Alexander Calder

Alexander Calder Yin Yang and Pinwheel 1969 Gouache on Canson Paper Signed

1969

This vibrant gouache on paper by Fernand Léger (1881–1955), "Nature morte au pot et à la carafe" (Still Life with Pot and Carafe), dates from 1951 and reflects the artist’s enduring ...

Set of eighteen lithographs from the “Diaspora” series by Théo Tobiasse. Théo was born in Israel of Lithuanian parents. Before he turned seven, his family moved to Paris due to fina...

The Untitled Blue Plate, (IKB 54), was executed in 1957 at a pivotal moment in Yves Klein’s career, the same year in which he perfected the production of the colour-matter that he wo...

2004 Acrylic and tubes of paint on superimposed Plexiglas plates. Edition of 99 copies + 40 EA + 30 copies I/XXX à XXX/XXX. Signed and numbered x/99 lower right. Referenced in the A.R.M.A.N. Foundation No. 5944 Referenced in the Denyse Durand-Ruel Archives under No. 10.508. Arman is a Franco-American artist best known for his unique style of found object sculpture known as accumulations. Inspired by the philosophy and aesthetics of Dadaism, he brings together forks, instruments and teapots in display cases. A member of Nouveau Réalisme alongside Yves Klein and Jean Tinguely, among others, he responds to the emergence of Pop art through his own critique of consumption, waste and mass production, particularly in his series "Poubelles" in the early 1960s. For his famous and monumental sculpture "Long-Term Parking" (1982), the artist piles up 60 cars...

Abstract Mid 20th Century WPA Non Objective American Modernism New Hope Modern.mixed media. 21 x 16 (sight). Housed in a hand carved frame. Louis King Stone ...

"NY Street Signs" Mid-20th Century WPA 1938 Modernist Abstract Realism Pop Art Stuart Davis (American, 1892-1964) "Street Signs" Modernist gouache and traces of pencil on paper in the proto-pop art style Davis is celebrated for, 1938, signed to lower right, framed. Image: 11 1/4 x 15 1/4 inches. Frame by Bark: 18 1/2 x 22 inches. LITERATURE: A, Boyajian, M. Rutkowski, Stuart Davis, A Catalogue Raisonne, Vol. 2, New Haven, Connecticut, 2007, vol. II, p. 632, no. 1232, illustrated. EXHIBITIONS: ACA Galleries, New York American Artists' Congress: Group Exhibition of Paintings and Sculpture, Dec. 3-16, 1939 (SDAB I, 12/3/39, p. 129). Outlines Gallery, Pittsburgh, Stuart Davis, Mar. 3-16, 1946. Coleman Art Gallery, Philadelphia, 5 Prodigal Sons: Former Philadelphia Artists: Ralston Crawford, Stuart Davis, Charles Demuth, Julian Levi, Charles Sheeler, Oct 4 - 30, 1947 (pamphlet), no. 12. PROVENANCE: The artist; Mr. and Mrs. Frank Bowles, New York, Apr. 3, 1956; thence by descent, Private Collection, New York. NOTES: According to the Catalogue Raissonne, "the title 'Street Signs' is recorded in the artist's account books...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...

Clinton Hill (1922-2003), created quintessential mid-century images. He lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, ...