1950s Drawings and Watercolor Paintings

Portrait of De Chirico is a Pen Drawing realized by Mino Maccari (1924-1989) in 1955. Hand-signed on the lower margin. Good condition on a little paper. Mino Maccari (Siena, 1924...

"If You're Going to Use My Minnows for Your Fishing, Nothing but the Biggest!" is an original watercolor by Chiang Er-Shih. The artist signed the piece lower right "To John Siedel Yo...

Art Sz: 18 1/2"H x 23 5/8"W Alexander Warren Montel (1921-2002) *w/ diagonal corner fold to lower left*

Art Sz: 14 1/2"H x 22 7/8"W

Art Sz: 14"H x 11 3/4"W

The Couple is a Watercolor Drawing realized by Mino Maccari (1924-1989) in 1958. Hand-signed on the lower. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an ...

Art Sz: 11 3/4"H x 17" w/ fabric swatches stapled

Myriam Bat-Yosef Surrealist abstract painting in colorful abstract shapes and shades in the style of Joan Miro Hand signed and dated Tel Aviv, 1957. frame measures 10 X 5.5 sheet measures 2.5 X 7 inches The envelope of the Peter Buch poster is just for provenance and is not included in this sale. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31 , 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Myriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol, Toyen, Alice Rahon...

Art Sz: 10 1/2" x 17"

Two Women by George Tooker is a psychologically engaging portrait of contrasts. An untidy, older, overweight woman is seen slumped in a chair, asleep and lost in a dream. Her head ti...

Caged Bird is a pen Drawing realized by Mino Maccari (1924-1989) in the 1960s. Hand-signed on the lower. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an It...

Stamped verso for estate of Victor Di Gesu (American, 1914-1988) and painted circa 1955. A Post-Impressionist figural watercolor showing a young woman partially-clothed in evening w...

Stamped verso for estate of Victor Di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center an...

"Catching A Fish" is an original gouache and watercolor painting on illustration board. It is signed in the lower left by the artist Tom Rost. 25" x 20 5/8" art 30 5/8" x 24 3/4" framed with museum glass Tom Rost spent most of his life in Wisconsin, graduating from the Milwaukee State Teacher's College (now the University of Wisconsin-Milwaukee). He began his artistic career as an illustrator for the Civilian Conservation Corps, the Works Progress Administration, and the Treasury Department. Later, he began illustrating for the Milwaukee Journal and then left to work in New York with the Field...

Art Sz: 11 3/4"H x 17"W

Certification of authenticity stamped, verso, for Victor Di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los...

Faces with Black Hands is a Pencil Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower. Good condition. Mino Maccari (Siena, 1924-Rome, June 16, 1...

Dreamy Woman is a Pencil and watercolor Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower margin. Good conditions. Mino Maccari (Siena, 1924-Rom...

Art Sz: 11 3/4"H x 17"W

Puppy is a China ink Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an I...

Art Sz: 14"H x 9 1/4"W

Art Sz: 14 1/2"H x 23"W

Art Sz: 11 3/4"H x 17"W

Art Sz: 11 7/8"H x 17 1/2"W

Art Sz: 20 7/8"H x 14 5/8"W Alexander Warren Montel (1921-2002)

Art Sz: 23"H x 14 1/2"W

Tuscany on the Doorstep is a Pencil Drawing realized by Mino Maccari (1924-1989) in 1950s. Hand signed and titled on the lower margin. Good condition on a yellowed cardboard. Min...

Art Sz: 17"H x 11 3/4"W Alexander Warren Montel (1921-2002)

Art Sz: 15 1/4"H x 22 1/2"W Alexander Warren Montel (1921-2002)

Art Sz: 14 1/2"H x 20 3/4"W Alexander Warren Montel (1921-2002)

Art Sz: 11 3/4"H x 17"W

Art Sz: 10 3/4"H x 12 3/4"W

Art Sz: 13"H x 20"W

Art Sz: 17"H x 11 3/4"W Alexander Warren Montel (1921-2002)

Art Sz: 14 1/2"H x 23"W Alexander Warren Montel (1921-2002)

Art Sz: 14 5/8"H x 11 1/2"W

In this drawing, Sylvia Spicuzza presents the viewer with a scene of two young women relaxing on a dock in a lake. A dinghy floats beside them as other boats traverse the water. This drawing is reminiscent of the work done by her father Francesco, who is better known for landscapes in the Impressionist style. 12 x 9 inches, artwork 18.63 x 15.75 inches, frame Stamped with artist's signature, lower right Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff...

Ladies is a Pen Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower. Good condition. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an Italian...

Seductive Woman is a pen Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower margin. Good condition. Mino Maccari (Siena, 1924-Rome, June 16, 1989...

