Romantic Gifts

Black pencil drawing, stamp from the widow’s sale in 1894 (Lugt L. 3728), dimensions 10.5x14.2cm. This is a detail study of the hand of the peasant holding a lunge rein, represented...

Paul Cézanne Le Sentier ca. 1890 Watercolour and pencil on paper 34.6 x 51.5 cms (13 5/8 x 20 1/4 ins) PC16325 Provenance: Walther Halvorsen, Oslo Galerie Bernheim-Jeune, Paris Ju...

Hand drawn one of a kind original on 100% cotton watercolor paper with gold foil Buddhist Prayer Papers :: Drawing :: Contemporary :: This piece comes ...

"Do you Quack?" watercolor by Nancy Pellatt, a charming, realistic dog painting of a Cocker Spaniel curiously looking at baby chics. Nancy Pellatt's detailed realistic paintings of...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one bears the influence of Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

This is a great Judaica Israel landscape. The Old City of Jerusalem during the British Mandate in Palestine. 24.5 x 31 image 16 x 22.5 Isidor Ascheim (איזידור אשהיים; 1891-1968) was a German-born Israeli painter and printmaker. Isidor Ascheim was born in Margonin (present-day Poland) in 1891. He was raised in an Orthodox, Judaic, Jewish family and served during World War I. In 1919-23, Ascheim studied under the German Expressionist Otto Mueller in Breslau and was influenced by Erich Heckel of the Die Brücke (The Bridge) group. He immigrated to Mandate Palestine in 1940 and settled in Jerusalem. He was married to the Israeli painter Margot Lange-Ascheim. He taught at the Bezalel School of Art (amongst his students were David Palombo, David Rakia, Aharon Bezalel, Kopel Gurwin and more) and served as its director for several years. He also taught at the Avni Institute in Tel Aviv along with Moshe Mokadi. Marcel Janco and Aaron Giladi. Ascheim's art is based on a direct impression of nature, life and the human form. His oeuvre represents a continuous connection with nature and the human figure, usually executed with a dark palette, the legacy of his German Expressionist roots. He was a contemporary of Jacob Steinhardt, Mordecai Ardon, Josef Budko and Hermann Struck. Awards and recognition In 1953, Ascheim was a co-recipient of the Dizengoff Prize for Painting. In 1955, he received the Jerusalem Prize for Art. In 1956, he participated in the Venice Biennale, Italy Selected collections Fine Arts Museum of San Francisco Israel Museum, Jerusalem References Isidor Aschheim: Drawings & Prints [Izidor Ashhaim: rishumim ve-hedpesim] . Jerusalem: Israel Museum, 1966. Talpir, Gabriel. "100 Artists in Israel". Tel-Aviv: Gazith Art Publishing, 1971. Isidor Ascheim was born in Margonin, Germany (in what is now Poland) in 1891. His father was a prosperous merchant. In spite of his family’s devoutness, Ascheim had both religious training at home and an education in a German school. In 1903 the family moved to Breslau, where he studied in the gymnasium. When War War I broke out, he was drafted into the German army. In 1918, when the war ended, he began studying art in Breslau, and then in Cracow. In 1939 he made Aliyah to the Land of Israel under the auspices of the Aliyah Bet program. He was caught by the British government and sent to the Atlit detention camp for about seven months. After he was released he settled in Jerusalem and found employment as a lecturer at the “New Bezalel.” In 1946 he married the painter Margot Lange Ascheim. From 1960-1961 he served as director of the “New Bezalel.” Most of Ascheim’s work was in the field of prints. In the 1920s he also produced engravings. Later he specialized in stone printing (lithography), including Biblical subjects, landscapes, and expressionist subjects. In addition, he painted. Education 1919-1923 Art Academy, Breslau, Germany, (now Wroclaw, Poland) with Otto Mueller, an important expressionist painter. Art studies, Professor Pautsch, Academy of Fine Arts, Cracow, Poland Teaching 1943 Bezalel Academy of Art & Design, Jerusalem, was director for some time. 1961-1960 Director, New Bezalel, Jerusalem Collective Annual Exhibition by Palestinian Artists Art Gallery of the ''Habima'' Building, Tel Aviv1944 Artists: Hermann Struck,Moshe Ziffer...

