Rare large Painting from Beltran Bofill located

Joan Beltran Bofill (Spanish, 1939-2009)

“Roses & Figures”

Original oil on canvas

Ref #05526

Dims: 51” x 35” (Unframed dimensions).

Like-new condition with no obvious flaws. Provenance: Directly from Wally Findlay Gallery (New York). Original certification of authenticity and appraisal from Wally Findlay Galleries (03 January, 1988). PRICE on request to reed@robinrile.com

 

Salvador DALI (1904-1989) Malebranche Fish (1973)

Salvador DALI (1904-1989)

Malebranche Fish (1973)

Golden green-yellow glass paste from DAUM Glassworks of Nancy, France

Hgt: 41cm

Edition of 150

Literature: Robert & Nicolas Descharnes, Catalogue Raisonne “Le Dur et Le Mou”, pg. 132, Ref #332

PRICE: $12,500

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

Salvador Dali “The Golden Loves” Portfolio

Salvador Dali (1904-1989)

Les Amours Jaunes, The Golden Loves – 1974

10 etchings with gold flakes complete with a portfolio case. The sheets have full margins, loose as issued with an image size of 11 1/2 x 8 1/2 in. and a sheet size of 15 1/2 x 11 1/2 in. This is one of 200 copies on japon. Each of the etchings is signed and numbered CLXIV/CC.  The suite has never been framed and is in fine condition with minimal wear on portfolio binding and on graphics themselves.

PRICE: $18,500.

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

 


CANDY Art by Peter Anton

Peter Anton (American, b. 1963)

Grand Assortment

48” x 48” x 10” (121cm x 121cm x 25.4cm)

Unique Mixed Media Construction

PRICE: upon request

 

Peter Anton’s work has been featured in solo exhibitions in the United States and abroad, including the Allan Stone Gallery in New York City; UrbanArt in Seoul; Galerie Terminus in Munich; the Henri Gallery in Washington, DC; Galerie Adler Bertin-Toublanc in Miami; Galerie Ralph Schriever in Cologne, Germany; and the Hammer Galleries and the Bruce R. Lewin Gallery in New York City.

Mr. Anton has participated in group exhibitions in museums and galleries including the Museum Villa Rot in Burgrieden-Rot, Germany; Austin Museum of Art in Texas; the Hudson River Museum in Yonkers, New York; the Fresno Metropolitan Art Museum; the Nicolaysen Art Museum in Casper, Wyoming; the Aldrich Contemporary Art Museum in Ridgefield, Connecticut; the Castellani Art Museum in Niagara, New York; the Allan Stone Gallery in New York City; the Elaine Baker Gallery in Boca Raton, Florida; the COPIA Museum in Napa Valley, California; and the Keszler Gallery in New York City.

His work has been extensively exhibited at numerous art fairs in the United States, Europe and Asia.

Peter Anton’s work is widely collected and is featured in several prestigious private, corporate, and museum collections including the Kemper Museum of Contemporary Art; the CEO of Sony, Sir Howard Stringer; Keith Richards of the Rolling Stones; the Jordanian Royal Family; architect Lord Norman Foster; Oppenheim Bank; The Blackstone Resort Hotel in Korea; Breitling Watches; Raymond James Financial; candy maker giant Perfetti Van Melle; the Portland Museum of Art; The Dennis Hopper Collection; and Susanne & Wolfgang Porsche.


Rare Joan MIRO graphics available

 

Joan Miro (Spain, 1893-1983)

“l’Egyptienne” (D. 970-1977)

Etching, Aquatint And Cut Out Shapes

Paper Size : 48 x 33 in (122 x 84 cm)

Framed Size : 64 x 44 in (163 x 112 cm)

Edition # : HC X / XII

Hand Signed : Pencil Signed Lower Right

Framed with Plexiglass : Black Wood With Bezel 2 1/2 Inches Wide

Purchased from : Dealer in 2004

Provenance : D. 970 in Book 4 of Miro Gravures

Certificate of Authenticity: Walker Fine Art

SOLD

Joan Miro (Spain, 1893-1983)

The Rustics (M. 589) 1969

Lithograph printed on red and white checked cloth backed on Mandeure-Chiffon paper, the full sheet printed to the edges

117.5 x 76.2 cm (46.26 x 30 in)

Signed in pencil, numbered 19/75
Published by Maeght, Paris

PRICE ON REQUEST

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

Hyperrealist Paintings by Estremadoyro

Estremadoyro (Peru, b. 1955)

The Liberation

Oil on panel, 52.5″ x 42.3″ (unframed dimensions)


Estremadoyro (Peruvian, b. 1955)

Narcissus’ Awakening

Oil on canvas, 16” x 20”

(unframed)

(Shown at Peruvian Consulate, Washington DC, July 2009)

The Painter and the Model.

