Original Spoon & Stainless Steel Creations from Serbian master BOBAN

Boban

“PowerfulPlay”

Original Stainless Steel Spoon Creation

One-of-a-kind

Dimensions: 32” x 22” x 16”

SOLD

 

ALSO AVAILABLE:

 

Boban

“Centaurus”

Original Stainless Steel Spoon Creation

One-of-a-kind

36″h x 20″w x 13″d

May your arrow’s flight be swift and true, oh man-beast of legend myth, for
the survival of the Centaurs depends upon your skill and the swiftness of your hooves

SOLD

Boban

“St. George and the Dragon”

Original Stainless Steel Spoon Creation

One-of-a-kind

SOLD

 

Boban

“Violin & Romance”

Original Stainless Steel Spoon Creation

One-of-a-kind

Dimensions: 24” x 18” x 10”

SOLD

BOBAN ILIC (Serbian, b. 1964)

Exhibitions –
-Various galleries in Europe (1986 – 1990).
-Toyamura International Sculpture Biennale 2001, Japan
-Makati shangrila –Grand art Gallery –Philippines , May 7, 2002
-International Artexpo New York 2002-2003.
- Lincoln Park art initiative – Chicago -2003
- Premiere Gallery & Alexandros Foundation- June 20th -2003
-MG Gallery 676 N Dearborn-Chicago- Permanent displays
- 100 + one man show’s in the period 1985-2004
Awards –
-First place for sculpture design at North Shore Art League 1992,Chicago IL
-Award of excellency Port Clinton Art Festival 1998 (Best Art Work of the show)
-F Price (Best of the Show) Toyamura International Sculpture Biennale 2001
Sapporo, Japan
- Annual Sculpture Exibit “Linkoln Park Art Initiative 2003” First place.
Special Projects –
-Monument of Shaka Zulu figure for Oak Park Community displayed outside at the City of Chicago.
-Sculpture of Pegasus displayed outside on Montigo Bay, Jamaica.
-Complete Interior Design and Art at Palette’s Gallery, downtown Chicago.
-Sculpture commissioned by McDonalds Corporation displayed with McDonalds art collection.
-Sculptures for Mobile Oil Corporation displayed out side of headquarters, Texas.

Media Exposure
“Wild Chicago” on WTTW Ch 11, Chicago video show.
“What’s Working” program about Boban’s art on WTTW Ch 11.
“Good Morning America” on national television.
“ Starting Over” N.B.C. on national TV

To order or obtain further information,

please email

or call (813) 340-9629

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Monumental Bronzes from American Master Frederick E. Hart (1943-1999)

Daughters of Odessa Ensemble (Three-Quarter Life Size) (1997). 32w x 34d x 47.5h. Bronze edition of 8 plus 4 proofs. Dimensions: 47.5” x 32” x 34”

“Daughters of Odessa” is Hart’s allegorical tribute to the four daughters of Czar Nicolas, martyred during the Bolshevik Revolution in 1917. He felt that the four daughters personified all that is beautiful and innocent in the world, which has been much forgotten by the end of the 20th Century. This was his call to remember, “The ability to have FAITH, sustain HOPE, feel the transforming power of BEAUTY and to revel in the INNOCENCE around us.” (-Frederick Hart). Faith, Hope, Innocence and Beauty… The four Daughters of Odessa.

Literature: Frederick Hart Changing Tides, by Michael Novak, pg. 53-68. [illustration of another cast]

Adam (Full Scale) (2001) Bronze edition of 8 plus 4 proofs. Dimensions: 81” x 24” x 22”.

 

Saint Peter (Full Scale) (2003) Bronze edition of 8 plus 4 proofs. Dimensions: 70” x 25” x 20”.

Celebration (1991) Bronze, Edition of 8 plus 4 proofs, Dimensions: 83” x 30” x 30” Life-size bronze, edition of 8 plus 4 proofs.

