Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 5

William Zorach
William Zorach Oil on Canvas Painting Titled "Kiddie Kar", Dated 1920

1920

$24,000
£17,821.24
€20,930.18
CA$33,390.70
A$37,384.26
CHF 19,601.80
MX$461,905.78
NOK 246,994.80
SEK 233,153.25
DKK 156,164.77
Shipping
Retrieving quote...
The 1stDibs Promise:
Authenticity Guarantee,
Money-Back Guarantee,
24-Hour Cancellation

About the Item

Kiddie Kar exemplifies the integration of the primitive aesthetic and the depiction of family in William’s work. The primitive aspect of this particular painting is apparent in its deep, warm palette, its simplified and abstracted depiction of nature, and the slight flattening and upturning of the picture plane. The child featured in this painting is postured in a stiff, disjointed way that reflects the awkward mobility of a child. Her skin, clothes, hair and posture are highly stylized, and composed from a brushy and impastoed, application of color. Her almond shaped eyes are a deep black, recalling the simplified features of early Greek and African sculpture. This painting was preceded and succeeded by several terra cotta and wood-carved sculptures, produced between 1918 and 1923, of William’s daughter on the Kiddie Kar. Provenance: The artist By descent in the artist’s family
  • Creator:
    William Zorach (1887 - 1966, American)
  • Creation Year:
    1920
  • Dimensions:
    Height: 23.25 in (59.06 cm)Width: 24 in (60.96 cm)Depth: 3 in (7.62 cm)
  • Medium:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU2157211686942

More From This Seller

View All
Alexander Brook Oil on Canvas Painting Titled "The Artist's Model", Dated 1928
By Alexander Brook
Located in New York, NY
A model standing in a studio putting on, or taking off, her clothing.
Category

1920s Portrait Paintings

Materials

Canvas, Oil

Watercolor Painting by William Zorach, Titled "Redwoods, Yosemite Valley", 1920
By William Zorach
Located in New York, NY
William Zorach, 1887-1966 Redwoods, Yosemite Valley, 1920 Watercolor and pencil 15 ¾ x 13 ⅜ inches Signed (at lower right): William Zorach WZorach-7 Provenance: Estate of William Zorach Exhibited: William Zorach, 1887-1996, Sculpture, Drawings and Watercolors, Zabriskie Gallery, New York; Feb. 10 – March 14, 1998. William Zorach was born in Lithuania in 1889, and immigrated to the United States with his family in 1893. Settling in Cleveland with his parents, he worked as a lithographer from 1902- 1908, making enough money to study painting with Henry G. Keller at the School of Art. In 1910, Zorach traveled to Paris to study in La Palette, where he was encouraged to develop his own unique style rather than adhere to traditional teachings. Zorach once said, “I began to be conscious of the various modern influences that were invading the art world…I was disturbed and confused, and yet I felt that I was a very young man entering a new age. The forces creating modern art seemed more alive to me than anything I had known or anything being done in America.” 1 Together with his wife Marguerite, William Zorach produced a number of Cubist- style paintings for the American Armory Show of 1913, and the Forum Exhibition in New York in 1916. Around 1917, Zorach followed the lead of cubist artist Pablo Picasso and began experimenting with wood and stone carvings. By 1922, he devoted himself entirely to sculpture, and like Picasso, became fascinated in “primitive art”—the ritual objects and sculpture pieces of Oceanic, Native American and African tribes. Zorach’s work developed in its use of block-like forms with progressive suppression of detail—drawing elements from sources as disparate as the contemporary cubist and modernist movements, and combining them with forms seen in early African sculpture. Though the forms of his sculpture were often abstract, Zorach primarily focused upon a traditional subject matter, producing such well-known sculptures as Young Girl, now in the Whitney Museum of American Art, and Mother and Child, in the collection of the Metropolitan Museum of Art. Today, William Zorach is known as one of the earliest and most influential American artists dedicated to direct carving. Zorach also made an impression as a teacher and writer, facilitating a major change in the aesthetic philosophy and technique of sculpture in the United States. During the summers from 1913 to 1922, Zorach and his wife Marguerite painted...
Category

