Paintings

Modern British, late 20th century/ early 21st century oil on board, framed framed: 27 x 23 inches board: 20 x 16 inches This came from a private collection of artworks, Surrey, Engla...

Atul Bose - Royal Academy Series-6 Pencil on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Regina Mundlak was born in a village near Lomza (NE Poland), into a poor Jewish family. In 1901 she went to Berlin to find work, together with her mother and sister, a highly talented violinist. Her extraordinary talent rapidly brought her to the attention of the Jewish artistic milieu. Her work so impressed Max Liebermann (1847–1935) that he decided to finance her education. However, even with his help, she had difficulty in making a living. Efraim Moses Lilien (1874–1925), who did not conceal his fascination with her talent, tried to help by publishing an open letter in Ost und West in 1902, appealing for support for her, but because of financial problems she finally had to give up her studies and return to her homeland. At the age of fifteen she was already very skilled in drawing. At first she primarily created realistic portrait studies. The works she published in 1902 showed her rare power of observation. Her pen-and-ink drawings were also greatly admired. As her subjects she most often chose characteristic Jewish types from Eastern Europe. She exhibited her works in Warsaw at the (Society for Promotion of Fine Arts) in 1902 and in 1903 and at the Aleksander Krywult Salon in 1903. In 1906, once again in Berlin, she exhibited her works at the Cassirer Salon. A review of this exhibition by Hermann Struck appeared in Ost und West. Like Lilien before him, he too wrote about her “phenomenal talent.” On the occasion of her exhibition, some of her drawings were reproduced in Ost und West. The development of her creative abilities in the years between Lilien’s letter and Struck’s review is noticeable. Drawings published in 1901 were portraits; compared to later works they evidence a skilful but still somewhat uncertain hand. The works created a few years later were characterized by a stronger and surer line. These works are also more developed: while the subject of her works remained the same, she now extended her interest in portraiture to the shape of the entire human body, presenting the figures in more elaborate environments. Looking at the reproductions, one might conclude that she was interested in nothing but Jewish life in the Diaspora. There is a propensity to show the faces of older people...

Suhas Roy - Radha - 20 x 16 inches ( unframed size) Oil on Canvas , 2006 Suhas Roy 's mystic woman which he calls 'Radha', either Oil on canvas or soft colored pastel on Paper or ...

Lapin, modèle 6, circa 1944-1949 Edition Leblanc-Barbedienne Bronze with a brown patina 7.5 x 4 x 2.5 cm Sandoz : Sculpteur Figuriste et Animalier 1881-1971, Catalogue Raisonné de l...

Expressionist French painter, signed and dated verso oil on canvas canvas: 19.5 x 29 inches provenance: private collection, France condition: very good and sound condition

Dancer in black leotard 1969. Oil on canvas, 92.5x92.5 cm Painting depicts the slim figure of a woman in a black leotard against a blue curtain with floral patterns. This choice of...

Frank Nelson Wilcox (American, 1887-1964) On the Back Porch, Brecksville, Ohio, c. 1922 Watercolor on paper Monogram lower right 21.5 x 27. 5 inc...

Work on canvas

Snakes and creatures acrylic pour :: Painting :: Modern :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to ...

The painting is being offered with a work and authenticity certificate

This beautiful red minimalist sculptural work explores the evocative power monochrome color. Originally working as a painter, Thompson focused on Minimalism. In his sculptural work, ...

Lyman Kipp Untitled drawing, 1993 Unique Colored Ink Drawing on paper with two deckled edges Hand signed, inscribed and dated by the artist on lower front 26 1/4 × 20 inches Unframed...

"Open Space" is a vibrant painting on canvas in the tradition of Informel. The main colors are mint, yellow, rose, black and white and a bit of red and orange. The work is done w...