William Gropper Original Gouache on Paper Hand signed lower right 33.5 x 27.5 image 26 x 20.5 The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original watercolor drawing is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...

Mixed media on handmade paper

This painting is about an iconic bar, restaurant, and live music venue in Tampa, Fl. Sadly, it closed in 2020 due to COVID-19. :: Painting :: Impressionist ...

Description: Xia Funing(B.1962) The passage of life 80 x 110 oil on paper , framed hand signed on the reverse side Dated 2021 Xia FuNing was born on 09/01/ 1962 in Nanjing, Jiangsu province. In 1981, he studied in the department of Fine art of Su-Zhou university. He was once a professor in the Department of Fine Arts in 1985 in Tianjin Polytechnic University. Since 2020 , he has been invited specially as postgraduate tutor in the Department of Fine-arts of Nanjing normal university, and currently lives and works in Song Zhuang Art Colony, Beijing, China. Zhuangzi et Laozi’s philosophy has exercised a great influence on Xia’s artworks. In his oriental vision, Xia realized that “Qi (the character signi es the original reality, breath of life), the major component of life, is of great signi cance in painting. Chinese people adopt the phrase “Qi-Xi (signifying breath, xi means the process of breathing) to perceive the intrinsic aspect of art in a more vivid and essential manner, displaying the origin and status of object existence. In his works, the artist arranges the daily intimate surroundings in “Qi-Xi(breathing) ”by means of his unique visual logic, surpasses the transient and restricted nature, retrieves the poetic and spiritual feature of their existence origin, thus attaining freedom and eternity. His solo shows has staged at Yushan Contemporary Art Museum, Jiang Su , China (2018); 5 Art Center, 5 Art Center, Beijing, China (2014); Gallery Elements, Suzhou, China(2014); National Art Museum of China, Beijing, China( 2013). Major group exhibitions include: “ Contemporary Burgeoning of Oriental Heritage”Reality space, Beijing, China (2016); “New Enlightenment” cross-border exhiinitionn and reading, traditional arts gallery, Nanjing, Jiangsu , China (2016); “Sublimation” contemporary oil painting sketching...

Mixed media on paper

Oil on paper Xia Fu-Ning is a Chinese artist born in 1962 in Nanjing. He was a professor in the Department of Fine Arts during the 1980s at Tianjin Polytechnic University. He curren...

Oil on paper Xia Fu-Ning is a Chinese artist born in 1962 in Nanjing. He was a professor in the Department of Fine Arts during the 1980s at Tianjin Polytechnic University. He curren...

Summer study drawing

Ofort on paper

Mixed media on paper

Watercolour on paper Paper size: 16 x 22 inches Framed size: 30 x 26 inches Signed lower left

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. His work also bears the influence of Sam Francis. The American moon landing in 1969 inspired Paul Kontny...

This painting won ΓÇ£Best of ShowΓÇ¥ in a group exhibition in 2009. The family looking at a den of alligators made a nice composition. :: Painting :: Impressionist :: This piece come...

Red Rooster by Sandy Scott Wildlife Hand-colored Etching 14x11" image 24x20" framed, archival matte, under glass circa 1970's, numbered 76/100, titled, si...

Charcoal and gouache on paper Paper size: 9x 11.5 inches Framed size: 23.5 x 25.75 inches Signed lower right Provenance: Raymond Spencer Co.; Galerie Dominion, Montreal, 1982; Dr Max Stern, Montreal, 1982; Leslie Sacks Fine Art, Los Angeles; Purchased by Haynes Fine Art...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one bears the influence of Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

White pen on grey paper Size without passe-partout: 23 x 17 cm

Ink on paper Signed and numbered + certificate of authenticity Symmetrical lines drawn on archival paper with Indian ink paper to reflect on the behaviour how sound waves travel. Ar...

Golfers, 1928 Fred Conway (American, 1900-1973) Signed and Dated Lower Right 18.5 x 24.5 inches 30.5 x 37 inches with frame A member of the faculty of the Washington University Art ...