1920s Landscape Drawings and Watercolors

Materials

Watercolor, Pencil

Drawing on Paper Titled "The Card Game" by Marguerite Zorach, 1912
Located in New York, NY
Marguerite Zorach, 1887-1968 The Card Game, 1912 Ink on paper 9 ¼ x 12 inches Signed and inscribed (on verso): Marguerite Zorach Playing Cards/Calif./1912.” ZoraM-02
Category

1910s Figurative Drawings and Watercolors

Materials

Paper, Ink

Mathias J. Noheimer Oil on Canvas Painting of a Still Life, ca. 1935
Located in New York, NY
Mathias J. Noheimer (American 1909-1982) Still Life, ca. 1935 Oil on canvas Signed Noheimer, center right Provenance: Mitchell Brown Fine Art Inc., Scottsdale, AZ Private collection...
Category

1930s Still-life Paintings

Materials

Oil

Frank Judge Oil on Board Painting Titled "Miss St. Louis", circa 1940
Located in New York, NY
A bright portrait of a woman in pageant dress before a St. Louis skyline and riverboat.
Category

1940s Figurative Paintings

Materials

Oil, Board

Gouache and Graphite Drawing on Board by Lois Field, Dated 1947
Located in New York, NY
Lois Field (Am. 1923 - 2010) Untitled Gouache and graphite on board, 1947 11 3/4” x 9” Signed and dated Lois Field ‘47, lower left Provenance The artist, Webster Groves, MO (ca. 200...
Category

1940s Abstract Drawings and Watercolors

Materials

Gouache

You May Also Like

" Tricycle and Doll" Oil on Canvas by Edgar Kiechle
Located in Pasadena, CA
This figurative painting by Edgard Kiechle presents the scenario of a doll who is very surprised to have been abandoned into the basket of her mom's tricycle. An interesting factor is the pictorial use of angles. The point of view, a little above the stage, probably that of an adult, offers particular perspectives. This approach adds depth to this painting with distinctive compositional appeal. In contrast to the scene's disorder, a black-and-white tiled floor with a geometric design serves as an antithesis. The careful symmetry of the tiles competing with the surrounding disarray sparks a dialogue about the human need for organization and balance. In composition, absence is a living element. The exclusion of a physical human figure amplifies the feeling of emptiness, creating a human presence perceived imaginatively. Edgar O. Kiechle was born in 1911. He was a film illustrator and a painter. Edgar studied landscape painting with Jean Mannheim and architecture and became an excellent watercolorist. After studying at the Otis Art Institute in Los Angeles, he interned with leading architects and designers. He worked at most major studios, but his career as an illustrator saw him primarily at the Universal Studio Art department. In 1933, Edgar joined Lwerks as a background artist and worked on many films produced by Animated Picture Corporation through 1935. In the summer of 1941, Edgar Kiechle...
Category

Mid-20th Century Figurative Paintings

Materials

Oil, Canvas

Portrait of Child on a Car - Oil Painting - Late 19th Century
Located in Roma, IT
Portrait of Child on a Car is an original moder artwork realized between the late 19th and the 20th century by an italian Master. Mixed colored oil...
Category