ADOLF ARTHUR DEHN (American, 1895-1969) Portrait of Mexican Man with Agave Cactus plant, 1939, Gouache Painting Hand signed and dated '39 lower left. Whitney Museum of American Art, N.Y. Label verso sight: 20.5 in. X 15 in. Frame is 32 X 24 inches This was subsequently made into a lithograph in 1941 titled Man From Orizaba Standing in the foreground of an agave field is man wearing a straw hat, a white button up collared shirt, white pants and sandals. The man has shaggy black hair, a beard and moustache and large eyes. His right hand is clenched as if holding something and his left hand is open holding some flower-like objects. He stands in the middle of a large agave plant that expands the width of the composition. In the middle ground are large agave plants in subsequent rows. Behind the agave plantation is a mountain range with snow covered peak on the right hand side. Above the mountain range is a partially cloudy sky. Adolf Dehn (November 22, 1895 – May 19, 1968) was an American artist known mainly as a lithographer. Throughout his artistic career, he participated in and helped define some important movements in American art, including regionalism, social realism, and caricature. A two-time recipient of the Guggenheim Fellowship, he was known for both his technical skills and his high-spirited, droll depictions of human foibles. Dehn was born in 1895 in Waterville, Minnesota. He began creating artwork at the age of six, and by the time of his death had created nearly 650 images. Dehn went to the Minneapolis School of Art (known today as the Minneapolis College of Art and Design), where he met and became a close friend of Wanda Gag. In 1917 he and Gág were two of only a dozen students in the country to earn a scholarship to the Art Students League of New York. He was drafted to serve in World War I in 1918, but declared himself a conscientious objector and spent four months in a guardhouse detention camp in Spartanburg, SC and then worked for eight months as a painting teacher at an arm rehabilitation hospital in Asheville, NC. Later, Dehn returned to the Art Students League for another year of study and created his first lithograph, The Harvest. In 1921 Dehn's lithographs were featured in his first exhibition at Weyhe Gallery in New York City. From 1920 to 1921 in Manhattan, he was connected to New York's politically left-leaning activists. In 1921, he went to Europe. In Paris and Vienna he belonged to a group of expatriate intellectuals and artists, including Andrée Ruellan, Gertrude Stein, and ee cummings...

"Rückzugsort" is a temperamental and vibrant abstract painting on paper. The main colors are purple, blue, white, yellow, orange, red, black and brown abstract. It is a one of a kin...

Still life 1992, oil on cardboard, 80x100 cm The composition features a stylized still life arrangement positioned by a window. The focal point of the painting is a blue vases, whi...

Vintage American modernist cow abstract still life oil painting by Jeanette Welty Chelf (1929 - 2021). Oil on canvas. Signed. Framed. Image size, 20L x 16H.

Oil on cardboard without frame. Signed A. Ramseier Swiss artist from 19th century

Bezalel School Period. Genre: Judaica Subject: People Medium: Oil Surface: Canvas Dimensions: 16" x 20"

Peonies 1975. Oil on canvas, 100x92 cm The combination of the pink flowers and the blue vase creates a harmonious color scheme, evoking a sense of tranquility and elegance. The pa...

Signed lower right, 'Janus' for Ian Janus (Dutch-Italian, born 1919) and painted circa 1955. A study of a beautiful young woman shown posed in the foreground with a distant evening ...

French Modernist painter 20th century oil on board unframed canvas: 6 x 8.75 inches provenance: private collection, France condition: very good a...

Midsummer herbs 1988. Oil on canvas, 82x65 cm The focal point of the artwork is a vase filled with colorful flowers and herbs. The artist's portrayal captures the vibrancy and vari...

Seated 1974. Oil on canvas, 100x60 cm The central focus of the artwork is a nude woman seated in a relaxed position. The artist's portrayal captures the beauty and form of the fema...

Simon Karczmar, Polish (1903 - 1982) Born in Warsaw, Poland, in 1903, Simon Karczmar studied art in Paris, where he lived for twenty years. Although he left France for Israel in 196...