The Painter and the Model is a project I started to imagine when I lived in Paris. The idea was to create a series, using as a model a girl of Indian origin from Peru; of a different generation, of a social and cultural class opposite to mine, and having the conditions not only physical but mental and spiritual above all, to fulfil this work with me.
I would not have preconceived ideas for the paintings: it would be the paintings and the drawings that should tell the story of this encounter.

The paintings represent the day, the aware and bright side: they would be responsible for telling the ‘official history’. The drawings represent the night, the secret and dark side of this tale: they would be responsible for telling the ‘other story’. But as in life -where there are some days that feels like nights, and some nights that feels like days, it would also be some drawings that will seem like paintings; and even some paintings, that will seem like drawings…
This project is now a work in progress. The whole idea of the series is finished and my work with the girl too. This is a suite of paintings and drawings, which are currently at different stages of completion.

Narcissus Awakening.

The first painting in this series is Narcissus Awakening.
This painting is an allegory; and talks about a moment of grace: the girl that would become my model sees its own image ‘appear’ in the puddle of water. Because this is not a reflection but an apparition, what she sees on the surface of the water. This is not a natural fact, as it would be a reflection, but as the art, this is the result of the whim and will of man. Because this pool and this water represents art: the girl sees her image appearing in my own artwork and, like Narcissus, falls in love. Then she decides to be a model. That’s the reason why this is the first painting of the series. Thus begins this story.
The looming figure, above left, is a Bouguereau’s Cupid. And he comes in the name of the art of painting, for sticking an arrow to the model. But if the Cupid is of this painter, this is not a simple coincidence: our young Indian girl, that didn’t knew nothing of painting or painters, with genuine enthusiasm reviewed all my books and files of paintings. At the end she concluded that the painter of painters was none other than that great French Master… So if she was the model, the Cupid could not be of another painter than William Bouguereau…

Estremadoyro (Peru, b. 1955)

The One (She was)

2006

Pencil on paper, 18.25″ x 22.3″

Estremadoyro (Peru, b. 1955)

Second Sight

2007

Colored Pencil on paper, 18.25″ x 22.3″

 

 

18/LE MONDE/FRIDAY, JANUARY 3, 1997 “An extraordinary Peruvian painter.”

In a very formal exhibit, a not so formal painting.

ESTREMADOYRO has lived several years in France. This Peruvian artist of extremely unusual paintings continues, however, not being very well known in our country. Within the setting of the barely-accustomed-to-scandals International Diplomatic Academy (Académie diplomatique internationale), who organizes an exhibition to celebrate its 70th anniversary, he has on display a remarkable work, only one, but it is out of the ordinary and fiercely up to date. Its name is The Eve (La Víspera), and it is nothing less than a depiction of our times, saturated with horrors, and of our memory, saturated with references. There is immense ambition: To restore the great classic peinture d’histoire, and to delve deeply into the theme. To achieve this, Estremadoyro uses simultaneously the realistic pictorial style of effective illusionistic techniques, and pseudo-collages
1 that let him insert fragments of illustrious works: Leonardo, Vermeer, Velázquez. This is how the mental confusion is suggested, the spiritual disorder, and a sort of observant hallucination that captivates you. There are abundant symbols of suffering and oppression, as well as many allusions to contemporary history.
-
TRANSLATION OF AN ARTICLE IN THE DAILY LE MONDE BY ART CRITIC PHILIPPE DAGEN, PUBLISHED BY SAID NEWSPAPER ON JANUARY 3, 1997.