'The French Rooster', gouache on art paper, by Raymond Debiève (circa 1960s). A Mid-Century modern depiction of the French coq, or rooster. The origin o...

Abstract expressionist, pastel on black paper by English artist John McQuirk. Signed bottom right. McQuirk's work is an example of outsider art or art brut. Born in 1933, the arti...

"A Small City Park", acrylic and watercolor on paper by Denver artist Edward Marecak (1919-1993) of an abstract park broken into four quadrants, separated by brown and white striped borders with different shaped ponds. Inspired by City Park in Denver, Colorado where the artist frequented. Presented framed with all archival materials, outer dimensions measure 21 ¾ x 18 ¾ inches. Image size measures 12 x 15 inches. Painting is clean and in good condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, "Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter." An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings. A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera, La Forza del Destino (The Force of Destiny or Fate, a favorite Marecak subject). His Queen of the Night relates to a character from Mozart’s opera, The Magic Flute. In addition to paintings and works on paper, he produced hooked rugs, textiles and ceramics. He likewise produced designs for ceramics, tableware and furniture created by his wife Donna, an accomplished Colorado ceramist. Both of them generally eschewed exhibitions and galleries, preferring to quietly do their work while remaining outside of the mainstream. He initially exhibited at the Colorado Springs Fine Arts Center in 1948 receiving a purchase award. The following year he had his first one-person show of paintings and lithographs at the Garrett Gallery in Colorado Springs. In the 1950s and early 1960s he participated in group exhibitions at the Print Club (Philadelphia); Amarillo Public Library (Texas); annual Blossom Festival Show (Canon City, Colorado); Adele Simpson’s "Art of Living" in New York; Denver Art Museum; and the Fox Rubenstein-Serkey Gallery (Denver); but he did not have another one-person show until 1966 at the Denver home of his friends, John and Gerda Scott. They arranged for his first one-person show outside of Colorado held two years later at the Martin Lowitz Gallery in Beverly Hills and Palm Springs, California. That same year his work was featured at the Zantman Galleries in Carmel, California. Thereafter he became an infrequent exhibitor after the 1970s so that his work was rarely seen outside his basement studio. In 1980 he, his wife and Mark Zamantakis exhibited at Denver’s Jewish Community Center, and four years later he had a one-person show at the Studio Gallery in Denver. In 1992 he was included in a group show at the Rule Modern and Contemporary Gallery in Denver, and a year later received a large, posthumous retrospective at the Emmanuel...

1935 American Modernist watercolor on paper by Frank "Pancho" Gates (1904-1998). An abstract scene of a mining town in the mountains, completed in colors of red, green, yellow, and black. Presented in a custom frame with all archival materials, outside dimensions measure 14 ¼ x 17 ¼ inches. Image size measures 8 ¾ x 11 ¾ inches. Painting is clean and in good condition, has had restoration work - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: A Colorado modernist artist and theater set designer, he grew up in Edgewater, Colorado, near the Manhattan Beach Theater and the winter quarters of the Denver Post’s Sells-Floto Circus which he frequented as a youngster. These two places introduced him early on to the theater. Additionally, his father toured the United States in a wire walking act with the Barnum and Bailey Circus. Gates began his association with the theater in 1919 when just out of high school. He initially worked with scenic artist, Jack Stein, at the old Tabor Theater in the Tabor Grand Opera House (demolished in 1964) in downtown Denver. Soon after that, he became an assistant scenic artist to George Bradford Ashworth, a famous New York stage set designer, who during the summer designed sets for the Elitch Gardens Theater in northwest Denver. Gates later produced the sets there until 1928. He was offered a scholarship to Colorado A & M College (now Colorado State University) in Fort Collins but declined because of his growing commitment to the theater. He followed his tenure at Elitch’s with positions at the Denham Theater in Denver and the Palm Theater in Pueblo. Upon returning to Denver, he became a free-lance artist for studios producing scenery for stage shows at the city’s Tabor, Denver, Paramount, Alladin, Rivoli, Broadway, Orpheum and Empress Theaters. He moved to California, perfecting his craft at the Pasadena Playhouse, a training school for young actors and actresses pursuing stardom in the movies. Later associated with the Technicolor Corporation, he helped to produce the film used in early color movies such as Becky Sharp (1935) and the Garden of Allah...

