Art by Medium: Gouache

Donald Stacy "Eve" c.1950s Gouache and oil pastel on paper 14x17" black wood frame 14.75"x17.75" Unsigned, Eve written in paint along right margin Came from artist's estate Donald S...

Geskel SALOMAN Tonder (Denmark) 1821 – Bastad (Sweden), 1902 Portrait of a woman with a book Gouache on bone 8.8 x 8.5 cm (16.5 x 15.5 cm with the frame) Signed lower right “G. Salom...

Signed lower right, 'Georges Rouault' for Georges Dominique Rouault (French, 1904-2002) and painted circa 1965. Born in 1904, Georges Domini...

Portrait of Maharaja Bhim Singh of Jodhpur , late 18th century Gouache, opaque watercolor , gold on paper Dimensions : 12 x 8 ½ in. ( 18 x 14 in. w. frame) This finely rendered pa...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. circa 1750. Gouache and ink with heightening in gold on li...

This artwork vividly captures a bouquet of vibrant pink tulips, elegantly arranged in a classic white pitcher. The flowers stand out with their rich hues, exuding an air of natural b...

Barbara Shermund (1899-1978). Society Satirical Cartoon, ca. 1940s. Gouache on heavy illustration paper, image measures 17 x 14 inches; 23 x 20 inches in matting. Signed lower left. Very good condition but matting panel should be replaced. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral...

Title: Abstract Figurative Composition with Flowers and Yellow Ground French Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 18 x 21.75 inches (height...

Late 19th Century Original English Landscape of a Cottage in Cambria Wonderful original antique painting of a thatched cottage in Cambria by...

This early 20th-century mixed media by K & K Hof Atelier Pietzner of Vienna depicts a respectable family within a neoclassical garden setting. With the advent of photography, afflue...

Meredith Walker’s "Memory Stack I" is a luminous work of contemporary folk art that combines symbolic imagery with a meditative simplicity. This original acrylic and gouache painting...

A 'View of Saint-Médard Church, Paris', gouache on art paper, by Lucien Génin (circa 1930s). As viewed from the Rue Mouffetard, the church, which dates from the mid-1400s, continues ...

June Glasson is an artist, illustrator, and designer. She live in Laramie, WY. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in B...

White, brown, red, and orange lines shape an abstract maze in this signed painting by Paul Showalter. October 10, 1940 - May 24, 2019 Artist, Designer, Painter, Poet, Sculptor Paul Showalter was born in Pasadena, California in 1940. Paul studied art and design at Pasadena City College, and later received a full scholarship to study at the renowned Chouinard Art Institute (now CalArts) and Otis Art Institute (now Otis-Parson) in Los Angeles, majoring in Advertising Design and Illustration. In 1966, Paul Showalter founded the Graphics and Communication Department at the new Los Angeles County Museum of Art, the first major art museum in Los Angeles, setting high standards of museum graphics throughout Southern California. At the 1970 World's Fair in Osaka, Japan, Paul was nominated for Best Animated Short Film for his film titled "The Moon Step." In 1974, Paul founded his own commercial graphic design firm, which specialized in the design of corporate identity programs, exhibition graphics, illustration, and print communications. He also designed floats for the Pasadena Tournament of Roses parade...

David Brayne's lyrical, dreamy and sensitive paintings have long been known to collectors. His paintings include landscapes, interiors, figures, and still-lifes. His rich, imaginary ...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....

“Colorful Marine Vegetation” is a vibrant diptych by Romina Milano, evoking the organic rhythm of underwater flora through bold linework and joyful chromatic contrasts. The two pane...

English School, late 19th century botanical study - Morning Glory. Presented in a glazed oval frame. Signed and dated to the lower edge. On paper.

Alex Minewski, 'Dockside', gouache on paper, 1953. Signed in the image, lower left. Annotated 'April 1953, Minewski, ‘Dock Side’, verso. A fine, modernist re...

Pointillist Reclining Male Nude by Louis Bellon (French 1908-1998) initialled lower right gouache painting on paper, unframed measurements: 5.5 x 10 inches (overall the sheet measures 8.25 x 11.9 inches) provenance: private collection of the artists work, Provence, France Condition report: very good, colour strong, thin paper, margins of sheet show light marks but image is clean Beautiful Neo-Impressionist 1940's French pointillist...

