Ray Parker

Abstract Blue Black Color Forms

1982

A large and impressive Karel Appel of his most desirable subject, abstracted faces. Very difficult to find a work of this size and impact by the artist. Often the faces are not as ...

In the 1950’s Donald Purdy embraced an abstract style of painting which was pervasive at the time. This painting is a perfect compliment to a room with mide modern furniture. In Ci...

An exciting, rare and impressive painting that is of a great size for a sofa or long wall. Very hard to find paintings with this format. It is of an early and important historical ...

Holty did a series of works that explored the use of varying tones of Gray with other colors. This was done during his Colorfield foray as he pioneered this movement along with such...

Karel Appel is internationally recognized and collected for this subject matter in particular. Preferable to have the faces, this piece has rich color and presence. Good value and ...

A vibrant, Miro like work celebrating his exhibition at the famous Kootz gallery. This piece serves as historical work and and artistic expression of joie de vivre! In 1947 Hans Ho...

Abstract expressionist painting on paper Matted

I. 2011-2013. Paper, plastic glass, oil, 90x68cm

Deborah Freedman is a painter who lives and works in New York City. Her work is deeply informed by nature –especially the Catskill Mountains - and landscape painting of the 19th and early 20th century. After 9/11 when the Ashokan Reservoir became almost inaccessible and ”threatened” what had been idyllic became “disturbed”. The pictures became less ideal and less about location and more abstract and more emotional. The titles; Good Night Irene, Praying for Rain, Cold Spring, Disturbed Landscapes and The End of Snow describe these concerns. “This is landscape as an anatomy lesson; landscape conflated with human form. Landscape which holds the promise of physical pleasure. The abstraction holds the emotional content. If it sounds simplistic, imagine trying to organize a coherent vision of something that does not exist. It mixes the personal with the impersonal, landscape in the guise of familiarity.” Stewart Waltzer. Artnet. A partial list of collections include The Metropolitan Museum of Art, The New York Public Library, Rutgers University, The Department of State, the Library of Congress, IPCNY,The Hess Collection, CITI, Morgan Guarantee Trust, and Memorial Sloan Kettering Hospital. Freedman is a co-founder with Marjorie VanDyke of VanDeb Editions, a printmaking studio dedicated to collaborating with artists to experiment with intaglio and monotype, located in Long Island City, NYC. Residencies include the MacDowell Colony on a printmaking residency making monoprints using etched plates with highly textured surfaces. The tradition there is to invite other residents for studio visits or presentations which led to a collaboration with Alan Fletcher...

Deborah Freedman is a painter who lives and works in New York City. Her work is deeply informed by nature –especially the Catskill Mountains - and landscape painting of the 19th and early 20th century. After 9/11 when the Ashokan Reservoir became almost inaccessible and ”threatened” what had been idyllic became “disturbed”. The pictures became less ideal and less about location and more abstract and more emotional. The titles; Good Night Irene, Praying for Rain, Cold Spring, Disturbed Landscapes and The End of Snow describe these concerns. “This is landscape as an anatomy lesson; landscape conflated with human form. Landscape which holds the promise of physical pleasure. The abstraction holds the emotional content. If it sounds simplistic, imagine trying to organize a coherent vision of something that does not exist. It mixes the personal with the impersonal, landscape in the guise of familiarity.” Stewart Waltzer. Artnet. A partial list of collections include The Metropolitan Museum of Art, The New York Public Library, Rutgers University, The Department of State, the Library of Congress, IPCNY,The Hess Collection, CITI, Morgan Guarantee Trust, and Memorial Sloan Kettering Hospital. Freedman is a co-founder with Marjorie VanDyke of VanDeb Editions, a printmaking studio dedicated to collaborating with artists to experiment with intaglio and monotype, located in Long Island City, NYC. Residencies include the MacDowell Colony on a printmaking residency making monoprints using etched plates with highly textured surfaces. The tradition there is to invite other residents for studio visits or presentations which led to a collaboration with Alan Fletcher...

Deborah Freedman is a painter who lives and works in New York City. Her work is deeply informed by nature –especially the Catskill Mountains - and landscape painting of the 19th and early 20th century. After 9/11 when the Ashokan Reservoir became almost inaccessible and ”threatened” what had been idyllic became “disturbed”. The pictures became less ideal and less about location and more abstract and more emotional. The titles; Good Night Irene, Praying for Rain, Cold Spring, Disturbed Landscapes and The End of Snow describe these concerns. “This is landscape as an anatomy lesson; landscape conflated with human form. Landscape which holds the promise of physical pleasure. The abstraction holds the emotional content. If it sounds simplistic, imagine trying to organize a coherent vision of something that does not exist. It mixes the personal with the impersonal, landscape in the guise of familiarity.” Stewart Waltzer. Artnet. A partial list of collections include The Metropolitan Museum of Art, The New York Public Library, Rutgers University, The Department of State, the Library of Congress, IPCNY,The Hess Collection, CITI, Morgan Guarantee Trust, and Memorial Sloan Kettering Hospital. Freedman is a co-founder with Marjorie VanDyke of VanDeb Editions, a printmaking studio dedicated to collaborating with artists to experiment with intaglio and monotype, located in Long Island City, NYC. Residencies include the MacDowell Colony on a printmaking residency making monoprints using etched plates with highly textured surfaces. The tradition there is to invite other residents for studio visits or presentations which led to a collaboration with Alan Fletcher...

EMILY MASON Nautical Night, 1983 Oil on paper 26 x 20 inches 66 x 50.8 cm Signed and dated: "Emily Mason '83" (lower center recto) Formally, Emily Mason (1932-2019) is perhaps best ...