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Medium: Rice Paper
'Reclining Nude', Paris, Louvre, Salons d'Automne et Chaumière, LACMA, SFAA
Located in Santa Cruz, CA
Painted circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped verso with Victor di Gesu estate stamp. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los...
Category

1950s Post-Impressionist Rice Paper Figurative Paintings

Materials

Oil, Rice Paper

Two Women With Fans
Located in Austin, TX
Waterline Fine Art, Austin, TX is pleased to present the following work: Chinese ink and acrylic on rice paper, stretched on canvas. Artist's stamp upper left. 71 x 38.25 in. 72.25...
Category

1980s Post-War Rice Paper Figurative Paintings

Materials

Canvas, Ink, Acrylic, Rice Paper

"Breaking Barriers” collaboration by Gabrielle Benot and Timo Bernhard - Car Art
Located in Carmel, CA
Gabrielle Benot (Latvian, born 1978) "Breaking Barriers" 2024 Acrylic paint, Rice Paper, Resin, Mixed Media, Canvas, Stretcher bars The artist signed the bottom right of the painting...
Category

2010s Contemporary Rice Paper Figurative Paintings

Materials

Canvas, Resin, Acrylic, Rice Paper, Stretcher Bars

"Big Rubber” collaboration by Gabrielle Benot and Patrick Long - Porsche Car Art
Located in Carmel, CA
Gabrielle Benot (Latvian, born 1978) "Big Rubber" 2024 Acrylic paint, Rice paper, Resin, Mixed Media, Canvas, Stretcher bars The artist signed the bottom right of the painting. "Big...
Category

2010s Contemporary Rice Paper Figurative Paintings

Materials

Canvas, Resin, Mixed Media, Acrylic, Rice Paper, Stretcher Bars

Route 10 - Abstract Collage
By Ed Smith
Located in Soquel, CA
Route 10 - Abstract Collage Abstract mixed media collage which pulls on motifs from color-field painting, cubism, and geometric abstraction. This piece has a warm quality to the col...
Category

1980s Contemporary Rice Paper Figurative Paintings

Materials

Fabric, Paper, Rice Paper

Set of Eight 19th Century Chinese Pith Paper Paintings Depicting Dignitaries
Located in London, GB
Set of eight 19th century Chinese pith paper paintings depicting dignitaries Chinese, 19th Century Paper: Height 20cm, width 34cm Frame: Height 24cm, width 36cm, depth 1.5cm This r...
Category

19th Century Rice Paper Figurative Paintings

Materials

Watercolor, Rice Paper

China Export Watercolour on Pith Paper: A Set of Twelve Processions
Located in London, GB
[China Export Water-colours on Pith Paper] A Set of Twelve Processions. China, ca. 1870]. Water-colour and gouache studies on pith paper, framed by blue silk ribbon, all mounted. ...
Category

1870s Other Art Style Rice Paper Figurative Paintings

Materials

Watercolor, Rice Paper

Nude Woman, Reclining, Water color on Rice paper, Green, Yellow, Blue "In Stock"
Located in Kolkata, West Bengal
Kartick Chandra Pyne - Untitled - 18 x 29 inches (unframed size) Water color on Rice paper Inclusive of shipment in roll form. Style : After...
Category

Early 2000s Modern Rice Paper Figurative Paintings

Materials

Watercolor, Rice Paper

Surrealist Encaustic Painting, "Les Enfant D’Espoir Résilient"
Located in San Diego, CA
This is a one of a kind original surrealist figurative encaustic wax painting by San Diego artist, Tiffany Bociek. It's dimensions are 9"x9"x1.75". It comes framed. A certificate of authenticity will follow delivery. Artist Statement: In this piece, I wanted to create an environment that on the surface looks lovely: the colors are pretty, and the shapes feel inviting. This piece should give the viewer a sense of peace or hope. But I was also looking to explore an unarticulated sense of fear. The children head to a horizon of nothing. There are no trees, buildings, or any recognizable object. In fact, they are heading to unknown. The unknown can be our greatest fear. The fear of not knowing what is ahead of us can be debilitating, this type of fear can pull you back, keep you where you are. This type of fear can say to you: “It’s a scary world out there, better just stay where you are”. Instead of listening to the fear, these children represent the hope that it takes to continue to move forward relentlessly and resiliently. They are the part of us that represents the courage it takes to do thing in spite of pain, suffering, shame, or guilt. It takes courage...
Category

2010s Surrealist Rice Paper Figurative Paintings

Materials

Thread, Encaustic, Oil, Rice Paper

Women Bathing, Nude, Watercolor on Rice Paper, Green, Grey, Browncolor"In Stock"
Located in Kolkata, West Bengal
Kartick Chandra Pyne - Untitled - 18 x 29 inches (unframed size) Watercolor on Rice paper Inclusive of shipment in roll form. Style : After g...
Category

