Clifford Ellis

Clifford Ellis Lion's Head Collage Gouache Modern British Art

c. 1960s

From a series of paintings and drawings by Clifford Ellis and his wife Rosemary. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it clic...

From a series of paintings by Clifford Ellis. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - o...

From a series of paintings by Clifford Ellis. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - o...

From a series of paintings by Clifford Ellis. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - o...

From a series of paintings by Clifford Ellis. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - o...

From a series of paintings by Clifford Ellis. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - o...

Felix Schlenker “Quadrat-Collage”, 1983 Measures: 30 cm x 30 cm Enamels on wood Abstract work that investigates the essence of white, through games of geometries and volumes...

Non-objective collage abstract work depicts the colors, textures and motion that occur in the natural world. Education: Graduate-Boston Museum School of Fine Arts, Boston, MA B.S. Art Education, Tufts University, Boston, MA M.A. Art History, Boston University, Boston, MA Solo Exhibitions: “Color Music” InArt Santa Fe H. Heather Edelman Gallery, New York, NY "New Work" A Muse Gallery, Columbus, OH "New Paintings", Expressions Gallery, Santa Fe, NM “Cantos”, Two Serious Ladies Gallery, Albuquerque, NM “Planes of Obscure Feelings,” Guadalupe Fine Art, Santa Fe, NM “Mindfields”, Guadalupe Fine Art, Santa Fe “Colors of the Canyon,” H. H. Edelman Gallery, New York, NY Ward Nasse Gallery, NYC Michael...

"Lion & Two White Crows" is an original acrylic painting on paper mounted on museum foamboard. It depicts a yellow lion and two white crows in front of a deep red background. There i...

In this original painting by Nathan Neven the artist depicts a grand interior space filled with the unexpected yet endearing presence of a courageous lion and great elephant. This ca...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. Whilst Rock always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you and that that you decide to follow. Shipping: Please note this artwork will be shipped in a professional, wide art tube and will be sent rolled. The cost for shipping will therefore be considerably cheaper than that quoted Artwork Details: Isabel Rock, The Dancing Horse of the Day, mixed media on archival paper , 153cm x 122cm, unframed, 2013 The Long Story of the Dancing Horse of the Day In Rock's own words, 'With seven long strides I traversed a might ocean, the salt spray dried my throat and crusted my lips with crystals. With eight huge hops I vaulted a vast desert of sand dunes, hot sand blew in my eyes, blocked my nostrils and burnt my hooves. With nine large leaps I scaled a stone wall that stretched to the skies, the cold grey lumps seemed to penetrate my heart with their silent indifference. I had come to dance before the Queen who had heard rumours of my beauty. I knelt before her in the great long throne room. 'Your majesty,' I said, 'I will dance for you but you must know that this comes with a price. How great the price will be I cannot tell, it will depend on your deepest heart.' 'Dance,' she commanded, 'I care not for such things. There is no price, I am the Queen.' So I tapped my hooves and jiggled my legs, I tossed my mane and I shook my head. I danced and I danced. My body shimmered and shone, radiant in the light of the chandeliers. As I danced a rumble began, it got louder and louder as the walls of the castle crumbled and fell around me. I carried on dancing until nothing was left and the Queen was nowhere to be seen. I assumed she was crushed under the rocks, but I had given her fair warning...

Original vintage advertising poster - These Men Use Shell You Can Be Sure of Shell - featuring colourful artwork by Derek Sayer (1917-1992)...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas. It features a muted, earth-toned palette with contrasting warm yellow, orange, and red accents throughout. The painting is framed in a floater frame with gold face and black sides. It is 22" x 36" and measures 24" x 38" x 2" framed. This painting is not signed by the artist, but has been authenticated by his estate. It is stamped with the estate seal on the back of the painting, and on the back of the frame. Ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Nude Model is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas. Good conditions. Not signed. Antonio Feltrinelli (Milan, 1...

