Art by Medium: Watercolor

Beautiful original watercolor by Jessie Harris Bone Charman. Signed lower right. Circa 1940. Condition is very good. Under glass. Beautifully matted and framed. Overall framed mea...

Huang Wei Born in 1985 in Baotou, Inner Mongolia; 2011,Graduated from The Department of Chinese Painting of Tianjin Academy of Fine Arts with a bachelor's degree; 2014,I graduated from Art College of Xizang University with a master's degree; Now he lives and works in Beijing T3 International Art District. After graduating from Tianjin Academy of Fine Arts, Huang Wei chose to study in Xizang because he was unsatisfied with the procedural education mode. As an ideal and sacred place for many people, Tibet has also provided artistic inspiration for many artists. Huang Wei is not concerned with Tibetan folk customs or landscapes, but with Tibetan unique, faith-based artistic expression. The experience in Tibet was a rare retreat. He was willing to spend time in dialogue with nature as well as with his heart. Through painting, he established an inner field and objected to mountains, water and clouds with his mind. Huang Wei's brushwork does not move restlessly. The rich texture on the picture comes from the countless dots dyeing of the brush tip and rice paper. This technique, which originated from the Traditional Tibetan painting "Thangka", requires a state of extreme silence and numerous repetitions, approaching a state of meditation. This is the classical spirit from Tibet, and in keeping with the spiritual pursuits of the great achievers of the Himalayan region. As his mentor Li Jin...

"Red Vase of Flowers on Orange Tablecloth" is a watercolor signed by Sylvia Spicuzza. This simple still life shows a vase on a table. Some of the flo...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

A charming Modernist watercolor by notable artist Flora Schofield, depicting fishermen and a sail boat. Archivally matted to 16" x 20". A painter, print maker and sculptor, Flora Schofield (Schoenfield), was born in Lanark, Illinois. She studied at the School of the Art Institute of Chicago and taught Saturday classes there until 1904. Schoenfield also studied with Charles Hawthorne, B.J.O Nordfeldt and William Zorach in Provincetown, Massachusetts. She studied with Albert Gleizes, Fernand Leger and Natalia Goncharova in Paris, France. In 1923, Schofield’s abstractions caused a split at the venerable Chicago Society of Artists. When her artwork was was accepted by the jury, the notable Impressionist painter Pauline Palmer and the notable Modernist painter Carl Hoeckner got into a row that ended-up splitting the group. The Impressionists then broke away into their own organization called the ”Association of Chicago Painters and Sculptors”. Paintings by Flora Schofield have been exhibited at the Pennsylvania Academy of the Fine Arts, Philadelphia; the Salon d’Automne and Salon de Independants, Paris; the Salons of America; the Society of Independent Artists, New York; the Wichita Museum of Art, Wichita; Gallery Carmine, Paris; the National Arts Club Galleries, New York; Marshall Fields Galleries...

"The Free Press-Composition" is a watercolor street scene created by Joseph Ferrara. The street is dark, evoking the feeling of night and cold. There are white rings expanding from t...

Lionel Horsnell English ( b.1932 - d.2011 ). Ringstead Bay and White Nothe, The Jurassic Coast, Dorset Watercolor on Colored Paper. Signed lower right. ...

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...

The Red Bridge by Y. Blanchon, French 1950's Impressionist artist gouache on artist paper, unframed painting: 13 x 16.5 inches provenance: from a large private collection of this ar...

"Subtle Pastel Curves" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 60's, a...

"Modernist Palettes" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 60's, and...

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

This is a two sided painting. Nude reclining woman and a ship lit at night. Harold Cohn (1908 - 1982) Harold Cohn was active/lived in New Jersey, Michigan. Harold Cohn is known fo...

"Strawberry Fields" is an illustration style painting by Romina Milano. Romina Milano is an Italian artist renowned for her paintings that are primarily composed of strong gestures,...

Enter the whimsical world of famed children's book illustrators husband and wife team Alice and Martin Provensen. On top of a heavy tree trunk sits a...

Louis Osman was an English artist, architect, goldsmith, silversmith and medallist. He is notable for the gold coronet he designed and made for the investiture in 1969 of Charles, Prince of Wales. We have acquired a large archive of Osman's works form his daughter; to see the other Osman works available, please scroll down to "More from this Seller" and below it click on "See all from this Seller." Louis Osman (1914 - 1996) A Pavilion in a Private Park Pen, ink and wash 67 x 100 cm Provenance: the family of the artist. Signed lower right. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson – we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin...

This is a two sided painting. Nude reclining woman and a ship lit at night. Harold Cohn (1908 - 1982) Harold Cohn was active/lived in New Jersey, Michigan. Harold Cohn is known fo...

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...

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...

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...

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...

Gloria Dudfield (1922-2015) Untitled c.1960s Gouache on paper 18"x15" unframed Unsigned Came from a portfolio of her work in the San Francisco Bay Area. Gloria had a Master of Arts...

"Red Bottles on Green" is a contemporary still-life painting that depicts a vibrant arrangement of red bottle silhouettes taking center stage in contrast against the green pastel bac...

