Theo Wujcik

Billy Bengston (Portrait of the Pop Artist)

1970

Gilbert Lewis (b.1945). Portrait of a Young Man, ca. 1990s. Gouache on illustration board, 18 x 24 inches. Signed upper right. Excellent condition. Measures 24 x 30 inches in custom frame. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks...

Theo Wujcik (1936-2014): Peter Max, 1970. Etching in black on wove paper. Unsigned. 3.5 x 4.25 in. (sheet), 10 x 9 in. (frame). Custom welded brass frame with resolved corners and ...

Gilbert Lewis (b.1945). Influence of Red (male portrait), ca. 1990s. Oil on masonite panel, 16 x 20 inches. Signed upper right. Excellent condition. Measures 18 x 22 inches in custom gold leaf float frame. Original gallery labels affixed on verso. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley...

Robert Bliss (1925-1981). Man in Thought, 1964. Graphite on canvas, 11.5 x 46 inches. Signed and dated lower left. Right piece of basic wood strip frame i...

Synthetic polymer on paper. This work is unique. Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the ...

Heidi McFall (American, 20th century) "Tony #1" original pastel portrait, circa 2000 Outstanding pastel portrait by Texas / Idaho artist Heidi McFall. Titled "Tony #1" Dimensions ...

Presenting a rare, early pen and ink drawing by American artist Ron Blumberg. "Henry" was created in New York; an original pen and ink drawing, signed, titled, c.1932.

Sean Keating (Irish 1889-1977) "Self Portrait" c. 1950s Charcoal on Paper Signed Lower Right Framed Size: approx 20 x 16 inches A noted portrait and figure painter, influenced by both Romanticism and Realism, Sean Keating was an Irish nationalist painter who executed several iconic images of the Irish Civil war era, and of the ensuing period of industrialization. One of the great exemplars of representational painting in Ireland, Keating was an intellectual artist in that he set out to depict the birth and development of the Republic of Ireland, and his pictures are deliberately idealized even heroic. However, he held very conservative views about art - verging on the academic style - and was a committed defender of traditional Irish painting, considering much modern art to be bogus. Born in Limerick, Sean Keating studied drawing at the Limerick Technical School before winning a scholarship, arranged for him by William Orpen, to study fine art painting at the Metropolitan School of Art in Dublin. In 1914 he won the Taylor Scholarship and the following year exhibited three paintings at the Royal Hibernian Academy. Over the next period of years he spent time on the Aran Islands off County Galway, and then in London. He returned to Ireland in 1916 and painted the war of independence and the subsequent civil war. Works he completed at this time include the painting: Men of the South (1921) depicting a group of IRA men about to stage a military ambush, and An Allegory (c. 1922) which features a cluster of figures representing the fractures in the young Irish state. Meantime, in 1919, Keating was appointed an assistant teacher at the Dublin Metropolitan School of Art. Then in 1921, he staged his first one-man show at The Hall, Leinster Street. In 1923, he was elected to the Royal Hibernian Academy. In a Dublin exhibition of Irish art held in 1924, Keating was awarded the gold medal for his picture Homage to Hugh Lane - now hanging in the Hugh Lane Gallery. In the late 1920s, Keating was commissioned to record the building of the hydro-electric power generator at Ardnacrusha, near Limerick. He painted a number of paintings of this scheme. Not unlike the Soviet Realism School of painting, these paintings sought to promote the construction work as an achievement of heroic proportions. Keating's works began to attract interest abroad. He exhibited at the Royal Academy in London and, in 1930, he held a one-man show at the Hackett Gallery, New York. In 1931 Keating's one-person exhibition was staged at the Victor Waddington Galleries, Dublin. In 1934 he was made professor of the National College of Art in Dublin, and Professor of Painting, three years later. His 1937 exhibition at the Victor Waddington Galleries attracted considerable interest. In 1939, he was asked to paint a wall-painting for the Irish pavilion at the New York World Fair and duly created a huge mural of fifty-four panels. He was President of the Royal Hibernian Academy from 1949 to 1962, exhibiting nearly 300 works during the period. In 1963, a retrospective exhibition was staged at the Municipal Gallery of Modern Art, which was opened by Irish President de Valera...