Robin Reynolds Paintings

Stormy Skies is an original landscape painting by Stephen Kinder. The painting has a strong gestural composition and loose brushwork, which heightens the changing light, and tide. A...

Ebbing tide is an original landscape painting by Stephen KInder. This painting was completed on location in the late summer of 2019. The painting was completed on West Wittering...

Stinchcombe Hill by Rupert Aker [2022] View along the Cotswold escarpment from Stinchcombe Hill Additional information: Original Oil on board Image size: H:30 cm x W:30 cm Complete...

MONIKA ROSSA studied painting at the University of Arizona, in the Ecole des Beaux Arts in Paris and at the Escuela de Diseno in Barcelona. She practices drawing and easel painting....

Beautiful oil painting on board, attributed to Eugene Pizzuto (1925 - 2004). Framed size: 32 x 44 cm Framing: Hand-stained and waxed oak tray frame. Signature: Unsigned. * About t...

Abstracted River Canyon Landscape in Oil on Canvas Dramatic landscape by Honora Berg (American, 1897-1985). Three large cliffs tower over a river, creating a massive canyon. The landscape is represented in colors reminiscent of fauvism - greens, yellows, and magentas. Signed "Honora Berg" at the bottom edge. Acquired with a collection of the artist's work. Initialed and numbered "HB 103" on verso Unframed. This piece is on canvas that has been stretched over cardstock by the artist. Board size: 20.5"H x 25.75"W Honora Berg (American, 1897-1985) was an Abstract Expressionist and Bay Area Figurative School artist who studied at the San Francisco Art Institute with David Park, Elmer Bischoff and James Budd Dixon. Berg's friend Edith Truesdell — David Park's aunt — suggested a move to California in 1951 to study under Park. She exhibited at the 25th Annual Drawing, Print and Sculpture Exhibition at the San Francisco Museum of Modern Art, 1961. Provenance, Estate of Honora Berg - David Carlson Gallery, Larry Miller...

original Oil on board Image size: H:20 cm x W:30 cm Complete Size of Unframed Work: H:20 cm x W:30 cm x D:1cm Sold Unframed Please note that insitu images are purely an indication of...

MONIKA ROSSA studied painting at the University of Arizona, in the Ecole des Beaux Arts in Paris and at the Escuela de Diseno in Barcelona. She practices drawing and easel painting....

MONIKA ROSSA studied painting at the University of Arizona, in the Ecole des Beaux Arts in Paris and at the Escuela de Diseno in Barcelona. She practices drawing and easel painting....

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...

Oil on masonite. Signed lower right and on verso. 30 x 24 in. 31 x 25 in. (framed) Custom framed in maple. Louis Leon Ribak was born in the Russian empirical governorate of Grodno in 1902. A long-disputed region that is ethnically Lithuanian, at present day, Grodno is located in the western reaches of the Republic of Belarus, near the borders with Poland and Lithuania. At the age of ten, Ribak and his family immigrated to New York City. In 1922, he attended the Pennsylvania Academy of Fine Arts, followed by studies at the Art Students League (1923) and the Educational Alliance (1924). Ribak’s oeuvre can be largely delineated between two stylistic phases: social realism and abstraction, the former taking hold during the 1930s and 40s. During that period, he had several solo exhibitions at the A.C.A. Gallery in New York, while also regularly exhibiting with “An American Group Inc.” - a cohort of socially-conscious painters that included Stuart Davis, Reginald Marsh, Maurice Sterne, and Raphael Soyer. In 1933, Ribak assisted Diego Rivera on the mural for the lobby of Rockefeller Center, while also being employed by the Works Progress Administration (WPA) as a muralist. Louis Ribak met fellow artist Beatrice Mandelman at a dance sponsored by the Artists Union in New York. They were married in 1942, and shortly thereafter, he was drafted for military service in World War II. After his discharge from the service in 1942 due to difficulties with asthma, Mandelman and Ribak traveled west to visit his former mentor John Sloan in Santa Fe, NM. By this time, the couple had become disenchanted with the art scene in New York, and in light of the need to find a healthier climate for Ribak’s asthma - as well as reputed FBI surveillance based on political affiliations with Communist sympathizers - they decided to permanently relocate to the emerging artists’ colony of Taos, NM in 1944. This change of scenery ushered in the second phase of Ribak’s stylistic career, with his work shifting from social realism toward abstraction. He was captivated by the landscape and the diverse cultures of northern New Mexico, the influences of which began to appear in his work. Ribak founded the Taos Valley Art School in 1947, offering no ideology to his students; instead arguing that the adoption of a single approach would lead to academicism. Ribak was an integral force in the development of the Taos Moderns...

URBAN LANDSCAPE Size: 38.5 x 53.5 cm (including frame) Oil on board A brilliantly executed semi- abstract landscape composition, painted in oil onto board by contemporary British artist Ian Mood. The artist works in broad, expressive strokes, filling in the urban scene with a cacophony of colour. We see areas of the canvas as well as the artist’s outlines, giving it a very raw quality, emphasising the uncompromising nature of the urban landscape. This oil on board is housed in a complementary light blue frame with an inner white window that pairs wonderfully with the painting. Both painting and frame are in excellent condition. About the artist: Ian Mood is a contemporary artist with an international reputation, having shown work with Saatchi London, Brooklyn Art Library, Battersea Art Fair & Manchester Art Fair – as well as being represented by numerous established galleries in the UK and US. He recently held his first solo show in New York. In 2019, he collaborated as artist in residence with The National Theatre (Madness of George III with Mark Gatiss) and The Royal Exchange Manchester (Mother Courage with Julie Hesmondhalgh). Ian is a member of Manchester Academy of Fine Arts, Society Of Staffordshire Artists and the Artist Association of Nantucket (USA) where he regularly lectures as part of their summer arts programme. He was awarded the Artists Association of Nantucket Frank Swift Chase...