Art by Medium: Charcoal

Not Tranquility, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

La Promenade by Georges Manzana Pissarro (1871-1961) Charcoal and pastel on paper 49.5 x 63.5 cm (19 ⅜ x 25 inches) Signed lower left, Manzana Executed circa 1920 This work is accom...

In this game of life, we fiercely strive, Chasing dreams, hoping to survive. Each step we take, is a move on the board, Sometimes rewarded, sometimes ignored. We start with a roll of...

Signed Lower Left, Titled Lower Center

This contemporary still life oil painting features a bouquet of red spring flowers. In the artworld Mike Rachlis sees himself as a rebel. The Canadian artist’s work is rooted in the...

Acrylic paint and charcoal on canvas Unique work Hand-signed by the artist THE IMAGINARY LAND OF ZAHRA ZEINALI “Over time Zahra Zeinali develops her universe, which evolves slowly ...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Top...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

A monochrome work in the style of symbolic surrealism, created with black and white paint on canvas. It depicts an elegant female profile merging with expressive black orchid flowers...

Academic drawing: L'Écorché by Houdon. Italian school. 19th century. 59x44cm This represents the statue of the écorché by the French sculptor Houdon. Sculpture - Anatomical model o...

This piece, titled "The Meeting 30" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, a...

Signature: Signed Lower Right Medium: Charcoal on Paper Sight Size 18.00" x 34.50", Framed 23.5" x 40.25" This is a preliminary drawing. It’s a masterful drawing that was mounted lo...

Charcoal and acrylic paint on canvas Unique work Hand-signed by the artist

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Top...

A Stylish, Mid-Century Modern Figure Study Drawing of a Seated Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, Post-War charcoal dra...

Nude is an original artwork realized in the 1970s by the Italian Contemporary artist Leo Guida (1992 - 2017). Original drawings in China Ink, Charcoal and Watercolor on paper. Go...

Une Femme Turque by Georges Manzana Pissarro (1871-1961) Charcoal on paper 47 x 30.5 cm (18 ¹/₂ x 12 inches) Signed lower left, manzana Executed circa 1910 This work is accompanied ...

Medium: Charcoal on Board Signature: Signed Lower Right Advertisement for Cream of Wheat cereal, 1908. Fast Asleep Advertisement, Cream of Wheat, 1908...

Dionís Baixeras i Verdaguer (1862–1943) – Stevedore Charcoal drawing on paper Drawing size: 58 × 43 cm (approx. 22.83 × 16.93 in) Frame size: 74 × 59 cm (approx. 29.13 × 23.23 in) ...

Holland. The famous Dutch artist with the pseudonym "Wim" was born on December 2, 1906 in Rotterdam and died on January 22, 1974 in The Hague. Wim was an artist and watercolorist. He...

James Vaulkhard Tom, 2023-24 Oil, charcoal, pastel and oil stick on fine linen 120 x 150 cm 47.5 x 59 inches James Vaulkhard Share James Vaulkhard holds a BA degree in History of Ar...

A Fine, Modern 1930s Academic Composite Anatomical Figure Study Drawing of a Young Male Nude Model (Arms and Shoulder) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An e...

Signed "Howard Chandler Christy" Lower Left "There in a box hammock was Phil Hanrihan sprawling, a woman in a scarlet shawl clinging, her cheek against his." Story illustration for ...

Davidoff creates drawings, paintings, prints and installations that consider intricate patterns in nature and the overlaying systems used to observe, map and define organic landscape...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

SOLD UNFRAMED Le Petit Cheval by Georges Manzana Pissarro Charcoal and gold on paper 31 x 31 cm (12 ¼ x 12 ¼ inches) Signed lower right, Manzana Pissarro Executed circa 1920 Proven...

The Roman Court French School, circa 1780-1820 period pencil/charcoal/white chalk drawing on artist paper stamped with a name (either a collector or the artist) size: 18 x 24 inches ...

Painted in 1941, Quitting Time is a compelling example of Charles Ragland Bunnell's mature modernist vision and his pioneering contribution to American abstraction. Created during a ...

William Barnett (1918-1992). Portrait of a Reclining Woman ca. 1950's. Charcoal and Ink on paper measuring 11 x 11.5 inches. Signed lower right. Unframed. William Barnett ( cal...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Princewill Aruo...

Charcoal and pencil on paper. Note: The painting shown on the wall may not be proportional to the room size.

A Fine, Modern 1930s Academic Anatomical Figure Study Drawing of a Standing Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exe...

