Hans Voigt Steffensen

'Fauve Nude in Interior', Copenhagen, GothenberDanish Expressionist Oil

Circa 1985

Signed lower right, 'Myra Dorn' for Myra Dorn Eastman (American, born 1953) and dated 1994. A Large and dynamic Expressionist figural painting of a young woman, shown nude and seated on a chair in an interior beside a vase of red flowers Myra Dorn Eastman graduated from the University of California, Santa Cruz, in 1977 and from the San Francisco Art Institute...

Signed lower right, 'John T Stephens' (American, 20th century) and painted circa 1965; additionally inscribed, verso, with title, 'Leaving the Garden of Eden' and signed. Paper dime...

Stamped, verso, with the estate stamp for Victor Di Gesu (American, 1914-1988) and painted circa 1958. A substantial, Post-Impressionist style figural oil showing a young woman seat...

Signed lower right "Sears" (American, 20th century) and dated 1960. A substantial, Expressionist style figural oil showing a partially-draped woman seated at a dressing-table and br...

Signed lower right, 'Lightfoot' for Jon Lightfoot (Native American, 1939-2018) and dated 1986. Jon Lightfoot was born in Kansas City, Missouri to a Cher...

Signed lower right, 'Rob Leepin' for Robert Leepin (Danish, 1884-1967) and painted circa 1925. Robert Leepin first studied under Lauritz Tuxen and Viggo Johansen at Denmark's Royal ...

Expressionist female nude portrait by noted Scottish artist Douglas Thomson. The painting is signed bottom left and signed and titled to the back of the canvas. There is an original exhibition title and price label to the frame. Presented in original plain wood frame. A colourful and striking portrait of a female nude. Her rich red hair falling over her shoulders, her pose calm as she stares out from the canvas in a wistful way, her mouth set. Thomson has created flesh tones, wonderful contrast of colours between the sitter and the background curtain and wall and a texture to the canvas to create added interest. A really interesting and engaging portrait. Douglas Thomson was born in Greenock in 1955 and after studying at the Glasgow School of Art 1974...

Artist: Jan De Ruth, Czech (1922 - 1991) Title: Crossed Arms (Portrait of a Blonde) Year: circa 1964 Medium: Oil on Canvas Size: 35 in. x 25 in. (88.9 cm x 63.5 cm) Frame Size: 44 x ...

Oil on canvas, signed and dated 'EN [19]63' lower right, titled and dated to stretcher, numbered 33 and with paper label 34 to stretcher, From the family of the artist by direct des...

Shana’s portraits adorned two covers of Time Magazine. Shana’s work is about the face and eyes. Young face, old face, black or white. Her subjects are confused, lonely, ragged and ...

Agata Czeremuszkin-Chrut was born in 1983 in Czestochowa, Poland. She graduated from the Academy of the Fine Arts in Wroclaw (2008) with the Master degree in Painting. In 2007 she st...

Hubert Malfait Astene 1898 – 1971 Sint-Martens-Latem Belgian Painter 'Sitting Nude' Signature: Signed top left Medium: Oil on canvas Dimensions: Image size 90 x 60 cm, frame size 114 x 84 cm Biography: Malfait Hubert was a Belgian painter who belonged to the third Latem School. He was born in 1898 in Astene, Belgium, as the son of the local municipal secretary Jules Malfait. Growing up amidst influential figures like Emile Claus, Valerius De Saedeleer, and Albijn Van den Abeele, who were friends of his father, Malfait developed an early affinity for art. During the war years, he studied at the Gent Academy of Fine Arts alongside Jules De Sutter. A pivotal moment in Malfait's career occurred in 1924 during the exhibition "Laethemsche Kunstenaarskolonie," where he met critics André De Ridder, Paul-Gustave van Hecke, and Georges Marlier. This led him to become an integral part of the avant-garde expressionist group around Gustave De Smet, Frits Van den Berghe, and Constant Permeke. Progressive Brussels galleries strongly supported him, considering him the flagbearer of a new generation of expressionists. Despite economic challenges and the bankruptcy of Le Centaure, Malfait's primary supporter, in 1932, he continued to shape the Brussels art scene. Emmanuel de Bom defended him, asserting the vitality of expressionism. Malfait reemerged in 1934 with an exhibition at Galerie Louis Manteau. In the 1930s, Malfait was a prominent figure in the Gent art scene, showcasing his works at venues like Ars and later at Galerie Vyncke-van Eyck. The economic crisis and Le Centaure's bankruptcy affected Malfait, but he resurged in 1934 with an exhibition at Galerie Louis Manteau. The war years marked a shift in Malfait's exhibitions, with major solo shows occurring in 1944. He exhibited paintings in Galerie Brueghel and drawings in Galerie Apollo. The Museum voor Schone Kunsten in Oostende organized an extensive retrospective just before his death in 1971. Malfait's artistic evolution saw him transition from impressionism to expressionism, influenced by Eugène Laermans and Jakob Smits...