John Rattenbury Skeaping. English ( b.1901 - d.1990 ). A Tight Finish, 1970. Gouache and Watercolour. Signed & Dated Lower Right. Image size 21.5 inches x 29.1 inches ( 54.5cm x 74cm ). Frame size 28.3 inches x 35.8 inches ( 72cm x 91cm ). Available for sale is this original gouache and watercolor painting by John Rattenbury Skeaping, dated 1970. It is presented and supplied in its original frame and mount (which is shown in these photographs) but with a barrier of conservation materials and non-reflective Tru Vue UltraVue® UV70 glass. This vintage painting is in superb condition and wants for nothing. It is supplied ready to hang and display. The painting is signed and dated lower right. Provenance: Direct from the artist’s family having never been displayed or exhibited before. John Skeaping is regarded as the leading equine sculptor of the twentieth century. He also became a highly regarded racehorse painter in his middle age. He was born in South Woodford, Essex, England on 9 June 1901. His father was a portrait painter who shared a studio with Cézanne and his mother was a musician. Several other members of his family were also very artistic. He had an unconventional childhood as one of four children, none of whom were sent to school. His father believed in a basic training in the arts and they were therefore taken to exhibitions, concerts, theatre and ballet. For young John, the tandem themes of horses and art emerged and remained with him for the rest of his life. Aged 13 John Skeaping was already showing an early aptitude, and enrolled at Blackheath School of Art. Then aged 14 he went to Goldsmiths College in the Sculpture School. From there he went to the Central School of Arts & Crafts and then the Royal Academy Schools, where he won the Royal Academy Gold Medal and travelling scholarship. He then taught in Newcastle. In 1924 he won the Prix de Rome and went to Rome on a three year scholarship. Barbara Hepworth won the second prize and they met in Rome and married in Florence in 1925. They returned to London in 1926 and worked together for a while. Indeed, they put on a joint exhibition in Glasgow and London in 1928 that established them in the forefront of British Sculpture. However, the couple drifted apart artistically and personally and separated in 1931, divorcing two years later. Skeaping continued modeling and carving, and created several animal pieces for Wedgwood in 1928 of a Sea Lion, Kangaroo, Duiker, Polar Bear, Bison, Tiger, Deer and Antelope groups that are quite stylized and reflect the Art Deco influence of the era. He also did stone carvings of animals during this time. During the 1930s, Skeaping spent as much time as possible in the countryside with his second wife, whom he married in 1934. They were lent a cottage in Dartmoor, where they stayed for a summer and started to train and race greyhounds. At the beginning of the Second World War Skeaping served in the Royal Intelligence Corps as an official war artist in Europe before transferring to the SAS in North Africa. However, he began to suffer from nervous stomach trouble and was invalided out just before the end of the war. On his return to civilian life he became disillusioned with London, so went to Devon to live. After a short while though he returned to London and spent a period teaching at the Royal College of Art. He then went to Mexico for a year and a half, living amongst the Indians and learning how to make their traditional pottery. In 1950 he returned to England and became Professor of Sculpture at the Royal College of Art. He remained there until his retirement in 1959 when he moved to the Camargue in France, partly for health reasons. There he studied the wild horses of the Camargue, and lived for twenty years with his third wife. Skeaping first exhibited at the Royal Academy in 1922; he was elected an Associate there in 1951 and Academician in 1959. During the late 1940s and into the 1950s, Skeaping was associated with the famous Ackermann firm who offered sporting and racing art. He produced many paintings and drawings of horses during this time. Most of his equestrian works are from the 1960s and 1970s and his subjects covered racehorses, harness horses, flat racers and steeplechasers. He also did some fine commissioned portraits of famous horses of the day including Triple Crown winner Secretariat, Hyperion, Mill Reef, Brigadier Gerard, Chamossaire, and more. He received many commissions during his life, mainly for his horse sculptures. Between 1960 and 1969, seven of his one man shows were held at Ackermann’s Gallery, and there were retrospective exhibitions at the same venue in 1979, 1981 and 1984. He wrote and illustrated four books, including his autobiography Drawn from Life, which was published in 1977. He died in London on 5 March 1980. Today John Skeaping’s sculpture and paintings are in many museum collections, including the Tate, the British Museum, and the Royal Academy in the UK, and others in the USA, Japan, and Australia, as well as in private collections. His bronzes were cast in small editions of 10 or less casts, and are very highly prized. © Big Sky Fine Art This delightful work is painted with a deceptively light touch. It depicts two racehorses and their riders at the closing section of a race. In the lead is a chestnut horse, with a jockey in white jodhpurs, navy top and a red cap. Edging towards him is a brown horse, with a jockey in white jodhpurs, yellow and purple vest...

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

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Harness Racing, Arles, France, 1960. Gouache and Watercolour. Signed and dated. Image size 15.2 inches x 23.8 inches ( 38.5cm ...

Neo Impressionist Dog in a Tent by Louis Bellon (French 1908-1998) signed lower left gouache painting on paper, unframed measurements: 11.75 x 16.5 inches provenance: private collection of the artists work, Provence, France Condition report: very good, colour strong, very shallow crease to lower right corner of sheet Interesting Neo-Impressionist 1950's French painting of a rather lively dog at the entrance to brightly coloured canvas tents...

Follower of Zacharias Wagener (1614-1688) Tamanuâguasû (Giant Anteater) On Italian 17th or 18th-century paper, H. 28 x W. 43.5 cm ​The present painting is a copy after Wagener’s painting of the anteater, Tamanduá-bandeira, which is illustrated in his “Thier Buch”, with 109 drawings of Brazilian fish, birds and mammals, published in Amsterdam c. 1641, in German. ​ Zacharias Wagener, or Wagenaer in Dutch, (Dresden 1614 – Amsterdam 1668) was a real adventurer who became Opperhoofd on Deshima and Governor of the Cape of Good Hope in the service of the VOC. During the Thirty-Year War in Germany Wagener tried his luck in Amsterdam where he worked for the map-maker Willem Blaeu. In 1634 he joined the WIC and left for Dutch Brazil where he worked as writer and painter, together with Frans Post...

John Ruthven is recognized as the “20th-century Audubon. In this very detailed and meticulously rendered work the artist depicts a Koala in an iconic and proud pose and a Photoreali...

John Ruthven is recognized as the “20th-century Audubon. In this very detailed and meticulously rendered work the artist depicts a Koala in an iconic and proud pose and a Photoreali...