Gillian

Whiskers the Kitten. Contemporary Expressionist Oil on Board.

Contemporary still-life mixed-media, oil and acrylic on board by Dutch artist Menno Modderman, signed and dated 2022 to the bottom left. Working for several years now as an artist ...

Late 20th century work on paper of a woman seated in a chair with a cat by French artist Armand Avril. Signed and dated bottom left. A vibrant and colourful depiction of a woman sea...

Large square French fantasy naive oil on canvas by Jean Henry Brossat. Signed to the front and bearing a title in Russian (?) script to the rear. In a plai...

Large late 20th century oil on canvas of animals at the watering hole by British artist Derek Carruthers. Signed to the bottom right. A magical, highly colourful and energetic paint...

French Mid 20th Century oil on canvas Fauvist painting of swallows in flight by Hyppolite Roger. The painting is signed bottom left and also to the bac...

Charming late 19th century oil on canvas of a pair of ducklings. Presented in a wooden gold frame. Unsigned. The stretcher with 'keys'. A warm and inviting painting beautifully executed and in great detail highlighting the soft downy feathers, the shiny beaks and the eye contact...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Feelings. 2019, hardboard, oil, 39x28 cm

original Oil on board Image size: H:14 cm x W:18 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Oil on board

Bird. 2019, hardboard, oil, 41x28 cm

Wild Horses by Mark Tobey (1890-1976) Oil on panel 10 ¾ x 16 ½ inches unframed (27.305 x 41.91 cm) 14 x 19 ½ inches framed (35.56 x 49.53 cm) Signed on bot...

2011-2013. Paper, plastic glass, oil, 90x68cm