I am a Peruvian painter who for almost thirty years has pursued the same struggle. About 1975, when I was some twenty years old, I understood that modern art was finished and that it was essential to return to the great tradition of the Painting of the Old Masters. But it was one thing to think it, and very much something else to do it: Who could teach me?… No one, apparently. That was the beginning of many years of solitary and misunderstood effort to master the craft. After many failures with oil paint, I decided to concentrate on drawing. From those years are works such as these:

In the decade of the nineties I went to France, invited as a Professor at the École Nationale des Beaux-Arts in Paris, by recommendation of Professor Henry Cueco. Obviously I felt very excited by this invitation. No Peruvian painter had ever had the honour of being a Professor at the school of Ingres and Bouguereau

When I was introduced to the students, they were told that I was a painter who mastered the techniques of Painting that they (the French) had forgotten; hence the reason for my presence at the School. Let me be completely honest, Mr. Ross. Inside me I was saying: “How sad things are! … If we were in the time of Ingres I would be coming here to learn, not to teach”. And with all sincerity I tell you that I would have preferred a thousand times to learn from one of those great masters than to be invited as a Professor. But I can also say that at that point I did not know just how bad everything was. You do know! You say so clearly in your articles and on many other occasions. Teaching art has become a fraud and a deception and, certainly, l’École des Beaux-Arts is no exception. On the contrary. Soon I would come to feel that the School was the saddest place in Paris.

When I wanted to start teaching Painting, they immediately talked me out of it: “This is a school for Artists,” – they advised, “but if you want to teach a scholarly craft, then … allez-y!” Conversely, the students that were interested in learning, were also under intense pressure: “What will they think of us if they see us painting still lifes!” they told me… At the School of Fine Arts it was simply shameful to learn or to teach Painting!

This experience in Paris persuaded me to paint a very large picture of 200 x 300 cm, which I called The Eve on which I worked during four years in a small 4 x 3 m studio in the banlieue of Paris. This painting reflects the anguish I felt as a painter facing the state of affairs of the arts and the society, on the eve of the new century. I was painting the day before, unaware of what tomorrow would be like, although I was sustained by the hope that during the 21st Century, great changes would be forthcoming. The insanity of the 20th Century could not last forever …

Mr. Philippe Dagen, art critic of the daily newspaper Le Monde, and France’s most important art critic at that time, was one of the few who provided me support during that period. Follows a reproduction of the article he published in Le Monde, and its translation into English:

18/LE MONDE/FRIDAY, JANUARY 3, 1997

An extraordinary Peruvian painter.

In a very formal exhibit, a not so formal painting.

 

LUIS JOSE ESTREMADOYRO has lived several years in France. This Peruvian artist of extremely unusual paintings continues, however, not being very well known in our country. Within the setting of the barely-accustomed-to-scandals International Diplomatic Academy (Académie diplomatique internationale), who organizes an exhibition to celebrate its 70th anniversary, he has on display a remarkable work, only one, but it is out of the ordinary and fiercely up to date. Its name is The Eve (La Víspera), and it is nothing less than a depiction of our times, saturated with horrors, and of our memory, saturated with references. There is immense ambition: To restore the great classic peinture d’histoire, and to delve deeply into the theme. To achieve this, Estremadoyro uses simultaneously the realistic pictorial style of effective illusionistic techniques, and pseudo-collages1 that let him insert fragments of illustrious works: Leonardo, Vermeer, Velázquez. This is how the mental confusion is suggested, the spiritual disorder, and a sort of observant hallucination that captivates you. There are abundant symbols of suffering and oppression, as well as many allusions to contemporary history.

TRANSLATION OF AN ARTICLE IN THE DAILY LE MONDE BY ART CRITIC PHILIPPE DAGEN, PUBLISHED BY SAID NEWSPAPER ON JANUARY 3, 1997.

Through all that was said above, you can easily visualize the wonderful surprise and intense emotion I felt upon discovering the ARC page and the endeavors you are undertaking. I have written these lines to congratulate you heartily, and to share with you my own experience and my solitary combat for a cause that is common to both of us.

So, I am left with the feeling that finally, and after all, my struggle for the revival of the Arts and Painting is no longer quite as lonely. I now hold more and more hopes that the beginning new century will bring a true transformation on this regard. And that this will be achieved despite the great thunderclouds and anxiety under which this new era is getting started.

