A beautiful etching of a famous view in Hawaii by Huc-Mazelet Luquiens.

Original Pencil titled and signed.

Initialed in Etching H.M.L.

10 1/4″ x 12 1/2″, frame 14 1/3″ x 10 3/4″.

Best known as a print maker and teacher who lived in Hawaii during the 1920s and 1930s, Huc-Mazelet Luquiens was also the author, in 1928, of Copper Plate Printing, a pamphlet that was the Honolulu Academy of Arts first publication.

Luquiens was a member of the faculty of the University of Hawaii, where, in the 1925-26 school year, art instruction was offered for the first time. He later was named the head of the art department, and was largely responsible for attracting qualified instructors and interested pupils to the University. Among the instructors who joined him at the University of Hawaii were Ben Norris, in 1936, Henry H. Rempel, Millard Sheets, and Frederik Taubes.

In April 1928, the Honolulu Academy of Art held a retrospective exhibition of the work of Luquiens, who, during the decade he resided in Hawaii, made 330 etchings, dry points, and aquatints as well as lithographs and wood engravings.

He is known for naming the Volcano School of Hawaiian painting the Little Hawaiian Renaissance.

Vintage Fine Art Print by Keith Miller (American, 20th C.), Depicting Horse Drawn Cargo at Ship Loading Docks, Signed and Dated in the Print, Custom Framed

High Quality Custom Framed Colored Lithograph of a Woman in the Mirror by Andre Brasilier (French, B. 1929), Signed Bottom Right

High Quality Custom Framed Colored Lithograph of a Woman Arranging Flowers by Andre Brasilier (French, B. 1929), Signed Bottom Right

A delight, pure and simple, from an American master. Measures 13″ x 26 3/4″. Signed.

Millard Sheets, N.A. (1907-1989) Born: Pomona, CA; Studied: Chouinard Art Institute (Los Angeles); Member: National Academy of Design, New York Water Color Club, American Watercolor Society, California Water Color Society. Millard Sheets was a native California artist and grew up in the Pomona Valley near Los Angeles. He attended the Chouinard Art Institute and studied with F. Tolles Chamberlin and Clarence Hinkle. while still a teenager, his watercolors were accepted for exhibition in the annual California Water Color Society shows and by nineteen years of age, he was elected into membership. At twenty, even before he graduated from Chouinard, they hired him to teach watercolor painting while completing other aspects of his art education.

By the early 1930s, he was well on his way to national recognition as a prominent American artist. He was exhibiting works in Paris, New York, Pittsburgh, Chicago, Houston, St. Louis, San Antonio, San Francisco, Washington D.C., Baltimore and many other cities throughout the United States. At home in Los Angeles, he was recognized as the leading figure and driving force behind the California Style watercolor movement.

Between 1935 and 1941, the recognition, awards, and his output of high quality art increased. He was mentioned in numerous issues of Art Digest, had a color reproduction in the book Eyes on America, and in 1935 at age twenty eight, he was the subject of a book published in Los Angeles. Sales of art enabled him to travel to Europe, Central America and Hawaii, where he painted on location. Although his watercolor painting techniques during this period varied from very tight to very loose, his personal style always came through.

During World War II, he was an artist-correspondent for Life magazine and the United States Air Force in India and Burma. Many of his works from this period document the scenes of famine, war and death that he witnessed. This experience also effected his post war art for a number of years. Many of his works from the 1940s, painted in California and Mexico, reflect these mood shifts, especially when he used dark tonal values and depressing subject matter. After the 1950s, his style changed again, this time featuring brighter colors and often times depicting subjects from his travels around the world.

While Sheets was a talented painter in both watercolors and oils, this was only part of his overall art career. Though his teaching at Chouinard Art Institute, Otis Art Institute, Scripps College and other institutions, hundreds of artists were taught how to paint, and then guided into an art career. He was director of the art exhibition at the Los Angeles County Fair for many years and brought world class art to Southern California. During the Depression, he worked with Edward Bruce to hire artists for the W.P.A. Art Project. In 1946, he served as a president of the California Water Color Society. In later years he worked as an architect, illustrator, muralist, printmaker and juried art exhibitions.

