Pinchas Maryan Art

Walter Becker was born in 1893 in Essen, Ruhr, Germany. Considered an important graphic artist of the "lost generation", Becker is well known for his depictions of figures and portraits in a style that combined elements of German Expressionism, Dada, and French modernism. He worked in a variety of print media, including color lincut, lithography, woodcut and etching. After a short military service, Becker studied under the German Sculptor Karl Albiker at the Dresden Academy of Fine Arts. He moved to southern France where he lived and worked from 1924-1935, and was in contact with George Braque, Thomas...

Günther Förg (Germany, 1952-2013) 'Erker-Gallery', 1995 Original poster from exhibition of 1995 lithograph on paper 36.5 x 22.6 in. (92.7 x 57.4 cm.) Unframed Ref: FOR100-201 Günthe...

Eduardo Chillida (Spain, 1924-2002) '5 Livres Gravés', 1974 Original poster from show lithograph on paper 25.2 x 17 in. (64 x 43 cm.) Unframed Ref: CHI100-202 Eduardo Chillida He be...

Title: Robin Bird Snowy Branch Berries Wildlife Watercolour Painting Artist: L W Rowe, 20th century Medium: watercolour and gouache on paper, unframed Size: 10 x 8 height x width in inches Signature: signed lower left, L W R Stamped verso: no stamp visible from the images provided Provenance: private collection Condition: good overall vintage condition. The sheet shows light age toning, handling marks, minor surface wear and slight edge wear. There is some marking and discolouration to the reverse. The painted surface remains bright, charming and highly decorative. Description: A charming signed watercolour and gouache painting by L W Rowe, depicting a robin perched on a snowy branch with red berries and autumn leaves. The bird is shown in profile, with its distinctive orange-red breast, soft brown wings and alert dark eye carefully picked out against a muted pale green background. The subject has strong natural history and decorative appeal, combining British wildlife, winter atmosphere and botanical detail. The artist uses a lively mixture of transparent watercolour and thicker white gouache to suggest snow resting on the branches. This gives the painting a pleasing sense of texture and seasonal charm. The robin is delicately modelled, with fine brushwork used to describe the feathers, wing markings and rounded form of the body. Small red berries add bright points of colour and balance beautifully with the warm tones of the bird’s breast. The composition is simple but effective, placing the robin centrally on the diagonal branch while leaving space around the figure. This gives the work a quiet, peaceful quality and makes it especially easy to place within an interior. The winter subject also gives it particular appeal for country house interiors, nature lovers, bird collectors and seasonal displays. This piece would appeal to collectors of bird paintings, robin artworks, British wildlife watercolours...

Created in 1991, this expressive ink on paper by Menachem Gueffen depicts a seated female figure rendered through a bold and highly personal graphic language. Strong black lines defi...

Joan Miró Lithographie Originale III Color Lithograph Year: 1977 Size: 12.5 × 9.6 inches Catalogue Raisonné: Teixidor, Miro Lithographe III, 1964-1969 Publisher: Maeght Editeur, Pari...

YURA ADAMS Untitled (from the Artsounds Collection), 1986 color offset print, ed. 200 12 x 12 cm. 30.5 x 30.5 cm. Edition 49/100 signed and numbered in pencil by the artist on ver...

Created in 1994, this original Indian ink drawing on paper exemplifies Menachem Gueffen's enduring fascination with the female figure. Executed with confident, fluid brushwork, the c...

This 1991 drawing presents a female figure rendered with unusual freedom and urgency, built from layered contour lines, looping marks, and repeated adjustments in black ink and ballp...

A finished primary study for Bonheur's major oil paintings of the late 1850s, capturing the quiet, unadorned dignity of animals in their native environment. Circa 1855. Graphite and...

Walter Helbig (1878 Falkenstein - 1968 Ascona), Adoration of the Magi, 1918. Hand-colored linocut, 30 cm x 22.5 cm (depiction), 50 cm x 35 cm (sheet size), signed “W.[alter] Helbig” in pencil lower right, inscribed “Adoration of the Magi” lower left and dated “1918”. Below this a handwritten dedication “with heartfelt Christmas greetings”. - Paper somewhat darkened and with slight creases, thumbtack holes in the corners - The Rider of the Sun - The 'apocalypse' of World War I brought about a return to sacred art. Walter Helbig belonged to the circle of the 'Brücke' and the 'Blauer Reiter'. With his reinterpretation of religious themes in an expressionist formal language, Helbig shaped an avant-garde neo-sacred art. This is symbolically expressed in the silhouette of the rider against the sun-like yellow background. It refers to the awakening initiated by the Blue Riding, which is now linked back to the sacred. The rider and horse "look" at Mary and the Christ Child, who occupy the entire field. Opposite them are the three kings, the eldest of whom kneels before Christ and offers him a gold-filled casket. The expressionist lines give rise to a tower that rises into the "sun", so that the gift has become a Gothic church, expressing the hope that the fallen world will be resurrected in the name of Christ. This dimension of meaning is emphasized by the magical effect of the color scheme. About the artist In 1895, Walter Helbig began studying at the Dresden Academy of Art, where he became friends with the future Brücke artist Otto Müller, with whom he lived in Dresden from 1903 to 1905. While studying in Italy from 1897 to 1899, he met Arnold Böcklin and Adolf von Hildebrand. After completing his studies, he first worked for Otto Gussmann, painting churches. From 1905 to 1909 he worked as a freelance painter in Hamburg. In 1909, through the mediation of Otto Müller, Helbig made the acquaintance of artists from the 'Brücke'. In 1910 he exhibited at the founding exhibition of the Berlin 'Neue Sezession'. In the same year, he moved to Switzerland, where, together with Hans Arp and Oscar Lüthy, he founded the 'Moderne Bund' in Weggis, to which Cuno Amiet and Giovanni Giacometti also belonged. At the second exhibition of the 'Moderne Bund' in Zurich in 1911, Henri Matisse and Robert Delaunay were represented alongside artists from the 'Blauer Reiter'. In 1913, Helbig traveled to Paris with Arp and Lüthy. After the dissolution of the 'Moderne Bund', Helbig was represented at the first Dada exhibition in Zurich in 1914. In 1919, he joined the Berlin 'Novembergruppe'. After the devastation of World War I, Helbig turned increasingly to religious themes in his work. In 1924, like many other artists of his time, he moved to Ascona for financial reasons, where he became a naturalized citizen in 1938. There he founded the artists' association "The Great Bear", to which Marianne von Werefkin...

TECHNICAL DETAILS Technique: Oil and India Ink on Paper Date: 1994 Dimensions: 29 x 42 cm Framed dimensions: 50 x 70 cm in a black frame Signature: Signed and dated lower edge Condi...