Landscape
mixed media on canvas
50×50 cm
original Art

her painting tells of the relationship between man, nature and time, the landscape, the sign and the trace,
through the stripping, reduction and subtraction of figurative elements.
“my landscapes are” boxes “of memories,
day after day they welcome events and individuals who leave their marks and change their boundaries and appearance

Creator: Marilina Marchica (1984, Italian)
Creation Year: 2018
Dimensions: Height: 19.69 in (50 cm)Width: 19.69 in (50 cm)Depth: 1.19 in (3 cm)

Antique coastal landscape / seascape oil painting on board featuring a group of birds flying over calm water with mountains lining the horizon. Framed in ornate baroque gold with floral motif. Signed lower left.

Dimensions:
18.5″ x 0.75″ x 9″ / Sans Frame – 15.25″ x 5.75″ (Width x Depth x Height)

Sylvia Clark Molloy (1913-2008) was a British Realist, Impressionist artist, and teacher.
Molloy moved to South Africa in 1948, and lived in Johannesburg for many years, where she raised her family and painted. While there, she flouted the apartheid laws by teaching black and colored students at her studio. She was a founding member of the Johannesburg Society of Arts, and its President in 1962.

The impressionistic strokes Molloy used help depict playful energy.
This image makes you think back to your youthful days.
The blue and purple colors created are so vibrant, and rich in expression. There’s also a great deal of texture in this painting.

This Robert Farrington’s painting serves as a visual gateway to a distinct period in post-war France, composed with a deep respect for the elements interwoven into the collective memory of Paris. His work adeptly engages with the archetypal settings and concepts that convey the quintessence of this beloved and frequently visited capital.

As the viewer gazes upon this artwork, they are instantly immersed in the ambiance of a food trade street, and especially the familiar historic brasserie “Au Pied de Cochon” – the sole establishment in the painting that still exists nowadays – and its surroundings at the heart of the bustling Halles district. At “6 Rue Coquillère”, the act of opening the doors, each adorned with handles that resemble pig’s trotters, transports one through a temporal gateway into the quintessential French world of “la cochonnaille”… The renowned “Pied de Cochon” restaurant made its debut in 1947. In its early days, it became the preferred gathering place for the “Forts des Halles” – the diligent laborers who tirelessly transported goods through the pavilions of the old Halles de Paris. From these dedicated workers to the luminaries of the time, this establishment emerged as a symbol of Parisian life. Farrington reconstructs a scene around this restaurant, nourished by her own Parisian experience when he was a young American living in France. An iconic Brigitte Bardot poster graces one of the walls in the lower right part of the painting, offering another vivid symbol of this legendary Paris. The scene includes a manually operated 1950s vehicle, a street sweeper, and a variety of other restaurants and hotels, such as El Greco, Battendier, Tabac des Halles, and many more, all gone today.

What distinguishes this work is the unique perspective of a foreign painter who possesses a deep affection for Paris, having once resided in the city. Decades later – specifically, 30 years later, as the canvas was created in 1980 – he chooses to convey living memories stored in his heart (or in his photographs), creating a visual narrative pulsating with moments from his youth in Paris. Farrington selects Les Halles, aptly referred to as the “Ventre de Paris” during the 1950s, a location of unparalleled centrality. With an intimate understanding of post-war Paris, he captures in this Artwork hotels, signs of various craftsmen, hand-painted signs, a few clients seated at a terrace, and various animated characters along the street, all rendered with meticulous, lifelike precision, introducing bright colors into the signs for example, and some other details, subtly illuminating a painting almost out of a scene from a vintage black-and-white film. This painting unfolds a vivid and immersive story, one into which any observer can project themselves. It photographs a moment of simplicity and carefree post-war elation, a juncture when Paris was undergoing reconstruction while safeguarding its distinctive charm.

Robert Farrington (1924-2011), a student at the Corcoran School of Art in the 1940s, embarked on journeys to Europe and the Far East. Upon his return from Europe, he briefly resided and painted in Albuquerque, Santa Fe, and Taos, New Mexico.
In 1997 Mr. Farrington relocated to Venice, California.
Always interested in depicting the character of actual places, he painted most of the street corners and inhabitants of this seaside community in Venice, Topanga Canyon, and the Marina Peninsula. He uses both brush and pallet knife to give texture and depth to his paintings.”