This painting, titled New England Town by the Sea and created by A. Hatmaker in 1989, captures the charm of a quaint coastal village in New England. Executed in a folk-art style, the...

Title: Abstract Still Life with Teapot Rope and Green Orbs French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.25 x 22.5 inches (heigh...

Title: Martini Advertising Design Extra Dry Cocktail French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 15.75 x 11.75 inches (height x w...

Mixed media abstracted landscape composition on handmade paper of a town on the edge of a lake, in monochromatic orange tones with white accents, by Grace Eichholz (American, b. 1927...

This vibrant artwork captures a serene rural landscape, where rustic charm meets vivid color. A cluster of barns, their roofs painted in striking hues of red and blue, sit nestled am...

Title: Artist Studio Interior with Easels Portraits and Painting Tools French Modernist Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 24 inches (hei...

Sandy Litchfield’s “Lingerlin” (mixed media on paper, 30 x 22 in.) reflects her signature practice of transforming landscapes into lyrical, layered compositions. Drawing inspiration ...

"A Norman Peasant's Home," (Near Caudebec -en-Caux, Seine, France); and also identified as, "Peasant's Doorway." by Hezekiah Anthony Dyer. This area would be considered Normandy hence the title. Watercolor and gouache on archival paper. Signed lower left by the artist. Condition is very good. Included with the purchase is dated 1925 correspondence between the artist and purchaser of the painting with apologies from the artist for the painting not being shipped from Newport on time. Recently professionally custom double matted and framed under glass. Overall framed measurements are 19.25 by 15.5 inches. Provenance: Rhode Island collector. H. A. Dyer 1872 - 1943 Historical Rhode Island artist Hezekiah Anthony Dyer, son of Elisha and Nancy Anthony Dyer , was born into a prominent Rhode Island family, having both his grandfather and father serve as governor of the state. A descendent of the Hoppin family, known for their own artistic inclination, Dyer inherited both an interest in the arts as well as his father’s interest in public affairs. He fulfilled his destiny by becoming a notable figure in Rhode Island politics and public service as well as an accomplished artist. Dyer attended boarding school at St. Paul’s Church in Concord, New Hampshire and then went on to attend Brown University. Following his graduation from Brown in 1894, Dyer became serious about pursuing an art career and made the decision to travel abroad to Holland, Italy and France where he focused on refining his watercolor technique. Following his initial trip to Europe, Dyer returned to Providence and attended classes at the Rhode Island School of Design. By 1919 he received an Honorary Masters of Arts Degree from Brown University. Throughout his life, Dyer traveled to Europe for several months of each year to paint. He had a particular affinity for European seascapes and landscapes, as well as for picturesque scenes of old European villages. Dyer’s travels took him throughout the continent including Belgium, Brittany, Normandy, England and both the Swiss and Italian Alpine regions. Hezekiah was heavily influenced by the English School of painting, and in the early years of his career as a painter, worked exclusively in a deliberately realistic style. During this time, Dyer also began showcasing his paintings in exhibits that consisted of only his own work and which were very successful. As his painting progressed, Dyer allowed himself to experiment more in the field of watercolor. He developed a technique of painting on grey or tan paper and would paint everything lighter than the paper using an opaque gouache, and everything darker than the paper in transparent washes of color. This technique allowed Dyer to represent a great deal of detail not usually found in watercolor paintings. It also resulted in wonderfully vibrant colors that would not fade when dry. H. A. Dyer was a prominent member of both the art community and of Rhode Island public life. While he never held an office, Dyer became very involved in politics and from 1916 to 1919 was president of the Republican Club of Rhode Island. At the beginning of the First World War, Hezekiah was made chairman of the speaker’s bureau for the Food Administration of Rhode Island, and was later made chairman of the speaker’s bureau for the Council of Defense. Dyer also became a chairman for a philanthropic organization called Rhode Island of the Fatherless Children of France. In 1922, France presented both Hezekiah Dyer...

Antique Hudson River School landscape painting by William Louis Sonntag, Sr. (1822 - 1900). Watercolor and gouache on board. Framed. Signed. Measuring: 13 by 17 inches overall, and ...

