Items Similar to Untitled (Coastal Scene)
Want more images or videos?
Request additional images or videos from the seller
1 of 10
Suezan AikinsUntitled (Coastal Scene)c.1990
c.1990
About the Item
This artwork "Untitled (Coastal Scene)" c.1990, is a watercolor on paper by noted Canadian/Japanese artist Suezan Aikins, b.1952. It is signed at the lower right corner by the artist. The artwork (image) size is 10 x 28 inches, framed size is 17.25 x 35.25 inches. Custom framed in a silver metal frame, with double off white matting. It is in excellent condition, the frame have some minor rubs and scratches.
About the artist:
Born in Montreal in 1952, Suezan was influenced early in her life by the works of modern Japanese woodblock printmakers which hung throughout her parents’ home. She attended the Fine Arts programme at Mount Allison University in Sackville, New Brunswick (1969 - 1971), The Ontario College of Art (1971-73), L’ ecole du Musee des Beaux Arts (1974), Nova Scotia College of Art and Design -BFA (1975) as well as a very intensive year of study with Toshi Yoshida in Tokyo (1984-85).
She has exhibited extensively in both public and private galleries throughout North America and Japan. Recent exhibitions include solo shows in Tokyo, Osaka, Okinawa, and Boston with group exhibitions at the Wenniger Gallery, Boston, Royal Canadian Academy in Toronto and the Canadian Museum of Nature in Ottawa.
Her paintings and woodblock prints are found in many collections such as The Canada Council Art Bank, The Nickle Art Museum, The Art Gallery of Nova Scotia, The Royal Bank of Canada, Prince Takamanonamiya Norihito, the Embassy of Canada in Tokyo, The Thomas Moore Institute as well as private collections.
Suezan Aikins was awarded the Elizabeth Greenshields Foundation grant in 1983, Nova Scotia Department of Culture - Development Grants in 1980, 1987 and 1988. She was elected to the Royal Canadian Academy of Art in 1990 and received the Canadian Progress Club- Women of Excellence Award for Culture in 1993. Her work has been featured in a number of television documentaries as well as many Canadian magazines.
STUDIES:
Yoshida Woodblock Print Studio Tokyo, 84-85
Nova Scotia College of Art & Design, Halifax, 74-75 BFA
Ecole du Musee des Beaux Arts, Montreal, 74
Ontario College of Art, Toronto, 71-73
Mt. Allison University, 69-72
SELECTED SOLO SHOWS:
25 Year Retrospective of Woodblock Prints traveled to three Public Galleries in Germany: Dornum Castle; Tollhousverein, Leer; Rastede Palace, Oldenberg 2000-2001 color catalog and reviews.
Private Exhibitions, Falmouth, Mass., July 1996; Montreal, November 1996; Gibson Island, Md., April 1999.
Gold Paintings and Woodblock Retrospective, travelling: Kabutoya Gallery, Tokyo; Genkan Gallery, Tokyo American Club; Blue Nile Gallery, Osaka; Kanda's Gallery BOQ, Okinawa; May 1994 (color catalogue)
Edo Gallery, Boston, November 1992, Private Exhibitions, Chatham, Mass, July 1992, Toronto, Oct. 1991
New Paintings and Woodblocks Kabutoya Gallery, Tokyo, May 1991, and also in 1987.
Japanese Garden and Pavilion Foundation, Montreal, September 1990, Ownens Art Gallery, Mount Allison University 1988
Zwickers Gallery, Halifax, NS, 1979; Gallery 78; Fredericton, November, 1983; Robertson Galleries, Ottawa, November, 1982
SELECTED GROUP SHOWS:
"A New Leaf" 30 foot instalation of mixed media/ goldleaf reliefs, Artsplace, Annapolis Royal, N.S., 2000 color catalog
"Far and Wide" Juried Bienials, Art Gallery of Nova Scotia; 1996 to '99, travelling, catalogs
"Moku Hanga Travelling Exhibition: Contemporary Japanese Woodcuts" Northwest Print Council, Oregon 1997, catalog
Annual CWAJ Print Exhibitions, Tokyo, 1986 to 2001, color catalogs
Ronin Gallery Annual Print Exhibitions, New York City, 1986 to 1996, color catalogs
Group Exhibitions, Webster Galleries, Calgary, 1991 to 2000
Annual International Yoshida Studio Prints, Kabutoya Gallery, Tokyo, 1985 to 2000, some color catalogs
Group Exhibitions, Kanda's Gallery BOQ, Tokyo, 1985 to 1999
Contemporary Woodblocks, Wenniger Gallery, Boston, February, 1992, also solo May, 1996
"Nova Scotia Printmakers," Art Gallery of Nova Scotia, 1990 / 1991, travelling
"La Releve: Artists of the 90s," Galerie de Vente et Location, Musee des Beaux Arts, Montreal, June, 1990
"Visual Facts 86," Dalhousie University Gallery, Halifax, December, 1986
"Diverse Perspectives," Mount St. Vincent University Art Gallery, September, 1985, catalog
"Atlantic Print Exhibition," Art Gallery of Nova Scotia, May 1983- travelling, catalog
"International Works on Paper," London Regional Art Gallery, April, 1983
"Aikins & Blackwood Watercolors," Galerie Kanesatake, Montreal, June, 1982
"Canadian Landscape," Robertson Galleries, Ottawa, December, 1982
"Canadian Prints," Galerie Kanesatake, Montreal, April, 1981
