Art

BC artist Pat Service has always had a special fondness for the allure of the ‘open road.’ Over the years many road trips across the mountains to the prairies in Saskatchewan have pr...

Set of 6 drawings from the "Artists & Architects”, series. 2022 by Rodrigo Spinel (Framed) Gliceé printed on Hahnemule Fiber Matt paper, intervene...

En passant (Passing by) Drypoint, 1909 Unsigned (as issued in the deluxe portfolio) From the album "Les Bars" (8 plates plus cover illustration) Edition: 30, this state with remarque Published by Gustav Pellet, Paris A very rich impression wwith burr Condition: Excellent Image/Plate size: 9 7/8 x 6 3/8 inches Reference: Arwas 391a (remarque) Exteens 277 i/II IFF 148 (portfolio) Louis Auguste Mathieu Legrand (29 September 1863 – 1951) was a French artist, known especially for his aquatint engravings, which were sometimes erotic. He was awarded the Légion d'honneur for his work in 1906. Life Legrand was born in the city of Dijon in the east of France. He worked as a bank clerk before deciding to study art part-time at Dijon's Ecole des Beaux-Arts. He won the Devosge prize at the school in 1883.[2] In 1884 Legrand studied engraving under the Belgian printmaker Félicien Rops. Legrand's artworks include etchings, graphic art and paintings. His paintings featured Parisian social life. Many were of prostitutes, dancers and bar scenes, which featured a sense of eroticism. According to the Hope Gallery, "Louis Legrand is simply one of France's finest early twentieth century masters of etching." His black and white etchings especially provide a sense of decadence; they have been compared to those of Henri de Toulouse-Lautrec, though his drawings of the Moulin Rouge, the can-can dance and the young women of Montmartre preceded Toulouse-Lautrec's paintings of similar scenes. He made over three hundred prints of the night life of Paris. They demonstrate "his remarkable powers of observation and are executed with great skill, delicacy, and an ironic sense of humor that pervades them all." Two of his satirical artworks caused him to be tried for obscenity. The first, "Prostitution" was a symbolic drawing which depicted a naked girl being grasped by a dark monster which had the face of an old woman and claws on its hands; the second, "Naturalism", showed the French novelist Émile Zola minutely studying the thighs of a woman with a magnifying glass. Defended by his friend the lawyer Eugène Rodrigues-Henriques (1853–1928), he was found not guilty in the lower court, but was convicted in the appeal court and then given a short prison sentence for refusing to pay his fine. Legrand was made famous by his colour illustrations for Gil Blas magazine's coverage of the can-can, with text by Rodrigues (who wrote under the pseudonym Erastene Ramiro). It was a tremendous success, with the exceptional quantity of 60,000 copies of the magazine being printed and instantly sold out in 1891. In 1892, at the instigation of the publishing house Dentu, Legrand made a set of etchings of his Gil Blas illustrations. The etchings were published in a book, Le Cours de Danse Fin de Siecle (The End of the Century Dance Classes). Legrand took a holiday in Brittany, which inspired him to engrave a set of fourteen lithographs of simple country life called Au Cap de la Chevre (On Goat Promontory). It was published by Gustave Pellet who became a close friend of Legrand's. Pellet eventually published a total of 300 etchings by Legrand, who was his first artist; he also published Toulouse-Lautrec and Félicien Rops among others. He did not only work in graphics; he exhibited paintings at the Paris salon of the Société Nationale des Beaux-Arts starting in 1902. In 1906 he was made a chevalier of the Légion d'honneur. Legrand died in obscurity in 1951. A retrospective exhibition was held at the Félicien Rops museum in Namur, Belgium in 2006 to celebrate his graphic art. The art collector Victor Arwas published a catalogue raisonné for the occasion. Books illustrated de Maupassant, Guy: Cinq Contes Parisiens, 1905. Poe, Edgar Alan: Quinze Histoires d'Edgar Poe...