Fauve landscape with palm trees and Arab houses. 1 half of the 20th century. Gouache paintings on cardboard. Paintings is signed with monogram. Dimensions with Passepartout 45.5cm x ...

Hand-painted cyanotype still life of pink flowers on indigo with custom frame Nocturnal Nature (Double Hibiscus, Rose) — painted cyanotype by Julia Whitney Barnes 2024 watercolor, go...

'Provencal Plane Trees in Winter', gouache on art paper, by Max Escalon de Fonton (1946). The plane trees found in Provence in the South of France are a hybrid of the Asian and Ameri...

The Lady in the Interior Josine Vignon (French 1922-2022) ...

Best Laid Plan (Mixed Media Collage on Board in Bright Colors), made by Hudson Valley based artist, Donise English, in 2025 mixed media collage on board, framed Image size: 20.50 x 2...

Set of Two Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper stuck on thick paper, unframed measurements: 10 x 6.5 inches condition: the overall condition is very good, minor creasing to the corners/ edges, very minor staining. provenance: private collection, France We are honored to introduce to you an incredible and unique collection of original jewelry design artwork. We have over 100 similar original works - some offered as pairs, some individually. For the collector of jewelry they offer the ultimate accessory for their home. Equally, these would look stunning framed together in a jewelry or fashion store or even a vintage bistro or hotel! Discover the timeless elegance of original French vintage jewelry design artwork by the illustrious Paul Touzet, a master jeweler whose craftsmanship has left an indelible mark on the world of haute joaillerie. Born on January 12, 1917, Touzet's journey into the art of jewelry began at the tender age of 13, training under the prestigious Mauboussin in Paris. His talent and dedication quickly set him apart, and by November 17, 1944, he had officially registered his business, soon after obtaining his hallmark—a distinctive "P.A.T. / a bicycle wheel butterfly"—on December 7, 1944. Paul Touzet's artistry is celebrated for its collaborations with iconic houses such as Van Cleef & Arpels, Boucheron, and Sterlé, reflecting the highest standards of French luxury. His exclusive designs have graced the likes of legendary figures, including the beloved singer Charles Aznavour, for whom he crafted exquisite pieces. Touzet's craftsmanship even reached royal circles, with bespoke tuxedo buttons personally delivered to Prince Rainier of Monaco and stunning jewelry designed for his wife, Princess Grace of Monaco (Grace Kelly). Each piece of Touzet's original design artwork...

'Chez Maxim's', pastel and gouache on fine art paper, by André Meurice (circa 1950s - 60s). The artist depicts the glamorous clientele at the entryway to...

Desmond Mclean (1929-2015). Untitled, ca. 1960. Mixed media on paper. Sheet measuring 12 x 16 inches. Unframed. Born: Ireland Studied: Heatherly School of Art, London; American ...

Title: Blue Shopfront with Market Baskets Summer Street Scene Watercolour Artist: Pierre Neveu (French b.1929) Medium: Watercolour and gouache ...

Theatre Du Chatelet A stunning gouache by one of France's premier artists specialising in Parisian scenes. Eugene Galien LALOUE (1854 - 1941) Eugène Galien Laloue was particularly...

Black And White Abstract - Oil And Gouache On Paper Black and white abstract painting by Felix Ruvolo (American, 1912-1992). Grey takes over the center of the paper with strokes of ...

Syntax 18 (2023) Acrylic gouache, oil enamel on paper 12x10 inches Signed and dated by the artist on verso Vargas-Suarez Universal (b. 1972) is an artist based between New York Cit...

Compelling figurative study in gouache and pencil by Joesph Capozio (American, 1928-2016). Estate stamp lower right corner with bio on verso. Presented in mahogany wood frame. Framed size: 19"H x 17"W. Capozio was born in Philadelphia, Pennsylvania in 1927. After serving in World War II, he attended art school in Philadelphia, Pennsylvania. He lived and worked in San Francisco, California; New Orleans, Louisiana; Siesta Key...

"Morgans Meadow" is a beautiful mix of watercolor and gouache by celebrated American painter Paul Strisik (1918–1998), renowned for his evocative depictions of the New England coast....

