Samson Schames

Samson Schames Bar Table Painting, 1960

c. 1940s-1960s

Genre: Modern Subject: Kitchen still life with pineapple, sourdough bread and lemons Medium: oil paint, done in a sgraffito, impasto somewhat brutalist technique Surface: board Count...

STILL LIFE WITH CAT FIGURINE Size: 43.5 x 64.5 cm (including frame) Oil on board A charming mid-century modernist style interior still life painti...

"Dering Harbor Sunset" is a contemporary blue & purple seascape with sailboats. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works was c...

"The Lone Boat" is an oil painting by American artist, Kelly Carmody. A contemporary seascape of a single sailboat resting upon a still body of water at a special time of day, either...

"Red Chair," though an interior scene, is arranged like a still-life with the furniture and objects slightly off-kilter in the creative manner of Marc Chagall's interiors, the Russian-French artist of Belarusian Jewish origin. These non-fixed objects lend a floating energetic atmosphere and the brilliant colors contribute to the liveliness of this warm inviting interior. Richard Jerzy was a well-known watercolor artist from the Detroit, Michigan area. His signature works were figures and still lives, and many famous Michigan families are collectors. "He was probably the most promising, successful, exciting artist in the state of Michigan," said Miriam Parel, a fellow artist and friend for more than 30 years. He grew up on Detroit's east side and developed an interest in painting as a teenager. He attended Detroit's Center (now College) for Creative Studies. Other well- known CCS faculty and graduates are Susan Aaron-Taylor, Harry Bertoia, Doug Chaing, Stephen Dinehart, Tyree Guyton...

Bustling Street VI and Market Day are an original diptych of paintings by Sean Durkin. The scenes depict the high streets of an industrial town with people going about their usual li...

Mid Century Modern Calla Lily in Bloom Still-Life in Oil on Board Gorgeous Mid Century Modern still life of Calla Lily with orange background by Agnes Stoklosa (American, 20th Centu...

Modern Abstracted Still-Life with Antique Coffee Grinder by Anthony Rappa Modern textural still-life by California artist Anthony Rappa (America...

Diana Maxwell Armfield. English ( b.1920 ). Pink Primulas & A Collection Of Potted House Plants. Oil On Board. Signed Monogram Lower Left. Image size 12.6 inches x 10.6 inches ( 32...

Hand signed upper right Regina Mundlak was born in a village near Lomza (NE Poland), into a poor Jewish family. In 1901 she went to Berlin to find work, together with her mother and sister, a highly talented violinist. Her extraordinary talent rapidly brought her to the attention of the Jewish artistic milieu. Her work so impressed Max Liebermann (1847–1935) that he decided to finance her education. However, even with his help, she had difficulty in making a living. Efraim Moses Lilien (1874–1925), who did not conceal his fascination with her talent, tried to help by publishing an open letter in Ost und West in 1902, appealing for support for her, but because of financial problems she finally had to give up her studies and return to her homeland. At the age of fifteen she was already very skilled in drawing. At first she primarily created realistic portrait studies. The works she published in 1902 showed her rare power of observation. Her pen-and-ink drawings were also greatly admired. As her subjects she most often chose characteristic Jewish types from Eastern Europe. She exhibited her works in Warsaw at the (Society for Promotion of Fine Arts) in 1902 and in 1903 and at the Aleksander Krywult Salon in 1903. In 1906, once again in Berlin, she exhibited her works at the Cassirer Salon. A review of this exhibition by Hermann Struck appeared in Ost und West. Like Lilien before him, he too wrote about her “phenomenal talent.” On the occasion of her exhibition, some of her drawings were reproduced in Ost und West. The development of her creative abilities in the years between Lilien’s letter and Struck’s review is noticeable. Drawings published in 1901 were portraits; compared to later works they evidence a skilful but still somewhat uncertain hand. The works created a few years later were characterized by a stronger and surer line. These works are also more developed: while the subject of her works remained the same, she now extended her interest in portraiture to the shape of the entire human body, presenting the figures in more elaborate environments. Looking at the reproductions, one might conclude that she was interested in nothing but Jewish life in the Diaspora. There is a propensity to show the faces of older people...