Kenneth Rowntree was born in Scarborough on March 14, 1915, and educated in York where his father managed the local department store. Young Kenneth’s work was displayed there and his first major commission arose from an advertisement at the store. After studying at the Ruskin School of Drawing in Oxford, he went on to study at the Slade School. At the Slade School, he met Eric Ravilious and Edward Bawden and then moved to north Essex to work with them as members of the group of Great Bardfield Artists. Between 1940–43, he was one of the teams of over 60 artists engaged by the War Artists’ Advisory Committee for the Recording Britain project, to record the face of England and Wales before wartime action or before development changed it forever. Rowntree’s keen sense of design and fascination with the quirky and the vernacular made him an ideal candidate to interpret our built heritage’s more unusual aspects. In 1951, he painted murals in the Lion and Unicorn Pavilion for the Festival of Britain and he decorated the route of the Queen’s Coronation procession. During a teaching job at the Ruskin School of Drawing in Oxford he was driven, perhaps by his experiences recording Britain, to record the decorated barges that belonged to the Oxford Colleges. These wooden Victorian ceremonial barges had belonged to the London livery companies but were acquired in their later life by the Colleges to be used as changing rooms and clubhouses for the College boat clubs. Partway through painting one of them, Rowntree thought his drawing was incorrect until he realized that it was the boat that was moving. It was in fact sinking. In 1959, he was appointed Professor of Fine Art at Newcastle University, which as British art schools went was one of the most progressive. The Master of Painting was the abstract constructionist Victor Pasmore, and his assistant the father of British pop art, Richard Hamilton. Also Master of Sculpture was John Robert Murray McCheyne. In this environment Rowntree became receptive to assemblage and constructivism and other modernist idioms, incorporating them into his own work. Kenneth Rowntree worked with the architect Ernő Goldfinger to produce colored glass panels in Goldfinger’s Alexander Fleming House in the Elephant and Castle. He died in Hexham on February 21, 1997.
Alphabet - Horizontal Modernist Monochrome Screenprint on Cotton
By Kenneth Rowntree
Located in Kingsclere, GB
Kenneth Rowntree British, 1915-1997 Alphabet, 1958 screenprint on cotton 45 x 113 cm 17 3/4 x 44 1/2 in Kenneth Rowntree was an oil and watercolour painter, mostly of landscape and ...
Screen
Kenneth Rowntree: 'Abstract Australian Landscape' watercolour Modern British Art
By Kenneth Rowntree
Located in London, GB
Kenneth Rowntree Abstract Australian Landscape Watercolour 27.5 x 33cm Signed (top left) and dated ‘Kenneth Rowntree ’85’ Provenance: Anderson & Garland Studio sale of Kenneth Rowntree lot 263 Tuesday 8 September 2009 For biographical details and other works by Rowntree click here. Rowntree visited Australia in 1984/85. In this painting he picks up various vignettes from the Australian landscape in six separate blocks. Two relate to the sky, with almost-unbroken blue skies stretching from horizon to horizon, three relate to desert areas, with a whole array of different textures, and one is a luscious green. In one of the desert scenes he has picked out two road signs, in typical Rowntree fashion, reducing them to their simplest form. In her essay Kenneth Rowntree: A Strange Simplicity (published in Kenneth Rowntree A Centenary Exhibition Published by Moore-Gwyn Fine Art and Liss Llewellyn Fine Art, on behalf of the artist’s estate, on the occasion of the centenary of Kenneth Rowntree’s birth) Alexandra Harris makes reference to this painting noting: "Later, in 1986, just when the young David Hockney was collaging the signs and road-markings of Route 138 in Pearblossom Highway, Rowntree was in Australia painting yellow diamond-shaped road-signs as bright icons in open country. Wherever he went, Rowntree captured both the unfamiliarity of places and their relationship to things he knew. Heading into the Australian outback, he painted a road-sign as he would paint a rail signal at Clare in Suffolk or nautical markers at Swansea." Hockney’s 1986 Pearblossom Highway may be seen in the Getty and it is worth noting that Rowntree was in fact painting the yellow sign in 1985, so a year before Hockney. Kenneth Rowntree (1915-1997) Rowntree was born in Scarborough and educated in York where his father managed the local department store. Young Kenneth’s work was displayed there and his first major commission arose from an advertisement at the store. After the Ruskin School of Drawing in