Conditions: Very good condition. In its original frame and glass. A similar composition, but less accomplished, is currently part of the collections of the Musée des Invalides. Signed at the bottom and dated. Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on all Belfort SAS catalogue. Description: This work of art, framed by a majestic golden frame, accurately depicts a group of soldiers in 19th-century uniforms. Every detail, from the golden buttons to the epaulettes, finely illustrates the military equipment of the time. Behind them stands a sober architectural structure, evoking a barracks or a guard post. The color palette, dominated by earthy tones and dark shades of blue, gives a solemn and dignified atmosphere to the scene. The disposition of the soldiers, turned towards the artist, with an attitude both alert and relaxed, captures a moment of daily military life. This painting, with its attention to detail and harmonious composition, transports the viewer into a bygone era, inviting reflection on history and military traditions. EDOUARD DETAILLE The emperor is accompanied by his aide-de-camp, Colonel Castelnau, and Marshal Canrobert. In a gilded wooden frame, under a Marie Louise blue background. Life and time Born in 1848 into a close-knit bourgeois family, Édouard Detaille, the eldest of eight children, displayed early talent in drawing. “He was a prodigy,” notes François Robichon. By the age of thirteen, he exhibited an astonishing surety of hand and a phenomenal sense of composition. His father, connected to Horace Vernet, encouraged him. At seventeen, after passing his baccalaureate, he entered Meissonier’s studio. This relationship, which developed into mutual affection, spared Detaille the academic detour through the École des Beaux-Arts. Rather than dictating an official art style, Meissonier, at the peak of his fame, traveled with his students, introducing them to the nuances of Titian, Rembrandt, and Rubens in Brussels and Lille. In 1867, the Paris of “free trade” dominated the world through the technological revolutions of the Universal Exhibition, and the amiable young man, striking in appearance, discovered the salon of Princess Mathilde and the theater of Dumas fils. He even approached the Empress, noting in his journals, “Not bad, the Empress.” This observation encapsulated Detaille: he had no doubts about his talent, cultivated panache, enjoyed the company of beautiful women, and aimed to conquer the circles of power without sacrificing his freedom. From childhood, he listened to his calling: “Before I could read, I could guess the subjects of battles, the names of famous generals, the weapons of officers and soldiers from the images I admired in the books of Norvins and Laurent de l'Ardèche.” He mingled with collectors and regularly attended military reviews on the Champs-Élysées. His first painting exhibited at the Salon in 1868, “La Halte de tambours,” was praised by critics who immediately recognized “a remarkable truth of observation and simplicity of effect.” The purchase of this work by Princess Mathilde, cousin of Emperor Louis-Napoleon, made Detaille, at twenty, an envied celebrity known to Sainte-Beuve, Théophile Gautier, the Goncourt brothers, and Flaubert. The young artist’s humanistic vision contrasted with the compositions of his predecessors, depicting soldiers in maneuvers, contemplative and resigned as war loomed. **The Combatant’s Vision** The Siege of Paris, where he nearly lost his life in 1870, and the deaths of two brothers in that defeat darkened his outlook. From 1871 onward, Detaille no longer concealed the cruelties of war: German riflemen mowed down by machine gun fire, cavalrymen and panicked horses caught in ambushes, fields plowed by shells strewn with dead animals. The unvarnished tragedy: “It is an absolute fact that no painter has ever rendered a battlefield covered with corpses as it is,” commented Jules Claretie. The fallen bodies still bear the appearance of life in their frozen rigidity. Detaille’s testimony of the devastating defeat and the catastrophic effects of the first total war in history was not a celebration of heroism but a lament, a “lesson in darkness.” “From war, once considered the supreme effort of human genius, we now see only melancholy and horrors,” judged one writer in response to his canvases. “Detaille experienced the reality of combat at a young age during a war that foreshadowed the two world conflicts of the 20th century,” explains François Robichon. With great realism, Detaille painted war from the perspective of the combatant. He introduced a humanity and a critical lucidity regarding the evolution of warfare. His works intensely captured the violence and firepower of new weapons like machine guns. Before he turned thirty, Detaille had become a chronicler of these painful years. He exhibited, as a critic noted, a “striking portrait of modern war” that both French civilians and soldiers had experienced firsthand. He embodied a youth humiliated and eager for revenge. Yet this scrupulous artist also remembered, in his expansive landscapes—from the chalky plateaus of Île-de-France to the Russian plains—the lessons of Corot and Courbet. Manet was not far off. “I wouldn’t want my art to be reduced to mere patriotic art,” he asserted. “A system I often employ and love is to first execute the landscape, very effective, very tight, based on nature…” Echoing Meissonier’s advice: “Always nature, always nature!” Detaille remained close to this father figure, constructing a grand townhouse next to his mentor’s studio at 129 boulevard Malesherbes at the age of 26, having purchased 425 m² of land from the Pereire brothers. He even chose the same architect as Meissonier: Paul Boesvilwald. A bachelor and incorrigible seducer, the painter welcomed his conquests, including Valtesse de la Bigne, amidst his collections, having built his studio in the courtyard. Diplomatic Actor As Detaille’s fame grew, his Malesherbes townhouse quickly became a gathering place for foreign princes, politicians, and heads of state, where Juliette Adam, Léon Gambetta’s muse, offered him valuable advice. The Prince of Wales, the future Edward VII, developed a genuine friendship with the painter. “This fervent patriot, friend of Déroulède, was extraordinarily open to the world,” recounts François Robichon. In just a few years, he gained considerable social, cultural, and international stature. Received at Windsor, at the English court, he was close to Tsar Alexander III and a great friend of Félix Faure. In this capacity, Detaille played a decisive role in the Entente Cordiale, signed in 1904 between England and France, and in the Franco-Russian alliance of 1894, thereby contributing to the Triple Entente among the three powers. An engaged witness of his time—associated with the birth of the “Ligue des Patriotes” alongside Alphonse de Neuville...

