Silver Paintings

Elegant watercolor depicting a bus scene by illustrator Gus Bofa. Dimensions: 12.5 x 24 cm

A contemporary painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-2023). Entitled "Rain Dreaming", the artwork was acrylic on canvas and painted in 1999 Fully documented: originally purchased in 1999 from Kimberley Australian Aboriginal Art, Melbourne, cat. no. KA 708/99; The in the collection of The Kelton Foundation, Santa Monica; It was exhibited in: "G'Day LA" Australia Week, in partnership with the Australian Consulate Los Angeles, Pacific Design Center, West Hollywood, CA, 15-25 January 2004. It is housed in a black thin wood frame. Ronnie Tjampitjinpa was born in Pintupi land at Muyinnga, about 100 kilometres west of the Kintore Range, just across the Western Australian border. He is the son of Uta Uta Tjangala’s older brother, Minpuru Tjangala (c.1899–1976). Artist's Biography (Courtesy of Art Gallery NSW) After his initiation into Pintupi law at the site of Yumari, Tjampitjinpa and his younger brother Smithy Zimran Tjampitjinpa walked into the Aboriginal community of Yuendumu. They later joined their parents and other siblings – who had come in to Ikuntji (Haasts Bluff) in 1956 from the Dover Hills/Yumari area – at the new settlement of Papunya. Tjampitjinpa worked as a labourer, assisting with the fencing of the aerodromes at Papunya and Ikuntji. He was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971, and was a founder of Paunya Tula Artists. During the 1970s, Tjampitjinpa was preoccupied with returning to his traditional lands and became a strong advocate for the outstation movement, travelling between meetings in Papunya, Yuendumu, Wirrimanu (Balgo) and Mount Doreen Station. His goal was finally achieved with the establishment of the Walungurru (Kintore) settlement in 1981. Tjampitjinpa moved there with his young family in 1983, establishing an outstation at Ininti (Redbank) and serving as chairman of the Kintore Outstation Council. During this period, he emerged as one of Papunya Tula Artists’ major painters, pioneering the bold, scaled-up, linear style that came to dominate many of the Walungurru painters’ work during the 1990s. His distinctive aesthetic preoccupa-tion is exemplified in the untitled works of 1994 and 2001. Now one of the last founding members of Papunya Tula Artists, Tjampitjinpa’s career spans more than 40 years. He has had six solo exhibitions since 1989 in Australia, most recently at Utopia Art, Sydney. Throughout the 1980s Tjampitjinpa worked devotedly on a land claim for Ininti, holding meetings in Darwin, Warmun (Turkey Creek...

Artist: Pedro Friedeberg (Mexican, 1936-) Title:Le Tombeau D'Hemingway Year: 1963 Medium: Ink and watercolor on paper: Size: 14 3/4 x 19 1/2 plus 3 inch frame Mark: upper lef...

Spanish Colonial South American Folk Art, Hand-carved and gilded wooden devotional shrine featuring the Virgin Mary, richly framed with ornate scrolling foliage and floral decorati...

A procession of darkened figures moves across the surface of Le Défilé, emerging gradually from layers of brown, charcoal, and muted black. Rather than describing individual subjects...

This dramatic 19th-century Barbizon or Dutch School style oil painting on canvas captures a moody nocturne scene centered around a towering, weathered white windmill. The composition...

A fantastic vintage hand-painted fish study depicting a angelfish, painted on artist board and set in its original thin brass frame. Each piece in this series was created by the same...

