Gemälde aus Masonit

Eine amerikanische Künstlerin stellt in ihrem späten Stil ein Pferd und einen Colt in einer abstrakten Landschaft dar. Ethel Magafan zeichnet die entscheidenden Linien mit einem Mess...

André Debono ist ein zeitgenössischer französischer Maler abstrakter Kunst, der in Nîmes lebt. Stark beeinflusst von der radikalen Dekonstruktion der „Supports/Surfaces“-Bewegung – i...

Acryl auf Masonit

André Debono ist ein zeitgenössischer französischer Maler abstrakter Kunst, der in Nîmes lebt. Stark beeinflusst von der radikalen Dekonstruktion der „Supports/Surfaces“-Bewegung – i...

In „Strays“ entwirft der Outsider-Künstler Scott Harbison eine Welt voller neugieriger außerirdischer Wesen und mutierter Tiere mit großen Augen, die sich naiv durch unbekanntes Terr...

Ein schönes und stimmungsvolles Gemälde von Vittorio Tom Novelli, einem seltenen Künstler der römischen Schule der ersten Hälfte des 20. Signiert und datiert unten links "Vittorio No...

Eine farbenfrohe, lebendige Winterszene aus den 1930er Jahren, gemalt in Saugatuck, Michigan, von dem berühmten Chicagoer Künstler Francis Chapin (Am. 1899-1965). Das Bild zeigt das...

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...

Impressionistische Vintage-Landschaft des Grand Canyon Majestätische impressionistische Landschaft des Grand Canyon in schönen lebendigen Farben von einem unbekannten Künstler (Amer...

Künstler: Leonardo Nierman Titel: Un Fuego Magico (Variation) Jahr: 1965 Medium: Öl auf Masonit, signiert und datiert v.l.n.r. Größe: 24 x 31,5 Zoll Rahmen: 28 x 36 Zoll

Tafelgröße: 24 x 30 Zoll. Rahmengröße: 31 x 37 Zoll. Signiert, unten links: "F. Lamothe" Auf diesem Gemälde aus Öl und Wachs auf Masonit stellt der haitianische Künstler Fritz Lamot...

Die Geschichte der amerikanischen Illustration ist voller Schlachtszenen. Selten, wenn überhaupt, haben wir schon einmal eine Darstellung von brutalen Kampfhandlungen gesehen, die in...

Aufstand - eine große und ein unglaublich kraftvolles und aktuelles Gemälde des jamaikanischen Meistermalers Barrington Watson (1931-2016). Es zeigt das Jahr 1865 Morant Bay Rebel...

Es handelt sich um ein Original-Ölgemälde aus der Mitte des Jahrhunderts, das durch seine kräftige Textur, sein historisches Sujet und die auf der Rückseite hinterlassenen archivaris...

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 ...

Robert Steven Koffler (1938–2022). Ohne Titel, 1963 Öl auf Masonite-Platte, 36 x 48 Zoll. Gesamtmaße einschließlich Holzrahmen: 38 x 50 Zoll. Signiert und datiert vom Künstler ...

Sonnenaufgang am Horizont, Idyllische Landschaft aus den 1930er Jahren, 20x24, signiert Brilliante Landschaft aus den 1930er Jahren mit einem Sonnenaufgang über dem Horizont, der ei...

Von der Galerie direkt beim Künstler erworben UNGESTRAHLT: 8" x 10" GERAHMT: 11,5" x 13,5" x 1" SIGNIERT: Unten links Künstlerisches Statement „Das ist ein kleiner Park in der Nä...

Das amerikanische Leben ist in diesem Gemälde von Clyde Singer, Mailing the Letter, eingefangen, in dem er eine Frau darstellt, die 1986 ihre Post aufgibt. Als erfolgreicher amerikan...

Traffic ist ein seltenes und neu aufgetauchtes Werk von einem der überzeugendsten, aber zu wenig beachteten New Yorker Vertreter des Abstrakten Expressionismus aus der Mitte des Jahr...

