The painting is made on Juta canvas by the Painter Maggioni stopped in 1975, oil on canvas. The landscape represents the Milan market in the winter Nevated, in the background the Cathedral of Milan can be glimpsed. The painting in excellent condition protected by the glass is in its original setting.

O/L Pair “Plumas” Rodríguez Quesada, Contemporary Art – Castilla y León

Exquisite pair of canvases by the Castilian artist Javier Rodríguez Quesada. They present two pure white feathers that seem to levitate on a blue background, of great strength and refined technique. The elements present in his artistic production are always of great realism, thanks to the use of a precise drawing and natural light, resulting in a dreamlike symbolist painting. The treatment of the background with its skillful handling of glazes, pure unknown tones and juxtaposed forms that change before the eyes is striking. The feather is an element that is constantly repeated in his work, symbolizing the messenger dove that promotes peace. A vital universe, full of reminiscences of his personality and genius.

Francisco Javier Rodríguez Quesada (1955-2015)

Contemporary artist from Zamora based in Valladolid. Awarded prizes such as the 1992 Zamora Biennial or the Gold Medal of the First International Biennial of Contemporary Art of the City of Florence in 1997, some of his works are part of the collections of the Junta de Castilla y León, Vega Sicilia or the University of Valladolid. In addition, many of his works have been exhibited in cities such as Barcelona or Madrid, and in several galleries in Castilla y León.

Dimensions: 20 x 20 x 4 cm. 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

Beautiful and evocative oil painting by the great french school artist moya dyring specializing in marinas.
it depicts a harbor with boats probably from the french riviera painted with great intensity but giving, at the same time, a sweet sense of serenity.
moya claire dyring was born in coburg, victoria in 1909.
she produced drawings, oil paintings and pastels.
she was one of the first women artists to embrace modernism and exhibit cubist paintings in melbourne.
for several years she was a member of the modern art community known as the heide circle, named after the home of art collectors john and sunday reed, and now the heide museum of modern art.

this painting, never before on the market, comes from an important french private collection and is beautified by an impressive antique frame in gilded wood, in almost perfect condition.
every item of our gallery, upon request, is accompanied by a certificate of authenticity issued by sabrina egidi official expert in italian furniture for the chamber of commerce of rome and for the rome civil courts.

dyring then travelled to the usa and france, where she lived most her life. Her work is held in the heide museum as well as the national gallery of australia.
one of her earliest works in cubist in style, melanctha, 1934, was acquired by sunday reed.
in 1934 dyring also painted portrait of sunday reed which went into the reed’s collection, along with a cubist style portrait of a woman from the same year.
while her early works were figurative or cubist, in france she turned to landscape as she travelled to various towns throughout france.
in her later years, unable to travel freely, she painted children against the backdrop of paris.
as time passed, she was largely glossed over and not included in major exhibitions of artists, especially women artists, of the 30s, 40, and 50s.
in 2002, at the university of melbourne, gaynor patricia cuthbert delved into her life and work for a doctoral thesis, helping to bring back attention to her work.
collection
the heide museum of modern art holds many paintings and drawings, some acquired through the john and sydney reed collection.
the national gallery of australia, canberra includes one drawing.
the art gallery of new south wales holds multiple works.
third child of carl peter wilhelm dyring, medical practitioner, and his second wife dagmar alexandra esther, née cohn, both victorian born. Moya was educated (1917-27) at firbank church of england girls’ grammar school, brighton.
after visiting paris in 1928, she studied (1929-32) at the national gallery schools, melbourne, and shared fellow student sam atyeo’s interest in artistic innovation.
classical modernism engaged her attention in the early 1930s.
she painted at the george bell school and studied under rah fizelle in sydney; mary alice evatt and cynthia reed were her colleagues.
for several months in 1937 she took charge of heide, the home and garden of john and sunday reed, at bulleen, melbourne.
the reeds were pivotal both to her sympathy for modernism and her belief in congenial fellowship.
she enjoyed something of the intense relationship with sunday reed that the latter would subsequently extend to joy hester.
in june dyring held an exhibition, opened by h. V. Evatt, at the riddell gallery, melbourne.
less enthusiastic than the reeds and the evatts about her art, basil burdett wrote of her ‘somewhat incoherent interpretation of modern ideas’, although he did acknowledge that her work had ‘audacity of colour and a certain monumental feeling for form . . . Qualities rare enough in australian painting’.
in august dyring embarked for panama whence she travelled by bus to new york, breaking her journey to view major galleries.
she had intended to paint in the united states of america, but disliked the work of contemporary american artists and sailed for france.
in 1938 she was based in paris, taking advantage of atyeo’s contacts within the avant-garde.
she studied at the académie colarossi, the académie de la grande chaumière and with andre lhote, although by october she denounced him as a ‘racketeer’.
in 1939 dyring and atyeo settled on a farm at vence, france; inspired by memories of heide, they grew fruit and flowers.
sam accepted a commission to decorate a house in dominica, west indies, leaving moya at vence.
evacuated to australia via south africa, where she painted and searched for tribal art, she then journeyed to dominica and married atyeo.
they were not happy, neither painted and dyring was ill. Evatt offered atyeo work and dyring accompanied him to the u.s.a.
she viewed art, painted occasionally and claimed to have exhibited in washington in 1943.
after world war ii evatt found sam various postings, while moya returned to paris to pursue a full-time career in art.
they were to be divorced in 1950.
from about 1946 dyring’s art was more personal than innovative.
she gained a considerable reputation among french regionalist and nationalist artists for her sympathetic appreciation of provincial scenes and life.
bernard smith placed her in the french tradition of intimiste painters.
in 1948 she leased and renovated an apartment on the ile st louis, which, as chez moya, became a centre for australians who enjoyed her hospitality, cooking and practical assistance.
she revisited australia and exhibited in various cities in 1950, 1953, 1956, 1960 and 1963; the press carried her reports of parisian cultural life.
dyring held a solo exhibition in london in december 1949 and was in close contact with expatriate australians, among them loudon sainthill, donald friend, david strachan, alannah coleman and margaret olley.
in 1961 she curated the australian section of the paris biennale.
she died of cancer on 4 january 1967 at wimbledon, london.
an apartment for visiting australian artists was established in her memory at the cité internationale des arts, paris.
australian dictionary of biography, volume 14 , 1996
the dimensions are frame included 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