A vigorous and expressive charcoal lithograph on paper by Adolf Uzarski (1885–1970), this work forms part of the artist's rare six‑piece series created to illustrate scenes from the ...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Princewill Aruo...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

A commanding monochrome charcoal work, Turkish-American artist Ömer Şahingil (Turkish/American, 1915-1976) delivers a rigorous study of the human physique, cultural identity, and arc...

The painting "Não Me Esqueça" by Ritchelly Oliveira is a compelling blend of charcoal and acrylic on canvas. It portrays a black woman seated with her face resting thoughtfully on he...

Italian Landscape with Pylons, Watercolour and Charcoal Painting, 1950s Additional information: Medium: Watercolour and charcoal 23.4 x 32.3 cm 9 1/4 x 12 3/4 in Tadeusz Piotr (Pet...

Rue Bootay, a New York-born artist now rooted in the vibrant artistic landscape of Los Angeles, navigates the avant-garde realm of nonrepresentational surre...

Title: European Village Church Street Architectural Pencil Drawing on Paper Artist: European School, 20th century Medium: Pencil on paper,...

An original pastel-on-paper drawing by British artist Charlie Mackesy - depicting the motion of a musician playing the Cello. Mackesy instantly draws y...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

A Large, Striking, 1920s Studio Figure Study of a Seated Young Male Nude Model by Notable Chicago Modern Artist, Walter Burt Adams (Am. 1903-1990). A well executed, intimate figurat...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Dan...

This piece titled "Tremendum II" is an original artwork by Amory Abbott and is made of charcoal on Stonehenge 250 gsm paper, and measures 28.5"h × 20.5"w framed. Amory Abbott, MFA, ...

Michael Tole is a figurative painter currently living in Tempe, AZ with his wife and daughters. A Texas native, most of his 20 year long career was spent in Dallas. After relocating to Tempe, his work experienced a significant shift from photo-based paintings of retail interiors to fantastical figurative inventions based on pop culture imagery he has encountered via his two daughters’ taste in music videos, and his proximity to Southern California and it’s particular brand of Disney-esque hedonism. Mr. Tole’s career includes shows in New York, Los Angeles, San Francisco, Dallas, and Miami. His work has been reviewed in Art Forum International...

This piece, titled "Neighborling Maquette 26" s an original free-standing sculpture by Seth Clark as part of his newest solo exhibition, "Passing Through". Clark's deteriorating stru...

Ballroom Dancers by Trudy Good. Original Charcoal & Pastel onto paper. Trudy Good is a British figurative painter who has exhibited in numerous plac...

Rosanna Gaddoni (Italian artist) Afternoon 38 x 57 cm ( framed in wood frame with museum glass) Measurement with included frame: 53 x 62 x 3 cm Charcoal on Paper The Italian artist ...

This piece, titled "The Meeting 31" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, an...