Dieses Gemälde ist auf der Rückseite signiert, datiert und betitelt Provenienz: Privatsammlung, Israel Zustand: Guter Zustand. Zwei kleine Fehlstellen im Lack.

Preis auf Anfrage. Titelseite der Saturday Evening Post, 10. August 1940

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 ...

Nach Hector Hyppolite ist Philomé Obin vielleicht der bedeutendste Maler Haitis. In dem vorliegenden Werk schafft Philomé Obin ein flächendeckendes Muster aus harmonisch angeordneten...

Auf der Rückseite sind die Werke mit „Rhythm“ und „The Whip“ beschriftet. auf der Rückseite – Wir sind uns über die genaue Bedeutung dieses Werks nicht im Klaren. Gropper war ein ...

Surrealistische Stadtszene von Roberto Soto, Argentinier (1926–1986) Datum: 1977 Öl auf Masonit, signiert und datiert v.l.n.r. Größe: 24 Zoll x 24 Zoll (60,96 cm x 60,96 cm) Rahmengr...

Harald Grote. Nachmittag im Fairmount Park Öl auf Masonit, Platte, 12 x 16 Zoll. Signiert und datiert unten rechts.

Interessantes Gemälde des amerikanischen Künstlers Richard Kirk in Öl auf Masonit, das einen kleinen Jungen mit Narrenhut zeigt. Signiert unten rechts. Circa 1960. Der Zustand ist a...

Helles, kleines abstraktes expressionistisches Gemälde eines Zuges und einer Stadt bei Nacht von Tom Hamil (Amerikaner, geb. 1928). Signiert oben links in der Ecke "Hamil". Zustand:...

Unten links signiert mit den Initialen „J. E. S.“ für James Everett Stuart (US-Amerikaner, 1852–1941), datiert mit „22. Sep. 1911“ und versehen mit der Chronologienummer des Künstler...

Ein stilisiertes Pferd ist in einer abstrakten Landschaft grasend dargestellt. Höchstwahrscheinlich handelt es sich um Woodstock, New York, wo der Künstler lebte. Signiert unten rec...

Eine malerische ca. 1940er Jahre, horizontale Bauernhof Szene mit einer Scheune und Silo, in Öl auf Masonite, von Künstler Francis Chapin erstellt. Das Gemälde stellt wahrscheinlich...

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

Harald Grote. Pennypack Creek I Öl auf Masonit, Platte, 12 x 16 Zoll. Signiert und datiert unten rechts.

Wunderschöne Meereslandschaft mit türkisfarbenen und lavendelfarbenen Wellen, die an Küstenfelsen brechen, von dem kalifornischen Künstler Lee Ervast (Amerikaner, 1916 - 1975). Signi...

Father Rushing Home with an Armload of Gifts, The Saturday Evening Post Cover, 4. Dezember 1909. Auf diesem charmanten Original-Cover für The Saturday Evening Post, das am 4. Dezemb...

Ein charmantes Porträt einer schwarzen Frau mit stilisierter Frisur aus der Zeit - Midtown Galleries Label verso, ungerahmt Signiert und datiert oben rechts

Mid Century Abstracted Urban Nocturnal -- Eröffnungsabend im Apollo Theater Stimmungsvolle, nächtliche Szene in Downtown Harlem von Jan Evans (Amerikaner, 20/21. Jahrhundert). Eine ...

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...

Datum: Undatiert Medium: Öl auf Masonit Unterschrift: Signiert unten links Eine undatierte Illustration zum Schwergewichts-Titelkampf von 1889 in Richburg, Mississippi, den Sullivan...

Unterschrift: Signiert unten links 'Stevan Dohanos'. Medium: Gemischte Medien auf Pappe, aufgelegt auf Masonit Das vorliegende Werk wurde als Titelbild der Ausgabe von The Saturday ...