Chanson (1994) Bronze, Edition of 8 plus 4 proofs, Dimensions: 65” x 39.5” x 25”.

The Herald (1992) Bronze, Edition of 6, Dimensions: 50” x 27.5” x 67.5”.

To order or obtain further information,

please email

or call (813) 340-9629

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Spanish Impressionist Master Beltran Bofill

Joan Beltrán Bofill (Spanish, 1939-2009) “Imagen Mediterranea” (51.187” x 38.187”- 130cm x 97cm) Price on request

Text from: http://robinrile.com/blog

Worth Avenue to Mallorca: Beltran Bofill paints life of sun and light

Back in the early 2000′s, I began working on the design and curation of a new gallery on Worth Avenue in beautiful Palm Beach, Florida. It was the third in the gallery chain I was working with at the time and it was quite beautiful, within eyesight of the Atlantic Ocean and across from the historic Esplanade, where the likes of Louis Vuitton, Hermes and Saks Fifth Avenue all kept residence. As I was working there throughout the week and commuting to either Tampa or Miami on the weekends. While waiting for inventory, I spent my hours watching surfers effortlessly undulate in the rolling waves of the Atlantic Ocean. Waves would roll in and roll out as I read Umberto Eco novels and stared at the play of light on the water. Strolls down Worth Avenue are beautiful, hot and not for the weak-of-credit. On one particular trek from our gallery to the fashionable bistro Bice, I stopped into the lovely and venerable Wally Findlay Gallery. WFG was established in 1870, so they are what we were,  at the time, aspiring to be. The gallery of choice for the well-heeled and upwardly-mobile. They have featured everyone from Edgar Degas to Marc Chagall to Alexander Calder and everyone in between. On this particular day, they had a lovely painting in the front window by a Spanish painter named Joan Beltrán Bofill (Spanish, 1939-2009).

Joan Beltrán Bofill (Spanish, 1939-2009) Perisatisa (1987) Oil on canvas (39 3/8" x 28 3/4" - 100cm x 73cm) Price on request

At that point, I was quite unfamiliar with the artist, but his style was a fresh take on the classical impressionist ethos. While not impressionist per se, the free brushstrokes and impasto painting techniques echoed masters of the past without miming them precisely. Young maidens in flowing skirts and shawls stand in rocky Majorcan landscapes while intemperate winds and natural sunlight wash over them. Rather than being frenetic in the face of such tempest, his works promoted surprisingly calm reflection. Light seems to emanate from the canvas itself as though washed through trees overhead. They seemed a salve to the everyday cacophony of city living and well suited for the homes and interior design of Palm Beach and South Florida homes.

His vision and his work, although they had always been in my mind had never been part of my professional repertoire. The inventories in my former galleries revolved around other neo-impressionist masters, Jose Royo, Nicola Simbari, Pino Daeni and others. However, he always seemed to start it all for me.

More than a decade later, and more than a year after Bofill’s passing, my travels brought me to both Spain and Mallorca, Bofill’s homeland. Though we never met, the sun is exactly as he described it in his paintings. It sifts through the tree tops and fills the day with calming warmth. The whites are whiter. Just as he told me. The yellows, reds and blues are brighter and deeper. Just as he described. The wind on the hills and rocky outcrops of Majorcan beaches effects the same rejuvenation and calm as he conveyed in work after work. As I sat in the Mediterranean sun reflecting, Bofill made sense to me.

 

Joan Beltrán Bofill (Spanish, 1939-2009) La Barca (1987) Oil on canvas (72cm x 98cm) SOLD

 

Wandering past a small antiquario in Central Madrid, I noticed a familiar vision. One whom I had not seen in a decade, but one whom had occupied my thoughts through the previous weeks. It was a Bofill. The women he delicately placed in the background hovered in the pure whiteness of their dresses in the placid Mallorcan sun and it passed through the trees overhead. The winds were calm but you could almost sense the verdant lavender and olive oil in the air. It brought me back to my days in Palm Beach staring admiringly at works on Worth Avenue…. as well as the previous days staring at the rocky beaches of the Mediterranean shores of Malllorca. My wife and I stepped inside and spoke to the shop owner who then made arrangements for us to see several other Bofill works from the estate of the artist. We snatched them up on the spot.