Untitled (Joe and Patsy LoGuidice at the Casa Luna) Pastel, charcoal and colored pencil, 1970-1975 Signed lower right in pencil: Larry Rivers Inscribed on the rabbit of the original white frame: LOGUIDICE in ink Provenance: Private Collection, New York (Westchester County) Condition: Excellent Image size: 31 1/2 x 24 1/2 inches Frame size: 39 1/2 x 32 1/2 inches Note: The image depicts Ciprian “Joe” LoGuidice (d. 2008) and his wife Patsy with their dog (Golden Retriever?) in their famous house Casa Luna, located in Zihautenajo, Mexico. Joe LoGuidice had a most colorful life as stated in his memorial posting by Pam Barkentin: Ciprian "Joe" LoGiudice, of Los Angeles and Zihautanejo, Mexico Art Dealer, Political Activist, Environmentalist, Film Producer, and Executor of the Terry Southern Estate died at home in Los Angeles on September 3, 2008. A major benefactor of the Chicago Seven, he hosted a benefit for the anti-war activists at his Ontario Street Gallery in Chicago and later harbored the fugitive Abbie Hoffman in Zihautenajo where Joe designed and built the famous Casa Luna, the house without walls, in a compound that included Larry River's Studio as well as the garden where Julian Schnabel painted with the assistance of Ramon Pedrazo, Joe's gardener and the husband of his faithful housekeeper, Concha Pedrazo. Here at Casa Luna, from the early seventies on, Joe and his wife, Patsy, generously hosted friends and enemies alike with great enthusiasm and humor.Most recently, through his participation in "Save the Bay", Joe was instrumental in preventing cruise ships from anchoring in the Bay of Zihautanejo. He was also producing "Five Easy Steps to Metaphysical Fitness", a documentary about the philosopher/comic, Emily Levine. Christo's first wrapping of a building in the United States, the Chicago Museum of Art, was produced by LoGiudice. Other artists he represented, in both his Chicago and New York Galleries, included John Chamberlin, Larry Poons, Mark de Suvero, Leon Golub and Jules Olitski. Joe is survived by his wife of 25 years, Patsy Cummings. An important work by Rivers showing his friend and art dealer in their famous house, Casa Luna, in Mexico. The cultural import of LoGuidice cannot be understated. He was a major figure in the New York, Chicago, and Los Angeles art cultures. The artist’s who were his friends and guests were many of the leading icons of late 20th century art. Larry Rivers Larry Rivers in 1961 Born Yitzroch Loiza Grossberg August 17, 1923 Bronx, New York, U.S. Died August 14, 2002 (aged 78) Southampton, New York, U.S. Nationality American Education Hans Hofmann School Known for Painting, sculpture Movement East Coast figurative painting, new realism, pop art Spouse(s) Augusta Berger (m. 1945; div. 1946) Clarice Price (m. 1961; sep. 1967) Larry Rivers (born Yitzroch Loiza Grossberg, August 17, 1923 – August 14, 2002) was an American artist, musician, filmmaker and occasional actor. Rivers resided and maintained studios in New York City, Southampton, Long Island, and Zihuatanejo, Mexico. Early life Larry Rivers was born in the Bronx to Samuel and Sonya Grossberg, Jewish immigrants from Ukraine. From 1940–1945 he worked as a jazz saxophonist in New York City, changing his name to Larry Rivers in 1940 after being introduced as "Larry Rivers and the Mudcats" at a local pub. He studied at the Juilliard School of Music in 1945–46, along with Miles Davis, with whom he remained friends until Davis's death in 1991. Training and career Larry Rivers in 1961 Rivers is considered by many scholars to be the "Godfather" and "Grandfather" of Pop art, because he was one of the first artists to really merge non-objective, non-narrative art with narrative and objective abstraction. Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947–48. He earned a BA in art education from New York University in 1951. He was a pop artist of the New York School, reproducing everyday objects of American popular culture as art. He was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery in 1955. During the early 1960s Rivers lived in the Hotel Chelsea, notable for its artistic residents such as Bob Dylan, Janis Joplin, Leonard Cohen, Arthur C. Clarke, Dylan Thomas, Sid Vicious and multiple people associated with Andy Warhol's Factory and where he brought several of his French nouveau réalistes friends like Yves Klein who wrote there in April 1961 his Manifeste de l'hôtel Chelsea, Arman, Martial Raysse, Jean Tinguely, Niki de Saint-Phalle, Christo, Daniel Spoerri or Alain Jacquet, several of whom left, like him, some pieces of art in the lobby of the hotel for payment of their rooms. In 1965 Rivers had his first comprehensive retrospective in five important American museums. His final work for the exhibition was The History of the Russian Revolution, which was later on extended permanent display at the Hirshhorn Museum and Sculpture Garden in Washington, DC. During 1967 he was in London collaborating with the American painter Howard Kanovitz. In 1968, Rivers traveled to Africa for a second time with Pierre Dominique Gaisseau to finish their documentary Africa and I, which was a part of the groundbreaking NBC series Experiments in Television. During this trip they narrowly escaped execution as suspected mercenaries.[citation needed] During the 1970s Rivers worked closely with Diana Molinari and Michel Auder on many video tape projects, including the infamous Tits, and also worked in neon. Rivers's legs appeared in John Lennon and Yoko Ono's 1971 film Up Your Legs Forever. Personal life Rivers married Augusta Berger in 1945, and they had one son, Steven. Rivers also adopted Berger's son from a previous relationship, Joseph, and reared both children after the couple divorced. He married Clarice Price in 1961, a Welsh school teacher who cared for his two sons. Rivers and Clarice Price had two daughters, Gwynne and Emma. After six years, they separated. Shortly after, he lived and collaborated with Diana Molinari, who featured in many of his works of the 1970s. After that Rivers lived with Sheila Lanham, a Baltimore artist...

