Antoine Calbet Art

Male portrait from the Art Nouveau era. An enigmatic and magnetic image of the man, on whose face there is just a hint of a smile. Technique: oil on canvas. Relined. In good conditio...

Hand Signed. Artist's Proof. Good conditions.

English painter (late 19th century) - Little girl with kitten. 61 x 50cm. Antique oil painting on canvas, without frame. Condition report: Original canvas. Good state of conservat...

Hand initialed and numbered by the artist. Etching and aquatint in colors, on handmade paper. Image size: 13.5 X 21.25 in. Sheet size: 22.5 x 31.25 in. Framed. Edition of 50. Artwor...

Kumasaka Chōhan to Ushiwakamaru is a Japanese Ukiyo-e print created between 1848 and 1854 by artist Utagawa Kunisada (Japanese, 1786-1864). The print is a Diptych, and is part of the...

Frederick Dielman (Hanover 1847 – Washington 1935) - Portrait of a woman. 57x45cm. Oil on canvas, unframed. Work signed: "Frederick Dielman". Condition report: Painting subjected...

Contemporary realistic figurative mixed media drawing PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

Artist: Henri Fantin-Latour (French, 1836-1904) Title: "Vérité (Truth)" Portfolio: Revue de l'Art Ancien & Moderne *Issued unsigned Year: 1900 (third state of three) Medium: Original Lithograph on chine appliqué on wove paper Limited edition: Unknown Printer: A. Clot, Paris, France Publisher: Revue de l'Art Ancien & Moderne, Paris, France Reference: Floury No. 156; Hediard-Mason No. 156; L No. 139 Sheet size: 11.5" x 8.5" Image size: 7.5" x 5.5" Condition: In excellent condition This review was founded in 1897 in the continuity of the review Les Beaux-Arts published between 1861 and 1865; Jules Comte, the founder, entitled his first issue Les Beaux-Arts - Revue nouvelle then changed the title to La Revue de l'art ancien et moderne. Jules Comte directed the review until his death in 1912. Raymond Woog took over , who was provisional director until the start of the war in July 1914. In 1919, André Dezarrois took over this review and was its director until December 1937, date of last issue (published in January 1938). In the meantime, it publishes the Bulletin of ancient and modern art, which has gained a certain notoriety in the community. Biography: Henri Fantin-Latour, in full Ignace-Henri-Jean-Théodore Fantin-Latour (born Jan. 14, 1836, Grenoble, France—died Aug. 25, 1904, Buré), French painter, printmaker, and illustrator noted for his still lifes with flowers and his portraits, especially group compositions, of contemporary French celebrities in the arts. Fantin-Latour’s first teacher was his father, a well-known portrait painter. Later, he studied at the school of Lecoq de Boisbaudran and attended the École des Beaux-Arts. He exhibited at the official French Salons, but in 1863 he also showed his work in the rebel Salon des Refusés. Although academic in manner, Fantin-Latour was independent in style. He had numerous friends among the leading French painters of his day, including J.-A.-D. Ingres, Eugène Delacroix, Camille Corot, Édouard Manet, and Gustave Courbet. His portrait groups, often arranged in rows of heads and figures like 17th-century Dutch guild...

Frame size 83x73 cm. Mariano Tur de Montis (Ibiza 1904 -1994). Son of the Ibizan general Don Juan Tur y Palau, of an old patrician family on the island, and of Doña Cristina de Montis and von der Klee. Ibiza painter who felt great admiration for the Spanish classics and the influence of Central European painting of the late 18th and early 19th centuries, and especially that of the painter Manuel Benedito. He received multiple praises in his various artistic exhibitions not only in Ibiza, but also in Palma de Mallorca, Mahón, Barcelona, ​​Madrid and in European capitals such as London or Paris. When he was only fifteen, he decided to go to meet Sorolla - when he was painting "The Smugglers" in the vicinity of his family mansion - to find out what opinion he deserved on the first portrait he had made of his mother. A few years later, and undoubtedly encouraged by the praiseworthy response received, he was already successfully overcoming the successive sieves of artistic criticism, until he stood out with the “subtle and aristocratic” style that characterized him, in such relevant competitions as the National Exhibition de Bellas Artes or at the Paris Salon. Delving into his biography it is possible to recognize the main factors that would converge in this rapid and justified progression: the very cultural and artistic environment that surrounded him since his birth. The specific preparation with which his refined mother channeled his innate qualities and marked sensitivity. As well as, and above all, his own need to create beauty. Despite a brilliant degree in Law, he attended the Sant Jordi Academy of Fine Arts in Barcelona, ​​complementing his training in Rome, Florence and Paris. At the early date of 1925, the local press was pleased to transcribe the reviews of his exhibition in the Galerías Layetanas of Barcelona, ​​and in which the acquisition of one of his works "Frivolities" for the Museum of Art took place. Modern of Palermo (Sicily). After participating in 1926 in the Autumn Salon of Palma de Mallorca, together with Narcís Puget Viñas, and in 1929 in the Permanent Exhibition of Levante Art, one of his emblematic satisfactions would arrive: the praises that King Alfonso XIII himself dedicated to the stop before his painting Céfora, a painting in which his sister Guadalupe Tur de Montis was the model, during the National Exhibition of Fine Arts, held in Madrid. Oil that also deserved attention in the prestigious magazine La Esfera, which dedicated the cover of its number 20 of July 5, 1930, or the French magazine La Revue Moderne. In the magazine Arte y Hogar- in its number 56, the Marqués de Lozoya Director General of Fine Arts wrote a nice eulogy of the painter and his work in the photographic report dedicated to the beautiful and elegant Casa de los Tur de Ibiza. It was precisely in 1930, when Tur de Montis began to interact amicably and professionally, with a select group of painters, both Spanish (Pla, Rigoberto Soler, Amadeo Roca and Laureano Barrau...

Oil on Canvas "The girl in the Red Dress" by W Frank Calderon, RA (no58) Exhibit 1911. Calderon was influenced by the "Art Nouveau"period, this painting shows his beautiful detailed...

Reclining Nude on Bed Lithograph, c. 1910 Signed in pencil lower right and in the plate, lower right Image size: 7-1/4 x 13" Sheet size: 12 1/2 x 19 inches Condition: very good Some aging to the tan paper Provenance: Estate of the Artist Borghi & Company, New York Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

"Duchándome June 5th" by Celso Castro-Daza From the Duchándome Series Watercolor, pastel, and ink on archival paper Sheet size: 19.5 in. H x 13.75 in. W 2018 Drawing on paper is ...