Art

Delirio Exótico #14 by Paloma Castello From the Exotic Delirium series 47.2 in. H x 32.6 in. W x 0.1 in D Collage Photographic print on cotton paper Edition: 3/5 + 1AP Unframed 2020...

Delirio Exótico #8 by Paloma Castello From Exotic Delirium series Collage Photographic print on cotton paper Edition : 3/5 + 1AP Castello's “Exotic Delirium” series pays tribute to...

Delirio Exótico #12 by Paloma Castello From Exotic Delirium series Collage Photographic print on cotton paper 32.6 H x 47.2 W inches Edition : 3/5 + 1AP Castello's “Exotic Deliriu...

Signature: Unsigned Contact for exact dimensions. Yogi Bear "Earthquake Preparedness" Original Poster Illustration, Hanna-Barbera.

Medium: Acrylic on Board Signature: Unsigned The Making of the American Flag, 1994.

"The art I make does not tell a direct story, but prompts one to find things truly unseen. The works develop through intuitive improvisations, actions upon surface, and lines perpetu...

Landscape 2 (Aerial Photography) Archival pigment print Measures: 40 in. H x 60 in. W Edition 5-10 2015 Print Unframed All sizes signed, titled, dated, and numbered on artist label ...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

Parallel Fields #6, 2018 by Monika Bravo From the series of Parallel Fields Archival pigment print on ultra premium photo paper unmounted Medium image size: 30 in. H x 40 in. W Editi...

Edition of 3 Signed, titled, dated and numbered. Paper size: 30 x 24 in., Image size: 16 x 16 in. A digital photograph is made up of pixels, tiny blocks of color. Within one image, ...

Marilyn Monroe - Baubles, Bangles & Beads Signed Lower Left.

Timeless Series - Timeless 11 by Monika Bravo Archival Pigment Print on Ultra Premium Photo Paper Unmounted Image size: 40 in. H x 30 in. W Sheet size: 40 in. H x 30 in. W Edition of...

EMMA SUMMERTON (*1970, Australia) Aymeline x 2 2012 Archival pigment print on Hahnemühle paper Sheet 120 x 160 (47 1/4 x 63 in.) Edition of 3, plus 2 AP; Ed. no. 1/3 print only Emma Summerton (*1970 Australia) graduated from the National Art School in Sydney, where she studied fine arts majoring in Photography. Summerton moved to London in 1998, where she worked as an assistant to artist Fiona Banner while starting her career as a photographer. Her breakthrough as a professional photographer came with the collaboration with Terry de Havilland in 2004/2005, from which her first solo exhibition, titled Landed at the Christophe Guye Galerie shows from August 29 to November 23 2019 a large selection of the most important works. Since then Summerton has established herself as one of the most talented photographers to emerge in the mid 2000's. Her in-depth technical knowledge coupled with her eye for detail and love for fashion have made her images not only unique but very distinctive, setting her apart from other photographers working in the industry today. Summerton's work revolves around the themes of fashion, love, desire and intimacy. Her Polaroid works are part of a project Summerton started in 1999 as a series of Self Portraits, firstly as visual love letters to her then partner and also in an attempt to re-find her voice with photography. ‘My mother was a dressmaker, and in school, she would make me dresses to wear to dances based on drawings I made,’ she says. Back then, costumes were an access point to unleash Summerton’s imagination. In her ‘Polaroid experiments’, as she calls them, costumes again became a vehicle for her to express her inner life. Summerton’s Editorial Clients include: Italian, British, American, German, Australian, Spanish, Japanese and Chinese Vogue’s, i-D, Self Service, Dazed & Confused, The Last magazine,10 and Big Magazine. Info: Aymeline Valade, Vogue Japan 2013, Louis Vuitton, Chanel...

Plate 22 from "Inspirations" by Andre Durenceau. New York: Perleberg, 1928. Original hand-colored pochoir process print.

Shirley Kaneda Volatile Serenity 2005 Oil on canvas 127 x 101.6 cms (50 x 40 ins) SK9315

Oil on paper Paper size: 9 x 6 inches Framed Size: 24.75 x 21.5 inches Monogrammed lower left

RISAKU SUZUKI (*1963, Japan) Between the Sea and the Mountain – Kumano 14,DK-430 2014 Chromogenic print Sheet 95.2 x 119 cm (37 1/2 x 46 7/8 in.) Frame 98.8 x 121.5 x 4.2 cm (38 7/8 ...

A ground of viridian green frames an iconic bouquet of cerise and white in this classic oil on panel by Jennifer Hornyak. Framed dimensions are 14.25 x 18.25 inches. Inspired by Ge...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

A dazzling pale peach horizon is viewed through a lattice of dark pines in this moody composition by Julie Himel. Julie Himel completed a BFA at York University with additional stu...

Duration #5, 2018 by Monika Bravo From the series of Duration Archival pigment print on ultra premium photo paper unmounted Medium image size: 40 in. H x 30 in. W Edition 5 Print Cer...

Michael WOLF (1954 – 2019, Germany) back door 14, 2003 Archival Pigment Print on Hahnemuehle art rag paper 50.8 x 40.6 cm (20 x 16 in.) Edition of 9, plus 2 ...

A staccato of fine horizontal and vertical dashes in crimson, white and turquoise light up a horizontal composition of pastel blue, pink, yellow and green on a blue-slate ground in t...