Ukrainian born Dmitry Yuzefovich captures a moment in time with his beautifully detailed realistic oil paintings. The compositions tell a story. Yuze...

Holds the people together, 2022 by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on Awagami paper Image size: 35.03 in. H x 25.59 in. W Unfr...

Robert Vale Faro, 'Going My Way?', lithograph, 1946, edition 14. Signed in pen, recto. Titled, numbered '#118 14/14' and dated '5/5/46' in pen, verso. A fine, richly-inked impression, on heavy, off-white wove paper, with full margins (1 5/8 to 2 15/16 inches), in excellent condition. Image size 13 1/8 x 7 3/8 inches; sheet size 17 x 12 3/8 inches. Scarce. Matted to museum standards, unframed. An impression of this work is in the permanent collection of the National Gallery of Art. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Gould, John and Richard Bowdler Sharpe. A Monograph of the Trochilidae, or Family of Hummingbirds. London, 1849-61. This plate: Orthorhynchus Ornatus. Original lithographs hand-co...

I Got Your Back 01, by Angelica Tcherassi From the series "Making Sense" Photo Rag Hannemuhle 308grs Sheet size 59 H x 47.2 W inches. Image size 5...

Pablo Picasso 347 Series: No. 184, 1968 etching, ed. of 50 12 7/8 x 10 in. (32.7 x 25.4 cm)

The dynamic beauty of the natural world inspired Canadian artist Otto Rogers. This striking painting’s waves of colour in earthy tones of blue, gold, brown, black and white is enhanc...

Hilliard Dean, '#9', color lithograph, 1970, edition 7. Signed, titled, and annotated 'Ed 7' in pencil. A fine impression, with fresh colors, on Arches, ...

Hilliard Dean, '#6', color lithograph, 1970, edition 9. Signed, titled, and annotated 'Ed 9' in pencil. A fine impression, with fresh colors, on Arches, ...

