Jim's of Lambertville Abstract Paintings

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Burgoyne Diller (1906 – 1965). Born in New York City in 1906, Burgoyne Diller began drawing when he was stri...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Eve Drewelowe (1899 - 1988). Landscape painter, Eve Drewelowe, was the eighth of thirteen children born in ...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architecture before transferring to the University of Houston in pursuit of painting. He eventually graduated from the Colorado Institute of Art in 1960 and was later inducted into their Hall of Fame in 2005. After graduating, Briggs returned to Houston and began working as a graphic designer and associate art director at KTRK-TV, Channel 13...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

Jim’s of Lambertville is proud to offer this artwork by: James Lechay (1907 – 2001) Born in the Bronx in 1907, James Lechay spent most of his childhood in Brooklyn before moving to Joilet, Illinois at age 13 to live with his uncle after his mother passed away. In 1928, he received his B.A. in psychology from the University of Illinois. The next year, he attended one week of graduate school before leaving to study under his brother, the painter Myron Lechay, in New York. At his brother’s studio, James began to associate with other artists of the time such as Milton Avery, Mark Rothko, Arshile Gorky, William Zorach, and Raphael and Moses Soyer. From Myron, James Lechay learned to train his eye to observe natural forms and developed a philosophy dependent upon the relationship built between the artist and the subject. Lechay became engaged in the social and political issues of Depression-era New York and even joined the social realism movement for a brief time in the 1930s. He operated as the leader of the Artists Union while employed by the Works Progress Administration (WPA). With the WPA, Lechay traveled to Las Vegas, New Mexico, where he established a gallery and exhibited the works of Milton Avery, Max Weber, and other WPA artists. Despite his association with many artists and artistic communities in New York in the 1930s and 40s, Lechay opposed adopting a style due to its popularity and commercial success. His use, however, of large brushstrokes from Abstract Expressionism, the flattened plane of Modernism, and the simple compositions of early Abstraction created a combination of styles completely his own. A painter of a vast range of subjects, including still lifes, portraits, and landscapes, Lechay was known to reduce these forms to their visual essentials. Lechay often did not date his paintings as he frequently reworked them, even after they were exhibited, calling his pieces, “finished at all stages and never finished”. In 1945, Lechay was hired by the University of Iowa’s art department, where he worked alongside Mauricio Lasansky, Humbert Albrizio, Carl Fracassini, and Byron Burford...

Jim's of Lambertville is proud to present this artwork by Solomon Ethe (1924 – 2019) Solomon Ethe was born on June 22, 1924. A native New Yorker, he rece...

Jim's of Lambertville is proud to present this artwork by Solomon Ethe (1924 – 2019) Solomon Ethe was born on June 22, 1924. A native New Yorker, he rece...

Jim's of Lambertville is proud to offer this artwork by Solomon Ethe (1924 – 2019) Solomon Ethe was born on June 22, 1924. A native New Yorker, he rece...

Jim's of Lambertville is proud to offer this artwork by Solomon Ethe (1924 – 2019) Solomon Ethe was born on June 22, 1924. A native New Yorker, he receiv...

Jim’s of Lambertville is proud to offer this artwork by: Mercedes Matter (1913 - 2001) Born in New York in 1913 to famed Philadelphia Modernist, Arthur B. Carles, Mercedes Matter g...

Signed lower right Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, f...

Signed verso Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurat...

Signed verso Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurat...