Rainbowers I-XVI, a portfolio of 16 watercolours created in 2022, pays homage to the rich tradition of American Visionary art and self-taught artists. Inspired by the works of influe...

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...

A uniquely hand painted print from the original panting by the artist. The print feature a unique combination of lines, symbols, drawing and words painted by the artist on the surfac...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Funeral by Ludovic-Rodo Pissarro (1878-1952) Watercolour and ink on paper 17.6 x 21.2 cm (6 ⁷/₈ x 8 ³/₈ inches) S...

A uniquely hand painted print from the original panting by the artist. The print feature a unique combination of lines, symbols, drawing and words painted by the artist on the surfac...

La Fête Foraine by Ludovic-Rodo Pissarro (1878-1952) Watercolour and charcoal on paper 49.4 x 64.6 cm (19 ½ x 25 ⅜ inches) Signed with Estate stamp (monog...

Hildegard Anna Augusta Elisabeth Freiin Rebay von Ehrenwiesen, known as Baroness Hilla von Rebay or simply Hilla Rebay was the co-founder of the Museum...

Jean Dufy My Table with View on the Roofs of Paris Watercolor and gouache on paper Signed at the top right On paper 53 x 40 cm at view (c. 21 x 16 in) Presented in a golden wood fra...

To see our other Mid Century and Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Charles Pulsford...

To see our other Mid Century and Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Charles Pulsford...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Les Danseuses by Ludovic-Rodo Pissarro (1878-1952) Watercolour ink on paper 18 x 25 c...

SOLD UNFRAMED Le Petit Cheval by Georges Manzana Pissarro Charcoal and gold on paper 31 x 31 cm (12 ¼ x 12 ¼ inches) Signed lower right, Manzana Pissarro Executed circa 1920 Proven...

THIS WORK IS SOLD UNFRAMED Carte de l'Europe by Paulémile Pissarro (1884 - 1972) Graphite on paper 12.9 x 20 cm (5 ¹/₈ x 7 ⁷/₈ inches) Provenance Estate of the Artist Yvonne Pissa...

Harvest Moon 12:32pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 ...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Study of a Dancer and a Lady by Ludovic-Rodo Pissarro (1878-1952) Watercolour and pencil on paper 21 x 15.7 cm (8...

"I paint directly and urgently from life. My paintings are “moment-to-moment” extrapolations. In them, I tap a kind of “hyper” or “trippy” vision, as I look simultaneously in all di...

'Cabaret in an Asian Banquet Hall', pencil, gouache and metallic paint on card stock by an unnamed artist of the French School (20th Century). This is a fantastical port visit of the artist's imagination. It is a naive, but strangely compelling painting discovered in Paris. It depicts French sailors dancing with a cabaret performer in a Chinese-style banquet hall while onlookers enjoy the spectacle. On the left hand of the scene an Asian musician...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Two Figures by the Sea by Georges Manzana Pissarro (1871 - 1961) Colour crayon and pencil on paper 20.3 x 26 cm (...

SOLD UNFRAMED *UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Hommes Pagayant, Painting by Paulémile Pissarro Graphite and charcoal on paper 27 x 20.3 cm (10 ⁵...

SOLD UNFRAMED *UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Moulin Vardon près Gournay, Graphite on Paper by Paulémile Pissarro, 1934 Graphite on paper 32 x ...

The art work is already framed. The size of the unframed artwork: 45x45 cm, framed 47 x 47 cm Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in C...

The art work is already framed. The size of the unframed artwork: 45x45 cm, framed 47 x 47 cm Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in C...

Scott Fraser's "Sinking Ship drawing" is an original, handmade graphite drawing that depicts gold fish snacks flowing from a model sail boat into a bag...

"I paint directly and urgently from life. My paintings are “moment-to-moment” extrapolations. In them, I tap a kind of “hyper” or “trippy” vision, as I look simultaneously in all di...