Beautiful and important painting by the great Dutch artist Karel Klinkenberg who lived at the turn of the 19th and 20th centuries.
It depicts a canal in Utrecht depicted with his usual precision attentive to every detail.
Another characteristic of our painter, is the evocative power of the romantic and gentle atmosphere he always manages to convey.
Signed at lower left and signed and inscribed on the reverse.

Johannes Christiaan Karel Klinkenberg (1852, The Hague – 1924, The Hague), was a 19th-century Dutch painter.

Biography
According to the RKD he was a pupil of Christoffel Bisschop (1828-1904) and Louis Meijer, and became a member of the Pulchri studio who later won many prizes.
A street is named after him in the neighborhood of streets named after 19th and 20th century Dutch painters in Overtoomse Veld-Noord, Amsterdam.

This painting, never before on the market, comes from a private collection
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

Kern, Hermann (1838-1912) “The Bird Dealer” Oil on wood, signed Kern H on the back. Inscribed and with seal KH Dimensions: 107 x 86 x 12 cm Provenance: Private collection Steffisburg History: Hermann von Kern, whose family immigrated to Hungary from Germany, was born in Hradek in Upper Hungary as the son of the Hungarian camera doctor Benjamin Kern. His extraordinary talent was recognized very early on and that’s why his father sent him to Theo Böhm in Budapest. He then went to see Klemens in Prague. Then he went to Carl Rahl in Vienna at the Academy of Fine Arts. In 1867 he was sent to Düsseldorf at the instigation of the then Minister of Culture, Baron Bötvös, who had recognized his outstanding talent. Before 1870 He was there on a scholarship from the Hungarian government to complete his studies. from Düsseldorf he moved to Munich and worked there with his friends Defregger and Kaulbach under Piloty. Returning to Budapest, he worked as a portraitist and genre painter. In 1876 the artist moved to Vienna with his family (10 children) and devoted himself to genre painting. Initially his preference was for gypsy types, but later he specialized in humorous Biedermeier scenes and peasant types. In 1903, at the age of 64, he left Vienna and spent the last years of his life in the countryside in Maria Enzersdorf, continuing to devote himself to his artistic work and his family.

