French School

Mid Century French Modernist Oil Painting Still Life Fruit on a Bowl

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Artist/ School: British mid 20th century, signed Title: Still life of flowers within an interior Medium: oil painting on canvas, framed framed: 21.75 x 2...

Artist/ School: French School, signed and dated Title: Still Life of flowers Medium: oil painting on canvas, unframed canvas: 22 x 18 inches Provenance: private collection, Fran...

"Ambiance a la Lampe Galle" by Bernard Fouchet (French 1932-2013) signed lower corner, titled verso in original frame with the artists monogram as part of the moulding canvas: 15 x 18 inches framed: 24 x 27 inches provenance: private collection, France Absolutely beautiful original painting by Bernard Fouchet (French 1932-2013). The work is signed to the front and back and titled verso too. Very rarely, it looks like the frame was custom made for or by the artist - as the monogram of BF is part of the moulding. The painting radiates colour and vibrancy, with this eclectic mix of still life objects on a table, set against this red/ orange backdrop of colours. Beautiful. Condition report: the painting is in very good condition. The frame has a couple of 'nibbles' to the corners but is fine. Bernard Fouchet was born in Cerdon-du-Loiret, France. He was the student of Augustine Memin who worked with Utrillo and Alfred Chagniot...

Albert Heckman Untitled, circa 1950 Signed lower right Oil on canvas 18 x 24 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack...

Albert Heckman Untitled, circa 1950 Signed lower right Oil on canvas 24 x 30 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...

“Morning Light” epitomizes the abundance of Spring with its bustling bouquet of white lilies, yellow roses, and a sliced open, ready to be eaten pink grapefruit. Despite the levity of the scene, Lucas has challenged herself with space, making a clear contrast between subject and background. She is consciously rejecting the “ironed on” effect of a subject onto a canvas, a trap to which lesser artists might succumb. Artist Bio Maryann Lucas lives and works in Sag Harbor. She is primarily self-taught but has also received instruction and support from wonderful and generous members of the East End artistic community. Working exclusively in oils, Lucas sets out almost daily to create plein aire landscapes and seascapes. In her studio, she works directly from life and captures the beauty of natural light as it transforms ordinary objects into visual delights. Lucas wants her work to celebrate all that is well with this world and brilliant in this life, despite its pockets of darkness. For me, she says, I know I am in the Presence of something beautiful, when it steals my breath, silences my mind, pushes out everything else and draws me in. I trust That. I use That to guide my hands as I arrange a still life or scan a landscape to determine where to set down my easel. Ultimately, That is what drives me to paint. Becoming evermore skilled as an oil painter is another of Lucas goals. To that end she remains teachable, finding it refreshing and vital for her own growth to paint with others. She has studied with favorite artists including Michael Klein...