Bradley Walker Tomlin

"Bird" Bradley Walker Tomlin, American Modernist, Animal, Dove Illustration LGBT

circa 1927

Morris Graves Offering, 1957 Signed and dated lower right Sumi ink wash and gold leaf on paper 18 x 13 3/8 inches Born in Fox Valley, Oregon in 1910, Morris Graves was a leading proponent of the Northwest School...

Sally Michel Avery (1902 - 2003) Bucolic Landscape with Cows, 1963 Oil on canvasboard 9 x 12 inches Signed and dated lower left Provenance: The art...

Japanese School Crane Oil on paper, laid on Masonite 59 1/2 x 47 inches Signed in Japanese

Aaron Bohrod Hippopotami, 1990 Signed lower right Oil on gesso board 12 x 16 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a region...

Aaron Bohrod The Egg and I, 1991 Signed lower right Oil on gesso board 11 x 14 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a regi...

Aaron Bohrod Double Bill, 1990 Signed upper right Oil on gesso panel 9 x 12 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a regiona...

'Nature Love' by Paddy McCormack (Irish, contemporary) signed to the reverse watercolour/acrylic/oil on canvas 16 x 13 inches unframed provenance: private collector, UK The painting ...

'Forever Love'' by Paddy McCormack (Irish, contemporary) signed on front and to the reverse watercolour/acrylic/oil on canvas 15 x 18 inches unframed provenance: private collector, U...

The depiction of flamingo and Spanish hair comb is an author's play around similar sounding words. The prevalent colours are pink, green and grey. The picture size is 16x12 in (40,5x30 cm) Alisa Fomina, 1989, Minsk (Belarus). Born in an environment with artistic traditions, raised in Andalusia and currently residing in Madrid, Spain. Graduated in Advertising and Public Relations, University Rey Juan Carlos, 2013 (Madrid, Spain). Since childhood, influenced by family artistic tradition and dedicated to drawing that resulted in the First Prize at the XI Christmas Card Contest (2004) and First Prize at the XII Contest in 2005, Marbella. Her work, mostly paintings and drawings are made for private collectors. However she has been participating with different brands like the Spanish brand ‘Citrique Sunglasses’. In 2016 a collaboration with the "Italian Institute of Culture" in the lectures of the writer Giorgio Caproni with an illustration of the writer. As well, the participation in the project of the Italian writer Alessandro Ferraro in the book '' The secret galleries of the soul. Giorgio Caproni '', for Ediciones Complutense with the portrait of Giorgio Caproni, 2019. A collaboration with the Spanish newspaper ‘El Pais’ with an illustration in one of his reports of the singer Nick Cave. In November 2016 made a deck designed exclusively for ‘Correos España’, the national postal service, in the "Generations Collection", whose originals are exhibited at the Galería Cartel of Málaga in April and May 2017. The illustrations have a graphic technique with the use of materials such as acrylic paint, watercolor pencils and felt-tip pens. Influenced by the children's world taking as reference the old cartoons, their stories and fantasy with very small details and always with vivid colors. FAIRS AND EXHIBITIONS ·Participation in the collective exhibition in Gallery "Art Enfant" (Moscow) 2013. · Exhibition in "Sánchez y Juan Gallery" (Elche, Spain) January 2014. · Exhibition at "Galería Sánchez y Juan" (Elche, Spain) from January 2015 to December 2016. · Periodic sale in the "Alexander Luxury Home Collection" since 2014 (Marbella, Spain). · Exhibition in "Galería Cartel" (Málaga, Spain) 2015. · Exhibition in "Galería Cartel" (Málaga, Spain) from April to May 2017. · Collective exhibition in "Want Art Gallery...

Kartick Chandra Pyne - Untitled - 18 x 24 inches (unframed size) Watercolor on Thick Imported Paper, 2003 Inclusive of shipment in roll form. Style : After graduating from the Gover...