M. Laurent – Naïve Folk Art Hunting Scene with Horses & Hounds, 20th Century A wonderfully characterful 20th-century oil on canvas by the French painter Laurent, depicting a traditional country hunt with scarlet-coated riders on horseback following a lively pack of hounds through an expansive rural landscape. Signed Laurent lower right, the painting is particularly appealing for its distinctive naïve handling. Horses, riders and hounds are rendered with simplified forms, flattened perspective and wonderfully direct brushwork, giving the composition a charm quite removed from the polished formality of conventional sporting art. Across the landscape, five mounted riders make their way through the countryside, their brilliant scarlet coats providing striking points of colour amongst fresh greens, ochres and the softly painted blue-grey sky. In the foreground, a rider on a chestnut horse follows the hounds at pace, while immediately beyond, another rider on a substantial white horse negotiates a fallen tree beside the water. Further mounted figures appear across the middle distance on white, grey and brown horses, creating a surprisingly effective sense of movement across the landscape. But it is perhaps the pack of hounds that gives the painting its greatest charm. Predominantly white and individually marked with chestnut and darker patches, the hounds race enthusiastically through the countryside in small groups. Each has been constructed from remarkably economical brushstrokes, yet together they immediately convey the energy and excitement of the hunt. A Naïve Interpretation of the Hunt Rather than approaching the subject with the anatomical precision traditionally associated with British sporting painting, Laurent has interpreted the hunt in an altogether more instinctive manner. Perspective is deliberately flattened. Proportions shift throughout the composition. Riders are reduced almost to silhouettes, while horses and hounds are described through strong outlines and confident areas of colour. It is precisely this unconventional handling that makes the painting so appealing. The scarlet coats of the huntsmen form a repeating rhythm across the landscape, while the pale horses echo the predominantly white bodies of the hounds below. A stream winds through the foreground, crossed by fallen timber, while a slender bare tree rises dramatically at the left of the composition. Beyond, softly described woodland and distant countryside disappear towards a broad horizon beneath the atmospheric sky. There is a wonderful sense of storytelling without unnecessary detail. Seen closely, individual passages are almost abstract in their simplicity. Stepping back, they resolve into a remarkably lively country scene filled with horses, riders and hounds. It is an immensely decorative example of 20th-century naïve sporting art. Horses & Hounds The individual animals are particularly appealing. A chestnut horse dominates the foreground, shown at full stretch as its scarlet-coated rider follows the hounds. Nearby, a large white horse carefully negotiates the fallen timber, while further chestnut, grey and white horses progress across the landscape behind. Each has its own slightly eccentric proportions and character — an important part of the painting's naïve quality rather than an attempt at conventional equestrian realism. The hounds are equally charming. Painted predominantly in white with warm chestnut and dark markings, they move across the composition in small groups. Some follow the pack while others appear to be enthusiastically choosing their own route through the landscape. Their repeated forms create a sense of movement across the lower half of the painting and provide a wonderful counterpoint to the mounted figures above. Laurent Relatively little biographical information concerning the 20th-century French painter M. Laurent appears to have been published. The artist is nevertheless recorded within international art-market databases as a 20th-century French painter, with works having appeared at auction. Particularly interesting in relation to the present painting are recorded works entitled Retour de chasse (Return from the Hunt) and Retour de chasse au faisan (Return from Pheasant Hunting...

Vintage Asian Batik hand painted fabric art. The beautiful batik is a depiction of a pair of Masai couples in traditional tribal clothing. The batik is a wonderful example of a hand painted wall art. Batik is one of many methodologies of fabric art in a long and rich folk textile tradition around the world. It is a wax-resist type of dyeing operation where certain sections of a textile are pigmented while others are tied-off and shielded from coloring. Batik designs are created in various geometric motifs that have certain symbolism and convey status within society, but now too they use batik methods to achieve what in essence are paintings on fabric. Dimensions: 26” x 31” Date of Manufacture: 3rd Quarter of the 1900s Place of Origin: Africa Material: Textile Condition: Wear consistent with age and use The Persian Knot Gallery, SKU: 2264 Vintage Batik Painting...

You are viewing a collectable Victorian oil painting depicting a Cornish coastal scene Beautiful scene with Turneresque skies - moody and atmospheric Various boats in the foregrounde...

Original painting from Venice, Italy featuring the iconic Venetian canal poles and masquerade figures. The colors of reds, gold, and black work wonderfully with the gold-leafed frame...

These painting clocks are very rare, especially containing the music box. Of Austrian manufacture circa 1820-1830, this Biedermeier picture (painting) clock is a naive and charming oil painting on metal, which depicts nine people dressed in colorful period clothes at various activities; a woman with her child and carrying fruit in a basket atop her head, two young lovers, a man in a boat, another man walking with his dog, while still another gentleman leaves the town hall. A woman at the window...

An authentic kinetic painting, Post-Modernist, Abstract Geometric, Op-Art, composition of interlocking geometric lines in gradients of blue, white, gray and black, with a very effect...

This striking canvas painting features an abstract composition depicting two figures in neutral and dark tones. Framed cleanly, the minimalist piece brings sophisticated artistic cha...

A striking, energetic piece of original abstract artwork dating from the 1960s/70s. Acrylic and oil have been used to create bold lines and brushwork on the canvas giving the piece a...