GRANTS AWARDS & HONORS:
Canadian Progress Club, 1993 Women of Excellence Award for Culture
Elected Academician, Royal Canadian Academy of Art, 1990
Nova Scotia Department of Culture grants, 1980, 1987, 1988, 2000
Elizabeth Greenshields Foundation Grant 1988
Pauline Manning Award for Excellence, 1980
SELECTED PUBLICATIONS & BROADCASTS:
(see catalogs in exhibitions above also)
(to be translated) 5 German newspaper and art magazine reviews June 2000 - March 2001
"Golden Light, discovering the magic of gold" color cover with feature article, Visual Art News, Halifax, winter 1999
"Suezan Aikins" by Fred Harris, Tokyo Weekender, full page, color, May 10, 1991, and May 7, 1994
"Portrait of the Artist as a Contemplative Realist," Visual Arts News, Halifax, Fall, 1994, cover and feature article
"Natural Magic," The Kansai Journal, Spring, 1994, feature article
"Aikins Entices Japanese," Chronicle-Herald, Halifax, June 12, 1994
"Gazing East," The Daily News, Halifax, March 3, 1994, color full page
Magazin Art Internationale, pages 55 to 54, and 65, December, 1991, color, 4 pages
"Canada's Japanese Woodblock Printmaker," Japan Times, October 12, 1991, color, full page
CBC Radio, Prelude Program, interviewed by Deborah Allen, August 23, 1990
CBC TV Seconde Regard Program, 'L'art de Suezan Aikins', September 23, 1990
"Review of Eastern and Western Traditions" p. 21, Arts Atlantic Magazine, Spring, 1989
"Suezan Aikins Paintings," Japan Art Times, May 11, 1987,
"Japanese Art in Nova Scotia: Suezan Aikins" Arts Atlantic Magazine, Summer, 1996
"Suezan Aikins, The Woodblocks," Japan Art Times, October, 1985
Japan Printmaking Quarterly, Summer, 1985, inside back cover, color
"The Fine Art of Printmaking" CBC TV(Aikins, Porter, Silverberg), March, 1982
SELECTED CORPORATE & PRIVATE COLLECTIONS:
The Canada Council Art Bank; Hudson Bay Collection; Nickle Art Museum; Art Gallery of Nova Scotia, Federal Business Development Bank; Nova Scotia Art Bank; Mt.Allison University; Royal Bank of Canada; Bank of America; Manufacturer's Life Insurance Co.; Atlantic Lotto Corp.; Bank of Montreal; Mount Saint Vincent University; Dofasco Innocan Inc.; Mirabaud Canada; Prince Takamadonomiya Norihito; Embassy of Canada, Tokyo; Thomas More Institute, Montreal; Tokai Bank of Canada; etc.
- Creator:Suezan Aikins (1952, Canadian, Japanese)
- Creation Year:c.1990
- Dimensions:Height: 17.25 in (43.82 cm)Width: 35.25 in (89.54 cm)Depth: 0.75 in (1.91 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1999
1stDibs seller since 2017
683 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: San Francisco, CA
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- Italian Village Scene IILocated in San Francisco, CAThis artwork "Italian Village Scene II" c.1880 is a watercolor on paper by noted Italian artist Roberto Gigli, 1846-1922. It is signed at the lower rig...Category
Late 19th Century Realist Figurative Drawings and Watercolors
MaterialsWatercolor
- Italian Village SceneLocated in San Francisco, CAThis artwork "Italian Village Scene" c.1880 is a watercolor on paper by noted Italian artist Roberto Gigli, 1846-1922. It is signed at the lower left c...Category
Late 19th Century Realist Figurative Drawings and Watercolors
MaterialsWatercolor
- Winter Landscape, with Woman and CatBy Paul Lilo StenbergLocated in San Francisco, CAArtist: Paul Lilo Stenberg (Norwegian, 1893-1981) Title: Winter landscape, with woman and dog Year: Circa 1940 Medium: Watercolor Paper: Watercolor Image size: 12 x 19 inches p...Category
Mid-20th Century Realist Figurative Drawings and Watercolors
MaterialsWatercolor
- Saint Cergue SwitzerlandBy Willam Stewart OrrLocated in San Francisco, CAThis artwork titled "Saint Cergue Switzerland" c.1930 is a watercolor by noted Scottish artist William Stuart Orr, 1872-1944. It is hand signed by the artist at the lower left corner...Category
Mid-20th Century Realist Figurative Drawings and Watercolors
MaterialsWatercolor
- Street in OxfordBy Ken MesserLocated in San Francisco, CAThis artwork "Street in Oxford" 1972 is a watercolor by noted architectural British artist, Ken Messer 1931-2017. It is signed and dated at the lower left corner by the artist. The artwork size is 14,60 x 10.15 inches, framed size is 21.65 x 15.65 inches. It is custom framed in his original wooden gold and green frame. Artwork and frame are in very good condition. About the artist. After attending City of Oxford High School for Boys, where he excelled at rugby and cricket, he started work as an accountant in the city. He then moved on to become a steward for the British Overseas Airways Corporation (BOAC). In the 1960’s Mr Messer was involved in a car accident which would end his sporting career and change his working life. When he left his job with BOAC he became a graphic designer at Pergamon Press, owned by Robert Maxwell, which allowed him time to pursue his real passion which was painting watercolours. He rose through the ranks at Pergamon to become studio manager and when he could progress no further he decided to become a full time artist, a role from which he never retired. He quickly became well-known for his paintings of Oxford...Category
