Art

Colorful and dynamic oil abstracted geometric composition by Ross H. Pollette also paints under the pseudonyms 'Max West' (American, b. 1948), circa 1980. Un...

Murray Hantman (1904-1999). Industrial Composition, c.1948-50. Oil on canvas measures 18 x 24 inches, 19 x 25 inches in original simple wood strip frame. Signed lower right. Excellent condition with no conservation. Exhibition label affixed en verso. Provenance: estate of Murray Hantman. This piece was included in the exhibition Murray Hantman: From Image to Abstraction, Portland Museum of Art, 2005. Anonymous lender. Biography: Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War. As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad office in New York City finally allowed Hantman to pursue his artistic studies in a formal way. In 1928, he enrolled in the Art Students League and became part of a social circle of artists and activists. While at the Art Students League, Hantman worked with faculty members Boardman Robinson and Thomas Hart Benton on two mural projects. During the years around the Great Depression, Hantman worked in Los Angeles with a group of artists known as the Bloc of Painters. Recruited through an advertisement to attend a course on fresco painting, the Bloc group was headed by Mexican muralist David Alfaro Siqueiros who had recently been exiled from Mexico for political activism. Through his work with Siqueiros, Hantman became motivated by social and political issues and their creative expression. In 1934, Hantman returned to New York and found the community of artists there equally engaged in social justice issues. While enrolling at the newly-formed Artists’ Union to advocate for the labor rights of creative workers, Hantman met sculptor Jo Levy who would become his wife. Like many artists at the time, Hantman found work through the Federal Art Project as a member of the Easel Painting Division which strove to create “works of art for the public which have a definite social value to the community”. (1) Along with the work he exhibited as a member of the WPA group, Hantman’s personal work from this period was in the style of Social Realism he learned from Siqueiros. Hantman and his wife, Jo Levy, believed in creating art for the public good. Their Artists’ Union friends and colleagues from the Federal Art Project formed the nucleus of their social circle and would become the community of artists who worked together during summers on Monhegan Island off the coast of Maine. In 1945, Hantman had his first solo painting show at Marquie Gallery in New York, and visits Monhegan Island for the first time. The following summer, he and Levy spend the summer in Maine, and would continue to do so for the next thirty years. The landscapes and seascapes of Maine would become a central subject in his work after 1946. The dramatic coastline of Monhegan Island had been inspiration for other New York artists before Hantman, including George Bellows and Rockwell Kent. As Hantman matured as an artist he began to reject academic narrative in his work, moving towards a more expressionistic and abstract style. During this shift into abstraction, nature remained central to his work and the seascape and Maine light provided continual inspiration. In the late 1940s, Hantman begins to reduce the landscape into elemental forms of color and shape. As he pursues this mode of painting his work moves further into abstraction, juxtaposing large blocks of saturated color to convey the drama of sea and sky. Always a student and teacher, Hantman distilled the ideologies of Abstract Expressionism and synthesized its concepts into his own work. Throughout the 1950s, he experimented with Action Painting, color, form and expression. By the late 1950s, Hantman’s mature style had developed into abstract works of pure color masses in simple geometric forms. His mastery of color and form continued into his late work, always reflecting the beauty of the natural world around him. Dedicated to the idea of exploration in his art, Hantman made hundreds of small color and form studies that hint at the large-scale works that would follow in the late 1960s and beyond. Hantman’s work from the ‘70s and ‘80s shows even more intensity of color and distillation of composition. The landscape of the Maine coast remained his muse throughout, the stark lines suggesting the flat plane of sea and horizon line beyond. Hantman and Jo Levy lived in New York and summered on Monhegan Island until 1975, followed by summers in Owls Head and New Harbor...

Intricate and lively work Watercolour, Acrylic paint and Ink. On paper framed

Abstract print by Patricia A. Pearce (American, b. 1948). This piece is unsigned, but was acquired with a collection of other Peace work. Presented in a new gray mat with foamcore ba...