Oxford he studied at the Slade School, meeting Eric Ravilious and Edward Bawden and then moving to north Essex to work with them as members of the group of Great Bardfield Artists. Between 1940 and 1943 he was one of the team of over 60 artists engaged by the War Artists Advisory Committee for the ‘Recording Britain’ project, to record the face of England and Wales before wartime action – or development – changed it for ever. Rowntree’s keen sense of design, and fascination with the quirky and the vernacular made him an ideal candidate to interpret our built heritage’s more unusual aspects. In 1951 he painted murals in the Lion and Unicorn pavilion for the Festival of Britain, he decorated the route of the Queen’s Coronation procession (some of the works being acquired by Her Majesty). During a teaching job at the Ruskin School of Drawing in Oxford he was driven, perhaps by his experiences recording Britain, to record the decorated barges that belonged to the Oxford Colleges. These wooden Victorian ceremonial barges had belonged to the London livery companies, but were acquired in their later life by the Colleges to be used as changing rooms and clubhouses for the College boat clubs – depending on the size of the barge rowing eights were stored on board too. Part way through painting one of them Rowntree thought his drawing incorrect until he realised that it was the boat that was moving. It was in fact sinking. These days the Colleges have modern (but unromantic) boat houses; a handful of the barges remain – restored – in private hands. In 1959 he was appointed Professor of Fine Art at King’s College, Newcastle (latterly part of the University), which as British art schools went was one of the most progressive. The Master of Painting was the abstract constructionist Victor Passmore...
Watercolor
Chanson d'Automne (Autumn Song) by Kenneth Rowntree, 1984
By Kenneth Rowntree
Located in Kingsclere, GB
Chanson d'Automne (Autumn Song) by Kenneth Rowntree, 1984 Additional information: Medium: screenprint 67 x 49.5 cm 26 3/8 x 19 1/2 in signed and numbered in pencil Kenneth Rowntree...
Screen
Yes You Can Can
Located in Deddington, GB
Yes You Can Can (Splats Edition) by Amy Gardner [2020] limited_edition Screen Print, Watercolour Edition number 40 Image size: H:50 cm x W:50 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Only AP works left in this edition. This print is about women supporting women. 'YES YOU CAN CAN' splats edition limited edition of 40 Archival Bread & Butter bright white paper 270gsm 50x 50cms 5 screen...
Paper, Watercolor, Screen
Sumac, colorful Abstract Impressionist landscape gouache
By Sandy Litchfield
Located in New York, NY
Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...
Paper, Gouache
$1,589
H 24 in W 35.75 in D 0.3 in
Original 1988 Keith Haring American Music Festival NYC Ballet Serigraph Mint
By Keith Haring
Located in Spokane, WA
Original pop art poster: American Music Festival, New York City Ballet – 1988 by Keith Haring This New York City Ballet serigraph poster from 1988 / Keith Haring features the Ameri...
Screen
$550
H 5 in W 7 in
Ranchos Church Screen Print, American Modern, Circa 1940s, Signed
By Anna Barry
Located in Fairlawn, OH
Ranchos Church Screen print, Late 1940's Signed lower right (see photo) Titled lower left (see photo) Edition: Unknown This image depicts the famous church San Francisco de Asis Mission Church in Ranchos de Taos. It was built between 1772 and 1816. It was importailized in American Art History by Georgia O'Keefe and Ansel Adams. Condition: Excellent Image size: 5 x 7 inches Sheet size: 6 x 8 3/8 inches Anna Barry (1970-2001) “In 1944, after several prior trips to the area during which they had become friends with several of the Taos Founders, Ira and his wife, the artist Anna Barry moved to Taos, New Mexico. They would reside in the area on and off until 1955. Like many others, Moskowitz was entranced by New Mexico's light, landscapes, and cultures. By the time Ira arrived there, the region had already attracted Georgia O'Keeffe, Robert Henri, and Leon Gaspard; the Southwest was starting to be recognized as an art center. Moskowitz and his wife became acquainted with Oscar Berninghaus, Andrew Dasburg, Ernest Blumenschein, and Mabel Dodge Lujan, among others. Ira wrote of that time that "Our house was always open and we had scarcely a single meal without visitors dropping in." "Anna Barry was an artist/printmaker. She married Ira Moskowitz (from a long line of Polish rabbinical leaders) in New York in 1938. They soon visited Taos and Santa Fe in New Mexico, returning there for extended periods until in 1944 they moved there permanently—staying until 1949 when they returned to New York. Her work in New Mexico