Late 20th Century Realist Figurative Drawings and Watercolors
MaterialsWatercolor
- Oxford Cityscape #2By Ken MesserLocated in San Francisco, CAThis artwork " Oxford Cityscape #2" 1972 is a watercolor by noted architectural British artist, Ken Messer 1931-2017. It is signed and dated at the lower left corner by the artist. The artwork size is 10.5 x 13.65 inches, framed size is 15.85 x 19 inches. It is custom framed in his original wooden gold and green frame. Artwork and frame are in very good condition. About the artist. After attending City of Oxford High School for Boys, where he excelled at rugby and cricket, he started work as an accountant in the city. He then moved on to become a steward for the British Overseas Airways Corporation (BOAC). In the 1960’s Mr Messer was involved in a car accident which would end his sporting career and change his working life. When he left his job with BOAC he became a graphic designer at Pergamon Press, owned by Robert Maxwell, which allowed him time to pursue his real passion which was painting watercolours. He rose through the ranks at Pergamon to become studio manager and when he could progress no further he decided to become a full time artist, a role from which he never retired. He quickly became well-known for his paintings of Oxford...Category
Late 20th Century Realist Figurative Drawings and Watercolors
MaterialsWatercolor
You May Also Like
- Shady hollow way - Into the heart of the forest -By Hans DvoràkLocated in Berlin, DEHans Dvořák (19th century). Shady hollow way in a sunny forest. Watercolour and pen-and-ink drawing, 58.5 x 43 cm (visible size), 70 x 55.5 cm (frame), signed and dated "Hans Dvořák ...Category
1880s Realist Landscape Drawings and Watercolors
MaterialsWatercolor
- Wettersteinkamm - The blue of the mountains -Located in Berlin, DEAdalbert Holzer (1881 Munich - 1966 Munich). Wettersteinkamm. Watercolour, 29 x 34.5 cm (visible size), 37.5 x 43 cm (frame), signed and dated at lower right 'ADALBERT HOLZER [19]23'. Framed behind glass. Frame shows signs of wear. - The blue of the mountains - About the artwork The Wetterstein ridge is revealed to the viewer from a gentle, snow-covered hill. In contrast to conventional depictions of mountains, the painting is composed entirely of shades of blue, which condense into the blue-grey of the rock or fade into the white of the snow. As a complementary colour to the blue, Holzer virtuously activates the ochre ground. The uniform yet exciting polarity of the colours emphasises the massive majesty of the mountains and at the same time underlines the special character of the Wetterstein ridge. Holzer transferred the translucency of glass painting, in which he was originally trained, to watercolour and developed a pictorial language related to the art of Ferdinand Hodler, which earned him the nickname 'Master of Blue' and led to the appreciation of his watercolours in particular. About the artist After an apprenticeship as a stained glass painter at the Kunstgewerbeschule, Adalbert Holzer studied at the Munich Art Academy under Carl von Marr...Category
1920s Realist Landscape Drawings and Watercolors
MaterialsWatercolor
- High Moorland Landscape in the fog - The world as a transcendent phenomenon -Located in Berlin, DECharles Edward Brittan Jr (1870 Plymouth - 1949). High moor landscape in the fog. Gouache, signed at lower left "Charles E. Brittan", 18 x 34.5 cm (passepartout), 45 x 62 cm (frame)....Category
Early 20th Century Realist Landscape Drawings and Watercolors
MaterialsWatercolor
- Wind Dodgers at the Baltic SeaLocated in Berlin, DETheodor Scheerbaum (1897 Reichenbach im Vogtland), Wind Dodgers at the Baltic Sea. Watercolor on strong yellowish grained paper, 44 x 56 cm, signed by hand "Th[eodor] Scheerbaum" at ...Category
1950s Realist Landscape Drawings and Watercolors
MaterialsWatercolor
- Red blooming war landscape with dead soldier - Bleeding flowers -Located in Berlin, DEJohannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...Category
1910s Realist Figurative Drawings and Watercolors
MaterialsWatercolor
- Watercolor Portrait of a Girl with Roses signed Bowman 1906Located in Philadelphia, PAUnknown Artist (Bowman) (early twentieth century) Girl with Roses Watercolor on paper, 5 x 8 inches Framed: 13 x 16 inches Signed and dated at lower right: “Bowman/.06”Category
Early 1900s Realist Landscape Drawings and Watercolors
MaterialsPaper, Watercolor