The author and wife in Mallorca exploring the waters of the Mediterranean.

Now, we stare at the placid landscapes and flowing, sunlit dresses and a calm comes over us. While remembrances abound of my early days on sunny Palm Beach, new memories have taken over from the beaches of Mallorca. Bofill has perfectly encapsulated what it means to be on in the sun of Eastern Spain. The brightness. The warmth. The wind. The feeling. Perhaps this is what painting is supposed to do. Take you to someplace…. other. Perhaps seeking these sights is why I came here in the first place.

Joan Beltrán Bofill (Spanish, 1939-2009) “Luz y Movimiento" (24" x 16.5"- 61cm x 42cms) Price on Request

Please contact, info@robinrile.com or see www.robinrile.com

for information on our present inventory of works from Joan Beltrán Bofill.

RECENTLY SOLD:

"The Eagle has landed! All is well. Painting is beautiful ! They did a wonderful job in packing and crating and there was no damage of any kind… We just got the Bofill reframed and hung this afternoon and thought we would share it with you. She looks so much nicer in new frame and at proper height. Really great piece and goes perfect in our dining room.. . Thank you for your efforts and feel free to use me as a reference. Regards, E.L." Private collection, PA

Major original oil by Polish master TOMASZ RUT

Tomasz Rut (Polish, b. 1961)

Ne Plus Ultra

oil on canvas. Circa 2005,

46″ x 34″

Certificate from Park West Gallery (2006)

PRICE: $29,950.

 

Tomasz Rut (pronounced root) was born in 1961 and raised in Warsaw, Poland, the son of an Olympic athlete father and artist mother who together encouraged a love of art and the classics. During his childhood Rut was introduced to the Pompeiien Frescos as well as Renaissance and Baroque art, which have influenced his oils on canvas, murals, and graphic works. Rut had his first showing in Warsaw at the age of eleven. Trained in Art Conservation at the Academy of Fine Arts in Warsaw, Rut continued his education in New York City at the Pratt Institute in Brooklyn and at Columbia University in Manhattan. He eventually took a job in art conservation for the Biltmore House in Asheville, North Carolina, traveling the east coast restoring large scale murals in museums and mansions for such clients as the Smithsonian Institution and the U.S. Treasury Department in Washington, DC, the New Jersey State House in Trenton, the Gusman Center for the Arts and Vizcaya Museum in Miami.[4]

It was during these travels he began to notice the void of figurative paintings from the past that one could purchase, so Rut invented a style aimed at filling this void. This style incorporated cracked canvasses that mimic aged Italian frescoes and figurative oils. “The one element evident in all of my paintings is the superficial patina or aging,” which is created with a variety of transparent and semitransparent glazes, giving each work the aged and classic appearance that exemplifies Rut’s style.[4]

Rut’s mural size paintings are contemporary conversions of the classical vocabulary variously continued by Michelangelo, Raphael, Titian, and Rubens. In making them he returns to antiquity by a double detour. First, he sets in motion the charming unreal apparatus of the Quattrocento mise-en-scene, and more importantly its heroic nudity, vigorous modeling, expressive anatomic structure, powerful movement and fascinating physiognomy. Tinged with sadness, his super-human youths play once more on Arcadian pipes (i.e. pan flute) – a motif also reprised by Matisse. Alternatively, he offers us impossible delicate, gracile females-’still unravished bride(s) of quietness’-delimiting them with sylvan togas and braided tresses. Nor does he leave rearing steeds, which in the grand manner represent humanity’s turbulent passions.” ~Dorothy Keane-White, Art Curator & Director for Northwood University.

