Gemälde aus Masonit

Abstrakter kubistischer Mid-Century-Modern-Tisch aus Acryl auf Masonit, Stillleben Lebhaftes modernes Stillleben aus der Mitte des Jahrhunderts mit abstrahierten synthetischen kubis...

Posierender Akt von Mikhail Turovsky, Russisch (1933) Datum: 2001 Öl auf Masonit, signiert unten links Größe: 48 x 30,5 in. (121,92 x 77,47 cm)

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Grünes Ölgemälde mit der Darstellung eines ruhigen Baches, der sich durch die Bäume eines üppigen, grünen Waldes schlängelt, von Jules Jacques (Amerikaner, 20. Jahrhundert) aus San J...

Edward Pechmann Renouf (1906-1999). Öl auf Platte misst 16 x 24 Zoll. Signiert am unteren Rand. Ausgezeichneter Zustand. Provenienz: Allan Stone Projects, New York, NY. Biographi...

Dieses Gemälde von Philip Evergood, das in der Pennsylvania Academy of Fine Arts (1947) und in der University of Illinois Exhibition of Contemporary Painting (1948) ausgestellt wurde...

Ben Wilson Byzanz, 1975 Öl auf Masonitgemälde Rückseitig handsigniert, betitelt "Byzantium", datiert 1975 durch den Künstler und ebenfalls mit Nachlassstempel - zusätzlich zu Ben Wil...

Signiert unten links und unten rechts: "Patricia Cunningham" für Patricia Stanley Cunningham (Amerikanerin, 1907-1984), gemalt um 1965. Ein lebhaftes, postimpressionistisches Ölgemä...

Klippen und Zypressen bei Pt. Lobos, Kalifornien - Meereslandschaft Charles F. Cummins 1929 (Amerikaner, 1850-1941). Eine der schönen Buchten an den Klippen in der Nähe des Ozeans im...

Erik Tryggelin (1878–1962) Sweden Winterufer, Vadstena, 1940-1950 signiert und datiert unten rechts E. Tryggelin beschriftet Vadstena 8/12 1940-50 Öl auf Leinwand auf Masonitplatte...

Redwoods in the Snow von Bernice Huntington 1906-1998 Idyllische Szene, die einen Bach zeigt, der durch einen verschneiten Redwood-Wald fließt. Die Bäume spiegeln sich leicht im Was...

Acryl auf Masonit. Dies ist ein zentrales Werk in tiefem und strahlendem Kobaltblau aus dem Jahr 1950. Es zeigt kalligraphische und hieroglyphische Strukturen auf einem Raster und ...

Beeindruckendes und stimmungsvolles abstraktes Ölgemälde mit dem Titel "Female Priests" von Les (Leslie Luverne) Anderson (Amerikaner, 1928-2009). Ungerahmt. Signiert "Les Anderson"...

Isolda Hermes de Fonseca Brasilianer, 1924-2004 Porträt einer jungen Frau mit Blumenstrauß, ca. 1970. Öl auf Masonitplatte, 24 x 36 Zoll. Gerahmt Dimension: 34 x 46 Zoll. Signier...

Kräftige abstrakte Komposition von RH Barnard (Amerikaner, 20. Jahrhundert). Der Hintergrund dieser Arbeit besteht aus rechteckigen Abschnitten in Braun, Rot, Blau und Hellbraun. In ...

Außergewöhnliche Details in diesem Gemälde von würfelnden Jungen von R. Hauslar (deutsch, 20. Jahrhundert). Eine Hausler-Interpretation eines Werks des berühmten Bartolome Esteban Mu...

Eine fröhliche, 1930er Jahre amerikanische Szene Landschaftsgemälde der Landstraße von bemerkenswerten Chicago Modern Artist, Francis Chapin (Am. 1899-1965). Ein Juwel von einem Gem...

Schönes kubistisches Stillleben in Juwelentönen. ca. 1970. Öl auf Masonitplatte im Format 20 x 24 Zoll. Unerfreulich. Signiert "Galbrun" unten rechts.