Early 2000s Modern Rice Paper Figurative Paintings

Materials

Watercolor, Rice Paper, Paper

Nude Woman Bathing, Reclining, Watercolor, Blue, Yellow by K.C. Pyne "In Stock"
Located in Kolkata, West Bengal
Kartick Chandra Pyne - Untitled - 18 x 29 inches ( unframed size without mount ) Watercolor on rice paper Signed in Bengali Lower right. This would will be shipped mounted without th...
Category

Early 2000s Modern Rice Paper Figurative Paintings

Materials

Watercolor, Rice Paper, Paper

Surrealist Figurative Encaustic Painting, "Shell Game"
Located in San Diego, CA
This is a one of a kind original surrealist figurative encaustic wax painting by San Diego artist, Tiffany Bociek. It's dimensions are 11"x11"x1.25. It ...
Category

2010s Surrealist Rice Paper Figurative Paintings

Materials

Thread, Encaustic, Oil, Rice Paper

Pair Framed Chinese Watercolour Pith Rice Paper Paintings Dignitaries
Located in London, GB
Pair Framed Chinese Watercolour Pith Rice Paper Paintings Dignitaries Chinese, 20th Century Height 24cm, width 36cm, depth 1.5cm This exceptional duo of Chinese watercolours is crea...
Category

20th Century Rice Paper Figurative Paintings

Materials

Watercolor, Rice Paper

Conceptual Encaustic Painting, "En Vacances"
Located in San Diego, CA
This is a one of a kind original conceptual encaustic wax painting by San Diego artist, Tiffany Bociek. It's dimensions are 12"x12"x1.5". It is unframed...
Category

