ralph seyfert

LADY IN RED HAT

1950

ALEXANDER KREISEL "MAN WITH YELLOW TIE" OIL ON CANVAS BOARD, SIGNED RUSSIAN-AMERICAN, C.1935 26 X 19.5 INCHES FRAMED 29.5 X 23.5 INCHES Alexander Krei...

ANN SINGER "MAN PORTRAIT" ACRYLIS ON CANVAS, SIGNED CZECH, DATED 1983 35 X 29 INCHES Plus frame

Beautiful young lady in a Paris Park, signed, Original Frame, listed size includes the frame.

"PORTRAIT OF ANHALT PORTRAIOT" FILM MAKER OIL ON PAPER C.1970 17.5 X 22.5 INCHES Morton Dimondstein 1920-2000 At the age of seventeen Morton Dimondstein enrolled in ...

"PROFILE OF A WOMAN" OIL ON PANEL C.1960 PAINTED IN ITALY 16 X 12 INCHES Morton Dimondstein 1920-2000 At the age of seventeen Morton Dimondstein enrolled in the American Artists School and then the Art Students League in New York City, where he studied painting, drawing, and printmaking with Anton Refregier, Harry Sternberg, and Kimon Nicolaides. After serving in the 387th Field Artillery Battalion during World War II, Dimondstein continued his studies at the Otis Art Institute in Los Angeles. He was one of the first artists to produce serigraphic prints on the West Coast, marketing them as affordable art in galleries and retail stores. His prints and oil paintings garnered several awards during this post-war period, including an A.C.A. Gallery international competition for a one- man show in New York City. In 1951 he moved to Mexico, where he attended the Instituto Politécnico Nacional and studied art with José Gutiérrez and David Alfaro Siqueiros. During his three years in Mexico, Dimondstein worked as a staff artist and instructor in visual education for UNESCO and was a member of the Taller de Gráfica Popular. After moving back to Los Angeles, Dimondstein served as the art editor of the California Quarterly from 1953 to 1956. He briefly worked for the Saul Bass advertising firm where he designed books and book jackets, and collaborated on the ad campaigns for films such as William Wyler’s “The Big Country” and Otto Preminger’s “St. Joan.” Dimondstein received industry recognition for the images he created, but cranking out art for commercial ventures with strict deadlines was not for him. He chose to leave that world in favor of working as an independent artist and art teacher. Over the years he taught at the Kann Art Institute, the New School of Art, the University of Southern California in Los Angeles, and the School of Fine Art which he established with UCLA faculty member Martin Lubner...

"PORTRAIT OF CHARLIE KELLER" ARTIST OIL ON PAPER C.1970 23 X 17.5 INCHES Morton Dimondstein 1920-2000 At the age of seventeen Morton Dimondstein enrolled in the American Artists School and then the Art Students League in New York City, where he studied painting, drawing, and printmaking with Anton Refregier, Harry Sternberg, and Kimon Nicolaides. After serving in the 387th Field Artillery Battalion during World War II, Dimondstein continued his studies at the Otis Art Institute in Los Angeles. He was one of the first artists to produce serigraphic prints on the West Coast, marketing them as affordable art in galleries and retail stores. His prints and oil paintings garnered several awards during this post-war period, including an A.C.A. Gallery international competition for a one- man show in New York City. In 1951 he moved to Mexico, where he attended the Instituto Politécnico Nacional and studied art with José Gutiérrez and David Alfaro Siqueiros. During his three years in Mexico, Dimondstein worked as a staff artist and instructor in visual education for UNESCO and was a member of the Taller de Gráfica Popular. After moving back to Los Angeles, Dimondstein served as the art editor of the California Quarterly from 1953 to 1956. He briefly worked for the Saul Bass advertising firm where he designed books and book jackets, and collaborated on the ad campaigns for films such as William Wyler’s “The Big Country” and Otto Preminger’s “St. Joan.” Dimondstein received industry recognition for the images he created, but cranking out art for commercial ventures with strict deadlines was not for him. He chose to leave that world in favor of working as an independent artist and art teacher. Over the years he taught at the Kann Art Institute, the New School of Art, the University of Southern California in Los Angeles, and the School of Fine Art which he established with UCLA faculty member Martin Lubner...

Deling with the work of Erich Waske today, one encounters first of all a number of reasons why this outstanding artist has fallen into such undeserved oblivion. In addition to the de...

Deling with the work of Erich Waske today, one encounters first of all a number of reasons why this outstanding artist has fallen into such undeserved oblivion. In addition to the de...

Rabbinical Discussion Hand signed lower left. Provenance: bears label verso for Summit Gallery Dimensions: H 14.25" x W 8" Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolph Gottlieb, Louis Harris, Yankel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.” By 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes. He worked as a WPA artist. Ben-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition. Ben-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Rabbi, the Hebrew Bible, and the Jewish people—into his work throughout his life. "In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works." (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952). Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series...

Presenting a rare oil on panel by German artist Otto Tugel. Otto Tugel worked in Germany before settling in New York. This is an early oil on panel, signed in monogram, dated 1925.

Oil paint on wood panel Signed on the back "Incanto" or the enchantment of shifting "Nicolas Kennett revisits the organic world through painted and sc...

Latin Lady, Original Contemporary Expressionist Figurative Painting, 2021 30" x 15" x 1.5" (HxWxD) Mixed Media and Acrylic on Paper bonded to a Wood Panel Hand-signed by the artist. ...