Sylvia Rutkoff (1919–2011) "Der Cowboy" c. 1950s - Öl, Gesso, auf Masonit - Holzrahmen aus der Zeit Über dieses Werk Nur wenige Gemälde aus dem Nachlass von Rutkoff zeigen i...

Wayman Elbridge Adams (1883-1959). Von einem Balkon aus, New Orleans, French Quarter, ca. 1930. Öl auf Masonitplatte, 12 x 16 Zoll; 17,5 x 21,5 Zoll gerahmt. Ausgezeichneter Zu...

Gilbert Lewis (b.1945). Influence of Red (male portrait), ca. 1990s. Oil on masonite panel, 16 x 20 inches. Signed upper right. Ausgezeichneter Zustand. Measures 18 x 22 inches in custom gold leaf float frame. Original gallery labels affixed on verso. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks, Paul Kane, Jody Pinto, Bruce Samuelson, Barbara Sosson, and James Victor. Gloria Etting, Philadelphia The Intimate City (New York: A Studio Book – The Viking Press, 1968), photograph of Gilbert Lewis drawing in the cast hall of the Pennsylvania Academy of the Fine Arts reproduced in the chapter titled, “Art and Collectors,” n.p.. 1974 May 31, 1974, awarded Bachelor of Fine Art degree from the Philadelphia College of Art 1978 Received a Master’s Degree in Creative Arts in Therapy (MCAT) from Hahnemann University, Philadelphia. Gilbert Lewis, The Spontaneous Art Productions of an Institutionalized Geriatric Population: a thesis presented to the faculty of the Graduate School, Hahnemann Medical College, March 30, 1978 Late 1970’s to late 1980s/early-1990s, works as art therapist at Manchester House Nursing Center/Home in Media, Pa. 1977 Summer: studies at the American Projective Drawing Institute’s Annual Summer Institute run by Emanuel F. Hammer, Ph.D. 1981 First solo exhibition at Peale House Galleries (East Gallery) of the Pennsylvania Academy of the Fine Arts, March 5 – 27, 1981 “Since art school I’ve turned from oil to media of gouache and pencil, separately and sometimes together. I’m trying to discover for myself the power of observation without sacrificing the passion of the art materials.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1986 Elizabeth Leonard, Painting Flowers, (New York: Watson-Guptill Publications 1986), reproduced in color, pp. 56, 67, 110, and cover Travels to Italy: Florence, Venice… 1988 Work acquired by Philadelphia Museum of Art: Autumn, 1987, gouache, purchased with Julius Bloch Memorial Fund 1991 October 10, receives A.T.R. from American Art Therapy Association, renewed in 1996 1992 Applies to American Academy in Rome, Philadelphia Regional Visiting Artists Program Around this time he has artwork with American Artist Gallery, Wayne, Pa. 1992 (June) lives at 322 South Street. By May 1994 living at 1804 Catharine Street (until January 2017). 1998 Group exhibition: 135th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 22 – April 26, 1998. Awarded Honorable Mention c. 1999-2007+ teaches at PAFA, certificate and continuing education programs (what years?) 2001 Group exhibition: 138th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 25 – April 29, 2001. Awarded Second Award By 2002 until c. 2014 Works at Blick Art Supply store, Philadelphia 2005 An undated artist statement from this time states: “My inspiration for this series came from the work of the nineteenth-century painter, George Catlin, who painted portraits of the American Indians. My portraits serve to commemorate the “tribe” of contemporary creative youth. Most of the studies were painted from life, originally using transparent and opaque watercolors, and in the past five years the series began to include oil studies on panels. In the watercolor paintings, the forms emerge from multiple layers of color, which have an intensity and a luminosity equal to oil painting on canvas, but demands the additional challenge of maintaining the integrity of the paper’s fragile surface. My oil studies, consisting of many layers of oil glazes over an under-painting, approach a look more like the oil paintings of Catlin that had originally inspired me, but these studies seem to have an additional intense almost icon-like quality.” 