Das Stillleben ist ein originelles modernes Kunstwerk von Ugo Celada da Virgilio aus der Hälfte des 20. Original-Ölgemälde auf Karton. Handsigniert vom Künstler in der linken unte...

Ein fesselndes, modernes Gemälde aus den 1940er Jahren mit einem sitzenden Akt auf einer Gartenbank des berühmten Chicagoer Künstlers Francis Chapin (Am. 1899-1965). Ein sensibles, ...

Robert O'Meara (Amerikaner, XX-XXI), Abstrakte Komposition in Grün, Öl auf Karton, mit gelben und roten Details, offenbar unsigniert, ungerahmt. 10" H x 14" W. Provenienz: Aus einem ...

Eine unsignierte, englische Schullandschaft, gemalt um 1860 von einer geschickten, aber nicht identifizierten Hand, vielleicht ein Anhänger von George Augustus Williams (Engländer, 1...

Jim's of Lambertville ist stolz darauf, dieses Kunstwerk anzubieten: Gershon Benjamin (1899 - 1985) Gershon Benjamin ist ein amerikanischer Modernist, der Porträts, Landschaften,...

Der amerikanische Maler Paul King wurde am 9. Februar 1867 in Buffalo, New York, geboren. Montiert in einem geschnitzten, blattvergoldeten Rahmen. Dieses Gemälde wird von San Di...

Original-Ölgemälde auf Masonit, das dem russischen/amerikanischen Künstler Nahum Tschacbasov zugeschrieben wird. Ca. 1938. Nicht signiert. Auf der Rückseite zweimal mit einem Nachl...

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...

Unterschrift: Signiert unten links, "Hughes". Medium: Öl auf Masonit Gerahmt 24,50" x 26,50" Original-Titelillustration für The Saturday Evening Post, 8. Juni 1957. Die Post schrie...

Signiert und datiert unten rechts. Lohman studierte am John Herron Art Institute sowie in Cranbrook und Yale, wo er seinen Abschluss machte. Assistent von Carl Milles an der Cranbro...

Medium: Gouache und Tempera auf Masonit Ansichtsgröße 14,50" x 11,25", gerahmt 20,50" x 17,25" Unterschrift: Unterschrieben unten rechts Titelseite von The Saturday Evening Post, 16...

Künstler: Buckley MacGurrin – US-Amerikaner (1896–1971) Titel: Blick auf Toledo Jahr: 1964 Medium: Öl auf Masonit Größe: 32 x 24 Zoll Maße mit Rahmen: 37,5 x 29,5 Zoll Unterschrift...

Signiert unten rechts "J. Roig" für Jose Roig (argentinisch-spanisch, 1898-1968), gemalt um 1955. Dieser argentinisch-spanische Modernist wurde 1898 in Spanien geboren und malte ab ...

Medium: Öl auf Masonit

Ein prächtiges Art-Déco-Gemälde des Meisters John Storrs aus dem Jahr 1931. Größe des Kunstwerks: 18" x 12". Gerahmt Größe: 21 1/4" x 21 3/4". In einem hübschen, dunklen Rahmen....

Der brillante amerikanische Illustrator Bob Peak fängt die Wut und die Kraft eines Schlags ins Gesicht mit schnellen, breiten Pinselstrichen ein. In Kombination mit der düsteren Farb...

Gregory Sumida (Amerikaner, geb. 1948) 'Pick-Up Crossing' Ölfarbe auf Masonitplatte. Handsigniert unten rechts 1976 Darstellung einer ländlichen Landschaft und von Gebäuden, in ein...

Der Preis beinhaltet 400 $ für die Einrahmung. Öl auf Leinwand, aufgezogen auf Masonite Signiert in Rot, u.r. Dieses Werk wird von ClampArt in New York City angeboten.

„Abstracted Sunset“ – großformatige surrealistische Komposition in Acryl auf Leinwand Abstrakte surrealistische Komposition des kalifornischen Künstlers Devon Brockopp-Hammer (US-Am...