Bill Jacklin Art

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 (from the rare deluxe suite aside from the standard edition) Cat...

Reaching Higher, Original Signed Contemporary Impasto Floral Landscape Painting 36" x 24" x 1.5" (HxWxD) Oil on Canvas Hand-signed by the artist. The s...

Antique American or possibly European impressionist coastal oil painting by Harry Sutton Palmer (1854 - 1933). Palmer painted in the UK and California. Oil on canvas. Framed. Si...

Signed impressionist landscape oil on canvas circa 1908 by French painter Jean Baptiste Armand Guillaumin. This stunning piece depicts a winter scene with a view of the dam at Geneti...

With a contemporary perspective on landscape painting and inspired by paintings created by old masters, German artist Katharina Husslein paints in a representational manner to captur...

ARTIST: Salvador Dali TITLE: Florals Narcissus (Phones) Andalou MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 1/350 MEASUREMENTS: 21.75" x 29.5" YEAR: 1972 FRAMED: No...

The picture is bright, saturated with aromas of the tropics. Tuberoses are in full bloom. Butterflies are a symbol of life. Fragrant flowers surround you from all sides. An exotic co...

ARTIST: Salvador Dali TITLE: Florals Gladiolus (+ears) Costa Brava MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 18/350 MEASUREMENTS: 29.4" x 21.6" YEAR: 1972 FRAMED:...

HIDDEN PEAR, color etching, signed in pencil, numbered 7/50, Jerusalem Print workshop blind stamp, image 7 ½ x 5 ½”, sheet 15 x 10 ¼”. Samuel Bak (born 12 August 1933) is a Polish- American painter and writer who survived the Holocaust and immigrated to Israel in 1948. Since 1993, he has lived in the United States. Samuel Bak was born in Wilno, Poland, Bak was recognized from an early age as having an artistic talent. He describes his family as secular, but proud of their Jewish identity. By 1939 when Bak was six years old, the war began and Wilno was transferred from Poland to Lithuania. When Wilno was occupied by the Germans on June 24, 1941, Bak and his family were forced to move into the ghetto. At the age of nine, he held his first exhibition inside the Ghetto. Bak and his mother sought refuge in a Benedictine convent where a Catholic nun named Maria Mikulska tried to help them. After returning to the ghetto, they were deported to a forced labour camp, but took shelter again in the convent where they remained in hiding until the end of the war. By the end of the war, Samuel and his mother were the only members of his extensive family to survive. His father, Jonas, was shot by the Germans in July 1944, only a few days before Samuel's own liberation. As Bak described the situation, "when in 1944 the Soviets liberated us, we were two among two hundred of Vilna's survivors--from a community that had counted 70 or 80 thousand." Bak and his mother as pre-war Polish citizens were allowed to leave Soviet-occupied Wilno and travel to central Poland, at first settling briefly in Lodz. They soon left Poland and traveled into the American occupied zone of Germany. From 1945 to 1948, he and his mother lived in Displaced Persons camps in Germany. He spent most of this period at the Landsberg am Lech DP camp in Germany. It was there he painted a self-portrait shortly before repudiating his Bar Mitzvah ceremony. Bak also studied painting in Munich during this period, and painted "A Mother and Son", 1947, which evokes some of his dark memories of the Holocaust and escape from Soviet-occupied Poland. In 1948, Bak and his mother immigrated to Israel. In 1952, he studied art at the Bezalel Academy of Arts and Design in Jerusalem. After serving in the Israel Defense Forces, he continued his studies in Paris (from 1956 at the École nationale supérieure des Beaux-Arts) and spent various periods of time in Rome, Paris, Switzerland and Israel before settling permanently in the United States. In 2001, Bak returned to Vilnius for the first time and has since visited his hometown several times. Samuel Bak is a conceptual artist with elements of post-modernism as he employs different styles and visual vernaculars, i.e. surrealism (Salvador Dali, Rene Magritte), analytical cubism (Picasso), pop art (Andy Warhol, Roy Lichtenstein) and quotations from the old masters. The artist never paints direct scenes of mass death. Instead, he employs allegory, metaphor and certain artistic devices such as substitution: toys instead of the murdered children who played with them, books, instead of the people who read them. Further devices are quotations of iconographical prototypes, i.e. Michelangelo's "Creation of Adam" on the Sistine Ceiling or Albrecht Dürer's famous engraving entitled "Melencholia" . In the late 1980s Bak opened up about his paintings, stating they convey “a sense of a world that was shattered.” He turns these prototypes into ironical statements. Irony in the art of Samuel Bak does not mean parody or derision, but rather disenchantment, and the attempt to achieve distance from pain. Recurring symbols are: the Warsaw Ghetto Child, Crematorium Chimneys or vast backgrounds of Renaissance landscape that symbolize the indifference of the outside world. These form a disturbing contrast with the broken and damaged images in the foreground. Samuel Bak's paintings cause discomfort, they are a warning against complacency, a bulwark against collective amnesia with reference to all acts of barbarism, worldwide and throughout the ages, through his personal experience of genocide. In Bak's piece entitled Trains Bak creates a vast grey landscape with large mounts creating the structure of a train. Massive taper candles burn in the distance further down the train tracks, surrounding an eruption. The smoke from the candles and volcano pour into a sky of dark ominous clouds that lurk over the landscape. Here Bak has created a whole new meaning for “trains.” Many of Bak’s pieces incorporate aspects of Jewish culture and the holocaust with a dark and creative twist, such as Shema Israel...