2008 Peter Weiermair, editor, Treasures of Gay Art from the Leslie/Lohman Gay Art Foundation, (All Saints Press, 2008). Resting, 1982, gouache on paper, 44 x 30 inches, Founders’ purchase, 2004.1222.0002, reproduced in color p. 50; Swimmer, 1984, gouache on board, 63.75 x 44 inches, gift of George Dudley, 1994.1222.0001, reproduced in color p. 51 2015 Kevin Clarke, The Art of Looking: The Life and Treasures of Collector Charles Leslie, (Berlin: Bruno Gmünder, 2015), Swimmer reproduced in color p. 182 2017 He moves from his home at 18XX Catherine Street, Philadelphia, to the WaterMark. In January 2018 he is moved to Wyncote House, Pa., an Alzheimer’s care facility. Six works acquired by PAFA. Philadelphia, Pa., Pennsylvania Academy of the Fine Arts. Recent Acquisitions, summer 2017. Stephan Salisbury, “PAFA’s 32 New Works,” The Philadelphia Inquirer, Tuesday, July 11, 2017, pp. C-1 and C-6. SOLO EXHIBITIONS 2020 Pennsylvania Academy of the Fine Arts (July 9 - ), Willliam Way Community Center (July 10 - ), and Woodmere Art Museum (July 16 – October 20), Gilbert Lewis 2004 New York, N.Y., Leslie Lohman Foundation, Gilbert Lewis: Becoming Men - • Doug Gruse, “Gilbert Lewis,” Philadelphia Gay News, April 9-15, 2004, pp. 25, 27 and 32; BECOMING MEN: Portrait Paintings by Gilbert Lewis, March 9 – April 17, 2004 127-B Prince Street, (Text from Becoming Men: Portrait Paintings by Gilbert Lewis by Christian Bain, in issue 12 of The ARCHIVE) BECOMING MEN: Portrait Paintings by Gilbert Lewis By Christian Bain Philadelphia artist Gilbert Lewis inspires superlatives. What other artist has been compared to Eakins (whose student was Lewis’ teacher) and Titian in the same Art Matters review, or anywhere else for that matter? Gilbert is also an artist who focuses on the beginning and end of adulthood. During the almost 20 years he worked in a nursing home he painted portraits of elderly patients by day and of young men at night. “One of my motivations in painting has been to celebrate the beginning of adulthood for the young and the final period of life for the old,” Gilbert observes. “What struck me is that both young men and the old are ignored by society. Despite our ostensible focus on youth, young men are in a sort of nether world, no longer teenagers and yet not full adults. They’re in transition with no established identity and no real place in society. “A nursing home is basically an orphanage for elderly adults. It’s a place where people don’t really have their families anymore and visiting relatives and the staff constantly tell them what to do and don’t stop to hear what they have to say. When I was with them doing their portraits we were one on one and we were free to talk about whatever they wanted, with assurance that it would remain confidential. They often told me things even their children didn’t know. “What they had in common with the young men who modeled for me is that they could talk and know that someone was listening. My good fortune was that my young models really appreciated the fact that an adult person was actually there for them and not telling them what to do. I never gave them explicit instructions other than to tell them where to sit or stand. I let them decide how they would do it–I took the queue from each model. “Both the young men and elderly people who sat for me had a sense of trust because I listened to them and didn’t run away. Some of the young models would bring CDs or tapes of their favorite music to play while we sat. “I always painted from live models in gouache, watercolor or oil. The portraits were always completed while the model was still sitting: I only touched up the backgrounds, but never the figures.
