Art by Medium: ABS

Title: Basket Of Cherry Medium: Oil on canvas Size: 23.5 x 15.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: Thi...

Charles Fazzino 3D signed and limited. In good condition measures 44x34. Some minor frame scratches

Cheffetz, Asa EARLY MORNING (BROAD BROOK, CONN.) Wood Engraving,1929. Springfield 15. Edition of 100, numbered 32/100, titled, signed, and inscribed "imp" all in pencil. 6 x 6 inches...

Consigned to the gallery, Pasadena, California; By descent to a private collector, Encino, California; Acquired in 1998 by a private collector, San Carlos, Palo Alto, and Oceanside, California; From the Santa Barbara Historical Society Signed "Carl Sammons" on lower right Description This luminous coastal landscape by Carl Sammons is a striking example of the artist’s signature plein air style, depicting the rolling coastal dunes and lush vegetation of California’s shoreline. Best known for his depictions of Carmel and Monterey, the composition and palette of this work suggest inspiration from the Monterey Peninsula dunes. Sammons’ ability to merge vibrant, clean color with a sense of atmospheric perspective is evident here in the interplay of bright, sunlit sands and the rich greens of windswept foliage. His vibrant yet naturalistic color harmonies, crisp edges, and keen sensitivity to light bring the fleeting beauty of the coastal environment to life. The hazy eucalyptus grove in the background adds a distinctive regional touch, situating the composition firmly within California’s coastal identity. Sammons’ paintings of California’s unique landscapes played a significant role in documenting the natural beauty of the state during the early 20th century. Connection to the Monterey Art Colony By the 1920s and 1930s, Sammons became closely associated with the Monterey art colony, an influential hub for plein air painters such as Armin Hansen (1886–1957), William Ritschel (1864–1949), and Percy Gray...

Hockney, David. JOE MCDONALD. Scottish Arts Council 175. Gemini DH76-767. Lithograph in two blacks, 1976. Done in crayon on both a stone and an aluminum ...

Moses Bahelfer BAGEL (1908-1995) Moses Bagel (born Moshe Bahelfer) was a Polish-born Jewish artist and graphic designer associated with the original Bauhaus and then the School of Pa...

Striking watercolor and ink painting of a nude female figure lying on her side, in brilliant shades of red against blue paper by artist Kei Mitsuuchi, 1994. Signed and dated lower le...

18 x 24 Framed Canvas Stencil and Spray paint on Canvas Rare portrait piece from the beginning of BD White's career as an artist Signed by BD White

This mid-1950s landscape photograph, captured by society photographer Slim Aarons, features a group enjoying a picnic at a rocky coastline in Bermuda. This is an estate stamped and ...

Acrylic on board Signed lower right corner Condition: Painting is excellent Frame has surface wear Provenance: Estate of the artist William C. Grauer (1895-1985) William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans...

In a world of disparity, loneliness strives With the words of diversity, brokenness camps Life companions are precious. Relatives and friends are rare. Keep my mind active with your ...

This mid-1950s photograph, captured by society photographer Slim Aarons, features several skis leaning against the wall of a hut marked 'Ski Instructors Only' in New Hampshire. This...

Artist: Martha Ochoa Medium: Oil on canvas Size: 32 x 40 in. unframed. Signed, lower right. This vibrant oil on canvas painting presents a lively and detailed nature scene, in Marth...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features Swedish model Inga Lindgren, wife of Argentinian finance minister Ceferino Alonso Irigoyen,...

Minnie And Dru Montagu, Dominican Republic, Estate Edition, Portrait Photograph This 1970s portrait photograph, captured by society photographer Slim Aarons, features Minnie and Dru...

Artist: Quinn, Marc Title: At the Far Edges of the Universe III Series: At the Far Edges of the Universe Date: 2010 Medium: pigment graphic prints Unframed Dimensions: 27...

This mid-1950s photograph, captured by society photographer Slim Aarons, features a couple preparing for a day's skiing in New Hampshire. This is an estate-stamped and hand-numbered...

High schoolers picnic on the beach at Bonita Springs, Florida, 1955. Slim Aarons Spring Break Black and White Photography Slim Aarons Estate Edition Nu...

#11071, 9 September 2015, Chaco Canyon, New Mexico is a piece from Jamey Stillings new ongoing project CHANGING PERSPECTIVES. CHANGING PERSPECTIVES buil...

"Untitled" is a dramatically placed individual who appears to be withdrawing into herself surrounded by a soft pinkish color. She has a sad look in her non-reflective eyes. This pain...

This late 1940s portrait photograph, captured by society photographer Slim Aarons, features a young woman modelling for a Saks Fifth Avenue catalog shoot. This is an estate stamped ...

This late 1950s landscape photograph, captured by society photographer Slim Aarons, features a group of people snorkelling off a small boat in Malta. This is an estate stamped and h...

