Art

A painting by Robert Natkin. "Untitled" is an abstract expressionist painting, oil on canvas in a palette of greens, blues, and purples by Post-War, American artist Robert Natkin. The artwork is signed in the lower left, "Natkin 1956". Robert Natkin was born in Chicago and graduated from the Art Institute of Chicago in 1952. Natkin’s art blends Abstract Expressionism with Post-Impressionist colors. His work often runs in series he created using columns...

Untitled is a contemporary artwork realized by Giulio Paolini in 2002 Pencil and collage on paper. Certificate of authenticity by the Artist. Giulio Paolini (Genova, 5 November 194...

A painting by Jae Kon Park. "Life and Roots" is an abstract painting, oil on canvas in a blues and yellows by Korean, Post-War artist Jae Kon Park. The artwork is unsigned. Born in S...

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...

Oeuvres Completes is an original contemporary artwork realized by Giulio Paolini in 1992. Ink on paper. Certificate of authenticity by the Artist. Giulio Paolini (Genova, 5 Novembe...

A photograph by Lawrence Schiller. ""Marilyn Monroe"" is a nude, figurative vintage silver gelatin photograph in black and white by American Post-War artist Lawrence Schiller. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. ""It was a time in which things happened awfully fast,"" Schiller says of the decade. ""It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future."" When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Offset Lithograph, Limited Edition from an edition of 175. Signed in pencil, lower right and framed in a handmade gold leaf frame. Based on an original Pastel drawn in Fontainebleau, during the summer of 1921. This neoclassical head...

Vase aux Chèvres, Picasso, 1950's, Vase, Goat, Decoration, Ceramic, Multiples Vase aux chèvres Ed. 40 pcs 06.06.1952 White earthenware clay, deep engraving filled with oxidized para...

From Crochet Series I-V Framed Initialed in pencil and numbered 49/50 Mixografia printed in red on handmade paper Sheet size is 33.5 x 28 inches Framed size is 37.25 x 32.13 inches...

Visage au trait oblique, Picasso, 1960's, Portrait, Male face, Terracotta Visage au trait oblique Ed. 22/100 circa 1968-1969 Red erthenware tile painted in ...

Lee Teter, born in 1959, has used American historical events as common themes throughout his pieces. From American wars, to Native American struggles, Lee has used oil paints to prod...

Oiseau à la Huppe, Picasso, ashtray, design, ceramic, animals, art, postwar Oiseau à la huppe Ed. 500 pcs 1952 White earthenware clay, oxidized paraffin decoration, white enamel, bl...

Inscribed and signed lower center: "Monoprint H Lee-Smith" Provenance: The Waintrob Project for the Visual Arts (Foundation); Sidney and Abraham Waintrob This item is in our New Yo...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

French 1950s women's fashion design from 'Les Tendances de la Mode' a Parisien fashion periodical showing the designs of Gaston Verbie. Descriptions in F...

ADAM GONDEK (American b. 1979) TWO COLLAGE DRAWINGS, "Pink Ad," and "Gold Ad," 2013, each with enamel on magazine paper mounted on paper; each 18 3/4'' x 14 3/4'', framed 22 1/4'' x ...

Oil on canvas 13 x 20 inches Signed and dated center right: "Matthew Spender / 1981" Titled on canvas overlap verso: "#16 Remote Foreground" Retail: $2...

Petits visages no.57, Picasso, 1960's, Postwar, Naif, Faces, Plate, Design Petits visages no.57 Ed. 50/150 pcs 1963 White earthenware clay, decoration in engobes and enamel under partial brushed glaze D. 27 cm Numbered and inscribed on the back: No.57, Edition Picasso, 50/150, Madoura Picasso : Catalogue of the edited ceramic works 1947-1971, by Alain Ramié, Editions Madoura, 1988, illustrated under no.468, p.244. Literature : Céramique de Picasso...