“I wish that the exhibition could have colored strings connecting the young men who modeled for me with the models who recommended them and the friends they recommended in turn. It would make a very interesting story.” 1994 Philadelphia, Pa., Rosenfeld Gallery, Gilbert Lewis: watercolors & gouache paintings, April 10 – May 1, 1994, Man in Gray Shirt, 1992, watercolor, 16 x 20 inches, reproduced in color on the postcard. Review: Edward J. Sozanski, “Art. Nudes done dispassionately and romantically, Two very different approaches,” The Philadelphia Inquirer, Friday, April 15, 1994, Study watercolor, reproduced. [Bruce Samuelson ‘s exhibition also reviewed] c. 1990 Educational Testing Services, Gilbert Lewis, ten works (checklist): 1- Left Profile; 2- Dancer (Woodmere Art Museum); 3- Studious; 4- Wrestler (collection of Bill Scott); 5. Untitled Portrait; 6. Man in Red and Blue; 7 Man in Blue Sweater; 8- Student; 9- Young Artist; 10- Man with Intense Gaze 1988 Philadelphia, Pa., Gross McCleaf Gallery, Gilbert Lewis: Paintings and Drawings, October 19 – November 5, 1988. Review:s Victoria Donohoe, “On galleries,” The Philadelphia Inquirer, Saturday, October 29, 1988, p. 5-D.; Jeanne Nugent, “Pennsylvania: Gilbert Lewis,” New Art Examiner, January 1989, pp. 52-53. Study [reclining nude male, arms folded over head], 1988, gouache, 22 x 30 inches, reproduced in black and white; Brenda Reed, “Reviews in Brief,” Art Matters, December 1988/January 1989, p. 2 1987 West Chester, Pa., Mitchell Hall Gallery at West Chester University, Gilbert Lewis: Paintings & Drawings, November 4 – 25, 1987. Hands Together, 1987, gouache on board, 40 x 30 inches, reproduced in color on the invitation. Twenty-one works on the checklist, including #19- Sick Boy (collection of Woodmere Art Museum) 1986 Boston, Mass., Twentieth Century Gallery, Gilbert Lewis, to July 2, 1986; Review: David Bonetti, “On and off the street,” The Boston Phoenix, section three, June 17, 1986 1985 Philadelphia, Pa., Noel Butcher Gallery, through January 30, 1985. Twenty-one works (pricelist/checklist). Review: Tam Mossman, “Lewis: Sex and sensitivity,” Welcomat, January 23, 1985. Works cited in review: Blonde Man [on invitation], Man in Argyle Sweater [both 1984], Man in Black and White Shirt, Boy, Summer Afternoon, Tribute, Gray Robe, Roses, Spring Portrait. Reproduced in the review: Swimmer (Leslie Lohman Foundation); Victoria Donohoe, “Galleries,” The Philadelphia Inquirer, Saturday, January 12, 1985; reviewed by Ann Jarmusch for New Art Examiner???? 1983 Philadelphia, Pa., Noel Butcher Gallery, September 9 - October 5, 1983. Reviews: William Southwell, “Reviews in Brief,” Art Matters, October 1983, p. 2; Victoria Donohoe, “3 painters, 3 distinct viewpoints,” The Philadelphia Inquirer, Sunday, September 25, 1983, p. 17-H; Profile advertisement in Art Now/ Philadelphia: Gallery Guide, September 1983, Seated Figure and Reclining Nude reproduced 1982 Philadelphia, Pa., Butcher & More Gallery 1981 Philadelphia, Pa., Peale House Galleries of the Pennsylvania Academy of the Fine Arts 1976 Philadelphia, Pa., La Terrasse Restaurant, Solo Exhibition GROUP SHOWS: 2020 Lincroft, N.J., Brookdale Community College, Morris Blackburn (1902-1979) and His Legacy: Painter, Printmaker, Writer, Teacher, January 22 – February 21, 2020. 2019 Philadelphia, Pa., Leonard Pearlstein Gallery, Westphal College of Media Arts and Design, Drexel University, Stonewall@50, curated by David Acosta and Janus Ourma, June 28 – July 26, 2019. 