Alexander Calder

Personnages

1967

"Untitled" is a watercolor on paper made by David Salle in 1984. The work is signed in pencil, lower right, "David Salle". The art size is 18 x 24 inches. The framed size is 23 3/4 x...

"Trois personnages nus" is a black conté crayon drawing on buff papaer by Francis Picabia. The artwork is signed in crayon, lower left, "Francis Picabia". The framed work measures 27 1/2 x 24 x 1 1/2 in. The Comité Francis Picabia has confirmed the authenticity of this drawing. Francis Picabia was an important French painter who experimented with a wide range of styles throughout his career and whose writings about art were influential in the development of the Dada movement...

"The Matador" is a gouache on paper by Elaine de Kooning. The artwork is signed lower left, "E. de K." The framed piece measures 15 3/8 x 17 1/4 x 3/4 in....

A drawing by Henry Moore. "Sculpture Motives" is a semi-abstract, figurative drawing, ink, watercolor, and wax crayon on paper in beige, white, and black platte by British modern art...

"Los Angeles Sushi Ghost Tales/Flying Sushi" is a work on paper mounted as a scroll by the Japanese American artist Masami Teraoka. The framed work measures 91 x 22.25 x 2 in. Is th...

"Wave Series/Tattooed Woman at Sunset Beach" is a unique watercolor by Masami Teraoka. The framed artwork measures 22 1/2 x 17 1/2 x 1 in. “Mere depiction of social and cultural issues is not enough. My work has to create something that goes beyond simple perception. To make a strong statement, art needs timeless aesthetic qualities. These can take any subject matter to a higher level of experience. That is the essence of what I am pursuing.” – Masami Teraoka Born in Onomichi in Hiroshima Prefecture, Teraoka studied at what is now Otis College of Art and Design in Los Angeles. His works are inspired by Japanese Ukiyo-e woodcut prints. However, Teraoaka infuses the style and techniques of the traditional art with American Pop Art. The mass-produced nature of Japanese woodcut prints...

Charles Gesmar (French, 1900 - 1928) Portrait of Jane Marnac, 1921 Gouache and ink on paper with some watercolour Signed ‘C. Gesmar. 21’ (upper left) 18 x 18 in. (45.8 x 45.8 cm.) Gesmar had a very short but successful artistic career prior to his tragic death from pneumonia. He designed for Mistinguett, creating costumes as well as many other commissions for the theatres of the day in Paris. He worked with posters and is thought of as a talent equal to Leon Bakst, his graphic designs linking the works of Toulouse Lautrec and Rene Grau...

Signed, "A Rackham" lower right Sotheby's New York Arthur Rackham is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration Rackham...

Rudolf Bonnet (1895-1978) 'Mepèèd' (Mapeed) Signed lower right Titled upper right Pastel on gouache pigmented paper, 57 x 34 cm In original carved ebo...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Signed lower left, 'Marguerite Bordet' (French, 1909-2014) and painted circa 1965. From an early age, Marguerite Bordet avidly pursued both drawing and painting. In the late 1930's and early '40s, she attended the Académie de la Grande Chaumière in Paris where she studied with the sculptor, Antoniucci Volti (Italian, 1915-1989). After several years, and feeling increasingly disconnected with the academic atmosphere of the Salon, she left to develop her independent artistic style. Bordet's first public exhibition took place at the Galerie Claude (1947) and, for the next forty years, she continued to exhibit widely with success, both throughout France and internationally, including in Cairo (1955), Geneva (1960) and the United States (1966). A 1962 exhibition of her work showed a thematic rejection of the Academy's influence and the artist's shift to a more personal and spiritually driven style. Bordet continued to take frequent study trips to Italy, especially to Florence, where she was inspired by the Renaissance Masters. She also visited England (1975-76) where the works of J.M.W.Turner and John Martin at the Tate Museum had a pronounced impact on her development. In an interview with Hervé Serane, Marguerite Bordet described her artistic process in these words: "I start my painting with spots. Sometimes I cover it completely and everything is dark. But then it's stronger than me, I can't bear that there isn't an opening. Immediately, I place a Light. I need the shadow to bring out the Light. So I start with the shadow to create this Light. I cannot define why I need this Light so much. It's stronger than me. It's something that dominates me without my being able to explain it intellectually. It is for me an absolute necessity to seek the Light in the darkness.. You have to open like you open a window. You have to reveal. I remove the stains that obscure my painting to find the luminous background of the canvas.... I only paint with transparent colors and I apply several layers of glaze to preserve this light." Partial Exhibition Record: 1947 Paris, Galerie Claude 1951 Paris, Galerie Breteau - Cairo, Galerie Adam - Alexandria, l'Atelier 1954 Paris, Galerie Simone Bdinier 1955 Cairo, l'Atelier 1959 Paris, Galerie A. Weil 1960 Geneva, Galerie Motte 1962 Paris, Marignan Gallery 1964 Paris, Ror Volmar Gallery 1966 San Rafael (U.SA) International Museum 1966 Cagnes-sur-Mer, Castle Gallery...

Signed lower right, 'Gallo Giovanni' for Giovanni Gallo (Italian, 20th century) and dated 1954. Titled lower left, 'Eseguito a Pompei, 'Trionfo di Bacco'' (Done in Pompeii, 'Triumph of Bacchus...