This is a marvel from a highly original artist. Signed and numbered 2/50. We have appended a photo of him in his studio.

Alexandre (Alexander) Altmann was born to a Jewish family in the village near Kiev. At the age of 11 he left his home and later reached Odessa. In order to earn his living he worked as a tailor, shoemaker, metalworker and grocery store clerk until becoming acquainted with the painter Doroshevich. Doroshevich recognized the talent of the young man and advised him to study painting. Since Altmann did not find the opportunity to study in Ukraine, he left his homeland for Austria at the age of 20. Soon though, he left Vienna and made his way to Paris. He took any work and worked even at night in order to survive and to study painting. He needed brushes and paint and in the daytime when museums were open he copied paintings of Old Masters in the Louvre.

One day when he fainted from hunger and was taken to Rothschild hospital, Altmann painted a portrait of another patient, a poor old man. Unexpectedly, someone of the hospital bought that portrait and paid a lot of money to the young painter. Altmann used this money to enroll in the Academy Julian in the mid 1900. For a small fee students of the Academy could get advice of famous painters, in particular W.–A. Bouguereau and J. M. Bocher, and they could draw from nature.

The Academy did not confer diplomas. When Altmann decided that he had studied everything that this institute could give, he left academic studies and devoted all his time to his favorite subject — landscape. He painted the side streets of Paris, views of its suburbs and small seaside towns, the Atlantic coast. He even began to paint still lives. His impressionist works were decorative and spectacular. There was a freedom in everything: in texture, in dabs of paint, in the bright contrasting palette.

The first solo exhibition of Altmann’s painting was held in 1908. Then he exhibited his works at the Paris salons — Salon des Indépendants (1910–1920), Tuileries (1908) and Salon d’Automne (1908–1924). In 1909 Altmann submitted some of his paintings for exposition of the first Salon of Vladimir Izdebsky in Odessa, and then in Kiev. The exhibition included the works of all existing art schools — from the Itinerants to les Fauves and Cubists — and was a great success.

Altmann’s paintings were not famous at that time compared to the works by the Avant-garde at this international exposition. But it was at that time that he got enthusiastic about the idea of a solo exhibition in St. Petersburg. But the law made it impossible and Altmann never returned to Russia.

In 1912, a three person exhibition of work by Altmann, D. O. Widhopff and N. L. Aronson was held. At this exhibition the French government purchased two of his winter landscapes for the Luxembourg Palace Museum. Gradually, Alexander Altmann’s life, full of past hardship, improved.

Although Altmann was inspired by the style and spirit of Impressionist painting, he did not imitate masters and had acquired a fine reputation as a sensitive painter, a master of city landscape.

Art historians could not determine the exact dates of Altmann’s life. The painter usually did not date his works. There is different information about the year of his birth (1878, 1885) and the year of his death (1922, 1932, 1950) in publications. It happened that in auction catalogues there were two painters: Alexander Altmann (1878–1932) and Alexander Altmann (1885–1950). According to recent research, Alexander Altmann, representative of pre-revolutionary wave of expatriate Russian painters, was born in 1885 and died in 1950.

Source:
http://www.elysium.ru/en/painters/37.html

Vintage late 20th century colored and embossed etching on paper of a cat daring you to take his dead bird by Pote Sangawongse (1939 – 2002) Thailand. Signed in pencil along lower margin. Unframed, age toning, scattered spots and discoloration.

Vintage late 20th century colored and embossed etching on paper of a musician playing a violin by Pote Sangawongse (1939 – 2002) Thailand. Signed in pencil along lower margin. Unframed, age toning.

Vintage early 20th century etching on paper of the Alamo, San Antonio Texas. Signed illegibly in pencil along lower margin. Unframed, age toning with lighter spots in margins.