2018 Montclair, N.J., Montclair Art Museum, Constructing Identity in America (1766 – 2017), September 1, 2018 – January 5, 2019 2017 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Recent Acquisitions Philadelphia, Pa., Woodmere Art Museum, A More Perfect Union: Power, Sex, and Race in the Representation of Couples, February 4 – May 21, 2017. Reproduced in color in the catalog, pp. 53 and 69. Untitled (8-25-83), gouache, reproduced in color in Woodmere Art Museum Calendar, Winter/Spring 2017, p. 4 Philadelphia, Cerulean Arts Gallery ? Philadelphia, Pa., Gross McCleaf Gallery, Todd’s show 2014 Philadelphia, Cerulean Arts Gallery, Lilies, Figs and Folly: Contemporary Still Life Paintings & Works on Paper. Bill Scott, guest curator, November 26 – December 21, 2014 2007 Serves as juror for William Way Center’s Annual Juried Exhibition. The other two jurors were Robert Goodman and Shelly Spector. 2006 or 2007 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition [Vase of Roses] 2006 Philadelphia, Pa., William Way Center, Annual Juried Show, Douglas Pascall, juror Philadelphia, Pa., William Way Center, Gilbert Lewis: Portraits, a solo exhibition, Fall The artist donates his work, Portrait, to the William Way Center for its art collection. Teaches Drawing Fundamentals: a mixed media drawing class, at the William Way Center. 2005 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2004 Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, awarded Mary Butler Memorial Award Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2003 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2002 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2001
Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition Sewell, N.J., Gloucester County College Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 25 – April 29, 2001, awarded Second Award 2000 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1999 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1998 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 22 – April 26, 1998, awarded Honorable Mention Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition 1996 Camden, Stedman Art Gallery, Rutgers, The State University of New Jersey, Rutgers National: Works On/Of Paper, March 11 – April 27, 1996, Study with Blue, Green reproduced in black and white in the catalog. Leon Golub and Ann Philbin, jurors. Northampton, Mass., Smith College, Drawing Philadelphia, Pa., Philadelphia Art Alliance 1995 Media, Pa., Delaware County Community College Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Philadelphia, Pa., Philadelphia Art Alliance 1994 Philadelphia, Pa., Rosenfeld Gallery, (also in 1993) Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Media, Pa., Delaware County Community College 1993 Haverford, Pa., Main Line Center for the Arts Abington, Pa., Abington Art Center Philadelphia, Pa., Woodmere Art Museum, (also in 1989) Media, Pa., Delaware County Community College 1992 Williamsburg, Va., Muscarelle Museum of Art, American Drawing Biennial, April 11 – May 24, 1992, Jack Beal, juror. Exhibited: Study, watercolor Philadelphia, Pa., Philadelphia Watercolor Club Cheltenham, Pa., Cheltenham Art Center (also in 1989) Philadelphia, Pa., Philadelphia Museum of Art, Pertaining to Philadelphia, [June?] – August 16, 1992, reproduced in black and white in Philadelphia Museum of Art’s June 1992 newsletter of Special Exhibitions & Events; Reviews: Edward J. Sozanski, “On Galleries,” The Philadelphia Inquirer, Thursday, June 4, 1992, p. D5; “Local Artist Exhibits at Philadelphia Museum of Art,” Town Talk, Wednesday, July 29, 1992, p. 24M, Autumn reproduced Williamsburg, Va., Muscarelle Museum of Art Allentown, Pa., Allentown Art Museum, 23rd Juried Show. Review: Peter Schnore, “Reviews in Brief,” Art Matters, February 1992, page 1 Philadelphia, Pa., Woodmere Art Museum, The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, closed January 5, 1992. Reviewed: Peter Schnore, “More Reviews,” Art Matters, December 1991/January 1992, p. 9. “…only Gilbert Lewis approaches the level of Eakins. Lewis continues his ongoing documentation of young men seen with a searing empathy, incredible candor, and no more technical flaws than the average...

