Sandy Litchfield

Dandelions with Two Buds, 2023, black walnut ink botanical still life drawing

2023

Framed: 10.5 x 10.5 in. In her ink on paper miniature still life, Tree No. 120, July 30, 2016, Dina Brodsky replicates the texture of the tree bark in uncompromising detail. Brodsk...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Margot Glass reimagines color and tone, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemerality, Glass lingers over t...

Margot Glass reimagines color with her newest specimen, anemones, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemera...

Margot Glass reimagines color with her newest specimen, anemones, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemera...

This Korean hanging scroll from the mid-20th century honors traditional calligraphy painting with delicate detail and a refined composition, thought to inspire clear and concise thin...

This artwork depicts the Ranger, last J-class racing yacht to race for the America's Cup, defeating the Endeavour II in 1937. The artist can draw custom designs on demand, feel free...

This artwork depicts a three-masted schooner named Freedom, hailing from New-York. The boat has brown booms, masts, keel and bow, and black and orange hull...

This artwork depicts a Canadian schooner named Mohawk, hailing from Vancouver. The boat has blue booms, brown masts, black and white hull, red keel and bow. The artist can draw cus...

The drawing (ink wash, white lead on paper 27.8 x 39.2 inch) has a signature in cursive on the bottom right corner but it hasn't been interpreted yet. However, by its artistic manner...

Expressionist ink and pastel crayon drawing of flowers in vase. Framed in a vintage cobalt blue glass original frame Hand signed and dated Framed it measures 13.5 X 10.5 The actual paper is 7.5 X 5.5 Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet doors (panels) in his work. Other members of group included Ilya Bolotowsky, Lee Gatch, Adolph Gottlieb, Louis Harris, Yankel Kufeld, Marcus Rothkowitz (later known as Mark Rothko), Louis Schanker, and Joseph Solman. The Art of “The Ten” was generally described as expressionist, as this style offered the best link between modernism and social art. Their exhibition at the Mercury Gallery in New York held at the same time as the Whitney Annual Exhibition of Contemporary American Painting, included a manifesto concentrating on aesthetic questions and criticisms of the conservative definition of modern art imposed by the Whitney. Ben-Zion’s work was quickly noticed. The New York Sun said he painted “furiously” and called him “the farthest along of the lot.” And the triptych, “The Glory of War,” was described by Art News as “resounding.” By 1939, The Ten disbanded because most of the members found individual galleries to represent their work. Ben-Zion had his first one-man show at the Artist’s Gallery in Greenwich Village and J.B. Neumann, the highly esteemed European art dealer who introduced Paul Klee, (among others) to America, purchased several of Ben-Zion’s drawings. Curt Valentin, another well-known dealer, exhibited groups of his drawings and undertook the printing of four portfolios of etchings, each composed of Ben-Zion’s biblical themes. He worked as a WPA artist. Ben-Zion’s work is represented in many museums throughout the country including the Metropolitan, the Whitney, and the Museum of Modern Art in New York, the Art Institute of Chicago, the Philadelphia Museum of Art and the Phillips Collection, Washington. The Jewish Museum in New York opened in 1948 with a Ben-Zion exhibition. Ben-Zion consistently threaded certain subject matter—nature, still life, the human figure, the Hebrew Bible, and the Jewish people—into his work throughout his life. "In all his work a profound human feeling remains. Sea and sky, even sheaves of wheat acquire a monolithic beauty and simplicity which delineates the transient as a reflection of the eternal. This sensitive inter- mingling of the physical and metaphysical is one of the most enduring features of Ben-Zion's works." (Excerpt from Stephen Kayser, “Biblical Paintings,” The Jewish Museum Catalogue, 1952). Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series...