We found 35023 price guide item(s) matching your search

ARCHITECTURAL MIRROR, with arched top in a distressed metal effect frame, 146cm x 92cm.

A RUSSIAN ICON OF THE ANNUNCIATION, VOLOGDA, 17TH CENTURY OR POSSIBLY 19TH IN THE STYLE OF 17TH CENTURY, depicts the Archangel Gabriel announcing the impending birth of Jesus Christ to the Holy Virgin presented against a very detailed architectural landscape of Nazareth; the Archangel is depicted on the left, blessing the Holy Virgin who holds a skein of a red yarn (symbolic of the incarnation of Christ) close to her bosom; the Holy Spirit in the form of a dove descends from Heaven with the three colored rays symbolizing the Holy Trinity. Egg tempera, gold leaf and gesso on wood panel with a kovcheg. Two insert splints on the back. Mosgostorg sales tag with an inscription dated 1931 on the verso. 31.5 x 27 cm (12 3/8 x 10 5/8 in.) PROVENANCECollection of Bernard Winters, Armonk, New YorkBernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items.

A RUSSIAN ICON OF THE DESCENT OF THE HOLY SPIRIT (PENTECOST), 19TH CENTURY, a holiday icon in array of colors celebrating the descent of the Holy Spirit on disciples of Jesus after his Ascension, held on the seventh Sunday after Easter, showing Virgin Mary surrounded by the Apostles sitting in the semicircle with St. Peter and St. Paul in the center and Jerusalem architectural landscape in the background, the Holy Spirit represented as a dove sends divine energy marked with subtle golden striation from the circle of heaven. Egg tempera and gesso on wood panel with kovcheg. 31 x 36.7 cm (12 1/4 x 14 in.).

A RUSSIAN SILVER AND NIELLO CIGARETTE CASE AND VODKA CUP, VARIOUS MAKERS MARKS, LATE 19TH - EARLY 20TH CENTURY, the cigarette case of rectangular form with rounded edges, the front panel with an architectural view, the verso with scrolling ivy and Greek key borders, length: 10.5 cm (4 1/8 in.); the body of the vodka cup with scrolling ivy surrounding an architectural view and a black medallion, height: 5.7 cm (2 1/4 in.), 84 standard , 178 g.

FRANZ VON STUCK (GERMAN 1863-1928)Salome, 1920oil on canvas90.2 x 66 cm (35 1/2 x 26 in.)signed and dated Franz von Stuck 1920 lower rightPROVENANCESotheby`s New York, May 24, 1996, Lot 225Private Collection, New York LITERATUREHeinrich Voss, Franz von Stuck 1863-1928: Werkkatalog der Gemalde, Munich, 1973, Nos. 301/182, 302/183, 303/184, 484/185, pp. 165, 207 LOT NOTESSalome, stepdaughter of Herod II, is depicted in the Bible as a femme fatale?her dance before the King so pleases him that he ultimately agrees to the beheading of John the Baptist. Von Stuck highlights Salome`s seductive?and rather sinister?qualities; the tilt of her head and positioning of her body emphasize her long, lean figure as well as the wide expanses of naked skin. Her smile similarly reveals her delight at entertaining her audience, the viewer. This representation is related to a variation of the same subject produced by von Stuck in 1906?Salome is shown the same pose, but accompanied by a black woman carrying the head of John the Baptist (see Voss, `Franz von Stuck (1863-1928): Werkkatalog der Gemalde mit einer Einfuhrung in seinen Symbolismus, 1973, no. 302/183)`.Born in the village of Tettenweis in Bavaria, von Stuck exhibited considerable talent at drawing and caricature from an early age. Encouraged by his father, who wished for him to become a craftsman, von Stuck studied design and architectural drawing at the Kunstgewerbeschule (School for the Applied Arts) in Munich from 1878 to 1881. It was only while attending the Royal Academy of Fine Arts in Munich in the early 1880s that he was exposed to the fine arts. While at the Academy he contributed a number of drawings to the Viennese publication Allegorien und Embleme. These pieces not only furthered his reputation as a skilled draughtsman, but also informed his oeuvre, with dark, erotic figures and mythological themes frequently appearing in subsequent works. He would go on to found the Munich Secession and was appointed a royal professorship at the Munich Academy in 1895, where his students over the years included Paul Klee, Hans Purmann, Wassily Kandinsky, Alf Bayrle, and Josef Albers.