Kimono mit Seiltextur - Collagraphischer Meisterteller Druckvorlage für Collagraphie, die einen Kimono mit Seilstruktur in warmen, neutralen Pfirsichtönen zeigt, von der kalifornisc...

Ein dynamisches, abstrakt-expressionistisches Bild in Lavendel- und Erdtönen von Les (Leslie Luverne) Anderson (US-Amerikanerin, 1928–2009). Aus dem Nachlass von Les Anderson in Mont...

Dieses wunderbare Gemälde zeigt ein reiches Blumenarrangement in einer runden, transparenten Glasvase. Die Blumen sind in einer Vielzahl von Farben abgebildet, unter anderem in versc...

Ein großes, überzeugendes figuratives Gemälde des New Yorker Künstlers Gerrit Hondius aus der Mitte des Jahrhunderts mit dem Titel "Equestrienne & Clown". Größe des Kunstwerks: 30 ...

Künstler: William Harnden, Amerikaner (1920 - 1983) Titel: Dirigent mit Sängerin Medium: Öl auf Masonit, signiert Bildgröße: 11,5 x 23,5 Zoll Rahmengröße: 17,5 x 30 Zoll

Miniatur-Bauernhoflandschaft mit einer weißen Scheune, zwei Bäumen und einem Vogelschwarm von einem unbekannten Künstler aus Quebec, Kanada, M. Lemieux (20. Jahrhundert). Signiert un...

Snowy Creek in Hope Valley – Landschaft in Öl auf Masonit Detaillierte Winterszene des amerikanischen Künstlers Dean Packer (geb. 1933). Das Licht scheint auf die verschneiten Ufer ...

Fredric Karoly (1898-1987). Etüde III, 1950. Öl auf Masonitplatte misst 18 x 24 Zoll. Ungerahmt. Rückseitig signiert, betitelt und datiert. Guter Zustand mit leichten Farbverlusten ...

Mid Century Modernist Segelboot Geometrische abstrakte Ölgemälde Dieses dynamische Stück aus der Mitte des Jahrhunderts zeichnet sich durch eine kühne Geometrie und einen starken Si...

Dieses frühe Werk, „Ronde d'efant“ des haitianischen Künstlers Wilson Bigaud, könnte leicht mit einem Gemälde eines bedeutenden europäischen Surrealisten verwechselt werden. Das cha...

Öl auf Masonit, realisiert von Giovanni Gromo in den 1980er Jahren. Handsigniert. Guter Zustand.

White Sands New Mexico, Wüstenlandschaft aus der Mitte des Jahrhunderts im Südwesten von Vannerson Wunderschöne Wüstenszene des preisgekrönten, autodidaktischen Künstlers Dr. Lucien...

Üppige Landschaft eines Herbstwaldes von Evelyn Campbell (Australien, 20. Jahrhundert). Von der unteren rechten Seite der Komposition führt ein Weg durch eine offene Lücke in einem H...

Ausdrucksstarkes Porträt eines Künstlers bei der Arbeit am Schreibtisch von einem unbekannten Künstler (20. Jahrhundert). Ein Künstler mit braunen Haaren und Schnauzbart arbeitet an ...

Self-Portrait, um 1940, Öl und Tempera auf Masonit, verso mit dem Namen des Künstlers versehen, 30 x 25 Zoll William Ashby McCloy war ein amerikanischer Künstler, Pädagoge und klini...

Hier für Ihre Betrachtung ist eine Mitte des Jahrhunderts moderne Ölgemälde auf Masonit von dem bekannten russischen / amerikanischen Künstler, Nahum Tschacbasov. Das Gemälde zeigt e...

Dieses Werk ist Teil unserer Ausstellung - American Coast to Coast: Künstler der 1940er Jahre A Valley Streetscape at Night, 1948, Öl auf Masonit, signiert und datiert unten rechts...

Nach Hector Hyppolite ist Philomé Obin vielleicht der bedeutendste Maler Haitis. Signiert unten rechts. Rahmen von House of Heydenryk. Provenienz: Astrid und Dr. Halvor Jaeger, Regin...

Moderner strukturierter Kimono in Neutralbraun in Mischtechnik, Collagraph Master Platte #2, Moderner Mixed Media Dieses einzigartige, stark strukturierte, moderne Mixed-Media-Werk ...

Schönes impressionistisches Landschaftsbild einer ländlichen Szene von Paul Friederich Weindorf (deutsch/amerikanisch, 1887-1965). Signiert "Paul Weindorf...

Nach dem Original von Henrika Langus (Slowenin, 1836-1876), gemalt um 1880. Nicht signiert. Gerahmte Abmessungen: 17,25 x 1 x 15,5 Zoll. Eine charmante und antike Studie eines jung...

Porträt eines Mannes, der eine Pfeife raucht, in Öl auf Masonit Detailgetreues Porträt eines Mannes mit Pfeife von Heinz Robert Schubert (Deu...

