Mark Tobey

"Men at the Seattle Public Market" (Two Figures)

1958

Framed Size: approx 17 3/4 x 20 3/4 inches Fred Conway (1900-1973) "Golf Bags, Caddy with Golf Bag on His Back" Pen/Ink/Watercolor on Paper Site Size: approx. 10 x 13 inches Framed Size: approx. 17 3/4 x 20 3/4 inches A member of the faculty of the Washington University Art School from 1929 to 1970, Frederick Conway...

Constantin Guys (1802-1892) "Carriage Ride in the Park" c. 1860s Ink and Wash on Paper Original Labels Verso Site Size: approx. 8 x 11.5 inches Framed S...

Dong Kingman "Chinese Theater, Los Angeles" 1965 Watercolor on Paper Sheet Size: 15 x 22 inches Framed Size: approx 19 x 26 inches Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Gisella Loeffler "The Necklace and the Pot" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 15 x 15 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "Three Girlsl" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 19 x 13 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "Mother and Child in the Gardenl" 1919 Gouache on Paper Initialed Lower Right Framed Size: approx 19 x 10 3/4 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Badri Narayan - Ganesha - 7.5 x 7.5 inches ( unframed size ) 17 x 17 inches ( Framed Size ) Watercolor & Ink on Paper Style : The artist’s paintings are narrative, and titles like ...

Sunil Das - Head, Ink & Watercolour on paper - 11 x 17.25 inches (unframed size) Free Shipping Without Frame Sunil Das (1939-2015) was a Master Modern Indian Artist from Bengal. Ex...

William Gropper Original Gouache on Paper Hand signed lower right 33.5 x 27.5 image 26 x 20.5 The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original watercolor drawing is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...

William Gropper Original Gouache on Paper depicting man carrying an axe and woman carrying basket walking together. Hand signed lower right Fra...

Sunil Das - Untitled - 23 x 16.5 inches (unframed size) Ink & Watercolor on paper Inclusive of shipment in ready to hang form. In the mid sixties again he explored diverse cults of popular ritual for pictorial ingredients of an evocative mystic symbolism. An ink-and-wash of 1965 features a figurative image of ambiguous connotation. The motif looks like a cult image worshipped by people practising primitive religion. A squat but monumental figure, it has for each hand several reptilians snaking down from shoulder to the finger-tips, for legs a pair of beastly fore-paws and its dark oval totemic frame...

Meticulously rendered account of three prospectors trying to rustle up some water before they can dig up some gold. Magazine Illustration of the Old West, American West, Cowboys Casein on board, Western / Frontier Art...