Carol Bennett

"Lift and Glide (Paper)" figurative oil of swimmer underwater white bathing suit

2023

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. P...

Abstract oil painting of a woman in a blue pool. "I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has follow...

Abstract oil painting of a woman in a red swimsuit in a blue pool. "I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The Swimmer s...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. Pr...

In her paintings, Tracey Sylvester Harris presents a dazzling, iconic vision of the female form that merges the past with the present. The paintings speak to the central issues of human existence- desire and loss, impermanence and beauty, and the many dimensions of our connections with others Inspired by found, black and white snapshots from the mid-century, her paintings are colorful yet bittersweet, depicting fleeting moments captured a lifetime ago. Suspended in time, Harris’ stylish and elegant, cropped figures put on scarlet lipstick, dream by the pool or sit in contemplation. With the context of their lives removed, the women become mysterious; they are alluring not for their bodies, but for the secrets they hold. Raised by two professional artists, Harris’s art career began at an early age. Initially showing in her family’s gallery and then branching out into other venues, her work has since shown in museums and galleries nationwide and has been featured on the cover of numerous books and also in the movie, The Face of Love...

Frederick Elmiger (American, 1890-1975) Henry Bergh – The Founder of the A.S.P.C.A. • Watercolour, gouache, Indian ink and possibly some oil paint on heavy paper • Sheet measures, ca. 44.5 x 57.5 • Signed and monogrammed Worldwide shipping is complimentary - There are no charges for handling & delivery. The image depicts a street scene in 19th century New York in which Henry Bergh rebukes a carter, who is brutalizing his starving horse and making it drag the overloaded wagon. The here depicted Henry Bergh was the son of a German ship builder in New York and with the aid of his small private income, he spent most of his life fighting for laws protecting animals. Over fierce opposition and ridicule he obtained a charter in 1867 from State of New York forming the A.S.P.C.A. (American Society for the Prevention of Cruelty to Animals) and in 1875 a similar one covering the prevention of cruelty to children. By 1893 all states had adopted laws based on his original statutes. And the artist, who painted this dramatic scene was Frederick Elmiger (1890-1975), an American illustrator. He frequently produced series - often with historical themes - for the Donald...

(Bo Arvid) Sten Burén (Swedish, ∗ 12th July 1909, Södra Munkarp; † 31st January 1993, Burlöv) Female Nude carrying an Amphora • Mosaic style painting in either gouache and/or oil paint on thick paper, ca. 50 x 35 cm • Image size ca. 43 x 31 cm • Signed bottom right • The backing of the paintings original frame has a Swedish newspaper article attached, reporting that the Sten Burén painting was won by farmer Arne Herlöfsen from Skegrie in a raffle during a political meeting in the 1960’s. I will include the old backing in the delivery Fantastic work of Art - The pointillist-cubist image is made up of thousands of little coloured, different shaded squares, imitating a mosaic tiles. The technique is very reminiscent of the famous painting ‘Ad Parnassum’ by Paul Klee created in 1932. The Swedish artist Burén studied art in Berlin and was trained by Jules Schyl. Burén undertook numerous study trips to Germany, Austria and Switzerland, befor returning to his native Sweden. His body of work includes figures in a semi-cubist style, mosaic panels, glas work...

François Lafon (French, 1846-c.1920) Draped nude Woman seated between Pillars with young Child • Oil sketch on paper • Visible image, ca. 35 x 22 cm •...

Daniel Tavares considers his oil paintings part drawing and part painting. His artwork is a visual synthesis of his life experiences reflecting the influence of comic books - which ...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

Lester Johnson "Head with Plant" 1959 oil on paper. Early figurative expressionist painting on paper. Nicely framed.