Jim’s of Lambertville is proud to offer this artwork by: James Lechay (1907 – 2001) Born in the Bronx in 1907, James Lechay spent most of his childhood in Brooklyn before moving to Joilet, Illinois at age 13 to live with his uncle after his mother passed away. In 1928, he received his B.A. in psychology from the University of Illinois. The next year, he attended one week of graduate school before leaving to study under his brother, the painter Myron Lechay, in New York. At his brother’s studio, James began to associate with other artists of the time such as Milton Avery, Mark Rothko, Arshile Gorky, William Zorach, and Raphael and Moses Soyer. From Myron, James Lechay learned to train his eye to observe natural forms and developed a philosophy dependent upon the relationship built between the artist and the subject. Lechay became engaged in the social and political issues of Depression-era New York and even joined the social realism movement for a brief time in the 1930s. He operated as the leader of the Artists Union while employed by the Works Progress Administration (WPA). With the WPA, Lechay traveled to Las Vegas, New Mexico, where he established a gallery and exhibited the works of Milton Avery, Max Weber, and other WPA artists. Despite his association with many artists and artistic communities in New York in the 1930s and 40s, Lechay opposed adopting a style due to its popularity and commercial success. His use, however, of large brushstrokes from Abstract Expressionism, the flattened plane of Modernism, and the simple compositions of early Abstraction created a combination of styles completely his own. A painter of a vast range of subjects, including still lifes, portraits, and landscapes, Lechay was known to reduce these forms to their visual essentials. Lechay often did not date his paintings as he frequently reworked them, even after they were exhibited, calling his pieces, “finished at all stages and never finished”. In 1945, Lechay was hired by the University of Iowa’s art department, where he worked alongside Mauricio Lasansky, Humbert Albrizio, Carl Fracassini, and Byron Burford...

Signed on verso Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figu...

Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurative expression...

Jim’s of Lambertville is proud to offer this artwork by: Josef Zenk (1904-2000) Josef Zenk was born in New York City in 1904. After graduating from high school, he studied for thre...

Jim’s of Lambertville is proud to offer this artwork by: Lloyd R. Ney (1893 – 1964) Called “Bill” by his friends, Lloyd Ney was one of the pioneers of Modernist art in New Hope. Ne...

Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurative expression...

Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurative expression...

Jim’s of Lambertville is proud to offer this artwork by: James Lechay (1907 – 2001) Born in the Bronx in 1907, James Lechay spent most of his childhood in Brooklyn before moving to Joilet, Illinois at age 13 to live with his uncle after his mother passed away. In 1928, he received his B.A. in psychology from the University of Illinois. The next year, he attended one week of graduate school before leaving to study under his brother, the painter Myron Lechay, in New York. At his brother’s studio, James began to associate with other artists of the time such as Milton Avery, Mark Rothko, Arshile Gorky, William Zorach, and Raphael and Moses Soyer. From Myron, James Lechay learned to train his eye to observe natural forms and developed a philosophy dependent upon the relationship built between the artist and the subject. Lechay became engaged in the social and political issues of Depression-era New York and even joined the social realism movement for a brief time in the 1930s. He operated as the leader of the Artists Union while employed by the Works Progress Administration (WPA). With the WPA, Lechay traveled to Las Vegas, New Mexico, where he established a gallery and exhibited the works of Milton Avery, Max Weber, and other WPA artists. Despite his association with many artists and artistic communities in New York in the 1930s and 40s, Lechay opposed adopting a style due to its popularity and commercial success. His use, however, of large brushstrokes from Abstract Expressionism, the flattened plane of Modernism, and the simple compositions of early Abstraction created a combination of styles completely his own. A painter of a vast range of subjects, including still lifes, portraits, and landscapes, Lechay was known to reduce these forms to their visual essentials. Lechay often did not date his paintings as he frequently reworked them, even after they were exhibited, calling his pieces, “finished at all stages and never finished”. In 1945, Lechay was hired by the University of Iowa’s art department, where he worked alongside Mauricio Lasansky, Humbert Albrizio, Carl Fracassini, and Byron Burford...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Mixed media on board; Signed lower right and dated 1961 Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (Vas-lav Vit-la-chil) was born in New York City in ...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Signed Verso Rex Ashlock (1918 - 1999) Born in Spokane, WA on Aug. 23, 1918. Ashlock moved to San Francisco in 1937 and was a copy boy for Associated Press while studying at the C...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Jim’s of Lambertville is proud to offer this artwork by: Tobias Musicant (1921 – 2004) A new discovery in the art world is something always searched for and rarely found. Surely th...

Jim’s of Lambertville is proud to offer this artwork by: Charles Frederick Ramsey (1875 - 1951) Charles Frederick Ramsey is considered as important a leader among the New Hope Modernists, as Lathrop among the New Hope Impressionists. Ramsey, the son of prominent Philadelphia artist, Milne Ramsey...