I. Rice Pereira - A 1930s / 40s silk scarf printed with an abstract architectural design with black border edges, printed signature, 82cm x 86cm

In the manner of John Piper - A coffee table of rectangular form, the formica top printed with London architectural studies, raised to blackened steel legs, width 114cm.

Geoffrey Baxter - Whitefriars - A small architectural plaque of rounded square section relief moulded with a Bison to a petrol blue ground.

Unknown - A 1950s drinks cabinet, later re-finished and decorated with a wrap around laminate panel depicting an architectural building facade, in the style of Fornasetti, raised to square tapered legs, height 120cm x width 91cm

A William IV Day's Patent Gothic brass candle screen, the container of architectural form, the inner tube embossed with the maker's seal, containing a folding fan, 24cm high.

A William IV Day's Patent Gothic brass candle screen, the container of architectural form, the inner tube embossed with the maker's seal, containing a folding fan, 24cm high.

§ Valerie Thornton (British, 1931-1991) Suffolk Farm signed lower right ""Valerie Thornton `76"" and numbered 109/150 etching and aquatint 56 x 78cm (22 x 30in) In 1954 Valerie Thornton went to Paris and studied printmaking with the renowned teacher Stanley William Hayter at Atelier 17. Thornton then moved to New York where she spent two years at the Pratt Institute. Her first exhibition of etchings and watercolours was held in 1960, since then there have been numerous shows in Britain and America. During the 1970s Thornton made etchings of several East Anglian churches and ecclesiastical and architectural subjects continued to form a major part of her artistic output throughout her career. Condition appears fine - blindstamp in corner of mount ?

A late Victorian black slate mantle clock of architectural form, with marble insets and gilt decoration

INDIA & PAKISTAN - Shahdara Gardens Lahore - 2 albumen prints, inscribed on mount, `Palms in the Shahdra Gardens Lahore`, mounted, measures 255mm x 207mm, c. 1870s; the second is unmounted, view of the Gardens, by Bremner 829, measures 285mm x 205mm. (2) Shahdara was the entrance gate of the Lahore and Mughal Emperor. It hosts several historic Mughal architectural sites. These include the Akbari Sarai, the Tomb of Jahangir, the tomb of his consort Nur Jahan. Shahdara Bagh is also home to Kamran`s Baradari. Although this site was originally built on the Ravi River bank, the river changed course, covering the site near the Ravi Bridge.

PUNJAB - HISTORY OF LAHORE BY LATIF - Lahore , Its History, Architectural Remains and Antiques, with an account of its Modern Institutions, Inhabitants, their Trade and Customs , by Syad Muhammad Latif, 1892, First edition, 426 pp, Orig boards, new spine, some pages chipped. Lacks map. Latif was a prominent historian of Punjab and wrote histories of the Punjab published in 1891 and followed this up with this volume with many engraved illustrations of the architecture and nobles of Lahore.

INDIA - LATIF`S HISTORY OF AGRA - Agra Historical and Descriptive, With an account of Akbar and his Court and of the Modern City of Agra, by Syad Muhammad Latif, 1896, first edition, 308pp, Original cloth. Illustrated with portraits of the Moghul Emperors and drawings of the principal architectural monuments of that city and its suburbs, and a fold out map of Agra. Latif was a prominent historian of India and wrote histories of the Punjab and Lahore. Scarce.

INDIA - LAHORE BY LATIF - Lahore, Its history, architectural, remains and antiquities, by Syed Muhammed Latif, 1956-57, 2nd edition, 426pp, original cloth. Latif was a prominent historian of Punjab and wrote histories of the Punjab published in 1891 and followed this up with this volume with many engraved illustrations of the architecture and nobles of Lahore.

An Edwardian inlaid mahogany architectural mantel clock, arching top, brass columns, white dial, Arabic numerals, Mart, Paris, eight day movement, bun feet, complete with pendulum and key

A walnut bracket clock, architectural case, silvered dial, Arabic numerals, eight-day chiming movement, stamped 'Made in Germany'

A Victorian black marble mantel clock, architectural pediment, enamelled chapter ring, Arabic numerals, visible Brocot escapement, four split fluted columns, plinth base

An Edwardian bracket clock in architectural mahogany case, the pagoda top with brass finial's, inlaid frieze and acanthus carved quarter pillars, the Winterhalder & Hofmeir single train fusee movement striking on a gong the circular silvered dial signed Pearce and Sons, Leeds, the case stamped A E Thornes, 78cm

