Drawings and Watercolor Paintings

Chita Rivera BYE BYE BIRDIE Original 1960 Broadway Costume Drawing Tony Awards Miles White (1915 – 2000) ChITA RIVERA in BYE BYE BIRDIE 11 x 8 inches M...

Surrealist landscape with skull and red daisy Watercolor on paper, 1960-1970 Unsigned Stamped with the artist's estate stamp verso (see photo) Provenance: Estate of the artist Refere...

A tonal, watercolor of a steel mill by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came to Chicago with his family in 191...

Rose is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Drawing on paper. Good conditions. Aurelio Mistruzzi (1880-1960) studied at the Udine Art School, having classes with the Sculptor De Paoli...

Ink drawing signed Guillot. Surrealist school. Dated on the back August 1980. Small dirt on the bottom right. 29.5 x 21 cm

Gottfried Salzmann , born on 26 March 1943 In Saalfelden near Salzburg in Austria is an Austrian painter. He lives and works in France (between Paris and Vence) since 1965. He studi...

Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently lives in Sweden. This is how she writ...

Clara Deike (American, 1881-1964) Villa Giardino Charcoal on paper Signed and titled verso 17.75 x 12.5 inches A graduate of the Cleveland School of Art in 1912, Clara Deike was pa...

The Proud Brothers – 04-01-21 The Bigger the Lie How can The Blues Brothers turn into The Proud Brothers? That is simple enough. Take a big country and turn it into a madhouse....

Dick Stone was a top mid-century illustrator who worked for the most famous brands. He was an assignment artist hired by such esteemed Ad Agencies as BBDO ...

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...

At long last is a contemporary artwork realized by Ryan Mendoza in 2009. Oil painting on canvas. Hand signed and dated on the back. Provenance: Galleria Massimo Minini, Brescia Born in 1971 in New York, Mendoza's personal story is subsequently intertwined with the two extremes of Europe, Naples and Berlin, the two cities in which he has lived and worked up to now. In his works he represents complex theatricality, models anatomies, doses colours, calibrates lights, draws on a rich archive of memories, confusing ancient pictorial wisdom and contemporary risks. The artist's attention is particularly focused on portraits in which he carries out distortions and alterations: he exhibits perspective disproportions, reveals anatomical dissonances, manifests dystonias between the characters in the foreground and the backgrounds. His characters appear "possessed", it is no coincidence that the title of the 2010 solo show at the Muse d'Arte Contemporanea Donna Regina in Naples is "The possessed...

Robert Blackburn, Untitled (Reclining Nude), brush and ink, c. 1948, unsigned. A fine, spontaneous work, on cream wove paper. Slight toning to the sheet edges; otherwise in excellent condition. Matted to museum standards, unframed. Image size 18 3/4 x 23 1/2 inches (476 x 597 mm). Provenance: Adrienne E. Wheeler Collection, acquired from the artist. ABOUT THE ARTIST Robert Blackburn (1920 - 2003) participated in the rich mix of art programs and creative groups available in Harlem as he grew up, including Charles Alston's Harlem Arts Workshop, the Harlem YMCA, and later the Harlem Artist's Guild. In 1937 he joined the WPA at the Harlem Community Art Center, the largest New York center for instruction in the arts. There he was exposed to Harlem's most prominent artists, Aaron Douglas, William Henry Johnson...

Die moralische Eifersucht  is a contemporary artwork realized by Friedrich Schröder Sonnenstern in 1964. Pencil and colored chalks on Schoellershammer cardboard. Signed "F. S. SONN...

The Venus of The Hague – 09-07-20 Animals kept crawling in so it was inevitable to incorporate them into these series. The first one I saw was a lioness in her thight and second...

Lionel Horsnell English ( b.1932 - d.2011 ). Ringstead Bay and White Nothe, Dorset Watercolour on Coloured Paper. Signed lower right. Image size 19.7 inches x 29.5 inches ( 50cm x 75cm ). Frame size 27.2 inches x 36.8 inches ( 69cm x 93.5cm ). Available for sale is this original watercolour is by the English artist Lionel Horsnell which dates from the 1960s. The painting is presented and supplied in a sympathetic contemporary frame (which is shown in these photographs), mounted using conservation materials and behind non-reflective Artglass AR 70™. This vintage painting is in good condition, it wants for nothing and is supplied ready to hang and display. The watercolour is signed lower right. Lionel Horsnell was an English artist, born in Hertford in 1932. He studied art at the Harrogate School of Art and Leeds University. He specialised in watercolour paintings of the Home Counties and the south coast and exhibited in several galleries. He has been described as a Bohemian, and from the 1960s to the 1980s he liked to frequent Soho, where he drank in the Coach and Horses in Old Compton Street. He liked to travel by bicycle and often cycled around the countryside, exchanging paintings for bed and board. He died on 28 November 2011. Courtyard Arts, where he painted and socialised for many years was something of a ‘second home’ for him and held a retrospective exhibition of his works in 2012. His works have a relaxed mellow style that belies the skill and expertise invested in their execution. © Big Sky Fine Art This original painting by Lionel Horsnell is watercolour on coloured paper and heightened in white. It is signed in the lower right section and depicts Ringstead Bay on the famous Jurassic Coast...

