Carlyle Brown Art

Eduard Xavier Kapp (British, 1890 – 1978) Rose in bottle Ink pen Signed, inscribed and dated ‘For Paby, no7 out of 7 Kapp. 59’ (lower edge) 11 x 8.1/4 in. (28 x 21 cm.) Edmond Kapp ...

Tree Peonies. Watercolor and sumi ink on paper mounted on silk. Image: 29 x 11 1/2. Signed with the artist's red seal. Text: "You can smell the fragrances with the spring breeze touc...

This artwork depicts the Ranger, last J-class racing yacht to race for the America's Cup, defeating the Endeavour II in 1937. The artist can draw custom designs on demand, feel free...

This is a beautiful and fine avant-garde finished drawing of herbs by the French female artist, Dora Maar. Dora Maar was a distinctive artist in her own right marked by striking pho...

HELEN HAWLEY Terracotta Head, 6-7th Century C.E. 2024 Ink on paper Framed: 12 x 16 inches

This drawing is one in a series of botanical line drawings depicting the seasonal flowers of English gardens and the countryside. Ellen Mae Williams, artist, is available for sale on...

Expressionist ink drawing of wheat stalks There is an inscription "Happy New Year" on verso Hand signed Framed it measures 7.75 X 5.75 The actual paper is 3 X 3.5 Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolph Gottlieb, Louis Harris, Yankel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.” By 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes. He worked as a WPA artist. Ben-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition. Ben-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Hebrew Bible, and the Jewish people—into his work throughout his life. "In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works." (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952). Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series...

This artwork depicts a three-masted schooner named Freedom, hailing from New-York. The boat has brown booms, masts, keel and bow, and black and orange hull...

Expressionist ink and pastel crayon drawing of flowers in vase. Framed in a vintage cobalt blue glass original frame Hand signed and dated Framed it measures 13.5 X 10.5 The actual paper is 7.5 X 5.5 Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolph Gottlieb, Louis Harris, Yankel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.” By 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes. He worked as a WPA artist. Ben-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition. Ben-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Hebrew Bible, and the Jewish people—into his work throughout his life. "In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works." (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952). Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series...

Jean DUFY (1888-1964) Bouquet of Roses Original ink and lavish drawing Signed with the artist stamp On paper 29 x 36 cm (c. 12 x 14 in) Very good condition, paper lightly yellowed

This artwork depicts a Canadian schooner named Mohawk, hailing from Vancouver. The boat has blue booms, brown masts, black and white hull, red keel and bow. The artist can draw cus...

Abstract Composition, Kitchen Utensils. Ink and watercolor of kitchen implements. Hand signed in Hebrew upper left. Dimensions: (Frame) H 25" x 18" (Sight) H 18.5" x W 11.75" Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggadah, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan...