Bradley Walker Tomlin

"Bird" Bradley Walker Tomlin, American Modernist, Animal, Dove Illustration LGBT

circa 1927

Morris Graves Offering, 1957 Signed and dated lower right Sumi ink wash and gold leaf on paper 18 x 13 3/8 inches Born in Fox Valley, Oregon in 1910, Morris Graves was a leading proponent of the Northwest School...

Sally Michel Avery (1902 - 2003) Bucolic Landscape with Cows, 1963 Oil on canvasboard 9 x 12 inches Signed and dated lower left Provenance: The art...

Japanese School Crane Oil on paper, laid on Masonite 59 1/2 x 47 inches Signed in Japanese

Walter Shirlaw (1838 - 1909) The Coming Storm Oil on canvas 18 x 26 inches Signed lower right Exhibited: The Boston Art Club. Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing...

William M. Hart (1823 - 1894) Interior of a Stable Oil on canvas 17 x 12 inches Provenance William Macbeth Gallery, New York Mrs. Mabel Brady Garvan Collection Christie's New York, Sporting Art, November 28, 1995, Lot 116 Ann Carter Stonesifer, Maryland Estate of above Brunk Auctions, Asheville, North Carolina, January 27 2018, Lot 777 Exhibited New York, The Metropolitan Museum of Art, Life in America, April 24 - October 29, 1939, no. 123, illustrated. New York, Macbeth Gallery, 1892: Sixtieth Anniversary Exhibition, April 1952, p. 5, no. 18. Literature Turner Reuter Jr, Animal and Sporting Artists in America, Middleburg, Virginia, 2008, p. 306. Gary Stiles, William Hart: Catalogue Raisonné and Artistic Biography, no. 1126, illustrated. It should be noted that the Francis Patrick Garvan and Mrs. Mabel Brady Garvan collection, of which this painting was a part of, was one of the foremost American Art collections and now makes up a large part of the Smithsonian American Art Museum and the Yale University Art Gallery collections. Born in 1823 in Paisley, Scotland, William Hart emigrated with his parents to the United States at the age of nine and settled in Albany, New York. It was here that Hart first began his artistic training when he was placed under the tutelage of Messrs, Eaton & Gilbert, the prestigious coach-makers from Troy, New York. During this time, Hart learned how to decorate coach panels, covering them with either landscapes or figurative compositions. At the age of seventeen, he was eagerly contemplating an artist’s profession. Consequently, he left the mechanical trade of coach-making and began expanding his artistic pursuits to more refined endeavors. Hart followed coach-making with decorating window shades and later developed an interest in portraiture. Around 1840, he established his first formal studio in his father’s woodshed in Troy. There, he created many likenesses of individuals, affording him a nominal income. Once, he remarked that he felt prouder over his first fee of five dollars for painting a head then for the larger sums he would command later in his career. Nevertheless, his wages from portraits during this early period proved insufficient. Thus, he expanded into landscape painting, allowing him to barter his works or sell them for modest prices. In 1842, Hart moved to Michigan in an attempt to further his success; portraiture remained his primary means of support. Unfortunately, his experiences in the West were disappointing. Hart spent three years living a rough existence until he finally returned to Albany in 1845. Upon his return, he fully devoted himself to the art of landscape painting. Despite his failing health, he worked diligently to perfect his skill until 1849 when he traveled abroad to his native land of Scotland. This trip was made possible through the generosity of his patron and advisor, Dr. Ormsby of Albany. For three years, he studied in the open-air, creating brilliant sketches of the Scottish Highlands and the surrounding British Isles. Returning to Albany once more in 1852, Hart enjoyed improved health and was reinvigorated with purpose. The following year, he moved to New York and opened a studio, promoting himself as a specialist in landscape painting. Hart became a regular contributor to the National Academy of Design. His works received a great deal of attention from artists and connoisseurs alike, all of whom praised him for his fresh, self-taught style. In 1855, he was designated as an associate of the National Academy of Design; three years later he was elected to Academician. In 1865, he was unanimously chosen to be the first president of the Brooklyn Academy of Design. It was during his tenure there that he delivered his famous lecture The Field and Easel, which emphasized the distinguishing principles of landscape art in America. Hart argued that landscape painters should express the “look of the place” being depicted.Critics during the 1870s noted his sensitive balance between capturing a strict “real” interpretation of nature and that of a more “ideal” sentimental tone. For instance, in 1869, Putnam Magazine noted that Hart brought back “exquisite studies” of the surrounding Tappan...

Aaron Bohrod Double Bill, 1990 Signed upper right Oil on gesso panel 9 x 12 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a regiona...

'Nature Love' by Paddy McCormack (Irish, contemporary) signed to the reverse watercolour/acrylic/oil on canvas 16 x 13 inches unframed provenance: private collector, UK The painting ...

'Forever Love'' by Paddy McCormack (Irish, contemporary) signed on front and to the reverse watercolour/acrylic/oil on canvas 15 x 18 inches unframed provenance: private collector, U...

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...

Kartick Chandra Pyne - Untitled - 18 x 24 inches (unframed size) Watercolor on Thick Imported Paper, 2003 Inclusive of shipment in roll form. Style : After graduating from the Gover...

'The French Rooster', gouache on art paper, by Raymond Debiève (circa 1960s). A Mid-Century modern depiction of the French coq, or rooster. The origin o...

The depiction of flamingo and Spanish hair comb is an author's play around similar sounding words. The prevalent colours are pink, green and grey. The picture size is 16x12 in (40,5x30 cm) Alisa Fomina, 1989, Minsk (Belarus). Born in an environment with artistic traditions, raised in Andalusia and currently residing in Madrid, Spain. Graduated in Advertising and Public Relations, University Rey Juan Carlos, 2013 (Madrid, Spain). Since childhood, influenced by family artistic tradition and dedicated to drawing that resulted in the First Prize at the XI Christmas Card Contest (2004) and First Prize at the XII Contest in 2005, Marbella. Her work, mostly paintings and drawings are made for private collectors. However she has been participating with different brands like the Spanish brand ‘Citrique Sunglasses’. In 2016 a collaboration with the "Italian Institute of Culture" in the lectures of the writer Giorgio Caproni with an illustration of the writer. As well, the participation in the project of the Italian writer Alessandro Ferraro in the book '' The secret galleries of the soul. Giorgio Caproni '', for Ediciones Complutense with the portrait of Giorgio Caproni, 2019. A collaboration with the Spanish newspaper ‘El Pais’ with an illustration in one of his reports of the singer Nick Cave. In November 2016 made a deck designed exclusively for ‘Correos España’, the national postal service, in the "Generations Collection", whose originals are exhibited at the Galería Cartel of Málaga in April and May 2017. The illustrations have a graphic technique with the use of materials such as acrylic paint, watercolor pencils and felt-tip pens. Influenced by the children's world taking as reference the old cartoons, their stories and fantasy with very small details and always with vivid colors. FAIRS AND EXHIBITIONS ·Participation in the collective exhibition in Gallery "Art Enfant" (Moscow) 2013. · Exhibition in "Sánchez y Juan Gallery" (Elche, Spain) January 2014. · Exhibition at "Galería Sánchez y Juan" (Elche, Spain) from January 2015 to December 2016. · Periodic sale in the "Alexander Luxury Home Collection" since 2014 (Marbella, Spain). · Exhibition in "Galería Cartel" (Málaga, Spain) 2015. · Exhibition in "Galería Cartel" (Málaga, Spain) from April to May 2017. · Collective exhibition in "Want Art Gallery...