Voorschoten – 11-03-19 Last year I was walking through sunny Voorschoten, a town in the north to where I live. I saw an attractive cityscape appearing in one of the streets, too...

Figures is an Artwork realized by Mino Maccari  (1924-1989) in 1960. Watercolor on yellowed paper. Monogrammed on the lower right margin. Good conditions. Mino Maccari (Siena, 192...

Where the fuck is Jimini? is a contemporary artwork realized by Mircea Suciu in 2012. Charcoal on drawing paper. Signed on the back – Origin Aeroplastics Brussels Mircea Suciu  Bo...

Airacuda Fighter Planes Art Deco Machine Age 20th Century American Modernism Arthur Rosenman Ross (1913 - 1981) Bell YFM-1 Airacuda Fighter Planes 17 1/2 x 26 1/2 inches Gouache, Airbrush and Ink on Illustration Board, 1938 Signed A. Ross lower right Provenance: Estate of the artist. BIO Arthur Rosenman Ross was a key figure in automotive design at General Motors during America's "Golden Age" of auto design, the 1930's through the 1950s. He attended the Art Institute of Chicago from age 17, exhibiting a special interest for automotive renderings and the female figure. In 1934, he changed his name from Rosenman to Ross, fearing his Jewish ancestry could prejudice his career prospects. At age 20, he turned down job offers from MGM Studios in Hollywood and Duesenberg to work at General Motors alongside the Legendary Harley Earl in 1935. He was hand picked by Mr. Earl and assigned to GM's War and Camouflage Division in 1937 through WW2. It was during this pivotal period in which he executed some extraordinary military aircraft artworks, likely used between GM and America's military aeronautics companies in design preparation for WW2. General Motors played an important role in helping America's aircraft manufacturers preceding and during the war. Just after the war in 1945, Mr. Ross was rewarded by GM, being made Chief Designer of Cadillac, then two years later becoming Chief at Oldsmobile until his retirement in 1959. He was in large part responsible for some of GM's classic Cadillac designs such as the Cadillac Sixty Special, Fleetwood, LaSalle and GM's first concept car, the extraordinary Buick Y-Job. Mr. Ross was an exceptionally charismatic and vivacious man who quite by chance, befriended His idol, Salvador Dali at GM in 1955. They talked about art, cars and girls late into the evening, according to his son, Carter Ross. He had a gift in rendering the erotic arts...

Trees Over the Vineyard Watercolor on heavy paper, c. 1930 Signed with the estate stamp verso (see photo) Sheet size: 16 1/2 x 19 1/8 inches Condition: Excellent Illustrated: Marbell...

Un Angelo solitario is a drawing on paper, realized around the Sixties by the great Italian artist and journalist, Mino Maccari  (Siena, 1898 - 1989). Black ink drawing (watercolor)...

A colorful, period mural study of an interior by artist Edgar Ewing.

Gouda – 11-08-18 Last week I was walking in the direction of Museum Gouda to visit the exhibition ‘From Gauguin to Toorop’ when I saw this canal adjacent to the museum, oppo...

Ryan is a contemporary artwork realized by Ryan Mendoza in 2000. Pencil and charcoal on paper. Hand signed on the lower margin. Provenance: Galleria Massimo Minini, Brescia Born in 1971 in New York, Mendoza's personal story is subsequently intertwined with the two extremes of Europe, Naples and Berlin, the two cities in which he has lived and worked up to now. In his works he represents complex theatricality, models anatomies, doses colours, calibrates lights, draws on a rich archive of memories, confusing ancient pictorial wisdom and contemporary risks. The artist's attention is particularly focused on portraits in which he carries out distortions and alterations: he exhibits perspective disproportions, reveals anatomical dissonances, manifests dystonias between the characters in the foreground and the backgrounds. His characters appear "possessed", it is no coincidence that the title of the 2010 solo show at the Muse d'Arte Contemporanea Donna Regina in Naples is "The possessed...