Hugó Scheiber (Hungarian, 1873–1950) Rabbi at Prayer (Rabbi in Synagogue) wearing tallit and tefillin Gouache, pastel, and charcoal on paper 15.75 x 14.5 inches (sight) Signed lower right: “Scheiber H” A deeply moving and masterfully executed work on paper by Hugó Scheiber — one of the most important Hungarian Jewish modernist painters of the twentieth century, championed by Herwarth Walden’s legendary Der Sturm Gallery in Berlin, exhibited through Katherine Dreier’s Société Anonyme in New York alongside Marcel Duchamp and Wassily Kandinsky, and included in the landmark Paris-Berlin 1900–1930 exhibition at the Centre Georges Pompidou. This exceptional work depicts an elderly rabbi in profile, draped in a traditional tallit (prayer shawl) with its characteristic dark stripes, wearing a tefillin (phylactery) on his head, and absorbed in deep prayer or Torah study before an open Torah scroll or prayer book. Behind him, the arched windows of the synagogue interior are rendered in Scheiber’s distinctive stylized manner — the circular and arched stained glass motifs filled with warm russet and grey tones — while to his right a lit candle or lamp flickers, casting the scene in an atmosphere of sacred warmth and quiet devotion. The figure’s full grey-blue beard, rendered in Scheiber’s signature fluid, rhythmic line, flows downward in a cascade of expressive marks that capture both the physical presence of the man and the spiritual weight of the moment. The work exemplifies everything that makes Scheiber’s Judaica subjects among the most sought-after of his entire output — his ability to combine the emotional intensity of German Expressionism with the decorative elegance of Art Deco, the fluid economy of his line with the richness of his color palette, and his deep, personally felt engagement with the world of Eastern European Jewish religious life. The composition connects Scheiber directly to the great tradition of Jewish subject painters including Marc Chagall — whose depictions of rabbis and Jewish life in the shtetl share Scheiber’s combination of spiritual reverence and modernist formal language — as well as Isidor Kaufmann and Maurycy Gottlieb, the nineteenth century masters of Jewish genre painting whose work Scheiber both absorbed and transformed. The work is signed in Scheiber’s characteristic hand — “Scheiber H” — lower right, with the “H” monogram that appears on many of his most important works on paper. The warm buff paper ground, the combination of charcoal line with gouache and pastel color accents, and the overall condition are entirely consistent with Scheiber’s mature working method of the 1920s and 1930s — the period of his greatest international recognition and his most sustained engagement with Jewish religious subjects. Scheiber’s rabbi and synagogue subjects are among the most actively collected works in the entire canon of Jewish art, and appear regularly at Sotheby’s, Christie’s, Bonhams, and specialist auction houses. A rare and important opportunity to acquire a major Judaica work by one of the defining figures of interwar Hungarian Jewish modernism. Hugó Scheiber (1873–1950) Hungarian Jewish Modernist Painter German Expressionism Futurism Art Deco Der Sturm Gallery Berlin Société Anonyme Judaica Art Gouache Pastel Tempera Hugó Scheiber (September 29, 1873 – March 7, 1950) was one of the most important and internationally connected Hungarian Jewish modernist painters of the twentieth century — a largely self-taught master of gouache, pastel, tempera, and oil whose dynamic, color-saturated paintings of urban nightlife, jazz musicians, dancers, acrobats, café scenes, and Jewish subjects placed him at the intersection of German Expressionism, Italian Futurism, and Art Deco, and whose career brought him into direct contact with the most significant figures of the European and American avant-garde. Championed by Herwarth Walden’s legendary Der Sturm Gallery in Berlin, exhibited through Katherine Dreier’s Société Anonyme in New York alongside Marcel Duchamp, Man Ray, and Wassily Kandinsky, and included in the landmark Paris-Berlin 1900–1930 exhibition at the Centre Georges Pompidou, Scheiber is one of the great rediscovered figures of interwar European modernism — and one of the most collectible Jewish artists of the twentieth century. Early Life: Budapest, Vienna, and the Sign Painter’s Son Born on September 29, 1873, in Budapest, Hungary, Scheiber came from a working-class Jewish family. At the age of eight he moved with his family to Vienna, where his father worked as a sign painter for the famous Prater Theater — Vienna’s largest entertainment venue — and where the young Scheiber absorbed his earliest visual education in the world of popular entertainment, spectacle, and commercial art that would define his subjects for the rest of his career. The family returned to Budapest in 1898, where Scheiber worked during the day and studied painting in the evenings at the School of Design (also referred to as the Commercial Art School and College of Applied Arts) under Henrik Papp, completing his studies in 1900. He did not graduate, and remained essentially self-taught — a fact that gave his work an instinctive, unacademic energy entirely at odds with the conservative Hungarian art establishment of his era and entirely in sympathy with the spirit of the European