Otto Eglau (1917 Berlin - 1988 Kampen), Raft Landscape in Sweden, 1956. Watercolor and ink on paper, 45 x 60 cm, signed in his own hand lower right with "Eglau" and dated "[19]56". - somewhat darkened Exposé as PDF - Temporary structures - About the artwork A wide river landscape stretches out before us, its horizon line running across the upper part of the picture, creating the impression of enormous depth. The depth is further extended by the dark tree trunks, most of which spill into the picture, and at the same time rhythmized by their different positions. This sequence of movements gives the landscape a strong dynamic moment. Indeed, the landscape seems to be "fleeing" from beneath us. To keep the gaze on the foreground alone requires a real visual effort. By looking at the foreground, we have already arrived at the background. Therefore, we cannot speak of pictorial grounds in the classical sense. Rather, we are confronted with a structurally rhythmic continuum of space, the dynamics of which are further accelerated by the cut tree trunks in the foreground and the upright trunks in the background, which function as target marks. Since the narrow strip of sky has the same white tonality as the ice, this area also fits seamlessly into the spatial structure, so that a deserted "structural landscape" unfolds before us. The structure, however, is not - as in the case of Piet Mondrian - completely abstract and thus something that exists independently of itself, removed from the time of natural space. The structures that Otto Eglau discovered in nature remain bound to it, which is why they exhibit a temporality that corresponds to the 'course of things'. Even if they correspond to an architecture of nature brought to representation, the structures are not substantial, but contingent. Artistically uncovered, they present themselves to Eglau at the very moment he captures them. In nature itself, these structures will never be repeated in the same way. Panta rhei - everything flows, even if the flow of time is frozen by his artistic representation and the image, for all its dynamism, radiates calm at the same time. "The structures I put behind things, and the lines that hold my paintings, are signs of transient life. They are random like the trace a wave leaves in the sand, blurred like the border between sea and land, ephemeral like the life of a shell I hold in my hand." - Otto Eglau About the artist After his release from captivity in 1947, Otto Eglau studied at the Hochschule für Bildende Künste in Berlin. He was a student of Oskar Nerlinger, Max Kaus and Wolf Hoffmann. From 1953 he taught free drawing for architects at the Technical University of Berlin. In the years that followed, Eglau undertook numerous study trips that took him to Scandinavia, the Arab world, the Far East and even Macau. During these travels he cultivated the technique of watercolour, which allowed him to work quickly in the open air, while retaining a strong painterly quality. Scholarships enabled Eglau to stay in Japan from 1962 to 1963 and in Naples in 1970. From 1969 to 1976 Eglau was professor of etching at the International Summer Academy of Fine Arts in Salzburg. Between 1983 and 1988 Eglau worked simultaneously in his Berlin studio at Lietzensee, which had its own printing press, and in his studio in Kampen on the island of Sylt. Otto Eglau's work has been shown in more than 100 solo exhibitions worldwide and in more than 120 group exhibitions. "I love the vastness of the island. The mudflats off Kampen are my treasure trove; here I discover new shapes and colors every day. Without Sylt, I would be like a fish without water." - Otto Eglau Selected Bibliography Hanns Theodor Flemming: Otto Eglau. Das graphische Werk, Flensburg 1966. Heinrich Seemann (Einführung): Otto Eglau. Inselskizzen, Hamburg 1982. Heinrich Seemann (Einführung): Otto Eglau. Japan, Nepal, Sylt. Aquarelle. Zeichen und Strukturen. Einführung von Heinrich Seemann, Hamburg 1986. Otto Eglau: Watt-Tagebuch. Ausgewählte Aquarelle aus den Skizzenbüchern Otto Eglaus. Kampen 1996. GERMAN VERSION Otto Eglau (1917 Berlin – 1988 Kampen), Floßlandschaft in Schweden, 1956. Aquarell und Tusche auf Papier, 45 x 60 cm, unten rechts eigenhändig in Blei mit „Eglau“ signiert und mit „[19]56“ datiert. - etwas nachgedunkelt Exposé als PDF - Temporäre Strukturen - zum Werk Vor uns erstreckt sich eine weite Flusslandschaft, deren Horizontline im oberen Bereich des Bildes verläuft, wodurch der Eindruck einer enormen Tiefenerstreckung entsteht. Die Tiefe wird von den dunklen, zumeist ins Bild hineinfluchtenden Baumstämmen zusätzlich geweitet und – durch ihre verschiedenartigen Lagen – dabei zugleich rhythmisiert. Durch diese Bewegungsabfolge weist die Landschaft ein starkes dynamisches Moment auf. Und tatsächlich stellt sich der Eindruck ein, als ob die Landschaft unter uns ‚hinwegfluchten‘ würde. Den Blick einzig im Vordergrund zu halten, verlangt regelrecht eine visuelle Anstrengung. Auf den Vordergrund schauend sind wir bereits im Hintergrund angelangt. Daher kann gar nicht von Bildgründen im klassischen Sinne gesprochen werden. Vielmehr steht hier ein strukturell rhythmisiertes Raumkontinuum vor Augen, dessen Dynamik von den angeschnittenen Baumstämmen vorne und den als Zielmarken fungierenden aufgerichteten Stämmen hinten zusätzlich beschleunigt wird. Da der schmale Himmelstreifen dieselbe Weißtonalität wie die Wasserlandschaft aufweist, fügt sich auch dieser Bereich bruchlos in das Raumgefüge ein, so dass sich vor uns eine menschenleere ‚Strukturlandschaft‘ ausbreitet. Die Struktur ist aber nicht – wie dies bei Piet Mondrian der Fall ist – gänzlich abstrakt und dadurch etwas eigenständig für sich Bestehendes, das der Zeit des Naturraums enthoben ist. Die von Otto Eglau in der Natur entdecken Strukturen bleiben an diese zurückgebunden, weshalb sie eine dem ‚Lauf der Dinge‘ entsprechende Temporalität aufweisen. Auch wenn sie einer zur Darstellung gebrachten Architektur der Natur entsprechen, sind die Strukturen nichts Substanzielles, sondern kontingent. Künstlerisch aufgedeckt, bieten sie sich Eglau in eben jenem Moment dar, den er festhält. In der Natur selbst werden diese Strukturen niemals in derselben Art wiederkehren. Panta rhei – alles fließt, auch wenn sich der Fluss der Zeit durch seine künstlerische Darstellung verfestigt hat, wodurch das Bild – trotz aller Dynamik – zugleich auch Ruhe ausstrahlt. „Die Strukturen, die ich hinter die Dinge setze, und die Linien, die meine Bilder halten, sind Zeichen des vergänglichen Lebens. Sie sind zufällig wie die Spur, die eine Welle im Sand hinterlässt, unscharf wie die Grenze zwischen Meer und Land, vergänglich wie das Leben einer Muschel, die ich in der Hand halte.“ - Otto Eglau zum Künstler Nach seiner Entlassung aus der Kriegsgefangenschaft 1947 nahm Otto Eglau ein Studium an der Hochschule für Bildende Künste in Berlin auf. Dort war wer Schüler von Oskar Nerlinger, Max Kaus und Wolf Hoffmann. Ab 1953 unterrichtete er freies Zeichnen für Architekten an der Technischen Universität Berlin. In den Folgejahren unternahm Eglau zahlreiche Studienreisen, die ihn nach Skandinavien, in den arabischen Raum, nach Fernost und bis nach Macau führten. Auf diesen Fahrten kultivierte er die Technik des Aquarellierens, die eine zügige Bildschöpfung im Freiraum erlaubt und dennoch eine stark malerische Qualität aufweist. Stipendien ermöglichten es Eglau, sich von 1962 bis 1963 in Japan aufzuhalten und 1970 länger in Neapel zu verweilen. Von 1969 bis 1976 hatte Eglau die Professur für Radierung an der Internationalen Sommerakademie für Bildende Kunst in Salzburg inne. Zwischen 1983 und 1988 war Eglau parallel in seinem Berliner Atelier am...