Great painting – oil on canvas. Nobly framed – with white gold gilded frame! Frame: 51 cm x 61 cm x 25 cm
Picture: 40 cm x 50 cm This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution

Former painting on enchanted canvas is a quadriptych format, from the second half of the 20th century.
This painting is part of a series of 4 canvases, in my posSeat.
Each canvas is signed, but I unfortunately did not find the artist.
These are rather abstract works, with very beautiful shades, in a fairly dark universe despite everything.
In the taste of the artist Pierre Dmitrienko, each work gives us free rein to our imagination.
You can see there as bodies, faces or shapes with a rather emaciated look, the graphic universe is quite addictive. Like several bodies dialogue with each other, in their own planet.
We immediately enter the relatively tortured world of the artist, who brings us cheerfully with him in his surrealist canvases, with dancing forms.
The whole is just superb, the format makes it an extraordinary work.

Flowers artwork, antique oil painting, floral vase painting which represents Dahlias and Chrysanthemums. The painting has a gold leaf  frame realised in the 1800s.

The oil on canvas painting dates back to the nineteenth Century and it takes part of Bisgart Collection of Antique Paintings of the 19th Century.

This floral oil painting is signed P. Valmon, pseudonym used by Henri Cauchois.

Cauchois Eugène Henri (1850-1911) is a French painter of Still Life of Flowers and Landscapes.

The painter was a pupil of Cabanel and Duboc and began exhibiting his works at the Salon Des Artistes Français from 1874. Many are the medals received during his career: 

one in 1889, a bronze medal in 1900 and, finally, he received another award in 1904.

His paintings are exhibited in various museums, such as the Louviers and Rouen Museums.

The old painting and the frame have been restored.

Bibiografia: Bénézit and Gérald Schurr & Pierre Cabanne, Dictionnaire des Petits Maîtres de la peinture 1820-1920.

***
Canvas size: 65 x 54 cm
Size with frame: 87 x 76 cm
Depth: 9 cm
Weight: 8 Kg 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

Flowers artwork, antique oil painting, Still Life of Hydrangea proposed here is

an oil painting on Canvas of the Twentieth Century, 1974s. 20th century. 

It also has a beautiful and original golden frame, coeval to the painting. 

It is a bouquet of flowers, pink Hydrangea flowers in an earthenware vase.

Antique paintings with flowers, still life of flowers dated 1974 and signed bottom right

G. Schirmann (1907-1977) French painter. Georges Schirmann (1907-1977) was born in Tunis,

but lived and worked in France. He studied at the ‘École des Beaux Arts’ in Paris, where he was a pupil of Devembez.

He taught in Metz in 1933 at the ‘lycée de garçons et de jeunes filles’ and then at the ‘École Normale de Montigny’.

He worked in Niort and Aix-en-Provence and finally returned to Metz in 1945.

He participated in numerous exhibitions, including that of the ‘Artistes Mosellans’ (1947-1949).

In Lorraine and the Mediterranean countries, he learnt to love the light that can be seen in his paintings.

The Metz Museum owns four of his works: Quartier latin, Sortie d’école, Tour de Babel and Écluse de l’Esplanade.

In 1950, Georges Schirmann left Metz and moved to Paris. The antique frame and the oil painting are restored. 

Restored Painting | Oil on Canvas | Gilded Frame | Ancient Painting | Art Deco

***

Canvas size: 65 x 50 cm

Size with frame: 79.5 x 64 cm

Depth: 7 cm

Weight: 5.5 kg 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

This is a Marine Oil Painting, which represents a Marina the Cote d’Azur with a White Boat.

The work represents a marina, a glimpse of the rocky coastline of the Mediterranean Sea, painted in warm colours.

It is an early 20th century oil painting on panel. Art Deco.

The painting is dated 1934 and signed Léon Zeytline (1885-1962), a painter born in France but from a Russian family.

Léon Zeytline, a Post-Impressionist painter of Russian origin, travelled extensively throughout Europe and from Moscow to France.

He loves Paris very much, which he paints a lot. He began to paint everyday life in Paris at that time,

the squares and boulevards, such as the ‘Boulevard de l’Opéra’ and ‘Les Champs Elysées’.

His work is very architecturally precise and he also paints many characters living and working in the city.

Several paintings by Léon Zeytline are preserved in the Carnavalet museums in Paris, Hamburg and Mulhouse.

The painting and the carved and lacquered wooden frame, called Montparnasse, have been restored.

This oil painting on wood has an original carved wooden frame from the early 20th century, coeval with the work.

Cote d’Azur | Bisgart Collection | Art Deco | Post-Impressionism | Mediterranean Sea 

***
Table size: 65 x 50 cm
Size with frame:  79 x 67 cm
Depth: 5 cm
Weight: 3.5 kg

  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