Thelma Appel

Three handled Vase with Flowers

2003

Robert Kushner Pears, 1985 Acrylic & Collage on Paper; Framed with Holly Solomon Gallery Label & Reader's Digest Art Collection Label Signed and titled by the artist on the front Thi...

Thelma Appel In Memoriam, 2002 Acrylic on Canvas painting Hand signed, dated and titled in black marker on the back This is a unique work Frame Included Absolutely stunning signed painting by beloved abstract and representational painter Thelma Appel. This 2002 work was done by the artist to honor those who lost their lives in the 9-11 terrorist attacks, as the artist's studio was in lower Manhattan at the time. A similar work done by Appel from this era was acquired by the Police Museum in lower Manhattan, near Ground Zero. This work is elegantly framed in a handmade brushed aluminum museum frame and is ready to hang. Signed, titled and dated verso. Ms. Appel has been the subject of a 50 year career survey at the Brattleboro Museum in Vermont. Measurements: Frame: 18.78 x 24.3 x 4 inches Artwork: 18 x 24 inches This work will be accompanied by a limited edition catalogue of the artist's museum retrospective, along with the original invitation and separate promotional materials. Thelma Appel biography A co-founder of the Bennington College Summer Painting Workshop, Thelma Appel is a representational and abstract painter who has been working and teaching for more than six decades. Most recently, she was subject of a 50-year career survey (October, 2019 -February 2020) at the Brattleboro Museum in Vermont, entitled Thelma Appel: Abstract/Observed curated by Mara Williams, and she exhibited at the Mattatuck Museum in Connecticut which acquired one of her fabric collages for their permanent collection. Thelma Appel was raised in Darjeeling, India and educated in London, England, at St. Martin's School of Art (now Central St. Martins) and Hornsey College of Art before emigrating to the United States in the 1960s. Her work has been exhibited in numerous venues, including the Bennington Museum, the Berkshire Museum in North Adams, Mass., the Children's Museum of the Arts in New York City, the Mattatuck Museum, the Brattleboro Museum, the Milwaukee Art Museum, the Robert Hull Fleming Museum at the University of Vermont and the University of Pennsylvania Fine Arts Gallery. In 1974 she was awarded a YADDO Fellowship, and in 1975, Thelma Appel, along with the painter Carol Haerer, co-founded the Bennington College Summer Painting Workshop, where many distinguished painters of the day, both abstract and representational, conducted master classes. Among them were Neil Welliver, John Button, Alice Neel, Larry Poons, Friedel Dzubas, Stanley Boxer, Elizabeth Murray and Doug Ohlson – a program that continued until 1980. She has also taught drawing at Parsons School of Design, painting at Southern Vermont College and at the University of Connecticut. Appel’s work has been presented at Art on Paper, Texas Contemporary, Market Art & Design and Art New York art fairs and has been exhibited at Alpha 137...

Thelma Appel New Megiddo, 2014 Acrylic on canvas Signed, titled and dated on the back of the canvas by Thelma Appel Frame Included: held in original artist's frame This work, called ...

Lowell Nesbitt Studio Wall Clock, 1968 Charcoal on board w/original Corcoran Gallery Exhibition Labels Signed in graphite on the front 27 x 38.75 inches Unframed; accompanied by the ...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges ...

Steven Sorman In Real Time, 2003 Acrylic, gouache, gel medium, oil and beeswax collage painting on paper 48 × 34 inches Signed and dated 2003; The frame also bears the original label...

Hyperreal oil painting of a pinewood board with wood knot detail by Anthony Adcock- Oil on copper **No wood was used in this painting - It is an oil painting on copper panel. Everyt...

The painting depicts an orange/red toned rug centered on a bright blue background with a small image peaking out from underneath the rug. The small photograph has a gold ring set on top of it and includes a date written on the bottom (December 20th, 1979). Signed and dated by the artist in the bottom left corner and currently displayed in a wood frame with gold accents. Dimensions Without Frame: H 38 in. x W 32 in. Artist Biography: John Fincher...

White, yellow and red asters. 1964. Oil on canvas, board, 46x58 cm Vimba Voldemars ( 1904 St. Petersburg – 1985 Riga, Latvia) He began his artistic education at the St Petersburg...

Hyperreal oil painting by Anthony Adcock - Oil on ACM (aluminum composite material) *This is a hyperrealistic oil painting - What appears as wood grain and concrete is in fact oil p...

In the trompe l'oeil panel painting, "Wonder, or the Plane of the Invisible," a comic cut-out of Wonder Woman sits between two spatial planes—the top, very flat plane is cut out in the shape of a plane as a play Wonder Woman's famous "Invisible Plane." The silly way the comic book character would sit in an imaginary seat flying through the air would force the artist to wonder, “how do you represent an invisible plane”. Here, we see a bright blue canvas, sprinkled with glittery paillettes; an outline of an airplane beneath an outline of the word “SKY”, an infantile depiction of the sun made of masking tape, and finally, the hero, Wonder Woman, her comic clipping taped onto the invisible plane. A very believable, naturalist blue sky with puffy white clouds is visible through the letters and the invisible airplane. It feels like we can reach into the invisible plane to find the natural world…yet atop the plane is an old cartoon of the first female superhero. She overlaps the realistic atmosphere, and even casts a shadow onto it. The planet’s orbit is dedicated to the sun, and all living things need the light to survive…yet this most important element is made up of a crude array of tape strips, asymmetrical, and even torn in-half. This sun refers back to Pablo Picasso’s sun...

Continuing his affinity for Malevich’s geometric paragon is Felix Culpa or ‘Must be a Woe,” this time, in red. Three red squares hover above Christ suffering on the cross—one of the most recognizable images in art history—yet here, no wooden cross is in sight. Christ simply floats against a white wall. The three “Red Squares” map the edges of the invisible crucifix, and an old violin...