'The French Rooster', gouache on art paper, by Raymond Debiève (circa 1960s). A Mid-Century modern depiction of the French coq, or rooster. The origin o...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Hawk, 1969. Watercolor. Image size 25.4 inches x 19.5 inches ( 64.5cm x 49.5cm ). Frame size 34.4 inches x 28.1 inches ( 87.5cm x 71.5cm ). Available for sale; this original painting is by Dame Elisabeth Frink and is dated 1969. The painting is presented and supplied in a glazed frame and mount dating from June 1997. This vintage watercolor is in very good condition, commensurate with its age. The watercolor is signed and dated lower right. Previously with Beaux Arts, London and Bath in 1999. Dame Elisabeth Frink was one of Britain’s most important post-war sculptors, an accomplished draughtsman, illustrator and teacher. She was part of the post-war school of expressionist British sculptors dubbed the Geometry of Fear, and enjoyed a highly acclaimed career that was commercially successful, broke boundaries and contributed greatly to bringing wonderful sculpture to public places. She was born on 14 November 1930 in Thurlow, the daughter of a cavalry officer, and brought up in rural Suffolk near to an active airbase. She was brought up a Catholic and educated at the Convent of the Holy Family, Exmouth. She then studied at the Guildford School of Art from 1947-1949 under Willi Soukop and Henry Moore’s assistant, Bernard Meadows, and then at the Chelsea School in London 1949-1953. She taught at Chelsea School of Art 1951-61, St. Martin’s School of Art 1954-62 and was a visiting instructor at the Royal College of Art 1965-1967, after which she lived in France until 1973. Frink first came to the attention of the public in 1951 at an exhibition at the Beaux Arts Gallery, London. In 1952 she represented Britain at the Venice Biennale, being described by Herbert Read as “the most vital, the most brilliant and the most promising of the whole Biennale”. The same year the Tate bought its first work by her, and she began to enjoy commercial success. Thereafter she exhibited regularly and was for 27 years associated with Waddington’s, London. The subjects which Frink was most concerned with were man, dog and horses, with and without riders. Interestingly she seldom sculpted the female form, drawing on archetypes of masculine strength, struggle and aggression. Her work has the recurring themes of the vulnerable and the predatory, in the spirit of an authentic post-war artist. It has been said that she was more concerned with representing mankind that portraits of individuals. The appeal of her work lies in its directness, provoking a frank statement of feeling. The anatomy is often exaggerated or incorrect; the impact growing more out of her interest in the spirit of the subject. Her animals and birds may be drawn from nature but verge on the abstract, conveying raw emotion and character rather than a realistic depiction. Her unique style is characterised by a rough treatment of the surface which embeds each piece with vitality and her personal impression. In her later work even the distinction between human and bird figures becomes blurred. Commentators have noted that the often rugged, brutal and contorted surfaces of her work reflect the destruction and terror of the six-year world-wide conflict that she witnessed as a child. Frink was an active supporter of Amnesty International. In the 1960s and early 1970s Frink produced a notable series of falling figures and winged men. Later, living in France during the Algerian war, she began making heads, blinded by goggles which had a threatening facelessness. Frink produced many notable public commissions, including Wild Boar for Harlow New Town, Blind Beggar and Dog for Bethnal Green, Noble Horse and Rider for Piccadilly, London, a lectern for Coventry Cathedral, Shepherd for Paternoster Square beside St. Paul’s Cathedral and a Walking Madonna for Salisbury Cathedral. In the early 1980s she produced a set of three larger than life figures The Dorset Martyrs which stand on the edge of the old walled town of Dorchester on the site of the old gallows, as a memorial to those who had been executed there ‘for conscience sake’. Frink’s Canterbury Tales was a collection of 19 etchings drawn directly on to copper plates and etched by her. The ‘book’ was issued in three limited editions. Her illustrations have been praised as “amongst the most successful illustrations of the century, encompassing the mood of the text in concise delineations and disarmingly ribald humour”. She illustrated other books with colored lithographs or drawings. Frink was on the Board of Trustees, British Museum from 1976, and was a member of the Royal Fine Art Commission 1976-81. CBR (1969), DBE ((1982), Associate of the Royal Academy (1971), Royal Academy (1977). She was made a Companion of Honour in 1992. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. For several decades Frink exhibited widely in the UK and abroad. In her later years she lived and worked in Dorset where her home and garden became an arena for her work. In 1985 she had a retrospective at the Royal Academy. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. There was a memorial show at Yorkshire Sculpture Park, Bretton Hall in 1994. Today Frink is venerated as one of the great twentieth century British sculptors. Her unique work is represented in the Tate Gallery and major public and private collections world-wide. © Big Sky Fine Art This original watercolor on paper painting of a hawk by Dame Elizabeth Frink...