Large reproduction oak finish architectural door cornice, 260cm x 67cm max high

A mahogany table top model of a staircase, last quarter 20th century A mahogany table top model of a staircase, last quarter 20th century, of architectural form, with a balustraded gallery above steps descending to a half landing, flanked by further balustraded staircases, the front with an arrangement of six drawers, 53cm high, 60cm wide, 59cm deep view on dreweatts.com

A Victorian Kilarney yew wood and marquetry table cabinet, circa 1880 A Victorian Kilarney yew wood and marquetry table cabinet, circa 1880, of rectangular form, the hinged cover and twin doors to the front with architectural views within oak sprig and floral borders, the cover interior decorated with a harp flanked by shamrocks, the doors opening to three drawers, all with further shamrock marquetry fronts, 25cm high, 30cm wide view on dreweatts.com

A George II carved giltwood and marble mounted console table, circa 1750 A George II carved giltwood and marble mounted console table, circa 1750, in the manner of William Kent, the rectangular marble top, above a acanthus carved frieze, above central twin flower motif flanked by scrolling acanthus, on hipped s-scroll legs, jointed by conforming stretchers and on carved lion paw feet, 85cm high, the top 140cm wide, 94cm deep Provenance: A private European collection Following architectural style, furniture design underwent a revolution in the 1720s in response to the 3rd Earl of Burlington`s campaign to establish a new style based upon strict observance of the classical architectural rules and example of Andrea Palladio. Furniture design for the Palladian interior presented a particular problem as no precedent existed. The solution adopted by designers, in particular Burlington`s protégé William Kent (1685-1748), was to adapt and apply classical architectural features to established furniture types. Kent was "the first English architect to take a serious interest in furniture and like Robert Adam later in the century he sought to establish a harmonious relationship between the architecture of a room and its furniture". However, other architects such as William Jones, Batty Langley and Robert Morris published furniture designs in Kent`s Palladian style. Kent rose from a humble background to become one of the most influential designers of the early 18th century. His relationship with Lord Burlington brought significant aristocratic and royal patronage and his influence on many of the country`s greatest houses, their interiors and gardens is immense. It is however, in his capacity as interior designer that he was most successful. His schemes and designs for furniture can be seen at Chiswick House, Kew Palace, Raynham Hall, Holkham Hall and Hampton Court. For designs of related tables, see Elizabeth White, Pictorial Dictionary of British 18th century Furniture Design, Antique Collectors Club, 1990. The designs for pier tables by William Jones for The Gentleman or Builders Companion of 1739, (page 262) bear similarities to the current table being offered in terms of overall design and in particular the use of carved lion paw feet. Further designs by William Jones and Batty Langley (see page 263) demonstrate designs of frieze that bear closer relation to the current table. view on dreweatts.com

19TH CENTURY PITCH PINE COMBINATION WARDROBE WITH ARCHITECTURAL CRESTING AND DENTIL MOULDED FRIEZE, MIRRORED AND FIELDED PANEL DOORS ENCLOSING PULL OUT TRAYS AND DRAWER, STAMPED `HOLLAND & SON, LONDON` 191CM X 245CM APPROX

LATE VICTORIAN OAK HALL CHAIR WITH ARCHITECTURAL TOP RAIL ON TAPERED FORE LEGS

A Junghans Mantel Clock with steel dial and striking movement in architectural design walnut case. 13"" (33cms) high.

Early 20th Century German mahogany cased two train architectural mantle clock with printed paper face.

Early 20th Century German mahogany cased two train architectural mantle clock with printed paper face.

John Taylor Arms (American, 1987-1953), architectural study of a cathedral, signed and dated 1937 lower right, etching. H.34.5cm W.13.5cm

A mid 19th century French gilt spelter mantel clock, the architectural case surmounted by an allegorical figure, emblematic of literature and set a drum cased movement with foliate painted Roman dial, the plinth base inset Bleu du Roi style porcelain plaques, raised on scroll feet. H.34cm W.56cm

A pair of rare Georgian carved Portland stone terms circa 1740 160cm.; 63ins high These would originally have formed part of a larger architectural fitting either as jambs of an important chimney piece or jambs for an imposing door casing. Terms in the form of classical busts on a tapering pedestal originated in Roman times, representing the god terminus and were used for marking the boundary of an area or estate. Revived in Italian renaissance gardens, they were later adopted by William Kent, the 18th century architect and leading exponent of the Palladian style of architecture, named after the Venetian architect Andrea Palladio (1508-1580) and first introduced into England at Chiswick House, designed in conjunction with his patron Lord Burlington and finished in 1729. Kent was also a prolific designer of both landscape gardens and furniture, with term figures liberally used in both disciplines. His work was recently celebrated at an exhibition at the Victoria and Albert Museum William Kent: Designing Georgian Britain.

A large Blashfield stoneware urn on pedestal stamped J M Blashfield Stamford 1875 on associated plinth stamped Stiff & Sons 106cm.; 42in high overall by 95cm.; 37ins diameter John Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta (1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He obtained Letters Patent in 1854 for "Improvements in the Manufacture of China, Pottery, Bricks" and other articles, made for the most part from clay and again in 1860 for "improvements in burning pottery and china ware". He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in Boston, but this undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875.

A rare Coadestone plaque of St. George and the Dragon late 18th century 122cm.; 48ins high by 95cm.; 37½ins wide This would have originally formed part of a larger architectural frieze possibly for an Irish Georgian house constructed in the last quarter of the 18th century. The only known mention of a Coade Stone St George and the dragon is one at Mercers Hall, now in Museum of London. Literature: See Mrs Coade’s Stone by Alison Kelly, SPA, 1990, page 410

Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled The Head of St James in the Last Supper, and architectural sketches, originally drawn c.1485Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A study of St James for The Last Supper 1495 -1485, refectory of Santa Maria delle Grazie, Milan. In the final painting Leonardo has transformed the youth seen here, into an older man with a beard. Probably a quick sketch drawn from life with the addition of three architectural studies depicting a corner bastion and a plan of the same. The diversity of these sketches suggest that this is an informal work study.Print size inches: 6.8 x 9.7 together with lithographic print of drawing by Leonardo da Vinci entitled A Seated Old Man, originally drawn c.1510Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A pen and ink sketch of an old man seated in front of a tree meditating, seemingly looking towards four separate studies of swirling water, a theme which fascinated Leonardo all his life. The inscription in Leonardo`s hand explains the `motion of the surface of the water which resembles hair`. On the verso of this sheet are various architectural studies in red chalk.Print size inches: 8.6 x 6.3

Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled The Head of St James in the Last Supper, and architectural sketches, originally drawn c.1485Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A study of St James for The Last Supper 1495 -1485, refectory of Santa Maria delle Grazie, Milan. In the final painting Leonardo has transformed the youth seen here, into an older man with a beard. Probably a quick sketch drawn from life with the addition of three architectural studies depicting a corner bastion and a plan of the same. The diversity of these sketches suggest that this is an informal work study.Print size inches: 6.8 x 9.7 together with lithographic print of drawing by Michelangelo entitled Man Nude, with Proportions indicated, originally drawn c.1515-20Acquired by George III, King of the United Kingdom (1738-1820), by c.1810.Two tones of red chalk. With only two exceptions, the drawings by Michelangelo in the Royal Library were first recorded in the collection of George III. This is one of Michelangelo`s most majestic studies of a nude, possibly intended for teaching purposes having the proportions of various parts of the body indicated. Throughout his life the artist was drawn to the investigation of musculature and form, as reflected in this drawing. Of his few pupils, Sebastiano del Piombo (c.1485-1547) was probably the most adept and it was possibly drawn for Sebastiano as a teaching aid.Print size inches: 6.2 x 9.8

Lithographic print of drawing by Leonardo da Vinci entitled The Head of St James in the Last Supper, and architectural sketches, originally drawn c.1485Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A study of St James for The Last Supper 1495 -1485, refectory of Santa Maria delle Grazie, Milan. In the final painting Leonardo has transformed the youth seen here, into an older man with a beard. Probably a quick sketch drawn from life with the addition of three architectural studies depicting a corner bastion and a plan of the same. The diversity of these sketches suggest that this is an informal work study.Print size inches: 6.8 x 9.7

Lithographic print of drawing by Leonardo da Vinci entitled A Seated Old Man, originally drawn c.1510Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A pen and ink sketch of an old man seated in front of a tree meditating, seemingly looking towards four separate studies of swirling water, a theme which fascinated Leonardo all his life. The inscription in Leonardo`s hand explains the `motion of the surface of the water which resembles hair`. On the verso of this sheet are various architectural studies in red chalk.Print size inches: 8.6 x 6.3

