Board Mixed Media

Judy Chicago Logo Pin and Pendant, 1993 Enameled pin with pendant loop in original presentation box 2 1/2 × 2 1/2 × 1/5 inches Judy Chicago's incised name and date on the verso Comes in original presentation gift box Poignant enameled Holocaust Project Logo pin & pendant based on the logo designed by Judy Chicago for the Holocaust Project: From Darkness into Light More about pioneering artist Judy Chicago Judy Chicago (born Judith Sylvia Cohen; July 20, 1939) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. During the 1970s, Chicago founded the first feminist art program in the United States at California State University, Fresno (formerly Fresno State College) which acted as a catalyst for feminist art and art education during the 1970s. Her inclusion in hundreds of publications in various areas of the world showcases her influence in the worldwide art community. Additionally, many of her books have been published in other countries, making her work more accessible to international readers. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The Dinner Party celebrates the accomplishments of women throughout history and is widely regarded as the first epic feminist artwork. Other notable art projects by Chicago include International Honor Quilt, Birth Project, Powerplay, and The Holocaust Project. She is represented by Jessica Silverman...

In 2000, Linda Stein began a series called Knights of Protection. Her Knights functioned both as defenders in battle and symbols of pacifism. In 2019, Stein re-conceived her Kni...

An acrylic ink on book boards.

Acrylic ink on book boards.

A walnut ink painting on book boards.

A graphite drawing on book boards.

An acrylic ink painting on book boards.

An acrylic painting on book boards.

A walnut ink painting on book boards.

A walnut ink artwork on book boards.

Book covers.

Andy Warhol Marilyn Monroe (Pink), 2022 Acrylic-printed Marilyn lined with pink and yellow neon LED artwork with energy-efficient tubing, full board backing Box is plate signed; acco...

An abstract wall piece of book covers on book boards using a steel shelf.

Collage work on canvas on an absolute black background. The background represents the correspondence between an inner universe and another universe, cosmic and sidereal. The forms ar...

An abstract wall piece of book covers on book boards using a steel shelf.

An abstract wall piece of book covers on book boards with a steel shelf.

Daniel Giles Free, 2013 Tape and sharpie marker on cardboard 38 x 24 inches (96.52 x 60.96 cm) signed

Stand alone 5cm deep wooden sculpture painted with acrylic paints 30 x 21 x 5 cm (11.81 x 8.27 x 1.97 in) Edition of 5 Please note edition number will vary to photo

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Nick Chaffe, Fist Bump Acrylic paint and household paint on 15mm thick machine cut medium density fibreboard. 12 x 16 cm (4.72 x 6.3 in) Edition of 25 (Right) Edition of 25 (Left)...

Nick Chaffe, To the Star (Paper Airplane to Diamond) Stand alone 5cm deep wooden sculpture painted with acrylic paints. Please note edition number will vary to photo. 20 cm x 11cm ...

Nick Chaffe, Peace and Love Have Wings Acrylic paint on 18mm thick machine cut medium density fibreboard. 38 x 25 cm (14.96 x 9.84 in) Unlimited artwork

Nick Chaffe, Fragile Stand alone 5cm deep wooden sculpture painted with acrylic paints. 22 x 28 x 5 cm (8.66 x 11.02 x 1.97 in) Edition of 5 Please note edition number will vary ...

Nick Chaffe, Diamond Grenade Acrylic paint and spray paint on 15mm thick machine cut medium density fibreboard 17.5 x 15 cm (6.89 x 5.91 in) Edition of 100

Nick Chaffe, SNK SNK is a ready-to-hang sculpture (or stand alone) made from acrylic paint and spray paint on 18mm thick machine cut medium density fibreboard 28 x 38 cm Edition o...

Acrylic paint on 12mm thick machine cut medium density fibreboard 29 x 30 cm (11.42 x 11.81 in) Edition of 1

Acrylic paint and spray paint on 15mm thick wood 42 x 35 cm (16.54 x 13.78 in)

Nick Chaffe, Rewind 4 Acrylic paint and spray paint (some fluorescent) on 15mm thick machine cut medium density fibreboard 22 x 35 cm (8.66 x 13.78 in)

Acrylic paint and spray pain on 15mm thick machine cut medium density fibreboard 20.6 x 33 cm (8.11 x 12.99 in)

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

Patrick Hughes b. 1939 British Nature and Culture Signed, dated "Nature and Culture / Patrick Hughes / 2000-2023" Oil on board construction Another success from the artist, Natur...