THIS WORK IS SOLD UNFRAMED Carte de l'Europe by Paulémile Pissarro (1884 - 1972) Graphite on paper 12.9 x 20 cm (5 ¹/₈ x 7 ⁷/₈ inches) Provenance Estate of the Artist Yvonne Pissa...

0087, 2022 by Salvatore Arnone From the series ONE Mix media on fabric Image size: 135 H x 120 W cm. One of a kind Unframed Despite photography remains his main form of expression, ...

A New Perspective, 2017 by Juan Pablo Castro Chromogenic print on ultra-premium photo paper Image size: 60 in. H x 80 in. W Frame size: 64 in. H x 84 in. W x 2 in. D Edition of 5 A...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 9-1-56 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 28,4 x 19,5 cm (11 1/8 x 7 5/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Preliminary Study for Cretan Dancer Bronze Graphite on tracing paper, 1930 Unsigned Note: The bronze sculpture measures 24 1/2 x 33 5/8 inches and is signed and dated 1930 on the base (see image on right). It is currently being offered for sale by Taylor Graham Gallery in New York. (see photo) “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Image size: 6 1/2 x 6 1/2 inches Condition: Repaired tear in the lower left corner (see detail photo) Boris Lovet-Lorski Lithuanian/Russian/American 1894-1973 Sculptor, painter, and printmaker, Boris Lovet-Lorski was born in Lithuania in 1894. His mother died when he was age three. His father was affluent and owned real estate. Boris grew up in a privileged environment. He studied architecture and then fine arts at the Imperial Academy of Art in Petrograd, Russia (now Saint Petersburg). Following the revolution in 1917 and its aftermath, Boris immigrated to Boston to live with his brother. In the 1920’s, his stylized, Art Deco inspired sculptures, lithographs, and paintings proved to be popular among the American elite. He exhibited frequently, holding his first solo exhibition in Boston, 1920. In the following years, Boris exhibited in New York at Marie Sterner Gallery, Jacques Seligmann Galleries and Wildenstein and Company. He lived in Paris from 1926 to 1932 where he befriended Joseph Hecht, and was exposed to the works of Pablo Picasso, Ossip Zadkine, Contantin Brancusi and Aristide Maillol. In 1932 he returned to America where he became a citizen later in the decade. Lovet-Lorski exhibited in the United States, South America, Europe and Asia. He was a member of the Society of Independent Artists (New York), the National Academy of Design (New York), and the Lotos Club (New York), as well as several Parisian salons. His work is in the permanent collections of numerous museums including the Musée Luxembourg, Bibliotèque Nationale, and the Petit Palais in France, the British Museum in London, the Metropolitan Museum in New York, the National Gallery in Washington, the Los Angeles County Museum of Art. (A more extensive list of his works in museums follows) He is considered one of the most successful and recognized sculptors of his generation. His creative influence can be seen in many of his contemporary artists. He died in Los Angeles in 1973. Regarding his iconic Art Deco sculptures of Cretan Dancers: “The stylizing of the Cretan allegories, used in figures of animals such as horses and bulls, symbolizes the ancient power of the South. These figures reveal a spiritual sensuality as he strives to attain a symbol of the earth and universe endowed with musical values. If man is the center of his idea of life and nature, it is because of the laws that govern the movement of stars and history. The link binding his figures together has, in a sense, a Pythagorean harmony.” Salvatore Quasimodo, Milan, 1967, quoted from Bush, Boris Lover-Lorski: The Language of Time, page 12. Lovet-Lorski created sculptures of the following major figures I.J. Paderewski, Prime Minister of Poland Arturo Toscanini, Italian Conductor Lilian Gish, Actress President Franklin D. Roosevelt Mrs. M. C. Niarchos, wife of Stavros Niarchos President Abraham Lincoln James Forrestal, Secretary of...

Color monotype. The ‘okina is the Hawaiian representation of the glottal stop. It is a separation of doubles. The monotypes in the ‘Okina series are doubles; the prints are divided...

