Art

Etching, aquatint and embossing on paper Plate size: 39.5 x 39.5 cms (15 1/2 x 15 1/2 ins) Paper size: 58 x 58 cms (22 3/4 x 22 3/4 ins)

Signed Silver gelatin print Available in two sizes: 11 x 14 inches 16 x 20 inches Also available as an editioned archival pigment print in two larger sizes and a platinum print, pl...

A sculpture by Felipe Castaneda. Mujer con Guitarra"" is a figurative sculpture, white and gray marble by Mexican contemporary artist Felipe Castaneda. The artwork is unsigned. Felip...

Paul Newman, 1972 (Terry O'Neill - Black and White Photography) Silver Gelatin Print 16x20: £2,100 20x24: £2,700 30x40: £4,800 48x72: £12,000 Edition of 50 and 10 APs per size. Di...

Medium: Oil on Canvas Signature: Signed Upper Left "Dan Content 29" Story Illustration, Good Housekeeping Magazine, September 1929, pg 32-33 Biography: Daniel Content was born of Dutch parents and grew up in New York City. He attended New Eutriek High School in Brooklyn, NY. He studied under Dean Cornwell at the Pratt Institute as well as attending the Art Students League. Mr. Content worked as a freelance artist for about thirty years. He illustrated for such magazines as Colliers, Cosmopolitan, Readers Digest, and McCall's. In 1928 he illustrated the Windermere Series printing of Robin Hood. During World War II he traveled with the USO to Burma and India entertaining the service men with personal sketches. In the late 1950s he was an Art Director for Benton & Bowles in NYC. He also taught at the workshop School of Advertising Art. Mr. Content continued his sculpting and painting long after retirement. Some of his work can be found at Society of Illustrators in their permanent Museum. Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art...

Dinka Cattle Camp of Amak, Southern Sudan, 2006 Sebastião Salgado Stamped with photographer's copyright blind stamp Signed, inscribed on reverse Silver gelatin print Undertaking projects of vast temporal and geographic scope, Sebastião Salgado (born 1944) is one of the most celebrated photojournalists working today. Whilst inescapably memorable for their beauty, Salgado’s photographs...

Salvador Dalí, 1963 - Elliott Erwitt (Black and White Photography) Signed, inscribed with title and dated on accompanying artist’s label Silver gelatin print, printed later Availabl...

Copper and Silk Etching on Somerset gsm Edition of 50 Signed, titled and numbered 61 x 48.5 cm 2008

The series of three polaroids of Donald Baechler sold together. Donald Baechler is an American painter and assemblage artist who came into recognition amid the bourgeoning art scene ...

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Board Signature: Signed Lower Right Maclean's Magazine Cover, September 15th, 1930

Mary Taylor, c.1934 - Cecil Beaton (Portrait Photography/Fashion Photography) Inscribed 'Mary Taylor' in unknown hand and stamped with photographers copyri...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Date: 1932 Medium: Oil on Canvas Dimensions: 18.00" x 20.00" Signature: Signed Lower Right A New Year's themed cover painting by Leslie Thrasher for the January 9, 1932 edition of L...

Date: 1927 Medium: Oil on Canvas Signature: Signed Lower Right Liberty Magazine Cover, September 24, 1927

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Medium: Acrylic on Board Signature: Signed Lower Right

(59 x 45 inch framed + $2,000) New York-based, Armenian-born artist, Tigran Tsitoghdzyan, is especially interested in how people interact in this new era of technology and social me...

A set of four. photographs by Andy Warhol. "Julian Schnabel 4 Polaroids" is a set of four Polaroids, Polacolor by pop artist Andy Warhol. The work is numbered FA05.01027, FA05.01022,...

Medium: Oil on Board Signature: Unsigned Illustration celebrating important women throughout history, published in McCall's magazine, May 1959. Accompanied by a tear sheet of the p...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Medium: Pastel and Gouache on Board Signature: "Alice Beach Winter" Lower Right "Boy with Clarinet" is a cover illustration for Children Magazine, ...

This work is unique. Work comes with a Certificate of Provenance from The Andy Warhol Foundation for the Visual Arts issued by Christie’s. Stamped on the verso by the Estate of the A...

Date: 1931 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Right Liberty Magazine Cover, October 17, 1931

Date: 1929 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Left Liberty Magazine Cover, March 16, 1929

Medium: Oil on Canvas Signature: Signed Lower Center

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Piccillo is a skilled draftsman, and his nuanced use of shadow and scale highlight this ability. Joseph Piccillo’s signature graphite and charcoal drawings...

