Kismine Varner

Lady On Blue

1990

Stupendous mixed media painting in a kaleidoscope of colors and a paper collage technique by American artist Kismine Varner, circa 1990. Unsigned. O...

Vivid acrylic body art on blue paper by American artist Kismine Varner, circa 1990. Signed lower right. Original artwork on paper displayed on a white mat ...

Bold primary color monotype abstract by American artist Kismine Varner, 1990. Signed and dated lower right. Original artwork on paper displayed on a white mat with a gold border. ...

Eye catching abstract mixed media painting blending vivid jewel tone colors by American artist Kismine Varner, 1990. Signed and dated lower right. Original artwork on paper displaye...

This exquisite lithograph by Francisco Bores (1898–1972), titled La Femme en Bleu (The Woman in Blue), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates fro...

Medium: original lithograph. From the rare issue of Verve (Volume 7, Number 27-28), published in Paris by Teriade in 1952 and printed by Mourlot. Size: 14 x 10 3/8 inches (353 x 264 ...

Woman With Blue Skirt is an original colored lithograph from the portfolio " Erotica" by Egon Schiele. It deals with a reproduction of the homonym artwork realized in watercolor an...

Signed lower right, 'H. Lauer' for Hans Lauer, (Argentine-German, 1902-1989) and dated 1965. Hans Lauer emerges as a sympathetic chronicler of Patagonian light, a German-born landscapist who made Argentina his country and Bariloche his enduring motif. Born in Nuremberg in 1902, he emigrated to Argentina in 1920 and fixed his practice in the Nahuel Huapi region, painting the blue-white atmospheres of the lake basin and the sheltering stands of native forest with a direct, self-taught hand; he remained rooted there until his death in Bariloche in 1989. Contemporary reports place him working across northern Patagonia—San Martín de los Andes among his circuits—where he translated the temperate Andean palette into sober oils and watercolors keyed to weather and season rather than to metropolitan fashions. Autodidact by formation, he belongs to that émigré cohort who stitched European discipline to local terrain, and by the 1950s–60s his production reflects an assured, observational plein-air habit that privileges structure over effect. While Bariloche provided the studio and the subject, his name also circulates in Buenos Aires contexts through collectors and dealers who sought Patagonian views during the mid-century tourism boom, an afterlife that helped keep his vistas in the market even as he remained geographically anchored to the south. Within the regional history of Argentine painting...