Ink and pastel on paper Signed by the artist in ink lower left; titled in pencil verso From the Estate of the artist

Duration #4, 2018 by Monika Bravo From the series of Duration Archival pigment print on ultra premium photo paper unmounted Medium image size: 40 in. H x 108 in. W Edition 3 Print Ce...

A work by Ed Ruscha. "The End" is a glass hologram set from Ed Ruscha's series "The End." "The End" paintings are “a series of canvases that portray ...

Eros Series Dolls #2 40" x 60" Archival Pigment Print Edition of 5 + 2AP 2010 The grainy quality of this image is intentional as it was taken at a specific time and place to achieve...

Signed and titled recto A masterful example of the artist's series of music inspired works of art. Haas had the condition known as synesthesia. Frame: 19 1/2 x 22 3/4" Image: 11 3/...

#mandala #spiritualart #introspecction #sculpture #nature #landscape #information #outdoors #contemporaryart #stone JUANA MARTÍNEZ (Tlalpujajua, Michoacán, 1953) Lives and works...

On verso: Joseph Cornell

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

15 x 15 archival pigment print (image size 14 x 14 inches), edition 8. Signed, titled, dated and editioned on frame label provided. Framing also available at an additional cost. In ...

The Mouth of the Okarito River and the Tasman Sea, New Zealand, Autumn 2018 Signed and inscribed with title and date on reverse Archival pigment print 35.5 x 25.75 inchess Edition of...

Color woodcut, Edition 15. John Buck has an unusual approach to making woodcuts, creating the woodblocks like giant wooden puzzles. The pieces can be lifted out and inked in various colors, reassembled and printed simultaneously. Also unique is his method of incising the characteristic signs, symbols and images which surround a central figure. In "Argosy", a large glass jar...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

A sparse treed landscape displayed on a colorful sky backdrop boasting hues of lavender and blues. The painting has a liveliness that is enhanced by the resin on the surface of the w...

Hotel Bondi #4 40" x 60" Archival Pigment Print Edition of 5 + 2ap 2012 Unframed Hotel Bondi is a series by photographer David Jay exclusive to Art Design ...

Medium: Oil on Board Signature: Each Upper Panel, Signed 'Maxfield Parrish/Windsor./Vermont.' (On the Reverse); Each Lower Panel, Signed 'Maxfield Parrish' (Lower Right) Each 1 of a...

Medium: Gouache on Board Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, September 5, 1953. The Pos...

Medium: Pastel on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Left

March 15, 2009. Color photograph printed on Hahnemuhle paper. 9 3/8 x 14 (sheet 18 x 12). Signed in pencil. Deirdre Allinson studied photography in Singapore at Objectifs Centre f...

Half Angels Half Demons #6 by Mauricio Velez Medium Color Photograph Image size: 60 in. H x 40 in. W Edition of 9 + 2AP Archival Pigment Print 2004 "In a few photographers like M...

Andre Masson (1896-1988), Blue Serpent, 1957, 2 plates, 1) etching and aquatint in colors, signed, dated (30/7/61) and  inscribed “pour Louis Broder epreuve d’artiste.” Reference: S...

This illustration was published as the paperback cover for Gambler's Girl by Kermit Welles, Original Novels 704, 1951.

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

This illustration was published as the paperback cover for The Men She Knew by Norman Bligh, Venus Books No. 130/Star Guidance, 1951.

Deserted Streets with Shadows is a stunning Colour Print on Hahnemuehle Paper in an Edition of 20 in this size by photographer Michael Ormerod. All prints are produced to order. Lea...

Young girl holding her dog up to grab her hat on a tree branch. Cover for the March 1962 issue of the Calling All Girls magazine

Date: 1954 Medium: Oil on Board Dimensions: 24.75" x 15.5" Signature: Signed Lower Left This illustration was published as the paperback cover of Treachery in Trieste by Charl...

Nude Beach, 2015 by Jill Peters Aerial photography Archival pigment print on heavyweight cotton rag paper Image size: 40 in. H x 60 in. W Edition 3/10 Print...

Signature: Signed Lower Right and Dated ’97 Depicting a Mohawk Airlines airplane in flight

Abstract serigraph from the KINETIC PORTFOLIO. Edition of 100.

Medium: Watercolor on Paper Dimensions: 10.00" x 7.75" Signature: Signed Lower Right "[19]15 Life cover color" in the artist's hand on verso, suggesting th...

Layered, patterned colours applied in gestural strokes vibrate in horizontal swatches that together float on a luminous blue ground. The foot of the canvas is defined by a strip of l...

Yoshinori MIZUTANI (*1987, Japan) Tokyo Parrots 057, 2013 Archival pigment print on Hahnemuhle Fine Art Baryta paper Sheet 80 x 53.5 cm (31 1/2 x 21 in.)...

Yoshinori MIZUTANI (*1987, Japan) Tokyo Parrots 053, 2013 Archival pigment print on Hahnemuhle Fine Art Baryta paper Sheet 80 x 53.5 cm (31 1/2 x 21 in.)...

15 x 15 archival pigment print (image size 14 x 14 inches), edition 8. Signed, titled, dated and editioned on frame label provided. Framing also available at an additional cost. In ...

15 x 15 archival pigment print (image size 14 x 14 inches), edition 8. Signed, titled, dated and editioned on frame label provided. Framing also available at an additional cost. In ...