Frank Stella Empress of India I (Axsom 27, Gemini 81), 1968 Lithograph in colors with varnish on Lowell paper Signed, dated & numbered 89/100 in pencil, lower right. GEMINI G.E.L. bl...

This artwork is part of a series called "Geometric Sculpture" and is a unique 3D sculpture that features a variety of vibrant colors including yellow, orange, red, blue, dark blue, and black. The sculpture is abstract in nature and showcases geometric shapes that add actual depth and space to the piece, making it visually striking and aesthetically pleasing to the viewer. Zach Touchon has expressed a desire to step outside the traditional square format and focus on movement and 3D effects. As a result, the sculpture creates shadows that further enhance the 3D effect, making the piece truly dynamic and engaging. Touchon has also mentioned his goal to create even larger pieces in the future, pushing the boundaries of the series and the medium itself. Overall, this artwork is a visually stunning and unique addition to the "Geometric Sculpture" series, showcasing the artist's dedication to creating pieces that challenge traditional art forms and create a sense of depth and movement. -- Zach Touchon is a contemporary LA-based abstract expressionist artist. Besides that, Touchon is also an actor, a singer, a screenwriter, and an owner of the Touchon Gallery. Zach Touchon is a second-generation and a successor to his famous father's, Cecil Touchon's, artistic path. By rethinking abstract expressionism ideas, using different media he creates large abstract artwork along with small collages, huge murals, and interior installations. The main focus of his art is depth and space and finding a semantic and aesthetic balance between them. As a muralist, Touchon joins the ranks of such great LA street artists as WRDSMTH, Retna, Shepard Fairy, and Dirt Cobain...

Ian Tyson Diversions IX - 1970 Screen Print 16'' x 15'' inches Edition: signed in pencil and marked 10/150 Ian Tyson, British painter, printmaker and book artist, was born in Wallasey, Cheshire...

Green is a contemporary artwork realized by Lorenzo Indrimi in the 1970s. Mixed colored lithograph. Hand signed and dated on the lower margin. Edition of 112/150.

Made in the Spain, 2024. A simple form builds a complex one. In our approach, we go from the opposite, representing complex things in simple forms. So, our bear consists of only 9 si...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created c...

Delicate and layered collotype on both sides of heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piece is a collotype. Gold leaf, treated in a varie...

Bold abstract aquatint by Johnny Friedlaender (Polish-French, 1912-1992). Comprised of two main sections, this piece is full of detail and texture. The upper layer is a reddish tan, whereas the bottom layer is a rich brown. Geometrical shapes are arranged such that they almost form mirror images of each other, but vary enough to create interest and a sense of movement. Signed in the lower right corner. Numbered 56/350 in the lower left corner. Includes original certificate of authenticity. Presented in a new cream mat with foamcore backing. Mat size: 42"H x 32"W Paper size: 33.75"H x 24.5"W Johnny Friedlaender was a leading 20th century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Johnny Gotthard Friedlaender was born in Pless (Silesia) and his early studies were in Breslau under Otto Mueller. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L 'Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947, he produced the work Reves Cosmiques, and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Stael and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951, and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968, Friedlaender was travelling to Puerto Rico, New York and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain, Rene Carcan...

Josef Albers, 'Interlinear K50', zinc plate lithograph offset to stone printing, 1962, edition 20, Danilowitz 151. Signed, titled, dated, and numbered '14/20' in pencil. A superb, ri...

Abstract geometric mixed media painting probably dating from the 1980s. The painting has been created using various mediums to create an interesting texture and form to the rough ca...

Giuseppe Migneco (Messina 1903 - Milan 1997) - The fortune teller. 49.5 x 39.5 cm without frame, 52.5 x 40.5 cm with frame. Antique mixed technique drawing on paper, in wooden fram...

Colorful and bright limited edition abstract silkscreen print with fun colors and bold geometric shapes arranged in a lively, dynamic composition by Harvey Daniels (English, 1936-201...

