Auction of Fine Art on January 17, 2023
Affordable Paintings and Prints Spanning the 19th Century to the Present Day
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NEW YORK, NY -- Doyle's Fine Art sale on Tuesday, January 17 showcased a wide range of affordable paintings and prints spanning the 19th century to the present day by established and emerging artists. Featured in the auction was a group of paintings celebrating the genre of the still life.
Roman artist Luciano Ventrone has long been championed for his hyper-realist nudes and still lifes, which focus on light and color. With Vincere il Tempo, Ventrone depicts an immaculate arrangement of fruits in a basket, balanced against a monochromatic background. Lot 40
Along with Roland Outdot, Jules Cavailles and others, Maurice Brianchon was a key member of the Painters of Poetic Reality, a loose group of French painters who began their group in 1935. Though Brianchon was a major figure in Paris and throughout Europe, he would not receive his first US exhibition until 1959. The neo-classical still life Roses Jaune shows Brianchon’s debt to Edouard Vuillard, with its Modernist handling and deft composition. Lot 50
Artist, jewelry maker, frame builder and professor Robert Kulicke was a beloved teacher and highly sought-after framer who devised some of the most durable and attractive frames of the 20th Century. As a painter, Kulicke gravitated towards classic, diminutive still lifes, delightfully incongruous with the Postwar art simultaneously being created by his peers. Using oil paint on a small board, Kulicke’s Zinnias in a Glass is a prime example of the artist’s delicate depiction of an earthy background with a loose and bright arrangement of flowers in its foreground. Lot 60
Hungarian illustrator, artist and textile designer Ilonka Karasz emigrated to New York in 1917, where she would split her time between teaching at the Modern Art School and making textile designs for the Dupont-Rayon Company as well as for airlines and furniture manufacturers. By 1973, Karasz would have produced 186 cover illustrations for the New Yorker. Seemingly sharing elements of both textile design as well as illustration, The Bridge shows Karasz’ deep debt to the Weiner Werkstatte, as well as her uniquely bold use of color. Lot 34
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