A SET OF SIX HEAVY CARVED MARBLE ARCHITECTURAL COLUMNS, each of straight cylindrical form and headed with a carved Corinthian capital, on square moulded base, 118in (3mt). (6)

A pair of stripped pine architectural finials in the form of reeded covered cups, 34 cm high

A 20th century photograph, female nude study in Brutalist architectural setting, 28 x 19 cm, signed in pencil on mount 'B. de Roc - ' (?). Mounted framed and glazed

A 19th Century Terracotta Architectural Element Modelled as a Pterodactyl in the Style of Alfred Waterhouse, The Architect of The Natural History Museum. 29x22cm

A pair of stripped pine architectural finials in the form of reeded covered cups, 34 cm high

A 20th century photograph, female nude study in Brutalist architectural setting, 28 x 19 cm, signed in pencil on mount 'B. de Roc - ' (?). Mounted framed and glazed

An unusual carved walnut, mirror glass and enamel architectural clock, French, circa 1900 An unusual carved walnut, mirror glass and enamel architectural clock, French, circa 1900 68cm high x 48cm wide

A Victorian black slate and rouge marble mantle clock, the architectural case containing an eight day gong striking movement, faced by painted enamel Arabic dial.

A late Victorian onyx and gilt metal mantle clock, the dome top architectural case, enclosing an eight day gong striking movement faced by Arabic ivorine dial.

A French needlepoint wool tapestry/carpet, decorated with cream and pink roses on a beige ground, within a broad border of rose swags and architectural scrolls, 350 x 230cm.

An Edwardian satinwood double wardrobe, having scrolled and architectural pediment over conforming frieze and two three-quarter length glazed doors with stylized dragon mouldings, the base with two drawers on plinth.

A circa 1900 architectural slate mantel clock

A circa 1900 architectural slate mantel clock

A Victorian black slate and rouge marble mantle clock, the architectural case containing an eight day gong striking movement, faced by painted enamel Arabic dial.

A late Victorian onyx and gilt metal mantle clock, the dome top architectural case, enclosing an eight day gong striking movement faced by Arabic ivorine dial.

A French needlepoint wool tapestry/carpet, decorated with cream and pink roses on a beige ground, within a broad border of rose swags and architectural scrolls, 350 x 230cm.

An Edwardian satinwood double wardrobe, having scrolled and architectural pediment over conforming frieze and two three-quarter length glazed doors with stylized dragon mouldings, the base with two drawers on plinth.

BEN M. FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, 50"" X 119"": Ben Fortuna, 1919-2004. Mr. Fortuna was an artist and a designer with a wide range of experiences from which he drew his uniquely innovative creations. Mr. Fortuna received a Master of Arts degree in industrial design and studied for some time under the visual artist, John Carroll. During World War II he was part of the Engineering Corps, focusing on camouflage work. Later he became Vice-President of the American Precision Products Company where he was in charge of Styling and Product Design. He was also associated with Sidney Blumenthal & Co., Inc. as a stylist for all fabrics. In 1953, Mr. Fortuna began his own business as a consultant specializing in fabric and industrial design, color and architectural interiors. Mr. Fortuna drew upon his industrial design expertise and united it with his paintings [circa 1946-1980] which have been referred to as organized abstractions. Within his prolific body of work, geometric shapes, vibrant colors, and bold lettering co-mingle on the canvas graphically evoke emotions drawn from an excellent sense of design. Mr. Fortuna’s paintings have been displayed at the Museum of Art in Detroit, the Museum of Art in Chicago, and at the Butler Institute of Art, Youngstown, OH. Mr. Fortuna’s painting, ""Le Hot Jazz"", was featured in the article, ""Each Painting Has Its Own Story"" [Detroit Free Press, November 14, 1954], and his work, ""Jumboogie"", was featured at the Michiana Regional Art Exhibition, South Bend, IN [1956]. Mr. Fortuna was a resident of Franklin, MI for 66 years.