"Night Views" Silkscreen Print by The Skyscape Artist, 25/100. By Tetsuro Sawada ( Japanese, 1933-1998) This raven black geometric abstraction focuses on hard-edged horizontal lines, color, and light, giving the impression of dusk through the "bokashi," or shading, technique, which is most difficult in the silkscreen medium, a good example of Sawada's theme of the infinite beyond, the silent emptiness of the universe. Signature in the bottom right corner reads, "T. Sawada '87," titled in the bottom center, "Night Views," and numbered, "25/100," in the bottom left corner. Presented in a new white mat. Paper size: 34"H x 22"W, Mat size: 39"H x 27"W Born in Hokkaido, Tetsuro Sawada (1933-1998, Japanese) graduated from Musashimo Art University where he majored in Western painting. In 1960, he began painting abstract oils...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Texcollage (M11). Colourful abstract geometric painting Mixed media on wood panel, 2015. Dimensions in cm.: 87 x 47 x 5 cm. (Without frame 80x40 cm.) In inches: 34.25" x 18.5" x 1.97...

Sever Frentiu (Săcuieni 1931 - Bucharest 1997) - Male portrait. 65.5 x 39.5 cm without frame, 76.5 x 50.5 cm with frame. Mixed media on paper, in a wooden frame. - Work signed low...

Uses and Customs - Queens attire is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the go...

Abstract composition with subtle color variation by Laura Bowman (American, 20th Century). Signed "Laura Bowman" on verso. This piece has been re-lined and laid down on canvas, with ...

'Energy Net' acrylic on raw canvas with sharpie marker- Abstract expressionist soak- stain painting by contemporary artist Elisa Niva. This abstract geometric painting uses the so...

The illusion of intimacy, 2020, 70x100 cm

Ian Tyson Diversions XI - 1970 Screen Print 16'' x 15'' inches Edition: signed in pencil and marked 23/150 Ian Tyson, British painter, printmaker and book artist, was born in Wallasey, Cheshire...

In this sculpture by Marko Kratohvil, the graceful curves of two smooth steel segments are forged together in space and gingerly balance on a white wood tabletop pedestal...

Collana di Perle di mare coltivate. Anni 1960. Chiusura in oro bianco 18 carati e smeraldini. La chiusura in oro bianco e creata artigianalmente a ...

Limited edition of 30 museum quality Giclee prints on PAPER, signed and numbered by the artist. Print lead time 1 week. A "Certificate of Authenticity" issued by the artist is incl...

Silk Stockings and Candlelit Cafes, is an original hand drawn lithograph by Sharon E. Sutton printed using hand lithography techniques on archival paper 100% acid free. An architectu...

Abstract geometric futuristic cityscape in acrylic on canvas by Senegalese artist Amadou Cissé Dia. Signed bottom left. An arresting cityscape in bright colours. Geometric patterns since early Islamic times to connect spirituality with science. This is exactly what Cisse Dia, as a utopian artist, does here in creating wonderful futuristic cities...

Robert Natkin Lyrical Abstraction for the Sonoma Mission Inn, Sonoma, California, 1990 Acrylic on paper painting with collaged element Signed twice by the ...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created c...

Off Black *COMMISSION PAINTING* Abstract Painting Mixed media on canvas Signed and dated

Black nylon over panel keywords; use of common materials, assemblage, abstract sculpture, wall-sculpture, process-oriented, abstract art, line, form and color, black, monochrome scu...

Bold geometric abstract etching by Carol Shaw (20th Century). Sharp lines - created with the use of negative space - divide the composition into sections, with shading between them. ...

Stoneware pot by Danish Artist/Ceramicist, Bo Kristiansen (1944-1991) A rotund and weighty stoneware pot in true Kristiansen style, (though uncharacteris...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with...