This late 1950s landscape photograph, captured by society photographer Slim Aarons, features a group of people snorkelling off a small boat in Malta. This is an estate stamped and h...

This mid-1950s photograph, captured by society photographer Slim Aarons, features a couple preparing for a day's skiing in New Hampshire. This is an estate-stamped and hand-numbered...

Moses Bahelfer BAGEL (1908-1995) Moses Bagel (born Moshe Bahelfer) was a Polish-born Jewish artist and graphic designer associated with the original Bauhaus and then the School of Pa...

High schoolers picnic on the beach at Bonita Springs, Florida, 1955. Slim Aarons Spring Break Black and White Photography Slim Aarons Estate Edition Nu...

What do you get when art meets math and computer programming? If you’re Ani Aba, what you get are stunning replicas of art historical masterpieces or replicas of animals portraits ma...

A Cadillac with Florida plates parked outside the Carlton Hotel, Cannes, France, circa 1955. The Carlton Hotel Black and White Photography Slim Aarons E...

New York Window, 1986, mixed media on illustration board, signed and dated lower right, 31 x 20 inches (image), 36 ½ x 28 inches (sheet) Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. In 1971, Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

Moses Bahelfer BAGEL (1908-1995) Moses Bagel (born Moshe Bahelfer) was a Polish-born Jewish artist and graphic designer associated with the original Bauhaus and then the School of Pa...

Moses Bahelfer BAGEL (1908-1995) Moses Bagel (born Moshe Bahelfer) was a Polish-born Jewish artist and graphic designer associated with the original Bauhaus and then the School of Pa...

Moses Bahelfer BAGEL (1908-1995) Moses Bagel (born Moshe Bahelfer) was a Polish-born Jewish artist and graphic designer associated with the original Bauhaus and then the School of Pa...

A native New Yorker, Rose Hartman began her career working for the SoHo Weekly News where her first assignment was covering the 1976 wedding of Papa’s granddaughter Joan Hemingway to...

Printmaker Ann Aspinwall made this etching in 1999, while living in Venice. During those years she did several etchings that adhered to a certain principle. She drew a freehand line, as straight as possible; and beneath that line drew another, following as closely as possible the one above. Each successive line followed the line directly above, imitating all the curves and shakes. These imperfections, or deviations from the original line, became more and more prominent, each line being an interpretation of what came before it. Around that time, Aspinwall discovered the writing of John Dewey on the subject of rhythm in his Art as Experience (1934): Rhythm, writes Dewey, is an “ordered variation of changes.” There is no rhythm “when there is a uniformly even flow, with no variations of intensity or speed,” when “variations of pulse and rest do not occur.” “Variations of intensity are relative to the subject matter directly experienced. Each beat, in differentiating a part within the whole, adds to the force of what went before while creating a suspense that is a demand for something to come. It is not a variation in a single feature but a modulation of the entire pervasive and unifying qualitative substratum.” Ten years later Aspinwall returned to this plate. Looking at it again after a long time she perceived the strong influence of Venice; the texture calls to mind water and fabric. The artist was unable to decide on one color for an edition, so after printing many color proofs, she chose ten combinations of colored lines on colored Japanese papers. The prints evoke the light and surfaces of Venice. The title of the series, Tessuto Veneziano, means Venetian textile...

Nason, Thomas. ON THE ISLAND. BPL 213. Wood engraving, 1937. Inscribed "Ed. 80" and signed and dated in pencil. 5 3/8 x 10 inches (image), 10 1/4 x 13 1/2 inches (sheet). In excellen...

KARL LAGERFELD ( 1933 - 2019 ) Kaiser de la mode ! Photographe , designer , dessinateur ... "Chanel addict " directeur artistique de la maison Chanel , ...

* No US duty or taxes to pay on this item * A beautiful 1950's impressionist oil on board depicting boats on the River Thames in London, with the Houses of Parliament and St. Pauls ...

Harrison Bird Brown (1831-1915) "Oakland," the estate of Theophilus Cushing Hersey in Portland, Maine" Unsigned 24 x 40 inches (Sight Size) 35 x 52 inches (Frame Size) Oil on canvas ...

Verlangen no. 13 Desire Bronze Sculpture Figure Longing Contemporary In Stock About Jits Bakker (1937-2014) Jits Bakker knew the classics. In fact, he cherished them in his work. Th...

High schoolers picnic on the beach at Bonita Springs, Florida, 1955. Slim Aarons Spring Break Black and White Photography Slim Aarons Estate Edition Nu...

This mid-1950s photograph, captured by society photographer Slim Aarons, features two women reclined on improvised sunbeds at the Cranmore Mountain Resort, North Conway, New Hampshir...