avant-garde. Marinetti, Futurism, and the Modernist Turn In the 1910s Scheiber’s style began to evolve decisively away from the Impressionist landscapes and still lifes of his early career toward the energetic, stylized world of German Expressionism. In 1915 he met Filippo Tommaso Marinetti — the Italian poet and founder of Futurism, one of the most electrifying figures in the European avant-garde — and the two became close friends. Marinetti invited Scheiber to join the Futurist Movement, and Scheiber’s subsequent work absorbed the Futurists’ celebration of speed, dynamism, modern city life, and the energy of the machine age, combining it with the emotional intensity and expressive distortion of German Expressionism to create a uniquely personal hybrid style. In 1933 Scheiber was invited by Marinetti to participate in the Mostra Nazionale d’Arte Futurista — the great gathering of the Futurists held in Rome — where he was received with great enthusiasm, cementing his place within the international Futurist canon. Vienna and the Hungarian Avant-Garde In 1919 Scheiber and his close friend and fellow Hungarian Jewish painter Béla Kádar held an exhibition organized by art critic Max Hevesi at the Hevesy Salon in Vienna — a landmark event for the Hungarian avant-garde and the first exhibition to bring serious attention to Scheiber’s work. The success of the Vienna show was such that the Budapest Art Museum purchased works from it — one of the few institutional recognitions Scheiber would receive in his own country. The Hungarian avant-garde was at this moment divided between two camps: the politically committed Constructivists, led by Lajos Kassák — whom Scheiber painted in a celebrated 1930 portrait — who believed art should serve social revolution; and independent modernists like Scheiber and Kádar who pursued aesthetic and humanist idealism. Scheiber belonged firmly to the latter camp, and it was Kassák who provided a letter of recommendation that would open the most important door of Scheiber’s career: an introduction to Herwarth Walden. Der Sturm Gallery, Berlin, and the European Avant-Garde In 1921 Herwarth Walden — founder of Der Sturm, Germany’s leading avant-garde periodical and gallery, and the most powerful champion of the European avant-garde in the Weimar Republic era — discovered Scheiber’s work and became his most important patron and promoter. Walden moved Scheiber to Berlin in 1922, provided him financial support, and began reproducing his work regularly in the pages of Der Sturm magazine alongside the work of Paul Klee, Wassily Kandinsky, Franz Marc, Marc Chagall, and Oskar Kokoschka. Scheiber’s solo exhibitions at the Der Sturm Gallery followed in 1924, 1925, and 1927, and he was included in major group exhibitions at the gallery alongside artists from more than twenty-three countries — placing him at the very center of Weimar-era Berlin’s dynamic international art world. Scheiber’s move to Berlin coincided with the great exodus of Hungarian artists to the German capital, including László Moholy-Nagy and Sándor Bortnyik — figures who would go on to shape the Bauhaus and international Constructivism. Together, the Hungarian émigrés formed one of the most significant artistic communities in Berlin, and Scheiber was among the most celebrated of them. Katherine Dreier, the Société Anonyme, and New York In 1926 another major turning point arrived: Katherine Dreier — the American artist and collector who, with Marcel Duchamp and Man Ray, had founded the Société Anonyme, the first organization in America dedicated to promoting modern art — organized a landmark international exhibition in New York in which Scheiber was included alongside artists from more than twenty-three countries. The Société Anonyme’s mission was to bring the best of the European avant-garde to American audiences, and its roster included Wassily Kandinsky, Paul Klee, Kurt Schwitters, Piet Mondrian, Alexander Archipenko, and Francis Picabia. Scheiber’s inclusion placed him firmly within this constellation of international modernism. Through Dreier’s connections, Scheiber’s work was subsequently exhibited in London (Rehearsal Theatre, Poplar Town Hall), New York (Brooklyn Museum, Anderson Gallery, Little Review), and Rome. Works from the Société Anonyme collection — including Scheiber’s — were later donated to the Yale University Art Gallery, where the Collection of the Société Anonyme exhibition was mounted in 1950. Artistic Style: Expressionism, Futurism, and Art Deco Scheiber’s mature style is one of the most distinctive and instantly recognizable in interwar European art. Working primarily in gouache, pastel, tempera, and oil on paper and board, he depicted the cosmopolitan modern world — jazz musicians, dancers, acrobats, singers, musicians, café scenes, cabarets, nightlife, street scenes, horse-drawn carriages, and the energy of the modern city — in a style that combines the emotional intensity of German Expressionism with the dynamism of Futurism and the decorative elegance of Art Deco. His palette is characteristically bold and saturated — deep blues, vivid reds, electric greens, and warm yellows — and his figures are rendered in fluid, rhythmic lines that capture movement and gesture with extraordinary economy and verve. Critics have compared his international Art Deco manner to that of Erté — the celebrated