Mikael Olson's (US based) "In The Woods" (2024) is an original, handmade oil painting, which depicts gondolas rowing down the canals of Venice, Italy. Artist Biography and Statement...

“Studio, South Light” is a Still-Life piece by Kelly Carmody. It is an oil on canvas painting. It depicts an art studio with a view of the city. It has warm tones. “Studio South Ligh...

Signed post impressionist oil on canvas landscape by French painter Lucien Levy-Dhurmer. The piece depicts the gardens of a Moorish Palace at evening. Painted in largely blues, there are some flowering trees in the front of the work below a much larger bare tree. Beyond that the palace sits below a starry sky. Mr. Jumeau-Lafond believes the work was likely painted in Morocco but he also stated that Dhurmer often used imagination to construct settings for his ideas. Signature: Signed lower left Dimensions: Framed: 39"x31" Unframed: 32"x24" Provenance: Private collection - France The authenticity of this work has been confirmed by Jean-David Jumeau-Lafond A certificate of authenticity from Mr. Jumeau-Lafond is available upon request Lucien Lévy-Dhurmer did not follow the conventional route for education in fine arts but was nevertheless a pupil of the painters Raphaël Collin, Vio and Wallet. He was an ornamental painter in an earthenware factory in Golfe-Juan from 1887 to 1895, which influenced his use of pastel. He travelled to Italy in 1895. Around 1902 he painted the portraits of Rodenbach, Pierre Loti and Marguerite Moreno. Although he had not been instructed by Puvis de Chavannes or Gustave Moreau, he seemed to have much in common with those visionary 'painters of the soul' who had been exhibiting at the Salon de la Rose-Croix for several years: Edmond Aman-Jean, Louis Welden Hawkins, Henri Martin, Charles Maurin and Alphonse Osbert. Following the example of some of these artists, Lévy-Dhurmer admired Italian Renaissance art, evidence of which can be seen in pastels such as Woman with a Medal, Medusa, Circes and Florence. His translation of the Symbolist themes in the scores of Beethoven ( Appassionata), Fauré or Debussy into different hues made him seem like a visionary, but his aesthetic seems to have changed to some extent after 1900, when his landscape painting became more prominent. In fact, only his presentation and style changed. He continued to suggest feelings, interpretations and emotions but without relying on any traditional allegories. He became involved in the Intimist movement, along with Ernest Laurent, Charles Cottet, Henri le Sidaner and René Ménard, whose pastels presaged the Classicism of the 1930s. He exhibited at the Salon des Artistes Français in Paris from 1882. From 1906 he was associated with the Salon de la Société Nationale des Beaux-Arts. He showed his works in individual exhibitions, notably in 1896 at the Galerie Georges Petit in Paris, which was a very successful exhibition and earned him admiration in artistic and literary circles alike. Several decades later the exhibition Around Lévy-Dhurmer ( Autour de Lévy-Dhurmer) at the Galeries du Grand Palais in Paris in 1973 revealed a tendency in art which had been largely unknown until then and which remained on the margins of the great innovative movements of the 20th century, but which was nonetheless of a quality which could not be ignored. Lévy-Dhurmer obtained a distinction from the Salon des Artistes Français in 1896 and a bronze medal at the 1900 Exposition Universelle in Paris. He became a Chevalier of the Légion d'Honneur in 1902. Museum and Gallery Holdings Bayonne (Mus. Basque): Portrait of Pierre Loti (1896, pastel) Brest (MBA): Circes Detroit (AI): Vase with Dragonflies (1890, earthenware with iridescent glaze) Mulhouse: Harvest New York (Metropolitan Mus. of Art): Flower Pot (c. 1893, earthenware with metallic glaze) Paris (Mus. d'Orsay): Portrait of Georges Rodenbach (c. 1895, pastel on paper); The Woman with a Medal (1896, pastel on paper on card); The Lost Explorer...