BEN FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, H 42"", W 69"", ABSTRACT: Unsigned and unframed, abstract with dotted and curved line composition. Ben Fortuna, 1919-2004. Mr. Fortuna was an artist and a designer with a wide range of experiences from which he drew his uniquely innovative creations. Mr. Fortuna received a Master of Arts degree in industrial design and studied for some time under the visual artist, John Carroll. During World War II he was part of the Engineering Corps, focusing on camouflage work. Later he became Vice-President of the American Precision Products Company where he was in charge of Styling and Product Design. He was also associated with Sidney Blumenthal & Co., Inc. as a stylist for all fabrics. In 1953, Mr. Fortuna began his own business as a consultant specializing in fabric and industrial design, color and architectural interiors. Mr. Fortuna drew upon his industrial design expertise and united it with his paintings [circa 1946-1980] which have been referred to as organized abstractions. Within his prolific body of work, geometric shapes, vibrant colors, and bold lettering co-mingle on the canvas graphically evoke emotions drawn from an excellent sense of design. Mr. Fortuna’s paintings have been displayed at the Museum of Art in Detroit, the Museum of Art in Chicago, and at the Butler Institute of Art, Youngstown, OH. Mr. Fortuna’s painting, ""Le Hot Jazz"", was featured in the article, ""Each Painting Has Its Own Story"" [Detroit Free Press, November 14, 1954], and his work, ""Jumboogie"", was featured at the Michiana Regional Art Exhibition, South Bend, IN [1956]. Mr. Fortuna was a resident of Franklin, MI for 66 years.

BEN FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, H 48"", W 38"", FOUR SQUARE COMPOSITION: Unsigned and unframed, measuring H. 48"" x 38 1/2"". Ben Fortuna, 1919-2004. Mr. Fortuna was an artist and a designer with a wide range of experiences from which he drew his uniquely innovative creations. Mr. Fortuna received a Master of Arts degree in industrial design and studied for some time under the visual artist, John Carroll. During World War II he was part of the Engineering Corps, focusing on camouflage work. Later he became Vice-President of the American Precision Products Company where he was in charge of Styling and Product Design. He was also associated with Sidney Blumenthal & Co., Inc. as a stylist for all fabrics. In 1953, Mr. Fortuna began his own business as a consultant specializing in fabric and industrial design, color and architectural interiors. Mr. Fortuna drew upon his industrial design expertise and united it with his paintings [circa 1946-1980] which have been referred to as organized abstractions. Within his prolific body of work, geometric shapes, vibrant colors, and bold lettering co-mingle on the canvas graphically evoke emotions drawn from an excellent sense of design. Mr. Fortuna’s paintings have been displayed at the Museum of Art in Detroit, the Museum of Art in Chicago, and at the Butler Institute of Art, Youngstown, OH. Mr. Fortuna’s painting, ""Le Hot Jazz"", was featured in the article, ""Each Painting Has Its Own Story"" [Detroit Free Press, November 14, 1954], and his work, ""Jumboogie"", was featured at the Michiana Regional Art Exhibition, South Bend, IN [1956]. Mr. Fortuna was a resident of Franklin, MI for 66 years.

BEN FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, 1966, H 48"", W 48"", ABSTRACT: Signed and dated at the lower right. Unframed, measuring H 48"" x 48"". Ben Fortuna, 1919-2004. Mr. Fortuna was an artist and a designer with a wide range of experiences from which he drew his uniquely innovative creations. Mr. Fortuna received a Master of Arts degree in industrial design and studied for some time under the visual artist, John Carroll. During World War II he was part of the Engineering Corps, focusing on camouflage work. Later he became Vice-President of the American Precision Products Company where he was in charge of Styling and Product Design. He was also associated with Sidney Blumenthal & Co., Inc. as a stylist for all fabrics. In 1953, Mr. Fortuna began his own business as a consultant specializing in fabric and industrial design, color and architectural interiors. Mr. Fortuna drew upon his industrial design expertise and united it with his paintings [circa 1946-1980] which have been referred to as organized abstractions. Within his prolific body of work, geometric shapes, vibrant colors, and bold lettering co-mingle on the canvas graphically evoke emotions drawn from an excellent sense of design. Mr. Fortuna’s paintings have been displayed at the Museum of Art in Detroit, the Museum of Art in Chicago, and at the Butler Institute of Art, Youngstown, OH. Mr. Fortuna’s painting, ""Le Hot Jazz"", was featured in the article, ""Each Painting Has Its Own Story"" [Detroit Free Press, November 14, 1954], and his work, ""Jumboogie"", was featured at the Michiana Regional Art Exhibition, South Bend, IN [1956]. Mr. Fortuna was a resident of Franklin, MI for 66 years.