On The Beach. Equestrian Rallies In The Woods canvas 25.5x32 wonderful handmade giltwood Haydenryk frame 34x40 Claude Grosperrin is a French painter and lithographer born on November 26, 1936, at Charenton-le-Pont ( Val-de-Marne ) and died on July 16, 1977, in Paris. Claude Grosperrin is in 1956 the student of Maurice Brianchon at the National School of Fine Arts in Paris, then attended the School of Applied Arts Duperré. The price of the Casa de Velázquez that he won in 1961 earned him a trip to Madrid from 1961 to 1962. Exhibitions: Galerie Saluden, Brest , 1962. Galerie André Weil, Paris, June 1970. Gemäldegalerie-Abels, Cologne, 1970. Claude Grosperrin - Paintings, Van der Straeten Gallery, New York, November-December 1970. Claude Grosperrin - Normandy paddocks, equestrian scenes, landscapes and seascapes, Eric Galleries, 57th Street, New York, October 1974. Updated Exhibitions: Charpentier Gallery, Durand-Ruel Gallery, Berthe Weill Gallery. Maurice Faustino-Lafetat , Jef Friboulet , Claude Grosperrin, Frederic Menguy , Théâtre du Tertre , Paris, April 1957. Biennial of Paris, 1959, 1961 ( The Dahlias, 1961, oil on canvas, 130 × 195 cm). The horse in art , Wildenstein Gallery , London , 1960. Ten years of acquisitions of the Museum of Modern and Contemporary Art , former customs of Strasbourg , March-April 1970. Fall Salon, 1960. Undated entries: Salon of the National Society of Fine Arts, Salon des Independants (Paris), Salon Jeu de Paume ( Versailles ). Contemporary French Impressionist Painters (Claude Grosperrin, Bernardino Toppi...

Karl Zerbe (1903 - 1972) Boy from Mansos, 1963 Collage and acrylic on canvas 35 x 23 inches Signed lower right Provenance: Lee Nordness Galleries, New York Karl Zerbe was born on September 16, 1903 in Berlin, Germany. The family lived in Paris, France from 1904–1914, where his father was an executive in an electrical supply concern. In 1914 they moved to Frankfurt, Germany where they lived until 1920. Karl Zerbe studied chemistry in 1920 at the Technische Hochschule in Friedberg, Germany. From 1921 until 1923 he lived in Munich, where he studied painting at the Debschitz School, mainly under Josef Eberz. From 1924 until 1926 Karl Zerbe worked and traveled in Italy on a fellowship from the City of Munich. In 1932 his oil painting titled, ‘’Herbstgarten’’ (autumnal garden), of 1929, was acquired by the National-Galerie, Berlin; in 1937, the painting was destroyed by the Nazis as "Degenerate art...

René GROEBLI (*1927, Switzerland) 307, 1946 / 1952 Vintage silver gelatin print on Baryta paper Sheet 21.5 x 17 cm (8 1/2 x 6 3/4 in.) Unique Print only S...

Picador, Pablo Picasso, Ashtray, Design, Sculpture, Ceramic, White, Edition Picador Ed. 500 pcs 1952 White earthenware clay, oxidized paraffin decoration, white enamel D. 15.2 cm St...

A photograph by Lawrence Schiller. “Barbra Streisand (in her hotel room)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

A painting by Sadamasa Motonaga. "Untitled" is an abstract painting, acrylic on board with cotton cloth in a bold palette or purples, reds, and blues...

GEORG BASELITZ b. 1938 Born in Deutschbaselitz 1938 (German) Title: Composition III, from: One Week Eine Woche, 1972 Technique: Original Hand Signed, Dated, and Numbered Drypoint ...

Inscribed and signed lower center: "Monoprint H Lee-Smith" Provenance: The Waintrob Project for the Visual Arts (Foundation); Sidney and Abraham Waintrob This item is in our New Yo...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the...

Portrait is an original artwork realized by Michelangelo Pistoletto in 1995. Edition of 100 prints. Signed and dated on the lower right corner: Pistoletto 95. Numbered on the lower...

A photograph by Lawrence Schiller. “Paul Newman in the motion picture "Cool Hand Luke” is a figurative, silver gelatin photograph in black and white by ...

A painting by Jae Kon Park. "Untitled" is a figurative painting, oil on canvas in blues and browns by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower left, "...

A drawing by Irving Norman. "Related Figures" is a social surrealist painting, pen, ink, and pencil on artist's board in black and white by American Post-War artist Irving Norman. Th...