The Demagogue or Tale in a Tub, 1952, oil on canvas, 20 x 24 inches, signed, titled, and dated verso About the Painting The Demagogue is an iconic Bendor Mark painting from the prime of his post-war period. Beginning early in his career, Mark was fascinated with depictions of the human figure and their capacity to tell stories of the world around him. Mark was a keen observer of his times and in The Demagogue we see Mark’s portrayal of a faithless politician holding up a “V” for victory sign as he appeals to the wanton desires and prejudices of the masses. Below the demagogue is a swirl of humanity representing the common man who is being pushed down by the powerful, while the robed figure of liberty with her scales of justice held high is brushed aside. Behind the demagogue, Mark places two other powerful supporting institutions which were often co-opted by the world’s dictators, the Church and the Military. Mark was an internationalist, so it is difficult to know exactly which demagogue inspired him to create this work, but in 1952 there were many to choose from. Whether depicting Argentina’s Peron (the demagogue and the women to the right resemble Juan and Eva Peron), Spain’s Franco or the United States’ homegrown fear mongers like Joseph McCarthy, Mark tells a universal story that unfolded in dramatic fashion during the post-war period as nations and their peoples grappled with authoritarianism and anti-democratic impulses. Stylistically, The Demagogue draws on the elements which make Mark’s work from this period immediately recognizable, a saturated palette, a closely packed and frenetic composition, exaggerated figuration and stylized facial features. But, above all, we see Mark’s ability to tell the stories of the rich and powerful and their ability to oppress. Like Mark’s work in the collection of the Whitney Museum of American Art (The Hourglass - 1950-51) and the Los Angeles County Museum of Art (Execution – 1940), The Demagogue pulls no punches, as the artist lays bare the threats to freedom and basic human rights. About the Artist Bendor Mark was an American modernist and social realist painter. Born as Bernard Marcus on June 5, 1912, in Brooklyn, New York, Mark trained at The Cooper Union during the 1920s where he studied with William Brantley van Ingen and became a prize-winning artist with a focus on painting the human figure. After his time at Cooper, Mark continued to live in New York and worked as a commercial artist and textile designer in addition to his pursuit of a career in painting. Like many Depression Era artists, Mark engaged with social progressives and in 1934, he joined the Artist’s Union which had the goal of advancing artists’ position as “worker.” Mark’s painting, Restaurant, which is now in the permanent collection of the Smithsonian American Art Museum, appeared in the February 1936 edition of the Union’s publication, Art Front, as part of a review of an exhibition at ACA Gallery in New York. Mark worked on the Federal Art Project and by the mid- to late-1930s, began a series of paintings exploring the working conditions and hazards of the mining industry. Mark believed that miners were “in the forefront of the struggle for emancipation” and that the mere “struggle for existence is like moving mountains.” He became passionate about the Spanish Civil War and painted sympathetic images in support of the Spanish Republic. Mark was a premature anti-fascist and throughout his career painted works critical of dictators and other oppressors. During the late 1930s, Mark entered mural competitions with designs influenced by the Mexican muralists, taught adult art education in Queens, New York, and was an instructor at the WPA’s Queensboro Art Center. He was so committed to socially progressive art that by 1934, he had changed his name to Bendor Mark, in part, to distinguish his social realist paintings from his earlier work. During World War II, Mark worked as an artist for military contractors. After the war, he was employed as a graphic artist and in the printing industry before moving to Southern California in 1948, where he returned to a fine art practice the following year with politically and socially charged images which reflected his view of the shortcomings of the post-War period, the continued threat of fascism, and the international tensions of the Cold War. As the mood of the country shifted towards the right during the McCarthy Era and the art world’s attention focused on abstraction at the expense of figuration, Mark’s career as a painter suffered. From the 1950s through the 1980s, Mark continued to depict the events that shaped the world around him, often employing a highly stylized approach characterized by dynamic multi-figure compositions, a subtle muted palette, and exaggerated expressive features. A review of Mark’s oeuvre suggests that few people escaped Mark’s attention. He painted presidents, prime ministers, royalty, evangelists, musicians, and dictators (and their henchman), along with miners, farm workers, the urban poor, protesters, the unemployed and dispossessed. He laid bare the arrogance, cruelty, and hypocrisy of the world’s elites. Mark noted, “A work of art cannot be fully appreciated or wholly understood without considering the socio-political and cultural ambience that gave it birth.” He continued, “I have the ability to foresee the direction of social and political events while they are actually taking place.” He was not himself a direct political activist, however. Although Mark commented, “It’s a misconception to separate art from the social aspect of life,” he viewed artists as being neutral. According to Mark, “An apolitical attitude reflects the fact that the artist is passive. . . An artist never affects society; he merely reflects it.” In addition to the Mexican Muralists, Mark was influenced by the old masters Rembrandt, Michelangelo, and Masaccio, as well as the more modern master, Van Gogh. Mark’s writings directly acknowledge these influences and archival material from his estate includes magazine articles, pamphlets and transparencies related to these artists. Mark also collected materials related to several of his social realist contemporaries, including Reginald Marsh, Ben Shahn, Leonard Baskin, and Raphael Soyer, who was Mark’s good friend. For years, Soyer sent Mark holiday cards and Soyer inscribed a message of friendship on a self-portrait he gifted to Mark in the 1970s, all of which are still held in the collection of Mark’s family. From the late 1920s through the mid-1950s, Mark’s work was well received. His paintings won prizes and were accepted into major juried exhibitions including at the Brooklyn Museum, the New York World’s Fair and the Metropolitan Museum of Art. He gained national recognition for paintings depicting the oppressed and the common worker. Despite the decline in popularity of representational art during the 1950s and 1960s, Mark stayed true to his interest in depicting the human figure and by the last two decades of his life, his work underwent a reassessment as curators included Mark’s paintings in exhibitions showcasing the role of labor in art during the Depression Era. This recognition continued in recent years when Mark was honored by having his work included in the Whitney Museum of American Art’s ground-breaking exhibition, Vida Americana, which explored the pioneering role that the Mexican muralists played in the development of modern American art during the inter-war period. The influence of Rivera, Siqueiros and Orozco on Mark is unmistakable and his paintings from the 1950s (and beyond) sit comfortably in dialogue with other Los Angeles artists who continued to paint in the social realist tradition long after the mainstream art world had moved toward abstraction. Mark’s concern for underserved Brown and Black communities was shared with artists such as Charles White and his ally, Edward Biberman...