Marital portrait is a modern artwork realized by Alberto Savinio in 1948. Pencil on paper. Hand signed by the artist and dedicated to Raffaele Carrieri. Certificate of authenticity by Ruggero Savinio...

BYE BYE BIRDIE Original 1960 Broadway Musical Costume Drawing Tony Award Elvis Miles White (1915 – 2000) BYE BYE BIRDIE 11 x 8 inches Mixed Media on Paper Signed Lower Right Framed by Bark Affixed to the back are original gold lame fabric swatches. This drawing is available, along with two other original costume drawings from BIRDIE by Miles White, another of Conrad Birdie and one of Chita Rivera. Miles White, a leading Broadway and Hollywood costume designer for decades. created costumes for the original Broadway productions of OKLAHOMA CAROUSEL, BYE BYE BIRDIE and many others. In film he worked on "Around the World in 80 Days" and "The Greatest Show on Earth." He designed Ringling Bros and Barnum & Bailey Circus, and the Ice Capades for many years. Miles was a close friend for the last 20 years of his life. We live with one of his two Tony Awards and a dozen drawings. BYE BYE BIRDIE is a stage musical with music by Charles Strouse and lyrics by Lee Adams, based upon a book by Michael Stewart...

Nude Woman Nude #002 Ink on 140 lb / 300 g paper (acid free). Certificate of authenticity provided. Will be shipped rolled in a tube. Keywords: body, woman, contemporary a...

John Rattenbury Skeaping. English ( b.1901 - d.1990 ). On the Gallops, 1976. Gouache and Watercolor. Signed & Dated Lower Right. Image size 18.5 inches x 26.8 inches ( 47cm x 68cm )...

5 bestialities - 19-02-19 After my last drawing ’11 bestialities – 09-02-19’ I got the hang of it and decided to do once more. After all, when the artist’s mind has been e...

The Venus of The Hague – 23-07-20 Being a deep sea fish a coelacanth hardly ever come face to face with a white shark way up high but sometimes it does. If so, what would you ex...

Initiatrix – 03-12-18 The third art work in my new series on Egypt. I experimented with my personal style ‘roundism’ in combination with realism and surrealism. I also used ...

Nights over Egypt – 13-11-18 I found this picture of Jenna J. Ross on Instagram and I liked it a lot. It was dark and blue. I found it fit for my Egypt project and decided to tu...

Cleopatra – 22-12-18 When I saw the reference picture I was inspired to turn the model sitting in a bath with lots of foam around her, into a donkey milk bath with Cleopatra in ...

Bastet – 01-01-19 My Egyptian series is an addition to my ‘j’accuse’ painting ‘The Revelation of Bettie Page’. My New Year’s resolution for this year: I dare all alg...

Isis – 25-01-19 Some time ago I saw underwater excavation pictures of Heracleion, an ancient Egyptian city submerged. I always thought to return to my painting ‘Loving the Ali...

Oudaen – 26-11-18 Last year I was at Oudaen, a city castle at Utrecht, Netherlands which now is a crowdy hotspot for party people. I was dining near the window in the corner wit...

Roundism – 27-04-20 The next drawing in my solarized roundism series. It forms a transition from my previous abstracted cubist geometry towards a crossover to realism and surrea...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

La Langue Verte – 14-12-18 I liked the triangular position of the model’s body and put her in an Egyptian scenery, thinking of my roundism style relating to hieroglyphics and ...

11 bestial qualities – 09-02-19 One thing in another. I try to see it all the time. Sometimes I fail, another time I see more clearly. Hitting almost 50 I begin to realize that ...

Het Depot Rotterdam’s latest acquisition is the Depot Boijmans Van Beuningen. There was this online première in Januari 2021 during corona times but it drew less attention than d...

Back to Sketching This graphite pencil drawing ‘Solarized Roundism – 01-07-22’ is a welcome change from oil painting. After the completion of ‘Geesje Kwak and the Secret o...

Free Gouda! – 25-08-18 I was walking on a Sunday afternoon, the last very hot one of this summer and the central square was deserted. No one was there because of the dying heat ...

Leiden – 23-01-18 When I was walking across the Morspoort Bridge at Leiden I saw this incredible clouds party over Mill ‘De Put’ at the river Rijn towards the Weddesteeg acr...