Das Angebot umfasst eine idyllische, tropische Uferlandschaft mit einer traditionellen Strohdachhütte, die unter einem großen, dichten Banyanbaum liegt. Der unbekannte Künstler hat d...

Mervin Jules Schachspieler, 1945-46 Signiert unten rechts Öl und Enkaustik auf Masonit 12 x 16 Zoll Mervin Jules besuchte 1930 das Baltimore City College und erwarb 1934 einen Absc...

Die Gemälde von Jean Krillé sind bekannt für ihre ausdrucksstarke Farbgebung und ihre dynamischen, abstrakten Formen, die in seinen Naturdarstellungen Realismus und Abstraktion mitei...

Ultra-realistische Bibliotheks-Stillleben-Bücher und Kerzen „Der kleine Dämon im Detail“ Hochdetaillierte Bibliotheksszene und Stillleben mit dem Titel "Little Devil in the Detail" v...

Wunderschönes Stillleben aus der Mitte des Jahrhunderts, das eine Vase mit weißen Lilien neben einer grünen Teekanne und einer Zitrone zeigt, von der in Kalifornien lebenden Künstler...

Ein fabelhaftes 1950er-Jahre-Mitte-Jahrhundert-Modern-Porträt einer sitzenden Frau, "Southern Belle" von dem bekannten Chicagoer Künstler Francis Chapin (Am. 1899-1965). Ein farben...

Charmantes Gemälde mit farbenfrohen gallischen "Le Coq Gaulois"-Hähnen der in Kalifornien lebenden Künstlerin Helen Enoch Gleiforst (Amerikanerin, 1903-1997), um 1950. Helen Gleifor...

Eine abstrakte Landschaft in Erdtönen, die an sanfte Hänge erinnert, in braunen und weißen Neutraltönen von einem unbekannten Künstler (Amerikaner, 20. Jahrhundert). Nicht signiert....

Verso signiert "Di Gesu" für Victor Di Gesu (Amerikaner, 1914-1988) und gestempelt mit dem Nachlasssiegel des Künstlers. Victor di Gesu, Gewinner des Prix Othon Friesz, besuchte zun...

Dieses Gemälde von Anfang Oktober 1927 zeigt die wechselnden Farben des Sonnenuntergangs über dem Vätternsee von der historischen Stadt Vadstena aus gesehen. Die Komposition ist beme...

Carl Robert Holty (US-Amerikaner, 1900–1973) Abstrakter Expressionismus, Öl auf Masonite-Platte. Abstraktes Bild mit Grün-, Blau- und Rottönen, Maße: 12 x 9-1/2 Zoll. Gerahmt, 1...

Frank Chabry (1916-1979) war ein Künstler des 20. Jahrhunderts, dessen Karriere sich über mehrere Jahrzehnte erstreckte und die Kunstwelt veränderte. Sein Werk spiegelt wahrscheinlic...

Signiert unten rechts 'F. Sands Brunner' für Frederick Sands Brunner (Amerikaner, 1886 - 1954) und gemalt um 1930. Ein Gemälde, das die beiden Töchter des Künstlers, Sibyl und Jane...

Signiert in Rot, u.l. Öl auf Leinwand, aufgezogen auf Masonite Dieses Werk wird von ClampArt in New York City angeboten.

Ansicht von Notre Dame und der Île de la Cité" von Friderika Bendéné Kovacsev. Seine, Paris, Thieme Becker, Budapest ------ Signiert unten links: "Frid. J. Bende" für Friderika Bend...

Von Decent H&N Fine Art, Newport Beach, CA; Aus der Katherine A. Norris Legacy Collection, Newport Beach, Kalifornien; Rick Hill, San Diego, Kalifornien durch Abstammung von seiner M...

Von H&N Fine Art als Teil der Katherine A. Norris Legacy Collection, Newport Beach, Kalifornien, an American Legacy Fine Arts übertragen; Bonham's California, 11. April 2005, Los 205, verkauft für 7.000 $; Nachlass von Sam Harris Signiert "Sam Hyde...