Miquel Torner de Semir Art

'Cubist Still Life', oil on board, with guitar, wine bottle and glasses, (circa 1950s - 1960s), by an unknown artist. A masterly cubist still life representation depicting items atop...

Painterly scene of boats and boats being built at the docks in old Pacific Grove, California by an unknown artist (American, 20th Century). Signed"WHM" lower left. Presented in a fau...

Olga Cairols is a Spanish artist with more than 35 years of career. Olga studied Art History and Fine Arts at the University of Barcelona. She has a bachelors degree in Design, Art ...

Charming mid century figurative landscape of a man walking along a pathway to a red barn with multi-colored trees along side by M. House. Signed "M. House" lower left. Presented in a...

This is a possible self portrait by the famed female surrealist artist. It is also strikingly similar in style with it's exaggerated eyes to her portrait of Jean Genet, ( Leonor F...

Beautiful mid century plein air figural landscape of Laguna Niguel, California by an unknown artist (American, 20th Century). The morning sun gli...

Charming mid century figurative landscape of Aptos Village Apple Shed and Market by listed California artist Jon Blanchette (American, 1908-1987). Aptos is just south of Santa Cruz,...

Idyllic scene of people and chickens on a road at the edge of a village. Beyond the village, a vast mountain blocks most of the sky, with a few clouds visible to the left. Soft, patc...

A charming scene of a man leading his horse down a country lane near a red barn in Volcano, CA by listed artist Frederick Colbus (American, 1917-1986). Signed and dated "F. Colbus, 1978" lower right. On verso titled "Days End" (Volcano, CA), signed F. Colbus, and dated July 30, 1978. Presented in a wood frame with linen liner. Image size: 12"H x 24"L Frederick Colbus was born in Daly City...

Oil on board painting by Paul Kauvar Smith (1893-1977) of a still life of flowers on a table in an interior scene with a mirror in the background. American Modernist still life painting with zinnias and abstract paintings in an artists studio. Presented framed, outer dimensions measure 27 ⅝ x 31 ¾ x 1 ⅛ inches. Image size is 19 ½ x 23 ½ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Private collection, Denver, Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: In 1915, Paul Kauver Smith studied commercial art and design at the St. Louis School of Fine Art for two years. His studies were interrupted by World War I during which he served as a corporal in the U.S. Army. After the war he returned to the School of Fine Art and also studied at the Washington University School of Fine Arts in St. Louis with Fred G. Carpenter, himself a student of Jean-Paul Laurens at the Colarossi Academy in Paris. Carpenter was known as a marvelous colorist who "thought every inch of a painting should be fascinating…and should be as interesting close up as from a distance." His approach is reflected in many of Smith’s paintings, both representational and abstract in style, done later in Colorado. In 1921, Smith relocated to Denver where he studied for two years at the Denver Academy of Fine and Applied Arts, formerly located in Brinton Terrace on 18th Street in Denver’s Capitol Hill neighborhood. His teacher was John E. Thompson, another important influence as a pioneer of modernism in Denver. The Academy hired Smith as an instructor in 1923 and that same year the Denver Art Museum included his work for the first time in its 29th annual juried exhibition. He later had two solo shows at the museum, which added his work to its Anne Evans Collection. In 1959 the museum reproduced Houses at Victor, for its Western Heritage Exhibition catalog. During the year of 1928 he witnessed the Articles of Incorporation of the Denver Artists Guild, comprising most of the city’s professional artists. He also belonged to the American Artists Professional League, also organized in 1928 by fifteen members of the Salmagundi Club in New York to protect artists’ interest and promote traditional American art. He was one of some two dozen Colorado artists designated to participate in the Public Works of Art Program (PWAP, 1933-34), the first federally-sponsored program for artists during the Great Depression. Around 1928 Smith became the "Hermit of Stuart Street," and remained a life-long bachelor. One painting, View from My Window, depicts his immediate neighborhood. Living for more than thirty years at 1039 Stuart Street in West Denver, he gave up creature comforts that most people take for granted to have the freedom to devote his life to the pursuit of art. In the first twenty-five years of his career, his paintings focused on the Colorado landscape and its mining towns with their decaying buildings as relics of the past. His piece, Miner’s House at Victor, Colorado illustrates the description of his work in this genre as described by Denver artist and art writer, Arneill Downs, "The jewel-like shapes and colors the artist uses gives the most decrepit objects style. The decaying buildings of ghost towns, grouped together on canvas, glow like a patchwork quilt." Smith described his technique as "I start lean and finish fat." He worked first with turpentine as a medium and ended up with pure pigment put on with a palette knife. In addition to Colorado scenes...

Charming mid-century naive painting of small figures and chickens in a rural landscape by an unknown artist (American, 20th Century). Signed with the monogram "I. M. H." on lower lef...

'Still Life with Fruit', oil on board (1968), by Juliane Solignac. An engaging yet unusual artwork with vibrant colours, thickly applied with a painting knife. Nonetheless, through the thick paint there is an unfinished quality to the work leaving the impression that the raw canvas - or board in this case - is revealed. Some of the colour seems to have been scored on to the work with an artist's knife leaving lines and creating angles as in a cubist painting. There are layers of paint with no evident brush strokes. One may believe in this instance, Madame Solignac used this technique to create a visual effect which would deliberately have upset traditionalists. Be reminded that the Impressionists were criticised for creating patchy, incomplete works because there were strong notions about the correct way to paint in those days. Picasso once said, 'To finish a work is to kill it.' It is unsure how Mme Solignac would have felt about that. Regardless of this conjecture, the painting is colourful, compelling and rewards the viewer with a curious interest. The work is in fair vintage condition, newly framed with a linen slip. It is signed: 'Julian Solignac 68'. About the Artist: Juliane Solignac (born 1904). Regrettably, there is not much information available about the artist (including what year she may have died). She is referenced as a resident artist in Montmartre in the 1930s, one of only a handful of women in an otherwise sea of male names. In addition, Solignac is mentioned in both French and Dutch references as a creator of fabrics. These may have been more artistic 'tapis' which are hung on the wall like a painting. A Dutch museum references having one of her designs in their collection. Here is a quote from the magazine, 'COTE', Edition Nº 9 (March 2009): "Until 20 April, Pierre Frey is exhibiting 50 printed fabric works from their own collection dating from 1936 to today. Most were produced in liaison with artists like Jean Chatanay, Irène Rohr, Juliane Solignac, Rieffel Anossof, Janine Janet...