Late 19th Century Modern Figurative Paintings

Materials

Oil

Israeli Oil Painting Ruth Schloss Child, Doll, Wagon, Kibbutz Social Realist Art
By Ruth Schloss
Located in Surfside, FL
Large magnificent colorful Ruth Schloss oil painting of a child with a wagon with a doll or a baby in a carriage stroller.. Signed in Hebrew size measures 31x43 with frame , 23x35.25 without the frame. (this is being sold unframed). Ruth Schloss (22 November 1922 – 2013) was an Israeli painter and illustrator who mainly depicted neglected scenes such as Arabs, transition camps, children and women at eye-level as egalitarian, socialist view via social realism style painting and drawing. Schloss became Israeli painting’s sensitive, conscious, remembering eye. Ruth Schloss was born on 22 November 1922, in Nuremberg, Germany, to Ludwig and Dian Schloss, as the second of three daughters of bourgeois assimilationist Jewish family well-integrated into German culture. As the Nazis came into power in 1933, her family immigrated to Israel in 1937, and settled in Kfar Shmaryahu, then an agricultural settlement. Schloss studied at the Department of Schloss graphic design at "Bezalel" from 1938 to 1942 alongside Friedel Stern and Joseph Hirsch. She was a realistic painter who focused on disadvantaged people in the society and social matters as an egalitarian. Her realism was thus an “inevitable realism,” motivated by an inner necessity: the need to observe reality as it is. Her painting repeatedly addressed the door pulled from its frame, employing drawing’s unique ability to stop time and prolong the image’s persistence in the retina, she repeatedly committed to paper - in a matter-of-fact, non-evasive manner devoid of mystery – man’s tendency to generate chaos, suffering and pain. Throughout her life, Schloss remained minimalist. Painting about human fate was the main subject of her artworks. Her natural inclination was to describe the darker aspect of human existence. 1930s The Schloss household was characterized by open, liberal spirit, in keeping with the parents’ progressive views. It deeply influenced Ruth’s mental development, as she learned to tie culture and art with sensitivity towards the weak and underprivileged. In Jerusalem, she joined a commune of Hashomer Hatzair in which she shaped her socialist views, which she maintained throughout her long career. 1940s In this period she mainly depicted landscapes of kibbutz and wretched women living hard life, children in huger, older people, refugees. After completing her art studies, Schloss joined a training group at Kibbutz Merhavia in 1942, and after two years moved to Karkur region, the nucleus established Kibutz Lehavot Habashan in the Upper Galilee. Through this time, she fell in love with the surroundings and drew landscapes. They are simple and direct with fresh, lucid lines. These paintings were selected as the main works of her first exhibition in 1949. In early 1945, Schloss started to draw illustrations in the children’s magazine Mishmar Leyeladim, and designed the logo of Al Hamishmar, the paper’s new name in 1948. In 1948, upon the founding of Mapam (United Workers’ Party), she designed her party’s emblem, which became a well-known icon. She kept working as an illustrator for Mishmar Layeladim until 1949. "Mor the Monkey" project yielded financial profits and this income was used for a study trip to Paris for two years. She was succesfull as illustrator however, she had inner conflicts of her identity as witnessed painter toward neglected class in Israeli society. First Exhibition at Mikra-Studio Gallery, 1949 She presented forty drawings on paper in her first solo exhibition, representing a selection of the themes of kibbutz landscape, its lifestyle. Schloss confidently proposed her direction through simplicity without using colors in her drawings. 1950s Between 1949 and 1951, she studied at the Académie de la Grande Chaumière in Paris. She began working in oils, with which she continued throughout the 1960s. The exhibition “Back from Paris” opened in November 1951 at Mikra-Studio Gallery . In 1951 she married Benjamin Cohen, who served as chairman of the national leadership of Hashomer Hatzair Workers Party in Tel Aviv. He was a theoretician and a man of principle, highly esteemed by its leaders who became a professor of history at Tel Aviv University. In 1953, following the Mordechai Oren affair and the publication of Moshe Sneh 's followers from Kibbutz Artzi, she and her husband left the kibbutz and moved to the agricultural farm, Kfar Shmaryahu, where she lived until her death. At a certain point in Israeli history, segments of the socialist movement felt that Israel should become part of the Communist bloc, rather than seek the support of the western world. Because the Schloss couple support of Moshe Sneh’s left-wing party, they had to leave the kibbutz. She loved to depict ordinary women as figurative on her painting without hiding or making up anything. The poet Natan Zach wrote about her works in 1955: “Her motto remains that which has been all these years: life as it is, without bluffing." Schloss’s “Pietà” (1953) became a universal cry expressing the pain of mothers on either side of the divide. In