David Hare Cronus Waiting, 1990 Ink and Wash on Paper on Board 34 x 25 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

David Hare Cronus Asleep in the Cave, 1991 Acrylic on paper on board 26 X 34 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Ramananda Bandyopadhyay Untitled Acrylic on Canvas Board 12 x 15 inches 30.5 x 38 cm 2004 ( Framed & Delivered ) Inclusive of shipment without the frame. Style : Lyrical and...

John Haberle The Artist's Palette, circa 1890 Oil on panel with brushes & palette knife 18 x 27 inches Provenance: The artist Mrs. Vera Demmer (artist's daughter), by descent Kennedy Galleries, New York Berry-Hill Galleries, New York Private Collection, New York Keno Auctions, New York, Americana: Paintings, Furniture and Decorative Arts, January 17, 2012, Lot 27 Arader Galleries, New York Exhibited: New York, Kennedy Galleries, John Haberle: An Exhibition of Paintings, Drawings and Watercolors, June 8, July 15, 1970, no. 17, p. 11, illustrated. Fort Worth, Texas, Amon Carter Museum, John Haberle Master of Illusion, November 29, 1985- January 19, 1986, p. 28. New Britain Museum of American Art, John Haberle American Master of Illusion, December 11, 2009 - March 11, 2010, p. 72; this exhibition later traveled to Chadds Ford, Pennsylvania, Brandywine River Museum, April 17 - July 11, 2010; Portland Museum of Art, Maine September 18 - December 12, 2010. Literature: Kennedy Galleries, Inc., Exhibition catalogue, American Still Lifes 19th & 20th Century, Kennedy Quarterly, Vol. XI, No. 2, November 1971, p. 109, (84). William Gerdts, Exhibition Catalogue, Joseph Decker...

Immerse yourself in the serene elegance of "6 // 23," a captivating piece from a set that articulates the subtle interplay of light and form. With acrylic, textured paint, and cardbo...

Robertson focuses on creating paintings that move beyond portraying reality. Driven by a synthesis of gestural brushstrokes and expressive smears, he offers viewers a liminal space o...

Banksy Walled Off Hotel Boxed Set Assemblage, 2017 Mixed Media assemblage: unique piece of concrete/cement wall with framed lithograph. Accompanied by original embossed receipt from...

"19 // 23" stands as a testament to the serene yet intricate dance of light and form, rendered in a palette of subdued grays. This piece, born from the union of acrylic, textured pai...

Amazing double sided Original Artwork by Al Diaz. Al Diaz is also famous for being the other half of 70’s- 80’s SAMO© duo along with Jean Michel Basquiat. One side has thought provok...

Behold "12 // 23," an intriguing work where the stark geometry of form and the vibrancy of color come together to create a dance of light and shadow. This piece, rooted in the expert...

Introducing "21 // 23," a tactile symphony of acrylic, textured paint, and cardboard on wood, this piece captures the mesmerizing effects of light as it plays across its multifaceted...

"9 // 22" invites you to engage with a serene, yet profound visual dialogue of light and form. This exquisite piece, with its harmonious interplay of acrylic, textured paint, and car...

"7 // 23" is a celebration of subtlety and nuance in art, an acrylic and textured relief on wood that harnesses the quiet interplay between light and structure. Part of a thought-pro...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a di...

Abstract Cubist Construction Collage Mid 20th Century American Modernism Cubism Vaclav Vytacil (1892 - 1984) Abstract Construction #2 Caesin on board collage 11 x 13 1/2 th inches S...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Untitled (Modernist Three-Panel Screen), 1948, mixed media on paperboard mounted into a three-section screen, 58 x 45 inches, signed and dated on each panel upper right This work is part of our exhibition America Coast to Coast: Artists of the 1940s. Charles Malcolm Campbell...

Collage and Painted mixed media artwork painting. Born 1930 in Chile, Golomb immigrated to Palestine in 1935. He later became a member of the Radius Group and an instructor at the A...

Pencil, ball point pen, acrylic paint, industrial varnish, and paper collage on canvas board. Hand signed, dated and numbered on verso by Donald Baechler. From a series of 100 unique...

Pencil, ball point pen, acrylic paint, industrial varnish, and paper collage on canvas board. Hand signed, dated and numbered on verso by Donald Baechler. From a series of 100 unique...

Bill Shields "Micro Biomorphic Abstract Drawing " 1990's Pastel, pencil charcoal on illustration board Site measures 3"x3" silver wood frame 9.75"x10.75" Unsigned came from artist's ...

Bill Shields "Micro Biomorphic Abstract Drawing II" 1990's Pastel, pencil charcoal on illustration board Site measures 3.5"x2.5" silver wood frame 10.5"x10.5" Unsigned came from arti...