depicts mostly the pueblos and their people, capturing ritual ceremonial dances in colorful serigraph prints and other artworks. She and Ira (also an artist) worked closely together during their New Mexico sojourns. The pueblos seemed their favored subjects there. She signed her New Mexico work as, "Anna Barry." Her prints are colorful and often detailed. The only ones I have seen (6 in all) were 5"x7" in size. Anna probably lived longest in New York, but perhaps was also in both Europe and Israel for extended periods. (See the AskART Ira Moskowitz biography.)" Courtesy of Fred McCraw Anna Barry (née Anna Barshefsky), painter, printmaker and teacher, was born to Russian émigrés Max and Ida Goldberg Barshefsky on 20 May 1909 in Philadelphia, Pennsylvania. In the 1930 U.S. Federal Census her family name is changed to Barish and they are listed as living in Bronx, New York. It is not yet known where she had formal art training but she was listed as a teacher on the 1940 U.S. Census. She married artist Ira Moskowitz on 13 November 1938 and they began frequenting New Mexico. They befriended such luminaries as Mabel Dodge Lujan, Georgia O’Keeffe, Oscar Berninghaus, and many others who had become attracted to the unique landscape. Barry and Moskowitz moved to Taos, New Mexico in 1944 and remained until 1949 when they returned to New York. One can’t help but wonder if Anna Barry studied with serigrapher/painter Louie Ewing...
Screen
$218Sale Price|37% Off
H 24 in W 18 in
Earth Preservation (Environment, Climate Activism, Renewable Energy)
By Shepard Fairey
Located in Kansas City, MO
Shepard Fairey Earth Preservation (Environment, Climate Activism, Renewable Energy) Screen print on thick cream Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm) E...
Screen
$500
H 5 in W 6.75 in
Taos Pueblo Screen Print, American Modern, Signed, Circa 1940s
By Anna Barry
Located in Fairlawn, OH
Taos Pueblo Screen print, late 1940's Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) Edition: Unknown Clasic depiction of Ranchos de Taos, the oldest continually inhabited city in North America. Condition: Excellent Image size: 5 x 6 3/4 inches Sheet size: 6 1/4 x 7 5/16 inches Anna Barry (1970-2001) “In 1944, after several prior trips to the area during which they had become friends with several of the Taos Founders, Ira and his wife, the artist Anna Barry moved to Taos, New Mexico. They would reside in the area on and off until 1955. Like many others, Moskowitz was entranced by New Mexico's light, landscapes, and cultures. By the time Ira arrived there, the region had already attracted Georgia O'Keeffe, Robert Henri, and Leon Gaspard; the Southwest was starting to be recognized as an art center. Moskowitz and his wife became acquainted with Oscar Berninghaus, Andrew Dasburg, Ernest Blumenschein, and Mabel Dodge Lujan, among others. Ira wrote of that time that "Our house was always open and we had scarcely a single meal without visitors dropping in." "Anna Barry was an artist/printmaker. She married Ira Moskowitz (from a long line of Polish rabbinical leaders) in New York in 1938. They soon visited Taos and Santa Fe in New Mexico, returning there for extended periods until in 1944 they moved there permanently—staying until 1949 when they returned to New York. Her work in New Mexico depicts mostly the pueblos and their people, capturing ritual ceremonial dances in colorful serigraph prints and other artworks. She and Ira (also an artist) worked closely together during their New Mexico sojourns. The pueblos seemed their favored subjects there. She signed her New Mexico work as, "Anna Barry." Her prints are colorful and often detailed. The only ones I have seen (6 in all) were 5"x7" in size. Anna probably lived longest in New York, but perhaps was also in both Europe and Israel for extended periods. (See the AskART Ira Moskowitz biography.)" Courtesy of Fred McCraw "Anna Barry (née Anna Barshefsky), painter, printmaker and teacher, was born to Russian émigrés Max and Ida Goldberg Barshefsky on 20 May 1909 in Philadelphia, Pennsylvania. In the 1930 U.S. Federal Census her family name is changed to Barish and they are listed as living in Bronx, New York. It is not yet known where she had formal art training but she was listed as a teacher on the 1940 U.S. Census. She married artist Ira Moskowitz on 13 November 1938 and they began frequenting New Mexico. They befriended such luminaries as Mabel Dodge Lujan, Georgia O’Keeffe, Oscar Berninghaus, and many others who had become attracted to the unique landscape. Barry and Moskowitz moved to Taos, New Mexico in 1944 and remained until 1949 when they returned to New York. One can’t help but wonder if Anna Barry studied with serigrapher/painter Louie Ewing...