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 )...

Untitled Large Seascape Abstract Mixed Media Ink and gouache wash on paper board about 1970s, Artist signed lower right corner. Lim Ha Shan, was born in Seoul, Korea in 1945. The ...

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...

Staten Island Watercolor on paper, c. 1928 Signed with the Estate stamp lower left Sheet size: 19 1/8 x 23 7/8 inches Titled on verso Part of small series of watercolors done of the ...

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...

Gloria Dudfield Construction Workers and Red Truck 6-16-64 Pastel and Watercolor 41 1/2" x 36" unframed Signed and dated in pastel lower right Gloria (Fischer) Dudfield July 12, 192...

Jogen Chowdhury Mixed Media on Paper 6 x 4.1 inches 2023 Style : He has immense contribution in inspiring young artists of India. Jogen Chowdhury had developed his individual styl...

Beautifully executed original watercolor by French artist Fernand Guignier of a street scene in Montmartre, Paris. Signed lower right and dated 1949. Titled lower left, “Montmartre”. Fernand Guignier was a student of the sculptors Emil Derré and Jean-Antoine Injalbert at the École des Beaux Arts in Paris . Between 1926 and 1960 he took part in the Salon des Artistes Français in the Palais de Tokyo. The watercolor is housed in its original off white wood frame. Under glass. Condition is very good. Overall framed measurements are 18.25 by 16.5 inches. Provenance: A Sarasota, Florida collector. Fernand Guignier Born: 1902 Died: 1972 Known for: Paris street scene watercolor...

Title: Interior Scene Medium: Watercolor on paper Style: Impressionist Size: 11"" x 15"" Frame Size: 18"" x 22"" Age: 1940s Signature: William Fisher Artist: William Fisher (...

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...

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...

Louise (McClure) Schatz (1916 – 1997) Born in Vancouver, Canada, Louise Schatz moved with her family at age three to Minnesota. Her father, a stage director, was part of the local Bohemian culture and traveled the theater circuit around the U.S. She earned a Master’s Degree in Fine Arts at the University of California, where she became a skilled water colorist. “My Japanese instructor showed me how to preserve several colors together on paper,” she noted. “Water colors can bleed into the paper, and the paper plays with the colors – some of which can even disappear. I have a great love of texture and what materials do to color. I was very excited to discover what happens to colors and how to achieve what I wanted.” Her interest in astronomy also led Louise to study science at the university. Louise joined the “California Seven” artists in 1945 and for the next three years created prints and textile patterns. During WWII, she earned her living as a sketch artist for ship builders in San Francisco Bay, and it was there she met her future husband, Bezalel. “Then, it was very avant-garde to hire women in ship-building,” she once recounted. “We used to take dimensions from engineers and make sketches. It was very trailblazing and exciting, and the ships were constructed very quickly and launched very quickly. Besides the fact that we contributed to the war effort, it was really beautiful art.” The Bohemian society developing in San Francisco at the time included the novelist Henry Miller, who was then married to Louise’s sister, Eve. “There was a group of artists in Big Sur, all of them poor,” according to Bezalel Schatz’s sister, Zohara. “They were a group of Beatniks before the hippy era of the 1960s. There were novelists, poets, and painters there who lived communally under primitive conditions and were close to nature.” Bezalel and Louise were married in 1948 and moved to Israel. There, together with Zohara, they founded the arts and crafts workshop, “Yad,” with the goal of creating and selling alternative art objects that differed in style from those of the Bezalel School of Art. The couple divided its time between the family home in Jerusalem and a residence in Ein Hod designed for them by the architect David Resnik. Despite her connection to the Schatz family and her active involvement in the Israeli art world at the time, Louise guarded her privacy and rarely granted interviews. As Henry Miller wrote, “Her paintings reflect and reveal the extent of her sensitivity, shyness, and gentleness…” Scenes of Israel were a source of inspiration for Louise, and, in addition to her abstract Bauhaus geometric works, she also painted landscapes, flowers, and other elements of the environment in which she worked. Louise worked mainly in water colors but also created collages, book illustrations, and applied art. Among her outstanding works are murals for Zim’s “Shalom” and “Theodore Herzl” ships (together with Bezalel), El Al’s London office, and Jerusalem’s tenth anniversary exhibition, as well as ceramic walls for Jerusalem’s Midreshet Amalia and Beit Ha’am Library. She was awarded the Silver Medal in 1954 at the tenth Triennale in Milan for her copper designs, and in 1952 she received the “Above Competition” prize for her textile designs at the Bezalel National Museum. She was also awarded the Shen Beit Haomanim Prize in 1970 and the Jerusalem Prize for painting in 1973. Louise took part in many art exhibitions in Israel and abroad. Her works are held by the Israel, Tel Aviv, and Haifa Museums, and in private collections in Israel, the U.S., England, Switzerland, France, and Italy. Following her husband’s death in 1978, Louise continued to live with her sister-in-law, Zohara, at the family home in Jerusalem on Schatz Street. Louise died in Jerusalem in 1997. She has been called in the pages of the Jerusalem Post " the greatest Schatz of all" and "Israel's finest watercolorist" Parts of her work summon up affinities with Paul Klee and Julius Bissier and occasionally even Joan Miro. But she never copied any of them. Her work also bears affinities for Lyonel Feininger and Wassily Kandinsky Between 1937 and 1951, Bezalel resided in the U.S. Near the end of WWII, he worked in a California shipyard, and it was there he met his future wife, Louise. He was also introduced to the novelist Henry Miller in California, and their friendship blossomed into a creative collaboration. The artist May Ray recorded his observations about the two, noting that “I have never encountered such smooth cooperation…” Bezalel produced silkscreen prints for Miller’s novel, Into the Night Life, an innovation for both the art and publishing worlds. In Florence, New Mexico, New York, San Francisco, and other locations, Bezalel exhibited his own work and participated in group shows with some of the greatest artists of his era – Picasso...