the late 1950s, she was the mother of two daughters. When she drew her daughters, unlike the universal babies she depicted, naked and with clenched fists, the painting of her children employed babyish sweetness to the full in a quiet, peaceful and heart-stirring filling rather than urgency. She also painted children in the transition camp and Jaffa in the 1950s and 1960s. 1960s-1980s – The period of Studio in Jaffa Schloss painted at a studio in Jaffa from 1962 till 1983. In this time, she turned her interest to people around her more than kibbutz – the children, mothers, and poor workers, the alleys and houses. She opened the space to the street and its dwellings, built interactions around it, and was nurtured by the presence of the outside in her work. 1960s Schloss familiarized to an Arab woman, Nabava, lived in poor. Schloss returned to painting images of old people later, and she called her painting figurative elderly people in the old age homes “waiting”. In the late 1960s, Ruth discovered acrylic paint and never turn back to oil painting. In 1965 Schloss devoted a series “Area 9 (1965)”, dedicated to the demolition of Israeli-Arab houses and the expropriation of the land, and carried a definite socio-political messages. The series was exhibited at Beit Zvi, Ramat Gan, in 1966. She was the only artist who addressed the result of the Six-Day War immediately afterward. In 1968, Schloss and Gansser-Markus presented “Drawing of War” in Zurich gallery. She expressed the war as an ultimate expression of destruction and ruin, regardless of victors and vanquished. 1970s In late 1970s Schloss began printing the selected photograph directly on the canvas, posterior reworking it in acrylic. She decided to print her work at Har-El Printers in Jaffa, and these became the surface of her painting. This technique was mainly adopted in two large series: Anne Frank (1979-1980) and Borders (1982). Through this technique she placed the figure of elder Frank next to that of the famous young Frank, and released it at the exhibition at Bet Ariela Cultural Center, Tel Aviv, in 1981. The series touched upon the Nazi Holocaust. 1980s The Lebanon War raised the question of “The Good Fence” and the effect of the war. She dedicated a large series Boarders, one of the most powerful image linked to the series is the figure of Yemenite woman raising her hand. She was the first to raise the Black Panthers demonstration to the level of a social icon. In the 1980s and again in 2000, the Intifada uprisings also led Schloss to the easel to render a good number of representational and symbolic works that in their way denounced Israel's political and military actions. 1990s – 2000s Ruth Schloss never had an exhibition in a major Israeli museum. Her works were presented in private galleries and small museums. The main museums, the Tel Aviv Museum of Art and the Israel Museum, included her works only in group exhibitions, and only in 1991 was her retrospective exhibited at the Herzliya Museum. In the 2000s, Schloss’s metaphors turned into animal kingdom and Bedouins in the south. A huge rhinoceros, birds of prey, and other "bad animals," as Cohen Evron, daughter of Ruth, calls them and "I connected this to the Nazis," said Schloss. Schloss' work after she didn't find human expression able to transmit the endless cruelty she saw in Israel's political mentality. Schloss also continued to follow and collect documentary photographs of destructions of houses from the war, the Intifada, the sequence of her work about ruin from 1949 to 2005, was a cumulative testimony about the painful history of Israel and Palestine. In 2006, a large retrospective exhibition of her work was presented at the Museum of Art in Ein Harod, curated by Tali Tamir. Education 1938-41 Bezalel Art Academy, Jerusalem, with Mordecai Ardon 1946 painting course for Kibbutz Artzi artists with Yohanan Simon and Marcel Janco 1949-51 Académie de la Grande Chaumière, Paris Awards and recognition 1965 Silver Medal, International exhibition in Leipzig, Germany 1977 Artist-in-Residence, The Cité Internationale Universitaire de Paris Selected solo exhibitions 2004 “Micha...
Category

Mid-20th Century Realist Figurative Paintings

Materials

Canvas, Oil

Imre Goth, 1893-1982, Hungary, "Little lady with doll" Oil on canvas circa 1931
By Imre Goth
Located in Berlin, DE
Large, enticing and very decorative painting. Oil on canvas. Signed Imre Goth 1931. 1931. Motif of an elgant, young girl with her doll. Beautiful painting in impressionist style. ...
Category

Early 1900s Impressionist Figurative Paintings

Materials

Canvas, Oil

George Weissbort (1928-2013) - Framed 20th Century Oil, Child with Hobby Horse
By George Weissbort
Located in Corsham, GB
This dynamic oil painting captures a young child in a red coat and cap, moving swiftly on a hobby horse through tall reeds. The loose brushwork and muted colour palette create a sens...
Category

20th Century Landscape Paintings

Materials

Oil

baby with rattle oil on canvas painting
By Antoni Vila Arrufat
Located in Barcelona, Barcelona
Antoni Vila Arrufat (1894-1989) - Baby - Oil on burlap Oil size 55x46 cm. Frameless.
Category

1960s Impressionist Portrait Paintings

Materials

Burlap, Oil