Lloyd William Wulff. Burlesque Girl. 1938. Lithograph. 10 1/4 x 11 3/8 (sheet 12 1/2 x 15 1/8). Edition 28, #16. Federal Arts Project blind stamp. Printed on cream wove paper with fu...

Jesús Rafael Soto Untitled, 1970 etching with embossing, edition of 95 37 x 37 in.

Sea View Tapestry, Picasso, Carpet, Design, Wool, 1960's, Interior, Cream, Green Sea View tapisserie 1965 Wool 182 x 240 cm Dated : 6.4.65. ; Signed on the back After a cardboard by...

Haute color yellow dress Measures: 23.75 x 38 inches Framed 26" x 40" A unique object, this archival pigment photograph print on aluminum has extensive hand-applied paint embellishm...

It All Moves 03, 2022 by Angelica Tcherassi From the series "Universe Within". Photo Rag Hannemuhle 308grs Sheet size 59 H x 47.2 W inches. Image size 51.1 H x 37.7 W inches. Editio...

"Group of Carnations" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, co...

The Colonnade, Island of Philae Original gold toned albumin photograph, c. 1862 Unsigned as is usual From: Upper Egypt and Ethiopia, c. 1862, Vol 1, (36 plates) Published by William ...

lithograph, edition of 80 24 7/8 x 31 3/4 inches

Ian Hugo, 'Forest Woman', engraving, 1945, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack E...

Matt Magee Red Oracle, 2009 Oil on panel 32 x 22 in (81.3 x 55.9 cm) JPHB 1931

SOLD UNFRAMED Traditional nude drawings by Paulémile Pissarro (1884-1972) Pencil on paper 34.1 x 26.5 cm (13 ³/₈ x 10 ³/₈ inches) Signed lower left, Paulémile-Pissarro- This work ...

Recipient of the Judith McGregor Caldwell Purchase Prize—a prestigious award given by the Pennsylvania Academy for a uniquely significant artwork worthy of inclusion in their permanent collection, Ben Hazen is currently exhibiting his unique interior still life paintings at Questroyal Fine Art...

Limiting (What You See Is What You Get), 2018 by Juan Pablo Castro Chromogenic print on ultra premium photo paper Image size: 60 in. H x 80 in. W Edition of 5 Unframed All Prices a...

Oil on canvas Canvas size: 14 x 16 inches Framed size: 19 x 21.25 inches Signed lower right

Lithograph Edition of 100

Aguas Claras, 2021 by Alec Franco Acrylic and pastel on canvas Image Size: 150 cm H X 150 cm W Mix media Unframed Signed by artist _______ The artist's wo...

One of seven engravings of flowers done for the portfolio "Flore Mutine". Signed, titled and numbered IX/XV. Imaginary botanical image. She studied at the Institute of Visual Arts of Orleans then she returned to the École des Beaux-Arts in Paris. She currently teaches at the Palace of Fine Arts...

Female Nude - Standing Female Nude (Havard) Drypoint, 1920 Unsigned, as issued in the portfolio No signed impression are known to exist From: The Drypoint...

Set of 6 drawings from the "Artists & Architects”, series. 2022 by Rodrigo Spinel (Framed) Gliceé printed on Hahnemule Fiber Matt paper, intervene...

Vogue, set of watercolors on archival paper by Manuel Santelices Individual dimensions: 12 in. H x 9 in. W Overall dimensions: 12 in. H x 45 in. W ...

New Orleans Sportin House Pen and ink on paper, 1951 Signed in ink, titled and dated in pencil (see photos) Condition: Corners are pasted to support sheet, some staining in image. Image/sheet size: 15 5/8 x 18 inches Provenance: Acquired from the artist Joseph M. Erdelac, Cleveland, patron and friend of the artist Stephen Longstreet (1907-2002) The artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton...

Canadian sculptor Shayne Dark creates uniquely beautiful abstract pieces often inspired by nature. This new series called Maelstrom (a whirlpool in a sea or river) is a nod to the tu...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Le Ramassage des Foins by Paulémile Pissarro (1884-1972) Graphite on paper 12.9 x 20 cm (5 ¹/₈ x 7 ⁷/₈ inches) Si...