Art Sz: 12 1/8"H x 9 1/2"W Alexander Warren Montel (1921-2002)

Art Sz: 12"H x 17 1/2"W Alexander Warren Montel (1921-2002)

Art Sz: 17"H x 11 3/4"W Alexander Warren Montel (1921-2002)

Art Sz: 13 3/4"H x 22 1/8"W Alexander Warren Montel (1921-2002)

Art Sz: 23"H x 14 1/4"W Alexander Warren Montel (1921-2002)

Art Sz: 23"H x 14 1/4"W Alexander Warren Montel (1921-2002)

Sheet Sz: 11 3/4"H x 17"W Alexander Warren Montel (1921-2002)

Victor Di Gesu (American, 1914-1988) Estate Stamp verso; drawn circa 1955. An elegant, figurative drawing showing a view of a young woman seated and gazing candidly towards the view...

Sheet Sz: 11 3/4"H x 17"W Alexander Warren Montel (1921-2002)

Art Sz: 14 1/2"H x 23"W Alexander Warren Montel (1921-2002)

Art Sz: 5"H x 13"W Sheet Sz: 16 5/8"H x 23 3/4"W Alexander Warren Montel (1921-2002)

Sheet Sz: 12"H x 18"W Alexander Warren Montel (1921-2002)

Art Sz: 14 1/2"H x 23"W Alexander Warren Montel (1921-2002)

Art Sz: 8"H x 13"W Green mat Sz: 14"H x 19"W Alexander Warren Montel (1921-2002)

Art Sz: 11 3/4"H x 17"W Alexander Warren Montel (1921-2002)

Art Sz: 10 1/4"H x 15"W Mat Sz: 14"H x 17 1/2"W Alexander Warren Montel (1921-2002)

Profiles is a China Ink Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower. Good condition. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an...

Figures is a China Ink Drawing realized by Mino Maccari (1924-1989) in the 1950s. Hand-signed on the lower. Good condition with slight folding. Mino Maccari (Siena, 1924-Rome, Ju...