Russian-French artist whose theatrical, stylized figures share Scheiber’s sense of glamour and movement — while his Expressionist intensity connects him to Ernst Ludwig Kirchner, Egon Schiele, and the broader tradition of German and Austrian Expressionism. Among his most celebrated and collected subjects are his depictions of Jewish religious life — rabbis, synagogue scenes, Jewish musicians, and Shabbat subjects — which represent a deeply felt engagement with the world of Eastern European Jewish culture and place him within the tradition of Jewish artists such as Marc Chagall, Maurycy Gottlieb, and Isidor Kaufmann who made Jewish life and spirituality central subjects of modern art. Return to Budapest and Late Career With the rise of Nazism in Germany, the Hungarian artists in Berlin gradually returned home. Béla Kádar left Berlin around 1932, and Scheiber followed in 1934. Back in Budapest, he continued to exhibit and remained remarkably prolific — he was known as an extremely fast-working artist who produced an enormous body of work across his long career. Despite his international recognition, his work remained largely ignored by the conservative Hungarian art establishment throughout his lifetime. Major Exhibitions Scheiber’s exhibition record spans the most important venues of European and American modernism: Der Sturm Gallery, Berlin (solo 1924, 1925, 1927; group exhibitions through 1928); Brooklyn Museum, New York; Anderson Gallery, New York; Little Review, New York (all through the Société Anonyme); London (Rehearsal Theatre, Poplar Town Hall); Mostra Nazionale d’Arte Futurista, Rome (1933); The Nell Walden Collection, Kunsthaus Zürich (1945), Kunsthaus Aarau (1957), and Kunstmuseum Bern (1967); Collection of the Société Anonyme, Yale University Art Gallery, New Haven (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) — one of the landmark exhibitions of twentieth century art history; L’Art en Hongrie 1905–1930, Musée d’Art et l’Industrie, Saint-Etienne (1980) and Musée d’Art Moderne de la Ville de Paris (1981); Ungarische Avantgarde in der Weimarer Republik, Marburg (1986); Futurismo & Futurismi, Palazzo Grassi, Venice (1986), organized by Pontus Hulten; Modernizmus, Eresz & Maklary Gallery, Budapest (2006); Hugó Scheiber & Béla Kádár, Galerie le Minotaure, Paris and Tel Aviv (2007); and A Storm in Europe: Béla Kádar, Hugó Scheiber and Der Sturm in Berlin, Ben Uri Gallery and Museum, London (2003). Museum Collections Hugó Scheiber’s paintings and works on paper are held in the permanent collections of the Hungarian National Museum, Budapest; the Janus Pannonius Museum, Pécs; the Kunstmuseum Bern; and museum collections in Vienna and New York, as well as the Yale University Art Gallery through the Collection of the Société Anonyme. Legacy Hugó Scheiber died in Budapest on March 7, 1950 — largely unrecognized in his own country despite his extraordinary international career. His rediscovery in the late twentieth century has established him as one of the most significant Jewish modernist painters of the interwar period — a Hungarian-born artist who moved between Vienna, Berlin, and the international art world with remarkable ease and whose work encapsulates the energy, glamour, and tragedy of European Jewish modernism in the years between the wars. His paintings and works on paper appear regularly at Sotheby’s, Christie’s, Bonhams, and specialist auction houses, and are actively collected by institutions and private collectors worldwide, particularly among collectors of Jewish art, Hungarian modernism, German Expressionism, Art Deco, and interwar European painting. Keywords: Hugo Scheiber, Hugó Scheiber, Hugo Scheiber painting, Hugo Scheiber gouache, Hugo Scheiber pastel, Hungarian Jewish artist, Hungarian modernist painter, Jewish art, Judaica art, Der Sturm Gallery Berlin, Herwarth Walden, Société Anonyme, Katherine Dreier, Béla Kádar, Filippo Tommaso Marinetti, Futurism, German Expressionism, Art Deco, László Moholy-Nagy, Marc Chagall, Erté, interwar European painting, Hungarian avant-garde, Weimar Republic art, Ben Uri Gallery, Centre Georges Pompidou Paris-Berlin, Yale University Art Gallery, Jewish modernism, nightlife painting, jazz painting, café scene painting...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Yes, a tree can be a playground! (Speaking as someone who spent a fair amount of time as a child climbing around in them.) Much like the vine paintings and drawings I've done, this...

Artist: Dale Chihuly Title: Bones and Cones Medium: Original Charcoal Drawing on Paper Sheet Size: 22.25" x 29.75" Frame Size: 34" x 41" Year: 1982 Inscription: Signed and dated, fro...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Dan...

Manfred Schwartz (American, b. Poland, 1909-1970), Portrait of a Woman, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 24" H x 19" W. Provenance: From ...

Bluemner, Oscar (American, born Germany, 1867-1938). NIGHT IN PORTLAND MAINE - ALLEY. Charcoal on paper, 1919. Signed with the artist's monogram "OFB" ...

Rosanna Gaddoni Solstizio d’Inverno 102 x 66 cm Charcoal and graphite on Rives Arches Paper 175 gm2 crème white Framed the size is 112 x 78 cm ( Frame is included in price) Framed ...

medium: Chinese ink, ink stick, and charcoal on handmade paper ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is roote...