Gouache Paintings

The original poster project in gouache by Y. Adam for the Jamboree International in London in 1953 stands as a vivid testament to the spirit of camaraderie and international collabor...

Flowers on the table 70x50 cm

French Landscape by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 8.5 x 10.5 inches provenance: from a large private collection of this artist...

French Landscape by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back gouache painting on artist paper, unframed measures: 12.75 high by 16.5 inches wide...

Picnic 70x50 cm

This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know of the strict naive artists are Shalom of Safed, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. Art brut, primitive art, primitive, art naïf, naïve art. Outsider art. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard (b. 1922) Jan Balet (1913–2009) Michel Delacroix (b. 1933) France Howard Finster (1916–2001) Ivan Rabuzin (1921–2008) Spontaneous Art Museum in Brussels Art en Marge Museum in Brussels MADmusée in Liege International Museum of Naive Art of Brazil in Cosme Velho, Rio de Janeiro Gallery Jacques Ardies in São Paulo Musée international d'art naïf de Magog in Magog Croatian Museum of Naïve Art in Zagreb Gallery of Croatian Naïve Art...

This piece titled "Five Generations" is an original artwork by Al San Valentin and is made from watercolor, gouache, ink, and marker on watercolor paper. This piece measures 24”h x 1...

This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know of the strict naive artists are Shalom of Safed, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. Art brut, primitive art, primitive, art naïf, naïve art. Outsider art. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard (b. 1922) Jan Balet (1913–2009) Michel Delacroix (b. 1933) France Howard Finster (1916–2001) Ivan Rabuzin (1921–2008) Spontaneous Art Museum in Brussels Art en Marge Museum in Brussels MADmusée in Liege International Museum of Naive Art of Brazil in Cosme Velho, Rio de Janeiro Gallery Jacques Ardies in São Paulo Musée international d'art naïf de Magog in Magog Croatian Museum of Naïve Art in Zagreb Gallery of Croatian Naïve Art...

John Emanuel embarking on a series of works using new life models. Unusual for a artist who has over the last 40 years only had 3 previous sitters. Now working with Sarah Jane and Ro...

This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know of the strict naive artists are Shalom of Safed, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. Art brut, primitive art, primitive, art naïf, naïve art. Outsider art. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard (b. 1922) Jan Balet (1913–2009) Michel Delacroix (b. 1933) France Howard Finster (1916–2001) Ivan Rabuzin (1921–2008) Spontaneous Art Museum in Brussels Art en Marge Museum in Brussels MADmusée in Liege International Museum of Naive Art of Brazil in Cosme Velho, Rio de Janeiro Gallery Jacques Ardies in São Paulo Musée international d'art naïf de Magog in Magog Croatian Museum of Naïve Art in Zagreb Gallery of Croatian Naïve Art...

A beautifully painted branch with green and reddish apples by Otto Strandman (1871-1960). Signed with monogram 'OS' and dated '7 SEPT. 1895'. Watercolor and gouache on paper. Otto ...

Signed lower right, 'Schoener' for Jason Schoener (American, 1919-1997) and painted circa 1970. Titled 'Choruscating Landscape' (labels, verso). Accompa...

Black And White Abstract - Oil And Gouache On Paper Black and white abstract painting by Felix Ruvolo (American, 1912-1992). Grey takes over the center of the paper with strokes of ...

Black and White Abstract by Helen Greenfield (British 20th century) signed initials gouache painting on thin board, unframed board: 15.5 x 32 inches condition: overall very good pr...

FERNAND LEGER (1881–1955) Gouache paint on paper, signed with the artist's initials F.L and dated 1938.

Glass of wine 65x50 cm

A glass of champagne on a summer evening 70x50 cm

Memories of the sea 70x50 cm

This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know of the strict naive artists are Shalom of Safed, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. Art brut, primitive art, primitive, art naïf, naïve art. Outsider art. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard (b. 1922) Jan Balet (1913–2009) Michel Delacroix (b. 1933) France Howard Finster (1916–2001) Ivan Rabuzin (1921–2008) Spontaneous Art Museum in Brussels Art en Marge Museum in Brussels MADmusée in Liege International Museum of Naive Art of Brazil in Cosme Velho, Rio de Janeiro Gallery Jacques Ardies in São Paulo Musée international d'art naïf de Magog in Magog Croatian Museum of Naïve Art in Zagreb Gallery of Croatian Naïve Art...

This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim...

French Landscape by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 14.5 x 10.5 inches provenance: from a large private collection of this artis...

This gouache reveals a butterfly tree with wings covered in multiple eyes towards the observer. In this primitive kaleidoscope playing with perspectives, the artist Rupert Picott leads us into a dance of forms, half-animal, half-vegetal. Here, we can breathe a nature distanced from civilization, a shattered, psychedelic dimension that opens the doors of a hallucinated perception. This gouache transcends its physical form. Like a dream woven into reality, it beckons viewers to question the boundaries of their consciousness. Each brushstroke becomes a portal to a realm where the mundane and the mystical intertwine, blurring the lines between what is seen and felt. In this dialogue between forms and colors, Rupert Picott offers us not just a painting but a glimpse into the infinite expanse of the human experience, echoing William Blake’s timeless wisdom: ‘If the doors of perception...

