Edmund Lewandowski Paintings

Beautiful mid century landscape of a historic California mission, highlighting its iconic architectural details such as a columned arches, white was...

Untitled (Surrealist rendering of Pyramids at Giza with alligator) watecolor and gouache on paper, 1960 Unsigned Beni Kosh estate stamp No. 717 verso, unsigned. (see photo) Condition: Minor condition issues minor folds Not objectionable Image/Sheet size: 18 1/4 x 24 inches Provenance: Estate of the Artist Bingham Vance, Shaker Heights...

This original Ink/Charcoal/gouache drawing was created by Shizico at the transitional sunset light in early spring. Like a modern-day Monet, Shizico has built her own garden over the...

Original Painting New Yorker Mag Cover proposal. Army Wedding American Scene WPA Antonio Petruccelli (1907 – 1994) Army Wedding New Yorker cover proposal, c. 1939 11 1/2 X 8 inches ...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Victor Gabriel Gilbert. French ( b.1847 - d.1933 ). L’ Eglise De La Sainte-Trinite, Place De La Trinite, Paris. Gouache & Watercolor On Paper. Signed Lower Right. Image size 15 ...

Mid 19th century watercolour of a rural scene. The painting is not signed but is of very fine quality. Presented in a fine custom gilt frame with a silk and gilt card mount under gla...

Alejandro Rubio Valley Landscape, 2025 Oil on canvas 18 x 24 inches This one-of-a-kind oil painting on canvas is stretched across wooden stretcher bars.

Romana Milutin Fabris (b.1941) Dubrovnik Cityscape with Nude Women, ca. 1970. Gouache on illustration board, 23 x 32.5 inches; 25 x 34.5 inches framed. Signed lower right. Foil frame label on verso from 1960's with 5 digit telephone number, dating this piece to ca. 1970. Romana Milutin Fabris, born in 1941 in Dubrovnik, is one such artist: unwavering, devoted, and endlessly inspired. Her artistic education began at the School of Applied Arts in Split and Zagreb, and continued at the Academy of Applied Arts in Belgrade, where she laid the foundations of her distinctive visual language. A pivotal moment in her formation came with an international scholarship from the Austrian government, which enabled her to study in Salzburg under the great master Oskar Kokoschka-a painter of profound expressionist vision, whose spirit echoes in Romana’s work without ever being immitated. From the outset, she forged her own path-intimate but consistent, deeply personal and unmistakably her own. In 1964, she opened her first solo exhibition at the Sponza Palace in Dubrovnik, marking the beginning of a presence on the art scene that has now spanned more than six decades. Dubrovnik occupies a special place in her work. It is not merely the city of her birth, but the city of her soul-an eternal source of inspiration. Its stone walls, austere Mediterranean light, and the lush branches of bougainvillea reappear time and again on her canvases. Through these motifs, we sense belonging, but also poetic distance-for Romana does not paint the landscape as an external scene, but as an inner experience. Her colours speak in silence, her forms exude tranquillity, and the figures in her portraits radiate a depth that reaches beyond the visible. Each painting is a page from the diary of a strong and sensitive spirit, a woman who has preserved a childlike wonder, a profound reverence for beauty, and a lifelong belief in the power of artistic expression. Romana Milutin Fabris reminds us that art is not a fleeting moment, but a lasting presence. / 1965 / FIRST SOLO EXHIBITION, SPONZA PALACE ATRIUM, DUBROVNIK · ATELIER FOR INTERIOR DESIGN MASLINA - WORK COMPLETED UNDER THE FAMOUS PAINTER MILOVAN STANIĆ...

Impasto Geometric Abstraction - Mixed Media in Encaustic and Oil Paint, Signed Bold mixed media piece signed by Pat Ellis. This piece combines elements of geometric abstraction and ...

August Frederick Biehle (1885-1979) Houses in Zoar, c. 1921 Gouache, litho crayon, colored pencil and graphite on paper Signed lower right 14 x 19 inches 20.25 x 25.25 inches, framed...

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...