A photograph by Lawrence Schiller. “Barbra Streisand (photo session)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Sch...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in green and gold by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower middle, "1...

Poisson, Georges Braque, Fish, Sculpture, Bronze, 1940's, Postwar, Valsuani Ed. 6/6 pcs Signed and numbered underneath : 6/6, cire perdue, C.Valsuani fondeur. Certificate of authent...

French men's fashion design published as a Supplement to 'L'Homme et Le Maitre Tailleur', a Parisien fashion periodical. Jean Darroux was a Parisien tailor, who designed several seri...

Inscribed and signed lower center: "Monoprint H Lee-Smith" Provenance: The Waintrob Project for the Visual Arts (Foundation); Sidney and Abraham Waintrob This item is in our New Yo...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in blues and greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, "Jae Kon Park 1986". Born in South Korea, Park Jae Kon...

Street Photographer Mitchell Funk breaks with tradition and shoots street photography in color. Today in 2022, this does not seem like a big deal. But 50 years ago, in 1972, it was q...

Inscribed, signed, and dated lower center: "Monoprint H Lee-Smith '69" Provenance: The Waintrob Project for the Visual Arts (Foundation); Sidney and Abraham Waintrob This item is i...

A painting by Jae Kon Park. ""Untitled"" is an abstract painting, oil on canvas in greens by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, ""Jae Kon...

A photograph by Lawrence Schiller. “Paul Newman and Robert Redford, Butch Cassidy and the Sundance Kid” is a vintage silver gelatin photograph in black and white by American artist L...

"The Gathering" Watercolor Painting 24" x 17" inch (1962) by Kawkab Youssef Signed and dated 1962 A short history of Kawkab Youssef El-Assal: With a...

Oil on burlap. Oil measures 50x65 cm. Frameless.

Work in the fields - Achille Beltrame italia - Mixed technique on cardboard cm. 45 x 22 . Mesaure with wooden frame are cm. 54 x 32

A photograph by Lawrence Schiller. “Marilyn 12, No. 29” is a chromogenic print in color by American artist Lawrence Schiller. The artwork is unsigned and editioned 72/75. Lawrence Sc...

Original Post-War Oil Painting of Island in Northern Ireland by 20th Century Modern Irish Artist, Denis Thornton (1937-1999) Art measures 30 x 20 inche...

A painting by Jae Kon Park. "Untitled" is an abstract painting, oil on canvas in black and white by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower right, "J...

Poch Romeu was one of the most relevant and renowned landscape painters who originated in the second half of the 20th century. His technique was oil on can...

A sculpture by Niki de Saint Phalle. "Dos á Dos" is a Post-War design sculpture, painted polyurethane in a palette of black and bright vivid greens, yellows,...

Lithographie by Pierre Alechinsky. The piece is called "Le complexe du Sphinx" from 1950. It is hand signed in pencil and numbered 89/99. Dimensions of the paper : 45x63 cm Dimensio...

Seeking the Sound of Cobalt Blue is a series of paintings and sculptures that have been created since the spring of 2014. Using domestic construction materials from her garage, ext...

Il Trovatore, Chirico, Multiples, 1970's, Bronze, Sculpture, Surrealiste Il trovatore Ed. 250 pcs 1971 Bronze with silver patina H. 31 cm Signed and dated on the base : Editions Art...

Scène de tauromachie, Picasso, 1950's, edition, earthenware, terracotta, scene Scène de tauromachie Ed.274/500 pcs 1957 Red earthenware clay, eng...

Frame size 86x114 cm. Josep Maria Mallol i Suazo (Barcelona, ​​​​1910 - Barcelona, ​​​​1986) is a well-known painter whom critics pointed out as one of the main names in non-avant-g...

French skiing fashion design published as a Supplement to 'L'Homme', a Parisien fashion periodical. Jean Darroux was a Parisien tailor, who designed several series of designs, probab...

A drawing by Irving Norman. "Strange Lovers (The Hard Marriage)" is a social surrealist painting, ink and colored pencil on paper in blacks and brown...

Chouette, Picasso, Pitcher, Design, 1950's, Ceramic, Black and white, Animal Chouette femme Ed. 500 pcs 1951 Earthenware ceramic vase with engobe and ...