Jim’s of Lambertville is proud to offer this artwork by: Tobias Musicant (1921 – 2004) A new discovery in the art world is something always searched for and rarely found. Surely th...

Jim’s of Lambertville is proud to offer this artwork by: Ramstonev Co-operative Project (1937 - 1939) In the late 1930s, Charles Ramsey became close friends with Charles Evans and ...

Jim’s of Lambertville is proud to offer this artwork by: Josef Zenk (1904-2000) Josef Zenk was born in New York City in 1904. After graduating from high school, he studied for thre...

Signed and dated 1958 lower right. Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Jim’s of Lambertville is proud to offer this artwork by: Best known as a painter of abstract still life and founder of the New York Studio School, Mercedes Matter was also a disting...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Jim’s of Lambertville is proud to offer this artwork by: Mercedes Matter (1913 - 2001) Best known as a painter of abstract still life and founder of the New York Studio School, M...

Jim’s of Lambertville is proud to offer this artwork by: Mercedes Matter (1913 - 2001) Best known as a painter of abstract still life and founder of the New York Studio School, M...

Jim’s of Lambertville is proud to offer this artwork. Signed upper right. Framed. Tobias Musicant (1921 – 2004) A new discovery in the art world is something always searched for...

Jim’s of Lambertville is proud to offer this artwork. Signed upper right.

Jim’s of Lambertville is proud to offer this artwork. Signed and dated 1950 lower right. Richard Peter Hoffman (1911-1977) Richard Peter Hoffman was a precisionist painter, ph...

Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 - 1999) Born in Spokane, WA on Aug. 23, 1918. Ashlock moved to San Francisco in 1937 and was a copy boy...

Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 - 1999) Born in Spokane, WA on Aug. 23, 1918. Ashlock moved to San Francisco in 1937 and was a copy boy...

Jim’s of Lambertville is proud to offer this artwork. Signed Lower Right Joseph Meierhans (1890 - 1980) Joseph Meierhans is one of the most important modernist painters associate...

Jim’s of Lambertville is proud to offer this artwork. Signed Lower Right Joseph Meierhans (1890 - 1980) Joseph Meierhans is one of the most important modernist painters associate...