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

Untitled. Mix media on canvas, 2021 by Alec Franco Acrylic and pastel on canvas Image Size: 150 cm H X 150 cm W Mix media Unframed Signed by artist _______ The artist's works are ba...

Red Grooms Rockefeller Center, 1995 lithograph, edition of 75 41 3/8 x 27 1/2 in. (105.1 x 69.9 cm)

Sonia "Spider" Quenell by Manuel Santelices Ink pen, watercolor, and gouache Image size: 11" x 14" Unframed 2022 Manuel Santelices explores the world of fashion, society, and pop c...

Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

Edition of 50 60.3 x 61 cms (23 3/4 x 24 ins)

A refreshingly original colour palette and clean, bold shapes tells the ‘story’ in this minimalist painting by Pat Service. As always, the BC artist is inspired by the beauty of natu...

The colours of summer—pastel yellows, blues, and green are re-imagined in this charming view of Emma Lake, Saskatchewan rendered by BC artist Pat Ser...

Hilliard Dean, '#4', color lithograph, 1970, edition not stated but small. Signed, titled, and annotated 'AP' in pencil. Dated 'May 1970' in pencil in th...

The Great Pylon at Edfou, Upper Egypt Original gold toned albumin photograph, c. 1862 Unsigned as is usual From: Upper Egypt and Ethiopia, c. 1862, Vol 1, ...

Girl's Head - Woman's Head (Harvard) Drypoint, 1920 Unsigned (as issued) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, proof from the original zinc and copper plates, 1952 Published by Curt Valentin, New York Edition: unknown Printed by Charles S. White, master printer Printed on Van Gelder Zonen laid paper with armorial watermark A complete portfolio is in the collection of Harvard Art...

“Sheffield Island Light off Norwalk, Conn.“ This pencil drawing is on a 5.50 x 9 inch sheet of laid paper. It is initialed and dated (June 30, 1887) in ...

Leon Kossoff Head 2 1984 Etching, Edition of 25 23 x 17 cms (9 1/16 x 6 11/16 ins) (paper size) 5 x 3.7 cms (1 15/16 x 1 7/16 ins) (plate size)

Leon Kossoff Going Home 1984 Dry point etching and aquatint. Edition of 60 57.1 x 64.7 cms (22.5 x 25 1/2 ins) (paper size) 40.5 x 51.5 cms (15 15/16 x 20 1/4 ...

Stéphane COUTURIER (*1957, France) E1027+ 123 – Villa Eileen Gray – Photo #6, 2021-2022 C-Print Sheet 110 x 76 cm (43 1/4 x 29 7/8 in.) Edition of 5 Framed print Born in 1957 in Neu...

Girl with the Golden Curls Watercolor, c. 1895 Unsigned Provenance: Davis Galleries, New York (see photo of label on reverse) Condition: Mounted to support by the artist A few imperfections (bubbles) in the mounting Original frame Image size: 6 3/4 x 4 1/2 inches Frame size: 13-1/2 x 11-1/4 x 3/4 inches A charming pre Ashcan work by the artist. Done while he was making his living as a commercial illustrator for advertsing and magazines. Everett Shinn (1876-1953) In 1897, Shinn moved to New York City to work as an illustrator at the New York World. He became fascinated by the drama of the city. While visiting Europe in 1900, Shinn took interest in the work of the Impressionists, particularly those of Degas. Degas’ influence can be read in Shinn’s depictions of American theater. From his acquaintances in the theater world, Shinn began to paint decorative “rococo revivalist” murals in the homes of the wealthy elite. He also worked extensively in pastel, portraying the rough life of the city. In 1908, Shinn exhibited alongside his Charcoal Club associates, with the addition of Arthur B. Davies, Ernest Lawson, and Maurice Prendergast...