I am at your disposal for any project that might contribute toward the achievement of this objective, and I shall look forward with pleasure to your kind response.

Yours very truly,

LJE

 

 

 

 

Estremadoyro (Peruvian, b. 1955)

Narcissus’ Awakening

Oil on canvas, 16” x 20”

(unframed)

$12,500.

(Shown at Peruvian Consulate, Washington DC, July 2009)

The Painter and the Model.

The Painter and the Model is a project I started to imagine when I lived in Paris. The idea was to create a series, using as a model a girl of Indian origin from Peru; of a different generation, of a social and cultural class opposite to mine, and having the conditions not only physical but mental and spiritual above all, to fulfil this work with me.
I would not have preconceived ideas for the paintings: it would be the paintings and the drawings that should tell the story of this encounter.

The paintings represent the day, the aware and bright side: they would be responsible for telling the ‘official history’. The drawings represent the night, the secret and dark side of this tale: they would be responsible for telling the ‘other story’. But as in life -where there are some days that feels like nights, and some nights that feels like days, it would also be some drawings that will seem like paintings; and even some paintings, that will seem like drawings…
This project is now a work in progress. The whole idea of the series is finished and my work with the girl too. This is a suite of paintings and drawings, which are currently at different stages of completion.

Narcissus Awakening.

The first painting in this series is Narcissus Awakening.
This painting is an allegory; and talks about a moment of grace: the girl that would become my model sees its own image ‘appear’ in the puddle of water. Because this is not a reflection but an apparition, what she sees on the surface of the water. This is not a natural fact, as it would be a reflection, but as the art, this is the result of the whim and will of man. Because this pool and this water represents art: the girl sees her image appearing in my own artwork and, like Narcissus, falls in love. Then she decides to be a model. That’s the reason why this is the first painting of the series. Thus begins this story.
The looming figure, above left, is a Bouguereau’s Cupid. And he comes in the name of the art of painting, for sticking an arrow to the model. But if the Cupid is of this painter, this is not a simple coincidence: our young Indian girl, that didn’t knew nothing of painting or painters, with genuine enthusiasm reviewed all my books and files of paintings. At the end she concluded that the painter of painters was none other than that great French Master… So if she was the model, the Cupid could not be of another painter than William Bouguereau…

The Painter and the Model is a true story, which takes place in thirteen paintings and eleven drawings. Soon I’ll begin to publish the first drawings of this series.

Classic Walter Girotto painting located “Cupid’s Temptation”

Walter Girotto (Italian, b. 1953)

“Cupid’s Temptation” (Ref #9710)

original oil and oil pastel crayon on wood,

Dimensions Unframed: 19” x 31”

Dimensions Framed: 27” x 39” (as shown)

Like-new condition with no obvious flaws.

Provenance: Purchased from Collection Privee Gallery directly from Artist (1998).

Stamped and sealed by the artist (Verso- with thumbprint- #G-372)

PRICE: $9,500. USD

(Priced for rapid sale)

Richard MacDonald Bronzes Located

Richard MacDonald “Dance the Dream” (quarter-life-scale) Dims: 23” x 13.5” x 13” bronze edition number #92/175..  Like-new condition with no obvious flaws. Original certification of authenticity from the publisher Richard MacDonald Studios.

Richard MacDonald “The Gymnast: Flair Across America” (third-life-scale) Dims: 34.75” x 13” x 29” bronze edition number #60/150. Like-new condition with no obvious flaws. Original certification of authenticity from the publisher Richard MacDonald Studios.

Richard MacDonald “Penche Monet” (from Royal Ballet Suite) Dims: 39” x 20” x 9” bronze edition of 55. Like-new condition with no obvious flaws. Original certification of authenticity from the publisher Richard MacDonald Studios.

