Laure Art

One of the characters in this scene is a mature man, kneeling with his head bowed and hands clasped near his chest in a gesture of supplication. His posture conveys a sense of humili...

Gouache and charcoal on paper, 53cm x 37cm (74cm x 55cm framed). Provenance: the Artist’s estate (stamped verso). Stonehouse had an extraordinary life. As a young art student studying fashion illustration, he joined the Royal Artillery at the beginning of WWII but soon became a part of the Special Operations Executive (SOE). He was sent to France as a radio operator but three and a half months later was caught by the Gestapo, tortured, given a death sentence and then selected for slave labour. He spent the subsequent war years in three French prisons and five concentration and labour camps, including Dachau. He still managed to continue to draw in some of the camps. Following the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines...

Signed: by Richard Geiger (1870 – 1945), Austrian - Hungarian painter. Also pencils inscriptions on reverse with date 33 (1933). By the 1920s, he worked illustrating books, bookplates and posters. His paintings included portraits, nudes, genre paintings, and mythological scenes, but he was known for his illustrations, especially his carnival motifs. Spectacular masterwork. Size app.: 18 x 23.3 cm (roughly 7.1 x 9,2 in), framed 31.7 x 36.4 cm (roughly 12.5 x 14.3 in). Very Good condition, minimal age wear. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Please study good resolution images for overall cosmetic condition. Glass will be removed prior to shipment for safe transit. Weight of app. 0,5 kg (without glass!) is going to measure some 2 kg volume weight packed for shipment. R. Geiger was born in Vienna. He first attended a drawing school and then studied at the Academy of Fine Arts Vienna, where he studied under Christian Griepenkerl and August Eisenmenger. He studied sculpture with Fritz Klimsch at the Academy of Arts in Berlin. There he took part in the exhibitions of the Academy with his portrait busts and sculptures. In Paris he studied at the Julian Academy and worked in the studio of François Flameng...

Mane-Katz (1894-1962) composes an ink and watercolor portrait of a Hasidic young lad. Signed upper right Mané-Katz, circa 1929. Mane-Katz was a Litvak painter born in Ukraine best known for his depictions of the Jewish shtetl in Eastern Europe. Emmanuel Mané-Katz (Hebrew:מאנה כץ), born Mane Leyzerovich Kats (1894–1962), was a Litvak painter born in Kremenchuk, Ukraine, best known for his depictions of the Jewish shtetl in Eastern Europe. Mane-Katz moved to Paris at the age of 19 to study art, although his father wanted him to be a rabbi. During the First World War he returned to Russia, at first working and exhibiting in Petrograd; following the October revolution, he traveled back to Kremenchuk, where he taught art. In 1921, due to the ongoing fighting in his hometown during the civil war, he moved once again to Paris. There he became friends with Pablo Picasso and other important artists, and was affiliated with the art movement known as the School of Paris; together with other outstanding Jewish artists of that milieu, he is sometimes considered to be part of a group referred to specifically as the Jewish School of Paris. Includes painters Jankel Adler, Arbit Blatas, Marc Chagall, Jacques Chapiro, Michel Kikoine...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

Watercolour on paper Paper size: 10 x 13.75 inches Framed size: 18.75 x 21.5 inches Signed lower left

Signed and inscribed on a label on the verso: No. 1/ The Argument/ W. Cave Thomas/ 203 Camden Rd/ NW Provenance: Christie’s, London, 6 November 1995, lot 88. Private Collection, London. This powerful watercolor is a mature work by the little-known Victorian painter William Cave Thomas...

Watercolour on paper Paper size: 14 x 22.5 inches Framed size: 27 x 35.5 inches Signed lower left

Watercolour on paper Paper size: 16 x 22 inches Framed size: 30 x 26 inches Signed lower left

The Couple is a watercolor Drawing realized by Mino Maccari (1924-1989) in 1940 ca. Hand-signed on the lower margin. Good condition. Mino Maccari (Siena, 1924-Rome, June 16, 1989...

A set of three framed watercolour and gouache studies on handmade paper applied to Vélin d'Arches of tribal objects by French artist La Roche Laffi...

Man in a blue and brown coat by Manuel Santelices Ink and watercolor on paper Image size: 15" H x 11" W inches. Unframed 2023 Manuel Santelices explores...