A striking Surrealist work by the French 20th Century artist Louis Marchand des Raux. Louis Marchand des Raux was a self-taught amateur painter who caught the eye of the famous deal...

Watercolor on paper Sold with frame Total size with frame 30x42 cm Jeannine Wahl was born in Geneva in 1930 into a family of papermakers who very early on passed on to her the lov...

We acquired a series of watercolour stained glass designs from Jane Gray's studio. To find more scroll down to "More from this Seller" and below it click on "See all from this seller...

We acquired a series of watercolour stained glass designs from Jane Gray's studio. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." Jane Gray (b.1931) Stained Glass Design 'Ave Maria' Watercolour 8 x 7 cm Signed and dated verso Provenance: the artist's studio sale A rare example of Gray’s early work, this design shows a more traditional approach to stained glass window design, something that Gray came to eschew in favour of a more modern style in much of her later work. It’s intended location is unknown. Jane Gray A.R.C.A. (b.1931) is a British stained glass art...

Monkey Business In all of us there is a monkey tucked deep inside. How about your monkey business? What will you do when beautiful girls run on the beach? Where does human nature st...

Prakash Karmakar - Beach Series 14.5 x 11 inches (unframed size) Ink on Paper 2006 ( Framed and Delivered ) Style : Legendary master artist Lt. Prokash Karmakar from Bengal was sole...

Gordon King. English ( b.1939 ). Fond Memories. Watercolor. Signed. Image size 13.6 inches x 21 inches ( 34.5cm x 53.5cm ). Frame size 22.4 inches x 29.9 inches ( 57cm x 76cm ). Av...

Hillside (1918) Pastel on grey paper 8 ½"x7 ¾" 23 ½" x 19 ½" x 1 ½" signed "Allen Tucker March 1918" lower right. Provenance: Gift from the artist to his friend Una Brage, USA/Switz...

This has young ISraeli pioneers dancing with the flag as typical of works of the late British mandate Palestine era early state of Israel. Genre: Modern Subject: Figurative (stained glass style) Medium: Mixed media gouache on paper Hand signed lower left Alexander Raymond Katz, Hungarian / American (1895 – 1974) Alexander Raymond Katz was born in Kassa, Hungary, and came to the United States in 1909. He studied at the Art Institute of Chicago and the Chicago Academy of Fine Arts. In the late 1920s, he worked as a director of the Poster Department at Paramount Studios. He was appointed the Director of Posters for the Chicago Civic Opera in 1930. During the Great Depression, notable architect Frank Lloyd Wright urged Katz to become a muralist. In 1933, he was commissioned to paint a mural for the Century of Progress exposition in Chicago. In 1936, he painted the mural History of the Immigrant for the Madison, Ill., post office. Katz’s works were included in various exhibitions and now are part of several museum collections, including those of the Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C.; and the Jewish Museum, New York. His murals, bas-reliefs and stained glass designs adorn more than 200 Jewish synagogues in the United States. Katz and other Jewish artists in Chicago who expressed Jewish and Biblical themes were inspired by the artist Abel Pann (1883-1963). Pann, who is regarded as the leading painter of the Land of Israel, exhibited in the Art Institute of Chicago in 1920. Early in his career, Katz began to explore the artistic possibilities inherent in the characters of the Hebrew alphabet. He developed aesthetic and philosophical interpretations of each letter and became the leading innovator and pioneer in the field of Hebraic art. Katz applies this concept in the woodcut Moses and the Burning Bush. Hebrew letters appears in Moses’ head, his cane and inside the flame. The initial of Moses’ name crowns his head. The letter in the flame is the first letter of the name of God. A combination of images and Hebrew letters appeared commonly in illustrations of the scene Moses and the Burning Bush in the Haggadah, the book of Passover. The symbolism of the burning bush corresponds to the motifs of A Gift to Biro-Bidjan. Among the fourteen participating artists were notable Chicago modernists Todros Geller, Mitchell Siporin...

A striking Surrealist work by the French 20th Century artist Louis Marchand des Raux. Louis Marchand des Raux was a self-taught amateur painter who caught the eye of the famous deal...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from...

Roy Huse Collins was a Midwestern artist associated with Chicago and Minnesota. Born in Saint Paul in 1884, he exhibited often at the Art Institute of Chicago (AIC) during the 1920’s and 30’s. He also exhibited at the Pennsylvania Academy in 1925 and 1931. Collins was a painter and illustrator until he died in 1949. This watercolor includes (on the back) the original exhibition label from the AIC in 1929. The work is titled “Steel Rocks...