CONTACT: Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

Salvador Dali & Daum Glassworks Collaborative Sculptures

Since 1878 Daum have been crafting world-renowned beauty in lead crystal using rare and ancient techniques. In 1906 Daum revived pâte de verre (glass paste), an ancient Egyptian method of glass casting, developing the method so that by the 1930s Daum’s window panels used pâte de verre for richness instead of leaded or painted glass. Pate de verre involves making a paste of glass that is applied to the surface of the mold, then fired. The big advantage to pate de verre is that it allows for precise placement of particular glass colors in the mold. Other ways of filling the mold often result in some shifting of glass from where it has been placed prior to firing, but the pate de verre process helps to control this shifting. Today Daum still uses this method to produce their exquisite creations.

 

“Dali’s contribution to the art of glassmaking is dominated by his collaboration with DAUM, which began in the middle of the 1960’s and lasted close to 20 years. From the outset, this collaboration was the fruit of Dali’s excellent personal relations with Jacques Daum, whose great aesthetic merit consisted in accepting without comment Dali’s wildest project models confided to him by the painter during his visits to Cadaques. Like that plastic bottle of oil found by Dali in 1968 stuck between two rocks during one of his hikes through the Cap de Creus: he gave it to Jacques Daum as it was, soiled by tar, and said “You will see, it is very beautiful. It is only necessary to add the snail”, and to choose as its title “L’important c’est la rose” (What is important is the rose). At the beginning of the 80’s it was “Venus de Milo hysterique”. This time Dali didn’t spare the archetypical Greek. Starting with an idea from one of his drawings from the 30s, Femme aux Tiroirs” (Woman with Drawers), he bent the Venus de Milo backwards, as if being ferociously pulled by the hair. The model was in a lamentable rubber, filthy and out of shape and cracked by dryness. Anybody would have thrown it in the garbage without hesitation. Sublimated to the transparency of glass, today these models by Daum are essential objects of surrealism whose incontestable beauty is recognized by all.”

~ – Robert & Nicolas Descharnes, “Le Dur et le Mou” (Catalogue Raisonne of Dali sculpture), Pg. 129.

 

Salvador DALI (1904-1989)
Debris of an Automobile Giving Birth to a Blind Horse Biting a Telephone (1988)
Green glass paste and bronze from DAUM Glassworks of Nancy, France
Hgt: 44.5cm
Edition of 850
Literature: Robert & Nicolas Descharnes, Catalogue Raisonne “Le Dur et Le Mou”, pg. 134, Ref #342

PRICE: on request

 

Salvador DALI (1904-1989)
Antediluvian Phonograph (1980)
Mauve and White glass paste from DAUM Glassworks of Nancy, France
Hgt: 37cm
Edition of 300
Literature: Robert & Nicolas Descharnes, Catalogue Raisonne “Le Dur et Le Mou”, pg. 135, Ref #347

PRICE: on request

 

Salvador DALI (1904-1989)
Fleur du Mal (Fleur of Evil- 1968)
Blue glass paste from DAUM Glassworks of Nancy, France (also violet of yellow-green)
Hgt: 37cm

Edition of 150
Literature: Robert & Nicolas Descharnes, Catalogue Raisonne “Le Dur et Le Mou”, pg. 130, Ref #326

PRICE: on request

 

Salvador DALI (1904-1989)
Malebranche Fish (1973)
Golden green-yellow glass paste from DAUM Glassworks of Nancy, France
Hgt: 41cm
Edition of 150
Literature: Robert & Nicolas Descharnes, Catalogue Raisonne “Le Dur et Le Mou”, pg. 132, Ref #332

PRICE: on request

Salvador DALI (1904-1989)
Venus de Milo with Drawers (1988)
Pale blue glass paste from DAUM Glassworks of Nancy, France
Hgt: 43cm
Edition of 850
Literature: Robert & Nicolas Descharnes, Catalogue Raisonne “Le Dur et Le Mou”, pg. 134, Ref #339

PRICE: on request

 

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/reedhorth
Facebook: www.facebook.com/robinrile

Richard MacDonald “Reclining Nude” female bronze

Richard MacDonald (American, b. 1946)

“Reclining Nude” (1997)

bronze edition, #43/150,

Dims: 24” x 12” x  8.5”.

Provenance: Purchased from Collection Privee, Hyde Park Tampa (2002).

Like-new condition with original certification of authenticity from the Richard MacDonald Studios.

PRICE: SOLD

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/reedhorth
Facebook: www.facebook.com/robinrile