The subjects of Rut’s paintings, whether a figure, horse, or object, is at the center of every work, surrounded by compressed space with few background details to distract from the subject.

Richard MacDonald’s masterpiece “Joie de Vivre, Draped” (half-life)

Now available!

RICHARD MACDONALD’S

MASTERPIECE

“JOIE DE VIVRE, DRAPED” (HALF-LIFE)

Richard MacDonald (.b. 1946)

“Joie de Vivre, Draped” (Half-life)

Bronze edition of 35

56” x 50” x 40”

Pristine Condition with original certification from MacDonald Studios

Present List price: $220,000.

Our price: $145,000. (Plus crating and shipping)

Priced for immediate sale!!!

Contact: Reed@Robinrile.com

www.robinrile.com

Picasso Portrait sells for $45M at London Auction

It’s Pablo Picash-o: Picasso’s portrait of lover sells for whopping £28.5m at auction

 

The 1932 work, Woman Sitting Near a Window, is a portrait of the Spanish artist’s “golden muse” Marie-Therese Walter.

A surrealist painting by Pablo Picasso depicting his lover with a huge forehead has fetched more than £28.5 million at auction.

The 1932 work, Femme Assise Pres d’une Fenetre (Woman Sitting Near a Window), is a portrait of Marie-Therese Walter.

Picasso first met his “golden muse” Marie-Therese in Paris in 1927, when she was 17 years old, and the pair subsequently became lovers.

Helena Newman , from Sotheby’s, called the painting a “stunning and monumental portrait” from one of the most celebrated periods in Picasso’s life.

She added: “In recent years in particular we have witnessed the remarkable allure of Picasso’s portraits of Marie-Therese to collectors, with La Lecture selling for £25 million – double its pre-sale estimate – in Sotheby’s February 2011 sale, and Nature Morte aux Tulipes selling in Sotheby’s November 2012 sale for 41.5m US dollars (£26.5m).

“This particular portrait is a striking and notably modern-looking work from one of the artist’s most celebrated periods.”

The painting sold for £28,601,250.

FROM: http://www.mirror.co.uk/news/uk-news/pablo-picassos-portrait-of-lover-marie-therese-1588573

Candy Obsessed? Try DEMO’s “Gummy Bears” (Gominolas)

dEmo (Spanish, b. 1960)

Gominolas (Gummy Bears)

Fiberglass, polyester and resin with interior base of steel

Finished with UV protective coating for exterior placement.

Limited Editions available in: Small 75cm

Medium 115cm

Large 200cm

Monument- Price upon request

Available in various colors. Inquire to Reed@robinrile.com.

www.robinrile.com

Original oils from Master Beltran Bofill

Joan Beltran Bofill (Spanish, 1939-2009)

“Flores”

Original oil on canvas painting, 59.7cm x 80.6cm”

Pristine condition with stamping confirming provenance to Wally Findlay Gallery.

PRICE: Upon request

***

Joan Beltrán Bofill (Spanish, 1939-2009)

Perisatisa (1987)

Oil on canvas

SIZE: 39 3/8″ x 28 3/4″

Provenance: Wally Findlay Galleries (NY) to Present Collection, NY (1987)

PRICE: Upon request

Joan Beltrán Bofill (Spanish, 1939-2009)

” La Barca”

72x98cms

Provenance: Wally Findlay Galleries to Present Collection, MA (mid-1980’s)

PRICE: SOLD

 

CONTACT: Reed@robinrile.com

See Blog post on Bofill http://robinrile.com/blog/?p=675

Richard MacDonald’s “Flight in Attitude” bronze

Richard MacDonald (b. 1946)

“Flight in Attitude”(2002)

bronze edition of 90

33” x 13” x 14.5”

Pristine condition with certification of authenticity from MacDonald Studios.

Present list price: $27,500.

Our price is MUCH Lower. On request to reed@robinrile.com.

