTON,” OIL ON CANVAS PAINTING OF GEORGE WASHINGTON ON BLUESKIN, AFTER REMBRANDT PEALE, circa 1830-1850 (POSSIBLY PRIOR): Born in Bucks County Pennsylvania during the American Revolution, Rembrandt Peale (Feb. 22, 1778 – Oct. 3, 1860) was the son of Charles Willson Peale (1741-1827), the leading painter in the American colonies. A member of the Sons of Liberty, Charles left home shortly after Rembrandt's birth to fight with Washington's army. He taught most of his 17 children to paint, of which Rembrandt is the most celebrated, though two others, as well as an adopted nephew, achieved significant notoriety. Charles was one of the two most famous artists to paint Washington from life, the other being Gilbert Stuart (1755-1828). The last to do so was Rembrandt Peale, at the mere age of 17, whom Washington sat for in 1795, near the end of his presidency. This became the most celebrated feather in the cap of the young artist, who proudly wore it for the remainder of his life when marketing his trade. The sketch that he created that day laid the groundwork for not only his repute for having done so, but also a crazed obsession to create what he desperately hoped would someday become the “national portrait and the “standard likeness” of Washington. The most familiar of Rembrandt’s paintings of the president & general is regarded as the “porthole portrait,” a three-quarter, head and shoulders image, painted in 1824, that illustrated him in a blue and buff yellow military coat, with prominent epaulettes, presenting the subject as if viewed through an oval window, painted as part of the canvas. Also of great significance was an 1823 work that pictured him on horseback, entitled Before the Battle of Yorktown, accompanied by Henry Knox, Alexander Hamilton, Lafayette, and Rochambeau.* Next to his father and Stuart, Rembrandt Peale’s renditions of Washington are the most recognizable, perhaps in a near tie with those of the artist John Trumbull (1756-1843), who for a short time, in 1776, served as the general’s aide-de-camp. All four men trained in Great Britain under Benjamin West, arguably the most celebrated painter world-wide. West encouraged each to paint historical views of American figures and achievements, offering advice to the young Rembrandt Peale specifically, conveyed to him in a letter by his father, suggesting that he consider subjects that possessed “powers to dignify man.” This view of Washington, upon his horse, commonly referred to as “Equestrian Washington,” is widely thought to have been first painted by Rembrandt. Although this work has sometimes been equated with various paintings rendered in the 1820’s, that illustrated him on horseback with various staff, on or about the battlefield (i.e., the Yorktown picture), this work instead presents him as a lone figure on a horse before a tree-lined landscape, with a presumed army encamped or engaged in the distance, the sky tinged with the red light of fires or cannon. Leading historian E.P. Richardson, commonly referred to as the ‘Dean of American Art Historians,’ co-founder of the Archives of American Art at the Smithsonian (1954), director of the Detroit Institute of Arts (1945-62), and of Winterthur (1963-66), and of the Board of the Pennsylvania Academy of Fine Arts (1968-70), was of the opinion that Rembrandt produced this work earlier following his 1808 return from Paris. There he would have viewed similar...

A Woman and her Horse Oil on canvas Signed ‘Linci’ (lower right) Date: Undated Measurements: 41? Tall x 4? Deep x 50? Wide Condition: Excellent.  

Large 19th century unsigned French oil painting, study of an Italian lady This is a very beautiful and well executed 19th century oil on canva...

This large oil painting is like a mural. It is large and very graphic. It is Signed by Linda and dated 1979. It has to minor old tiny repairs. It has a nice clear coat of artist v...

Wonderfully illustrated and detailed original oil painting artwork by an artist signed J. Taylor who we believe to be an English artist working around the late Victorian time c1880. ...

106 wide by 59 1/2″ high at center and 55″ high on either end