French Landscape signed by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 12 x 8 inches provenance: from a large private collection of this art...

French Portrait by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 14.5 x 12 inches provenance: from a large private collection of this artists ...

This is a suite of 4 works of "exploding faces" Taking a leap from Ms. Bovasso's signature "explosion" drawings, here a figurative element is added.

French Landscape by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 14.5 x 10.5 inches provenance: from a large private collection of this artis...

Breakfast girl 70x50 cm

Girl on the bench 65x50 cm

Ladies Gossiping by Y. Blanchon, French 1950's Impressionist artist signed gouache on artist paper stuck on paper, unframed size: 12.5 x 19.5 inches provenance: from a large private ...

Village Church signed by Y. Blanchon, French 1950's Impressionist artist gouache on artist paper, unframed painting: 12.5 x 16.5 inches provenance: from a large private collection o...

French Courtyard by Y. Blanchon, French 1950's Impressionist oil on board, stuck on thin thick card overall size: 11.5 x 15.5 inches painting: 9 x ...

French Landscape by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 14.5 x 12 inches inscribed verso provenance: from a large private collection...

In the serene piece titled "Far from the World," the artist transports the viewer into a realm of tranquil solitude. Measuring 40 x 30 cm, this gouache on paper captures a captivatin...

Vintage French Gouache Painting by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back gouache painting on artist paper, unframed measures: 6.75 inches hi...

French Landscape by Y. Blanchon, French 1950's Impressionist gouache on artist paper, unframed painting: 14.5 x 12 inches inscribed verso provenance: from a large private collection...

Vintage French Painting by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back gouache painting on board, unframed measures: 5.5 high by 12.5 inches wide ...

Agnese Negriba Garden Spirit no. 8 Original Figurative Painting Natural pigments, acrylic paint, Japanese gouache on handmade paper from India Image Size: 100 cm x 70 cm Sheet Size: ...

Jack Wolfe Untitled, 1965 Acrylic and collage on board Hand signed on the front Frame included: held in original vintage frame with original gallery label Unique Provenance: Parker S...

French Landscape French 1950's Impressionist artist gouache on artist paper, unframed painting: 7 x 10 inches inscribed verso provenance: from a large private collection of this art...

French Mountains signed by Y. Blanchon, French 1950's Impressionist artist gouache on artist paper, stuck on card overall size: 12.5 x 19.5 inches painting: 9.5 x 16 inches provenan...

Abstract Composition signed by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 9.25 x 10 inches condition: very good provenance: from a large private c...

Sea Cottages signed by Y. Blanchon, French 1950's Impressionist artist gouache on artist paper, unframed painting: 12.5 x 16.5 inches inscribed verso prov...

October 28 33.75 x 43.0 x 0.03, 0.31 lbs Handmade paper, mixed media Hand signed by artist Artist's Commentary: "Gouache, tempera, and colored pencil on paper From the October Series This series consists of works on paper that I made last October while I was in residence at Penland School of Craft in North Carolina. It was a beautiful time of year and of course I was inspired by the foliage and the leaf color transformation in particular. These drawings/paintings are layered color pencil and paint and there are many layers . These pieces are nature-landscape inspired and the colors create a contrast of vivid pigment with the frosted effect of the paint that is reminiscent of fog in early mornings with the vivid changing colors of the trees." About the Artist: Hollie Heller is a multifaceted artist who divides her time between New York City and Costa Rica. Her masterful works are largely inspired by materials collected on her travels. Heller’s knowledge of design, textiles and weaving allow her to make the most of the materials she finds. Although steeped in said traditional methods of making, she is constantly experimenting and testing the limits of ordinary materials. Heller has been teaching surface design and collage for over twenty years, her students provide a wealth of inspiration for her. Her work is included in many corporate and private collections: Hyatt Hotels in San Antonio, TX, Sarasota, FL, Philadelphia PA, Sedona, AZ; Hilton Hotel in Nashville, TN, Doubletree Hotel in Chicago, IL, Southpark Suites in Charlotte, NC, Westin Hotel in Pittsburgh, PA, Mohegan Sun Casino, CT, Omni Hotels in Atlanta, GA and Orlando FL...

Late 19th Century Original English Landscape of a Cottage in Cambria Wonderful original antique painting of a thatched cottage in Cambria by Thomas Noelsmith (English, 1840-1900), c...

3725 Gouache and ink on paper applied to board Set in a vintage gilt wood frame Signed in middle

This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...