4061 Modern beach scene on artist board Image size 7.75x9.5"

Salvador Dalí 1904-1989 Spanish Nine of Swords Signed “Dalí” (lower center) Gouache on photographic background Representing a unique blend of spiritualism and Surrealism, this go...

"Spring Garden I - Japanese Magnolia" is a colorful naturalist landscape featuring hues of lime green, purple, pink, orange and yellow. This work is unframed. Carlyle is inspired by the works of Claude Monet, Edouard Vuillard, Henri Matisse, Walter Inglis Anderson, Charles Burchfield, Ellsworth Kelly, Alexander Calder and Mary Delany...

Rolph Scarlett Untitled Abstract Expressionist Painting, ca. 1960 Gouache, Ink, Watercolor on Paper . Hand signed, with original Jonas Aarons Gallery label 23 × 18 3/4 inches Signed ...

Waves of Elegance: A Symphony in Blue and Gold Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed ...

'V.B.: Her Rain Hat' by celebrated figurative artist Kim Frohsin, painted in 2018. The artwork is 11 1/2 x 8 1/2 inches and it is professionally framed, 20 3/4 x 17. 1/2 inches in a ...

Byron Browne (American, 1907 - 1961) was a painter, muralist, and teacher who played a central role in the development of abstract and modernist art in the United States. Born in Yon...

Title: Interior Still Life with Fish Bowl and Houseplants French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 22.75 x 19.25 inches (heigh...

This is a beautiful 20th-century Russian Art Deco cubist gouache painting on cardboard. There is no obvious signature on the artwork. Although this painting is a typical example of t...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Nude Lady by Paul-Louis Bolot (French 1918-2003) signed original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and scuffs/...

European Courtyard Josine Vignon (French 1922-2022) ...

"#186 – WOUNDED WERE COMING" is from Amy Williams' series A Farewell to Arms – wherein the artist works directly onto pages of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from page 186 to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text. The resulting poem reads "The wounded were coming / men that were scared / I felt the rain in my face / It was getting dark." – Hemingway's novel is a doomed romance between a wounded American soldier and an Italian nurse – note the feminine form on the page, with a "dress" or apron that looks skeletal, bloody and rained upon, all at once. From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...

A joyful scene of lighthearted merriment in the palace of Jangahir Mahal Agra Circa 1750. Gouache and ink with gold heightening on light weight cream laid paper, 8 1/4 x 6 inches (2...