Original abstract painting depicting the sounds of a bird flock. Nigel Bird has wonderful artworks for sale online and in our art gallery at Wychwood Art. Nigel Bird Studied Fine Art...

Henri A. Hebert was born in Geneva in the 19th century. Genre painter and son of Jules Hebert both belonging to the Swiss school. The Geneva museum prese...

Michel Marie Poulain (1906-1991) French Musicians. Oil on canvas. Signed lower left. Provenance: Greenwich, CT estate. Dimensions: 21" h x 25.5...

Tall Ships off the Coast French School, signed and dated 1927 oil on canvas, framed dated 1927 framed: 21 x 26 inches canvas: 18 x 24 inches provenance: private collection, France co...

A quiet lake shore in deep summer green. This is typical of Chris Liberti's wonderful, entrancing, quiet paintings. Chris Liberti is a favorite with coll...

Work on canvas Golden wooden frame 50.5 x 59 x 5.5 cm

French modernist artist, circa 1970's signed oil on canvas canvas: 19.5 x 23.5 inches provenance: private collection, France condition: very good and sound condition

Portrait of a Woman with Brown Hair on a Red Background in Acrylic on Artist's Board Portrait of a woman in the style of Amedeo Modigliani by an unknown artist (20th century). The w...

The painting is being offered with a work and authenticity certificate

Signed lower right: Will Barnet; on verso (photo available): Will Barnet / Aug 1963

oil on board, unframed board: 13 x 9.5 inches provenance: private collection, France condition: very good and sound condition

This drawing is one in a series of botanical line drawings depicting the seasonal flowers of English gardens and the countryside. Ellen Mae Williams, artist, is available for sale on...

Rodney Gladwell (British, 1928 – 1979) Aubergines, 1959 Signed and dated ‘Gladwell 59’ (lower left) Oil on board 79.1/2 x 31.1/2 in. (202 x 80 cm.) including frame Painter Rodney Gl...

Still Life is a modern artwork realized by Giordano Becciani in the Mid-20th Century. Mixed colored oil on canvas. Includes frame. The artwork is hand signed on the lower margin. ...

"Love Yourself" is a small abstract, acrylic artwork on canvas. The main colors are turquoise, blue, black and a bit of red. Structures and forms, many layers and all in all a very ...

Blue is the color of trust and peace. seascape It can suggest loyalty and integrity as well as conservatism and frigidity. Painting is 8.5X10.5" heavyweight stock comes custom-fr...

Skyline series creates a sense of space and add a system of arranging your environment to create harmony. This high-quality one of a kind acrylic painting on canvas is 63X14". ...

Portrait Oil on cardboard, 100x92 cm The central focus of the artwork is a woman seated gracefully, elegantly adorned in a beautiful blue dress. Her presence dominates the composit...

Work on canvas board Golden wooden frame 44.5 x 60 x 4 cm

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Original abstract painting "Play & Diversity 4" was created with vibrant acrylic bright colours on standard edge canvas. The size of this particular artwork: Height : 27,6 inch...

Ink on paper, 2022. Piece is matted.

Dramatic oil and acrylic paint on canvas by Graciela Garza. Signed and dated on the back March 2022. She was born into a family of artists in Saltillo, Coahuila, México, and has pain...

Atul Bose - Royal Academy Series-4 Conte on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Ink on paper, 2022. Piece is matted.

Jean-Gabriel DOMERGUE (1889-1962) "La Terrasse" Oil on panel Signed lower right and titled on the reverse Dimensions: Painting 33 x 24 cm Framed 52 x 43 cm (20.5 x 16.5 in)