2010s Conceptual Rice Paper Figurative Paintings

Materials

Thread, Encaustic, Oil, Rice Paper

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Fenzoni, Painting AND preparatorial Drawing, John the Baptist, Italy Renaissance
By Ferrau Fenzoni
Located in Greven, DE
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...
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Tan Shi Sou, White Snake Temple Raised Line Woodcut Hand Painted 1924 Bertha Lum
By Bertha Boynton Lum
Located in Soquel, CA
Tan Shi Sou, White Snake Temple Raised Line Woodcut Hand-Painted By Bertha Lum, 1924 Bertha Lum (American, 1869 - 1954) was fascinated by the legends and mythology of the Orient and wrote extensively about them. These legends provided the subject matter for many of her works in woodcut. Also known as 'Temple, Peking' the color woodcut by Bertha Lum was done in an edition of at least 45 impressions. She was in China on her sixth trip (1922-1924) to the Orient and her first trip to Peking where she studied Chinese woodblock printing and where she developed her "raised line" technique, such as this print. Lum would use the black "key block", printed on a sheet of thin Japanese paper and then attached to a new block. The black lines are then cut 'into' the block so they are intaglio rather than relief, like the first woodcut. Thin sheets of Oriental papers are then forced into the incised lines and a pulp is poured to strengthen the sheet. As the paper dries it shrinks and releases from the block (essentially a cast of the surface). The resultant Key Block lines are standing in relief. They are then inked with a black ink, which defines the composition. Lum then colors the surrounding areas with gouache. Each impression is uniquely colored. Because of this the image is reversed from the color woodcut. The Legend of the White Snake, also known as 'Madame White Snake', is a Chinese legend which existed in oral tradition long before any written compilation. It has since been presented in a number of major Chinese operas, films and television series. This is one of the temples in Peking that is associated with the legend. Signed at the bottom, "Bertha Lum". Presented in a black frame with a white mat. Frame size: 20.75"H x 15.75"W Image size: 14"H x 10"W Bertha Lum (1869-1954), née Bertha Boynton Bull, printmaker and illustrator, was born in Tipton, Iowa and spent her youth in Iowa and Duluth, Minnesota. In 1895, Lum attended the Art Institute of Chicago for one year, focusing on design. A few years later studied stained glass with Anne Weston and illustration at the School of Illustration with Frank Holme. In the fall of 1901 to March 1902, Lum studied figured drawing at the Art Institute of Chicago. In 1903, Bertha married Burt F. Lum, a corporate lawyer, and their honeymoon voyage to Japan in 1903 was the precursor to Bertha’s exploration of and fascination with the Orient. Returning to Japan in 1907 for fourteen weeks, she gained an introduction to Bonkotsu Igami, a master block cutter in Tokyo, who disclosed to her the techniques of carving and arranged for her education in block printing. Though married, Lum was fiercely independent and traveled for extended periods of time. Accompanied by her two young children, her 1911 sojourn in Japan lasted six months. By this time she had a thorough understanding of color woodcut and opted for the traditional division of labor. Lum moved easily within Japanese society and hers were the only foreign woodcuts in the Tenth Annual Art Exhibition in Tokyo in 1912. She was awarded the silver medal at the 1915 Panama-Pacific International Exposition and and her work was included in the 1919 Exhibition of Etchings and Block Prints at the Art Institute of Chicago. In 1921, Lum’s Summer was included in American Wood-Block Prints of Today at the New York Public Library and, in 1926, an exhibition of her work was mounted in the fall at the United States National Museum, Division of Graphic Arts. She was a member of the Asiatic Society of Japan, the California Society of Etchers, and the Print Makers Society of California. Lum authored and illustrated Gods, Goblins and Ghosts in 1922 and Gangplanks to the East in 1936. Lum was in California at the end of 1916 and moved to San Francisco in the fall of 1917, but the following years were interrupted with travel. Her most extensive stay in California was between 1924 and 1927. The 1923 earthquake in Tokyo destroyed most of her blocks and many woodcuts. Lum spent the late 1920s and the 1930s living in Peking, returning to California in 1939. She spent a great deal of time in China between the years 1948 and 1953. Bertha Lum left China to be with her daughter Catherine who lived in Genoa, Italy and she died at the age of eighty-four years old in February 1954. Bertha Boynton Lum is represented in the collections of the Brooklyn Museum, New York; the Art Institute of Chicago and the Terra Foundation for American Art, Chicago; the Jordon Schnitzer Museum of Art, University of Oregon, Eugene; the Amon Carter Museum of American Art, Fort Worth, Texas; the British Museum, London; the Los Angeles County Museum of Art, California; the Zimmerli Art Museum, Rutgers, New Brunswick, New Jersey; the Metropolitan Museum of Art, New York; the Portland Art Museum, Oregon; the Fine Arts Museums of San Francisco, California; the Library of Congress and the National Museum of Women in the Arts, Washington, D.C.; and the Delaware Art Museum, Wilmington. Bertha Boynton Lum was an American artist known for helping popularize the Japanese and Chinese woodblock print outside of Asia. In May 1869, Lum was born as Bertha Boynton Bull in Tipton, Iowa. Lum's father was Joseph W. Bull (1841–1923), a lawyer and her mother was Harriet Ann Boynton (1842–1925), a school teacher. Both of Lum's parents were amateur artists. Lum had a sister and two brothers, Clara, Carlton, and Emerson. Education and career: In 1890 she lived in Duluth and listed her occupation as artist. She enrolled in the design department of the Art Institute of Chicago in 1895. A few years later she studied stained glass with Anne Weston and attended the Frank Holme School of Illustration. From November 1901 to March 1902, she studied figure drawing at the Art Institute of Chicago and was influenced by the Japanese techniques of Arthur Wesley Dow in his book Composition, which was published in 1899. Lum married Burt F. Lum, a corporate lawyer from Minneapolis, Minnesota, in 1903. They spent their seven-week honeymoon in Japan, where she searched for a print maker who could teach her the traditional ukiyo-e method. Toward the end of her stay in Japan, she found a shop that reproduced old prints. The shop sold her some woodcutting tools...
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Wedding Procession - Raised Line Woodcut Hand Painted 1924 Betha Lum
By Bertha Boynton Lum
Located in Soquel, CA
Wedding Procession is a colored raised line woodcut, done in 1924 by Bertha Boynton Lum (American, 1869 – 1954) . The image measures 13-7/8 x 10-1/8". Raised line impression and painted by the artist, while living in China. Image 13.25"H x 8.75"W Sheet 14.75"H x 10.75" (approx) Signed Lower center in pencil "Bertha Lum" New acid free mat included. Bertha Lum was fascinated by the legends and mythology of the Orient and wrote extensively about them. These legends provided the subject matter for many of her works in woodcut. Bertha Boynton Lum was an American artist known for helping popularize the Japanese and Chinese woodblock print outside of Asia. In May 1869, Lum was born as Bertha Boynton Bull in Tipton, Iowa. Lum's father was Joseph W. Bull (1841–1923), a lawyer and her mother was Harriet Ann Boynton (1842–1925), a school teacher. Both of Lum's parents were amateur artists. Lum had a sister and two brothers, Clara, Carlton, and Emerson. Education and career: In 1890 she lived in Duluth and listed her occupation as artist. She enrolled in the design department of the Art Institute of Chicago in 1895. A few years later she studied stained glass with Anne Weston and attended the Frank Holme School of Illustration. From November 1901 to March 1902, she studied figure drawing at the Art Institute of Chicago and was influenced by the Japanese techniques of Arthur Wesley Dow in his book Composition, which was published in 1899. Lum married Burt F. Lum, a corporate lawyer from Minneapolis, Minnesota, in 1903. They spent their seven-week honeymoon in Japan, where she searched for a print maker who could teach her the traditional ukiyo-e method. Toward the end of her stay in Japan, she found a shop that reproduced old prints. The shop sold her some woodcutting tools...
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1920s Impressionist Rice Paper Figurative Paintings

Materials

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Neo-Expressionist Head
Neo-Expressionist Head
H 30 in W 28.5 in D 1 in
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Rice Paper figurative paintings for sale on 1stDibs.

Find a wide variety of authentic Rice Paper figurative paintings available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add figurative paintings created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of red and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Andrew Lui, Cecile Chong, Kartick Chandra Pyne, and Keith Young. Frequently made by artists working in the Contemporary, Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Rice Paper figurative paintings, so small editions measuring 0.1 inches across are also available

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