Original drawings from Auguste Rodin (c. 1900)

 

Auguste Rodin (French, 1840-1917)

“Femme  accroupie de face”

Circa 1900, Graphite on lined Japan paper

29.5 cm x 19.3 cm

Signed at the bottom right A. Rodin

PRICE: ON request to reed@robinrile.com

 

Christina Uribe Buley writes;

 

“This rapidly executed drawing of a crouching woman is an excellent example of the technique used by Rodin starting in the mid 1890′s, whereby the models, often either actresses or female dancers, would freely move around in the studio.  The drawings that were resulted from these sessions were not classic nudes or studio studies, but portrayals of women simultaneously aggressive and humorous, crouching, pointing their fingers, and sticking their tongues out to the audience.  During these sessions, Rodin only had eyes for his models and would deliberately not look at the sheet of paper as he drew.  The result is a surprisingly accurate synthesis of the whole body, in which proportions are expressively distorted and muscle forms altered.  The Austrian poet Rainer Maria Rilke wrote what is perhaps the best description of these drawings:

 

“But finally, the day gives birth to these strange instantaneous documents, of that which passes imperceptibly.  Rodin suspected that if he could summarize the insignificant moves of the model, unaware of being observed, that they would contain an unexpectedly intense expression, because we are not used to giving them active and deep attention.  Keeping the model in sight and applying to the paper his swift and experienced hand, he drew a multitude of gestures previously unobserved, always neglected, and the strength of expressions emanating were immense.  Such ensembles of movements never before seen or discerned as part of the form of the whole, were outlined thus, and contained everything there that was immediate, dynamic and passionate in a truly sensual life.”

 

By executing the drawing without looking directly at the sheet, Rodin impregnated the profiles and reliefs of the human body with meaning, as they evolved in front of him  He was then able to transcribe to paper the shape that he had observed in an instant, thanks to the exceptional visual memory acquired during his years of training at the Petite Ecole.  The result appears in the form of drawings that were revolutionary at that time.”

 

~Christina Uribe Buley is  the Rodin drawings expert who authenticates Rodin drawings and creates certificates for them (required now by Sotheby’s and Christie’s for more valuable Rodin drawings passing through auction)

*******

 

Auguste Rodin (French, 1840-1917)

“Sapphic Couple” (1898 – 1900)

Graphite on wove paper mounted on board.

24.1 x 31.8 cm

Signed in graphite at the bottom left: A.R.

inscribed on the verso on the board: with stencil, black ink: A. Rodin/Drawing/Frame no. 153;

annotated with brush: a picture framer label 106: Moirinat

 

Exhibuted: 1900, Paris, Pavillon de l’Alma, number Druet: 153 and hanging number 106

 

Christina Uribe Buley writes:

 

The Sapphic Couple with very refined lines and in which paleness is like an invitation to look very closely, had probably been pre-selecte to be exhibited at the pavillon de l’alma, where Rodin organized his first grand Parisian retrospective.  It is not absolutely certain however that it was displayed.  It includes all characteristics of the drawing of the alma: it is glued on a board support with a number written with stencil (number 153) has a number inscribed by hand (106) and has the label of the picture framer Moirinat, who was solicited for all the drawings and pictures of this exhibit.  However, it doesn’t appear on the list of the works registered in the “Cahiers Gris” (Gray notebook) that details the hanging order of the drawings.  The pose of the two lovers was perhaps considered as too audacious to be shown to the naive audience of the World Fair.  This drawing very probably suffered the same fate as its preparatory version done with graphite and stumping in the collection of the Rodin Museum (D.5967), and was finished in the portfolios of his “musee secret”.  In fact, Rodin kept in his studio, hidden from public eye, hundreds of erotic drawings and small delicieusement impudiques that he never displayed in any exhibit.  Only a few favored visitors could leaf through the drawings of this “secret museum“.

 

~ Christina Uribe Buley, the Rodin drawings expert who authenticates Rodin drawings and creates certificates for them (required now by Sotheby’s and Christie’s for more valuable Rodin drawings passing through auction)