October (Grid and Flower) 30.0 x 22.5 x 0.03, 0.34 lbs Handmade paper, mixed media Hand signed by artist Artist's Commentary: "Gouache, tempera, and colored pencil on paper From the October Series This series consists of works on paper that I made last October while I was in residence at Penland School of Craft in North Carolina. It was a beautiful time of year and of course I was inspired by the foliage and the leaf color transformation in particular. These drawings/paintings are layered color pencil and paint and there are many layers . These pieces are nature-landscape inspired and the colors create a contrast of vivid pigment with the frosted effect of the paint that is reminiscent of fog in early mornings with the vivid changing colors of the trees." About the Artist: Hollie Heller is a multifaceted artist who divides her time between New York City and Costa Rica. Her masterful works are largely inspired by materials collected on her travels. Heller’s knowledge of design, textiles and weaving allow her to make the most of the materials she finds. Although steeped in said traditional methods of making, she is constantly experimenting and testing the limits of ordinary materials. Heller has been teaching surface design and collage for over twenty years, her students provide a wealth of inspiration for her. Her work is included in many corporate and private collections: Hyatt Hotels in San Antonio, TX, Sarasota, FL, Philadelphia PA, Sedona, AZ; Hilton Hotel in Nashville, TN, Doubletree Hotel in Chicago, IL, Southpark Suites in Charlotte, NC, Westin Hotel in Pittsburgh, PA, Mohegan Sun Casino, CT, Omni Hotels in Atlanta, GA and Orlando FL...

5041 Duck hunt painting Set in a 19th century solid oak frame Rigned Rocco Lotto 46

My recent works, composed of gouache on paper, explore to extract my own ever developing definition of “American identity”. While attempting to define a broad sense of identity is ne...

My recent works, composed of gouache on paper, explore to extract my own ever developing definition of “American identity”. While attempting to define a broad sense of identity is ne...

This piece titled "Butterfly Jubilee" is an original artwork by Jackie Small and is made of watercolor, and gouache on paper. This piece measures 30”h x 22.5”w About Space 1026 Foun...

Gouache, also known in the French form gouache, is a type of tempera color made heavier and more opaque by the addition of a white pigment mixed with gum arabic. The result is precis...

Vita P. Solomon Born December 16, 1916 in Philadelphia, PA to Harry Petrosky and Rose Bobrow, Vita graduated from Overbrook High School in 1933 and earned her diploma in Illustration and won the Lewis European Fellowship in 1937 from Moore College of Art. While raising a family she earned a Bachelor of Fine Arts, with Honors, as well as a Bachelor of Science in Education, with Honors, from Temple University Tyler School of Fine Art in 1958, and a Master of Fine Arts from Tyler in 1960. She was commissioned to paint official oil portraits of such notable Pennsylvanians as George Leader, Governor of Pennsylvania (1955-1959); Alfred Williams, Dean of the Wharton School...

The Hilltop Village signed initials by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back gouache painting on artist paper, unframed measures: 8.25 high b...

This is a two sided painting. Nude reclining woman and a ship lit at night. Harold Cohn (1908 - 1982) Harold Cohn was active/lived in New Jersey, Michigan. Harold Cohn is known fo...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

Art Deco Movie Set 20th Century American Modernism Hollywood WPA Social Realism Arthur Rosenman Ross (1913 - 1981) Art Deco Movie Set, Probably MGM Studios, 1937 17 x 27 inches Gouache on illustration Board Signed Art Ross, ‘37 lower right Provenance: Estate of the artist. BIO Arthur Rosenman Ross was a key figure in automotive design at General Motors during America's "Golden Age" of auto design, the 1930's through the 1950s. He attended the Art Institute of Chicago from age 17, exhibiting a special interest for automotive renderings and the female figure. In 1934, he changed his name from Rosenman to Ross, fearing his Jewish ancestry could prejudice his career prospects. At age 20, he turned down job offers from MGM Studios in Hollywood and Duesenberg to work at General Motors alongside the Legendary Harley Earl in 1935. He was hand picked by Mr. Earl and assigned to GM's War and Camouflage Division in 1937 through WW2. It was during this pivotal period in which he executed some extraordinary military aircraft artworks, likely used between GM and America's military aeronautics companies in design preparation for WW2. General Motors played an important role in helping America's aircraft manufacturers preceding and during the war. Just after the war in 1945, Mr. Ross was rewarded by GM, being made Chief Designer of Cadillac, then two years later becoming Chief at Oldsmobile until his retirement in 1959. He was in large part responsible for some of GM's classic Cadillac designs such as the Cadillac Sixty Special, Fleetwood, LaSalle and GM's first concept car, the extraordinary Buick Y-Job. Mr. Ross was an exceptionally charismatic and vivacious man who quite by chance, befriended His idol, Salvador Dali at GM in 1955. They talked about art, cars and girls late into the evening, according to his son, Carter Ross. He had a gift in rendering the erotic arts...

Ink, gouache and acrylic on Canson Paper . Unique piece signed by the artist. Christophe GALUD was born and live in Paris. His father is an artistic director in a large advertising ...