Kenneth Jewesson Art

A lovely signed pen drawing in three colours by Thilo Maatsch. Artist: Thilo Maatsch Date: 1966 Framed size: 49 x 37.5cm Signature: Signed in pencil: “TM 66” Mounting: Conservation-...

In this contemporary abstract painting in watercolor and colored pencil on paper, carefully ordered patterns, geometric shapes and delicate lines in indigo, bright lapis blue and oli...

Krisanne Souter weaves together elements of nature and ancient feminine archetypes, such as the Mother and the Mystic. Botanical themes, playful elements, and unexpected surprises ar...

Larry Zox Study for Scissors Jack Series, 1965 Mixed media and colored ink drawing on draft paper Hand signed and dated on lower right recto (front). Bears Forager House Collection s...

This detailed artwork on paper puts emphasis on design and composition. A navajo inspired pattern is created using traditional design elements. The high contrasting, geometric patter...

Carefully ordered patterns, geometric shapes and delicate lines in indigo, bright blue and olive green complement a teal grayish blue background. Signed on verso. Exploring a world ...

This original project drawing, hand-painted with colored pencil on translucent tracing paper, was designed by a French artist circa the 1960s. The painting features a geometric study...

Krisanne Souter weaves together elements of nature and ancient feminine archetypes, such as the Mother and the Mystic. Botanical themes, playful elements, and unexpected surprises ar...

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...

Carefully ordered patterns, geometric shapes in indigo, light blue and dark hunter green and delicate lines in bright colors complement a teal grayish blue background. Signed on vers...

This detailed artwork on paper puts emphasis on design and composition. A Navajo inspired rug motif is created using traditional design elements with a contemporary outcome. Symmetry...

Stunning, rare original project drawings, hand-painted with colored pencil on translucent tracing paper by a French artist, circa the 1960s. The two paintings feature a geometric stu...