Signed & dated 1940 lower left. Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the S...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in C...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right and dated '81. Charles Searles (1937-2004) He was born in Philadelphia, PA and received his fine art education at the Pennsylvania Academy of Fine Art (PAFA) from 1969-72. He also attended the University of Pennsylvania for liberal arts studies, where he worked in the labs beside the scientists and engineers creating technical illustrations for text books. His early paintings embraced the tumultuous 60's and also reflected his own family life and surroundings. Before graduating the PAFA, Searles received the Cresson Memorial Traveling Scholarship, and the following year, the Ware Memorial Traveling Scholarship. He was the first student to use these funds to travel to Africa. His travels in Africa marked his life and work forever -- the life, the rhythms, the patterns, and the energy. Searles returned to Philadelphia and began teaching at the Ile Ife Cultural Center. It was then that he began his "Dancer" Series. This series marked a change in his life, celebrating his new sense of renewal and the African experience. He was awarded his first mural commission at the William G. Green Federal Building. This work, entitled "Celebration" is still on view today. At that time, he was also hired as a drawing teacher at the (then) Philadelphia College of Art, where he remained a professor for over twenty years. In 1978, Searles moved to New York City. He found a large, raw space -- an old sewing factory -- on Broadway and Bleeker where he would remain for the rest of his life. He continued to commute to Philadelphia teaching part time. He met Kathleen Spicer, an art student, in 1983. They married in 1985. Together, they shared a wonderful, open, artistic, social, and creative experience. Searles gradually moved away from painting and into sculpture. His sculptures maintained the vibrant color and patterns from his paintings, but seemed to dance in three dimensions. These new works embodied a live sense of rhythm and energy -- trademarks that he maintained throughout his career, whether in wood, bronze, or aluminum. In his lifetime, Charles Searles participated in over 60 group shows, and 25 solo exhibitions. He was represented by the Sande Webster Gallery in Philadelphia for over 20 years. His paintings and sculptures can be found in innumerable public and private collections. Public commissions include the Delaware River Port Authority, the NYC Mass Transit Authority, the First District Plaza in Philadelphia, and the Amtrak station in Newark, NJ. He was the recipient of many awards, including ones from the Pollock-Krasner Foundation, the Adolph and Esther Gottleib Foundation, the Creative Arts Project Fellowship, and the National Endowment for the Arts. His wife of 23 years, Kathleen Spicer adds: "Charles was his work, and his work was him. Inseparable. Our lives were all about art. We lived each day as if it was a gift. To me, he was enchanted. His vision was clear -- he could envision something and make it come to life as easy as breathing. Genius. Charles made the world a better place. Charles speaks loud and clear." Bio courtesy of Kathleen Spicer (Searles) Selected Periodical Citations: Newhall, Edith, "Dual Celebration of Self-expression", Philadelphia Enquirer, May 2013 Fabbri, Anne, "A Farewell to Charles Searles", Art Matters, January 2005 Cornell University Review, August 2000 O'Neill, Denise I., "Black Experience Puts Soul Into the Heart of Christmas", Chicago Sun-Times, December 1996 Gleuck, Grace, Review, The New York Times, December 1996 McBride, Octavia, "An Artist Acclaimed", Philadelphia Tribune, April 1993 Fox, Catherine, "National Black Arts Festival Program Guide", The Atlanta Journal, July 1990 Wilson, William, "Black Artists in Tune with Ancestors", Los Angeles Times, January 1990 Jamusch, Ann, "Special Show-Legacy of Black Art", Dallas Times Herald, January 1990 Binkley, Barbara, "Colors, Bright and Bold", The Daily News, April 1986 Grafly, Dorothy, "Charles Searles at Neumans", ART in Focus, Summer 1978 Crittendon, Denise, "Back Home from Nigeria", The Michigan Chronicle, December 1977 Garrett, Bob, Art Section Review. Boston Sunday Herald, November 1975 Patry, Louise, "A Jubilee of Afro-American Art in Boston", New England Journal, December 1975 Wright, Charles, "Paint Art Racist", The Village Voice, April 1971 Nelson, Nells, "Black Artists Rise Above the Tempest", Philadelphia Daily News, April 1971 Canaday, John, "Black Artist on View in Two Exhibitions", The New York Times, February 1970 Collections: - Philadelphia Museum of Art - The Woodmere Art Museum - Smithsonian Institute of American Art - Pennsylvania Academy of the Fine Arts - LaSalle University Art Museum - Howard University Gallery of Art - Dallas Museum of Art - Delaware Valley Arts Alliance - Montclair Museum of Art - Afro-American Historical & Cultural Museum - Museum of Afro-American History - 35 + corporate collections - National & international private collections 75+ Group Exhibitions, Including: - Woodmere Art Museum - Pennsylvania Academy of the Fine Arts - Whitney Museum of American Art - Museum of American Art - Boston Museum of Fine Arts - Brooklyn Museum - Art Alliance - National Afro-American Museum - Liberty Museum - National Blacks Fine Arts Show - Institute of Contemporary Art - Ackland Arts Museum - Arnot Art Museum 30+ Solo Exhibitions, Including: - Philadelphia Museum of Art, Philadelphia PA - The State Museum of Pennsylvania, Harrisburg, PA - LaSalle University, Philadelphia, PA - Temple University, Philadelphia, PA - Montclair Art Museum, Montclair, NJ - Noyes Museum, Oceanville, NJ - Delaware Valley Arts Alliance, Narrowsburg, NY - North Carolina State University - Winston Salem State University, Winston Salem, NC - G.R. N’Namdi Gallery, New York, NY - Sande Webster Gallery, Philadelphia, PA - June Kelly Gallery, New York, NY - Noel Gallery, Charlotte, NC - Malcolm Brown...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Rolph Scarlett (1889 - 1984) A major exponent of non-objective painting, Rolph Scarlett's career and art...

Jim’s of Lambertville is proud to offer this artwork by: Arthur B. Carles (1882-1952) Born in Philadelphia, Pennsylvania, Arthur Carles was a painter whose work went through phases...