Magnificent pair of prints made by gille, marie, joseph albrier (1791-1863) french painter, representing two of the four evangelists accompanied by their creatures in reference to the tetramorph which is found in the apocalypse of saint john.

they are enhanced by a refined frame in wood and gilded brass.

print n ° 1: saint luc, drawn by joseph albrier and engraved by etienne, frédéric lignon (1779-1833).
period: xixth
circa: 1820
dimensions: height: 26.5cm x w: 23.3cm x d: 4.5cm

print n ° 2: saint marc drawn by joseph albrier and engraved by jean bein (1789-1857).
period: xixth
circa: 1820
dimensions: height: 26.5cm x w: 23.3cm x d: 4.5cm

in christian art, we often find a motif called the tetramorhpe. From the greek tetra “four” and morphé “form”, this term designates any representation of a pattern comprising four elements, or literally any image containing four shapes.

it is the term used specifically to name the representations of the four evangelists, each being accompanied or represented by a creature.

three of them are animals while the last – the one that represents saint matthew – is human, even angelic.

saint luke is associated with the bull because his gospel emphasizes the sacrificial side of christ’s death. Now the bull has always been the animal of sacrifice par excellence, in jewish tradition as in roman paganism.
in the of luke’s nativity, the ox is a witness, along with the donkey, to the birth of christ.

the lion is associated with saint mark because his gospel highlights the majesty of christ and his dignity as king, yet the lion traditionally appears as the king of animals. The gospel of mark begins with the prophetic voice of john the baptist resounding in the desert, like the roar of a lion. This piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

Painted circa 1955 by Victor di Gesu (American, 1914-1988) and stamped verso with Victor Di Gesu Estate stamp.

Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and the Chouinard Art School before moving to Paris where he studied with Andre L’Hote and Yves Brayer at the Académie de la Grande Chaumière. While in Paris, Di Gesu exhibited extensively, including at the Louvre, the Exposition des Artistes Étrangères, the Grand Palais of the Salon d’Automne and the Salon des Arts Décoratifs among other Parisian Salons. He subsequently attended Barcelona’s Escuela de Bellas Artes before furthering his studies in Rome at the Studio Hinna. Returning to California, Di Gesu worked beside several notable American Modernists including F. Tolles Chamberlain and Maynard Jepson.

Already a gifted colorist, Di Gesu’s classical training combined with his scientific research into color theory, allowed him to create vivid yet harmonious works which, while reminiscent of Matisse and Gauguin, revealed a verve and spontaneity that remained uniquely his own. A prolific artist, Victor Di Gesu was the recipient of numerous medals and juried awards, both in the United States and in France. After his return to California, he continued to exhibit widely and with success, including at the San Francisco Museum of Art, Monterey Peninsula Museum of Art, the Carmel Art Association and the Los Angeles County Museum of Art.

Two Fiorucci clad women on a pier being looked at by a man in leather on a motorcycle early 1980s purchased in Italy by Moshe Brakha printed by Glafica Industria Viappian Milano

Painted circa 1955 by Victor Di Gesu, (American, 1914-1988) and stamped verso with Victor Di Gesu Estate stamp.

Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and the Chouinard Art School before moving to Paris where he studied with Andre L’Hote and Yves Brayer at the Académie de la Grande Chaumière. While in Paris, Di Gesu exhibited extensively, including at the Louvre, the Exposition des Artistes Étrangères, the Grand Palais of the Salon d’Automne and the Salon des Arts Décoratifs among other Parisian Salons. He subsequently attended Barcelona’s Escuela de Bellas Artes before furthering his studies in Rome at the Studio Hinna. Returning to California, Di Gesu worked beside several notable American Modernists including F. Tolles Chamberlain and Maynard Jepson.

Already a gifted colorist, Di Gesu’s classical training combined with his scientific research into color theory, allowed him to create vivid yet harmonious works which, while reminiscent of Matisse and Gauguin, revealed a verve and spontaneity that remained uniquely his own. A prolific artist, Victor Di Gesu was the recipient of numerous medals and juried awards, both in the United States and in France. After his return to California, he continued to exhibit widely and with success, including at the San Francisco Museum of Art, Monterey Peninsula Museum of Art, the Carmel Art Association and the Los Angeles County Museum of Art.

Vintage 1981 Jurgen Peters lithograph poster size print “rainbow waves”. Numbered 42/250. Signed, dated, and numbered. Abstract style / pop art.