Signed in pencil and with the artist's Clan Press Stamp lower left corner. Image including the light PRINTED BORDER AROUND THE IMAGE. The full sheet 19 3/4 x 24 1/2 inches with deckl...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

Artist: Abraham Straski, Polish (1903 - 1987) Title: Rabbi and Student Year: 1957 Medium: Oil on Canvas, signed l.r. Size: 16 x 11 inches Frame Size: 25 x 20 inches

"Mayor of Lyon" by Robert Glick is a 36" x 36" oil on canvas that exemplifies contemporary abstract expressionism with a distinct geometric twist. This st...

Original; linen-backed vintage travel poster Welcome Colorful Middle East, Scandinavian Airlines System vintage poster. Excellent condition. Arabic writing in gold foil. Features the Sphynx in Egypt; various mosques, the pyramids, and various columns of ancient temples. Beautifully designed poster. This is one of the very few travel posters created by Otto Nielsen that uses gold ink on the image. Otto Nielsen worked as an illustrator for a variety of authors' works including 1001 Nights in New translations 1976-80 with 1600 drawings. He wrote and illustrated many books, including travel books...

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Texcollage (M10). Colourful abstract geometric painting Mixed media on wood panel, 2015. Dimensions in cm.: 87 x 47 x 5 cm. (Without frame 80x40 cm.) In inches: 34.25" x 18.5" x 1.97...

Green is a contemporary artwork realized by Lorenzo Indrimi in the 1970s. Mixed colored lithograph. Hand signed and dated on the lower margin. Edition of 40/150.

Michael Challenger C2 - 1979 Screen Print Paper Size 18'' x 25'' Edition: Signed in pencil, titled, dated and marked 299/300 Michael Challenger's work is a powerful interplay of o...

Artist: Gene Davis (1920-1985) Title: Yellow Jack Year: 1979 Medium: Silkscreen on Arches paper Edition: 241/250, plus proofs Size: 22.5 x 25 inches Condition: Excellent Inscription:...

original painting; acrylic on high quality canvas stretcher, finished off with a glossy varnish. Comes in a white wooden frame and ready to hang. Measurements with frame: 73 x 90 x 3...

10 Cybergraph (M8). Colourful abstract geometric painting Mixed media on wood panel, 2023. Dimensions in cm.: 42 x 42 x 2.5 cm. (Without frame 35x35x2 cm.) In inches: 16.54" x 16.54"...

Prizma IV Color silkscreen Signed and titled by hand Size: 20.3 × 20.3 on 28.9 × 25.0 inches COA provided Marko Spalatin was born in Zagreb, Croatia. He immigrated to the US in his ...

**ANNUAL SUPER SALE UNTIL APRIL 15th ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* Limited edition of 30 museum quality Giclee prints o...

Original vintage poster: BASEL (Switzerland). In ancient Basel, they beat the drums at night to drive the evil demons from the city. Fastnacht. Museum linen backed. Basel; the city on the Rhein and much more! Printer and illustator: Schaffner. This image features the drum that you beat all night long to drive the bad spirits from the city. A drama mask...

James Siena Untitled t-nail drawing (reference: two against two), 1999 Graphite on paper Pencil signed, titled, annotated and dated on the reverse of the sheet (see photos) also penc...

Michael Challenger Not Yet - 1979 Print - Silkscreen   25'' x 25'' Edition: Signed in pencil, titled, dated and marked AP VIII Challenger's work is a powerful interplay of op-art an...

Brightly colored hard edge and geometric land scape by Antoine RENAULT (French B-20th c). He has been painting seriously since 1987 He started practicing t...

Pierre Clerk Black and White - 1973 Print - Silkscreen on Somerset paper 32'' x 36'' Edition: Signed in pencil and marked 27/100 image size: 28" x 32" i...

Little Windows. Mixed media textured and acrylic paint on Wood. Separate LED box light. 24H x 24Wx 3D This series of artwork evokes a novel effect. Light becomes intertwined in the ...

Artist: Pierre Clerk, Canadian (1928 - ) Title: Morocco Series #10 Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 300, AP 45 Image Size: 21 x 36 inches Paper S...