A photograph by Tseng Kwong Chi. "Jean-Michel Basquiat" is a contemporary Cibachrome print in a palette of whites, purples, and browns by East Village artist Tseng Kwong Chi. The art...

signed (lower right); signed, titled, dated and marked with the artist’s thumbprint (on the verso) PROVENANCE Portal 11 Art Gallery, Kiev, Ukraine (acquired from the artist)

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

A painting by Max Pellegrini. "Quadro teologico in onore di Puccetto, Canarino Morto da Tempo" is an oil on canvas painting executed primarily in a palette of blues and yellows with ...

Signature: Signed Lower Right "Stevan Dohanos" Framed dimensions are 27.00" x 31.00." Interior scene with a family cooking. Original advertisement for American Optical published in ...

Medium: Oil on Canvas Signature: Unsigned

A mixed media work by Merion Estes. "Solo Samba" is a contemporary abstract, acrylic on canvas in a palette of purples, reds, and yellows by American female artist Merion Estes. The ...

Medium: Gouache on Board Signature: Signed Lower Right American Magazine story interior illustration

Medium: Oil on Canvasboard Signature: Signed Lower Right Revere F. Wistehuff was one of the central group of cover artists in the New Rochelle Art Colony in the 1920's, '30s, '40s w...

Sam Francis Untitled 1995 Etching in colours, Edition of 35 53.3 x 45.7 cms (21 x 18 ins) SF17887

Medium: Oil on Canvas Signature: Unsigned

Signature: Initialed Lower Left

Horst P Horst (1906-1999) Mainbocher Corset, Paris, 1939 Signed on reverse Silver gelatin print 14 x 11 inches Round the Clock is endowed with fastidious precision and the enigmatic ambiance of a characteristic Horst image. The chiaroscuro befalling the legs from ankle to suspender compounds a sense of drama instantly recognisable to those familiar with the artist’s fashion...

Medium: Watercolor and Graphite on Illustration Board Signature: Unsigned, Christies Stamp Verso. In silver molded frame, french-lined mat, glazed. OS: 18 1/2" x 22", SS: 11" x 15". Shinn took over from Joseph Urban as the Art Director on the William Randolph Hearst's Cosmopolitan Pictures film, shot in New York City and Tarrytown, NY. Directed by E. Mason Hopper, starring Marion Davies...

Medium: Oil on Sculpted Composition Dimensions: 17.50" x 13.50" Signature: Signed Lower Left A Jerusalem Gate at night

Medium: Pen and Ink on Illustration Board Signature: Signed Lower Left Caricature by George Wachsteter (1911-2004) of Dr Albert Hibbs on NBC-TV`s Saturday morning educational progra...

Medium: Charcoal on Paper Signature: Signed Lower Right Illustration from The Saturday Evening Post

Signed & Dated Lower Right

Hannukah at Valley Forge

An abstract oil on canvas by Brazilian contemporary artist Christian Rosa. This large format, untitled oil is executed in bright yellow, black, red and blue in a subdued, neutral pal...

Medium: Oil on Canvas Signature: Signed Lower Right This painting was reproduced on page 151 of John La Gatta-An Artist's Life by Jill Bossert, Madison ...

Medium: Pen and Ink Cardstock Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) of the lovely Patricia Morison recreating her...

Medium: Oil on Canvas Dimensions: 20.00" x 29.00" Signature: Signed Lower Right

Signed Lower Left

Date: 1918 Medium: Oil on Board Dimensions: 24.00" x 18.00" Signature: Signed Lower Right American Art Works Calendar Illustration

Medium: Acrylic on Panel Signature: Signed Lower Right Dimensions: 36.00" x 30.00"

Medium: Pen and Ink on Illustration Board Signature: Signed Upper Right On 20.00" x 13.00" illustration board with an image that measure to 14.00" x 10.00." Illustration includes blue to indicate halftone. Caricature by George Wachstster (1911-2006) of Female Impersonator T.C. Jones on Broadway in `Mask and Gown` at the Golden Theatre. Ran 9/10-10/12/1957. Jones impersonated Bette Davis, Tallulah Bankhead, Mae West, Judy Holliday, Marilyn Monroe, Katharine Hepburn and Ethel Merman...

A painting by contemporary Scottish sculptor, painter and performance artist Bruce McLean.

Painting for a Woodstock film's poster.