Screen
$1,450
H 14.5 in W 19.75 in D 1.5 in
Abstract Watercolor “Stream Cliff Cascade”
By Alexander Nepote
Located in San Francisco, CA
On offer is a mid-century abstract landscape painting by the prominent Northern California modernist painter Alexander Nepote (1913–1986). The piece showcases Nepote’s signature fasc...
Paper, Ink, Mixed Media, Watercolor, Gouache, Board
$1,275
H 31 in W 34.25 in D 0.25 in
Calle De La Ermita, Valencia Spain, Limited Edition Screen Print #12/150, Signed
By Guido Lopez
Located in Soquel, CA
Calle De La Ermita, Valencia Spain, Limited Edition Screen Print Bright and bold screen print by Spanish artist Guido Lopez (Spain, 20th century). The tower of a local church stands...
Paper, Screen
$11,780
H 14.57 in W 18.51 in
"Landscape at sunset-Luberon-France" Watercolor , cm. 29, 5 x 21 1960 ca
By Dora Maar
Located in Torino, IT
orange, green, sunset post-death inventory stamp of the artist's studio, bottom right Dora Maar is the pseudonym of Henrietta Theodora Markovitch (Paris 1907 - 1997). Shrouded in t...
Paper, Watercolor
$840Sale Price|32% Off
H 24 in W 18 in
Peace is Power SET (Matching Numbers, Symbolism, Nonviolence, Unity, Diplomacy)
By Shepard Fairey
Located in Kansas City, MO
Shepard Fairey Peace is Power SET (Matching Numbers) Screen print on thick cream Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm); each Edition: 500 Signed by Shepard Fairey, dated and numbered by hand; each COA provided *Edition number may vary from the image shown. The Peace is Power print by Shepard Fairey centers on the idea that peace is not passive, but an active and transformative force requiring empathy, diplomacy, creativity, and sustained effort. Rather than defining peace simply as the absence of conflict, Fairey frames it as the ability to resolve disagreement without violence—a process that demands patience, compassion, and collective responsibility. The composition prominently features the dove, an internationally recognized symbol of peace that has appeared throughout art history as an emblem of hope, reconciliation, and unity. Fairey employs the dove as both a visual anchor and a universal communication device, reinforcing the accessibility and immediacy of the work’s message. Consistent with his broader practice, Fairey combines bold graphic imagery with socially conscious themes, encouraging viewers to consider peace not as an abstract ideal but as a practical investment in the well-being of humanity and the planet. Originally conceived as a gesture for friends and family during the holiday season, the print was later released more broadly as an expression of gratitude to collectors and supporters. Through its direct symbolism and optimistic tone, Peace is Power reflects Fairey’s enduring belief in art’s capacity to inspire dialogue, solidarity, and constructive social values. Peace is Power print, Shepard Fairey dove...
Screen
Mr. Brainwash Jimi Hendrix Screenprint, Hand Signed, Framed
By Mr. Brainwash
Located in Washington, DC
Artist: Mr. Brainwash Title: Jimi Hendrix Medium: Screenprint Date: circa 2009 Edition: Unnumbered Sheet Size: 30" x 22 1/2" Frame Size: 36 3/4" x 29 1/4" Signature: Hand signed in ...
Paper, Screen
"Le Cirque Russe" Large serigraph
By Mihail Chemiakin
Located in San Francisco, CA
This artwork titled "Le Cirque Russe" c.1987, is an original colors serigraph on wove paper by renown Russian artist Mihail Chemiakin, b.1943. It is hand signed and numbered 25/195 i...
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