Study for "The Glorious Flight - Across the Channel with Louis Bleriot"; 1983; Gouache on Illustration Board; 14.5" x 13.75"; Signed Lower Right; Unframed. From Wikipedia, the free encyclopedia Alice Rose[1] Provensen (née Twitchell; August 14, 1918[2] – April 23, 2018[3]) and Martin Provensen...

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)...

Interior Design is a beautiful drawing on paper, realized in 1948 by the French architect  Victor Courtray (1897-1971). Ink and watercolor on paper. Hand-signed and dated on the low...

This gouache on paper takes up the themes dear to Linda CLerget: femininity, nature and joy. Here, the colors shift from orange to violet, and the young girl's hair blends with the o...

Substantial modernist watercolor by California artist Yukako Okudaira (American, b. 1943). Signed lower right. Metal frame. Image size, 18"H x 20"W. (We inlcuded a reference image of the artist in the image section, we don't have the actual photograph) Yukako Okudaira was born in Tokyo and raised in Kugenuma Kaigan. She immigrated to California in 1962. She holds a Master’s degree in painting from California State University in San Jose. In 1985 she studied at Skowhegan School of Painting and Sculpture under Elizabeth Murray, Richard Serra, John Chamberian, Mary Heilman...

Very well executed watercolor on archival paper of a New England homestead nestled in a picturesque valley. Early fall with the tress just starting to change colors. The watercolor was done by the American artist Hilton Leech...

Ritratto di Guelfo Bianchini  is a pen and watercolor drawing on paper realized by  Sergio Barletta  in 1959. Hand-signed and dated on the lower margin. In very good conditions. S...

Really all about color and Rhythm! Wein was a master artist at anything he put his hand to. He did a series of works on Monhegan Island and captured the feel of the island with his...

Flore is a beautiful drawing on paper, realized by the French artist  Marcel Dupont (1898-1974). Hand-signed on back. The artwork represents a minimalistic, clean design, through p...

Piazza Navona is a drawing in pencil and watercolor on paper realized by  Nicola Simbari  in 1964. Hand-signed on the lower right in pencil In good conditions except for some soft ...

Medieval Concert is an ink and watercolour drawing on llaid and ivory-colored paper, realized around the Sixties by the great Italian artist and journalist, Mino Maccari (Siena, 1898...

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...

Nell Blaine, painter of still lifes and landscapes in brilliant colors, created abstract work that gives the appearance of being done in a carefree, totally lighthearted manner but i...

Landscape is an Artwork  realized by  the Artist Michel Cornille. Drawing on  paper, Hand-signed by the artist on the lower right corner. The artwork is glued on cardboard. Total d...

The Inlet is an expressive and vibrant depiction of a quieter inlet on Monhegan Island. The artist did a series of works here, all body depicted with energy and expressionist color....

Jack Hooper "Side Stretch Nude 2" 9/7/1984 Gouache and pastel on paper 20"x26" unframed Signed and dated in pencil lower right In this modernist masterpiece, Jack Hooper deftly navi...

A wonderful study for an American Veterans Remembrance Day Poster Study (National Poppy Day, American Legion) by Elaine Jeanne Glickman (Ginsburg), created at Ferry Hall in Lake Fore...

Will Barnet is one of America's best loved and known artists of the Post War era. He is highly distinctive for his figurative and narrative work and in some ways he is the Edgar All...

Frank Nelson Wilcox (American, 1887-1964) Fisherman's Island, Boothbay, Maine, c. 1925 Watercolor on paper Signed lower left 15 x 20 inches 20.75 x 25.75 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox...

Rainman is an artwork realized by Angelo Griscelli (1893-1978) during the 20th century. Signed on the center left. The drawing is glued on a white cardboard. Good condition.

A dynamic and stunning watercolor, saturated in color and invigorated by strong brushstrokes. Albert Wein's artistic prowess in painting is a testament to his deep-seated academic tr...

The genius of any work by Wein is in his interpretation. This study of rocks, is an exercise in abstraction. Of taking strong amorphous shapes and playing with color and form. Won...

A classically American modernist work depicting the fisherman's shack on Monhegan Island. Great for a beach house or New England home. Along the lines of an Edward Hopper or Winslo...