RARE TRIBAL BIRD DRAWING ON JAR (INV# NP5076) MAGDALENA SUAREZ FRIMKESS & MICHAEL FRIMKESS stoneware and glaze 5.75 x 8.5 x 8.5” 1997 signed by artist pro...

TERRACOTTA FIGURINE OF A COMIC ACTOR , Greece, c. 350 B.C. Labeled to the reverse, 'LAWRENCE COLL./LOT 426. SOTHEBY./APR. 1892. P. 816.'; Terracotta height 15.2 cm height 6 in Prove...

Kimberly Dow's "Push" is an original, handmade oil painting that depicts a portrait of a female model pushing against a beam as the wind whips her brown hair across her face.

Harmony Korine Original Drawing (Hand signed and inscribed to Nadine), 2015 Original marker drawing held inside hardback monograph Signed, dated and inscribed by Harmony Korine with ...

Serigraph signed and numbered In good condition some minor small frame chips and wear measures 60x40 International buyers most cover shipping expense

I want the viewer to have a sense of wonder and awe when looking at my work. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark ...

Minnie And Dru Montagu, Dominican Republic, Estate Edition, Portrait Photograph This 1970s portrait photograph, captured by society photographer Slim Aarons, features Minnie and Dru...

This late 1940s portrait photograph, captured by society photographer Slim Aarons, features actress Joan Fontaine (1917 - 2003) and co-star Joseph Cotten (1905 - 1994) receive direct...

The work is signed, dated, and numbered 4/15 in the lower right recto corner, with other sizes available. It is unframed and printed later. Printed on Hahnemühle Fine Art paper. Mi...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...

This artwork was created by the artistic duo Hunter & Gatti (2010–2023). These works are part of the archive managed and exhibited by Cristian Hunter. The artist's technique consists...

This early 1990s photograph, captured by society photographer Slim Aarons, features Thorne Perkin and his brother Christopher Perkin posing with two girls at Boca Grande, on Gasparil...

G. Jeanson (active in Venice, 19th century) - View of the Venice lagoon with gondola and figures at sunset. 65.5 x 54.5 cm (without frame) - 76.5 x 62.5 cm (with frame). Oil on can...

the painting is being offered with a work and authenticity certificate

Here comes our pride The bond of peace we formed And thorn of splits we healed from I see your thoughts We feel our pains As we share the joy We are united beyond barriers Despite ...

Alfred Aberdam Abstract Expressionist OIl on board Hand signed lower right Provenance: bears label from Molton Gallery, London verso. The Molton Gallery, active in London during the early 1960s was notably managed by Annely Juda before she founded her own eponymous gallery. It was known for showcasing modern, international, and abstract artists. Key artists who had exhibitions at the Molton Gallery included Avinash Chandra, Denis Bowen, Emilio Pettoruti and Walter Nessler: Associated with the period and featured in contemporary London, 1940s-1980s. The gallery played a significant role in promoting artists within the London art scene of that era. Alfred Aberdam (1894–1963) painter and graphic artist was a painter of School of Paris, born in Lvov, capital of Galicia, Austro-Hungarian Empire. Born in Lviv, Krystonopol, East Galicia (now Chervonograd, Ukraine) and received a traditional Jewish education in a Heder while studying Hebrew with private teachers. In 1905–12 he lived in Lvov, where he finished high school. He decided to become an artist at the age of 14. At this time he came into contact with young Yiddish Judaic writers (Melech Ravitch, Abraham Moshe Fuks, and others) and with Zionist youth groups in Lvov. He attended their meetings and their lectures on Jewish Judaica artists. After graduating high school, he organized several conferences in his hometown on Italian and Flemish masters and on the first Jewish painters, including Josef Israels (1824-1911). In 1911 he started to study art at the Munich Royal Academy of Fine Arts, Akademie der Bildenden Künste München. Lemberg/Lwów (today Lviv), studies under Gabriel von Hackl (1843-1926). During World War I he was imprisoned by the Russians and stayed in the camp for prisoners of war in Siberia where he became acquainted with David Burliuk and other Russian futurists. In 1917, Aberdam was appointed People’s Commissar of the Department of Fine Arts by the local soviet, which assigned him the task of reorganizing artistic teaching. A year later, in Moscow, he befriended the poet Vladimir Mayakovski. In 1921 in Poland, he began his studies at Kraków's Academy of Fine Arts under Professor Teodora Axentowicz, then lived in Paris. There he participated in numerous exhibitions, and in a Poland exhibition in the Gallery of Modern Art Editions in 1929. In the latter he organized the exhibition in 1931. In 1932 he exhibited in Warsaw and Lviv. From 1933 he belonged to a group of visual artists known as "Nowocześni". In 1923, while he was staying in Berlin, he met Menkes and Weingart in sculptor Alexander Archipenko’s studio. In 1924, he settled in Paris in the Montparnasse area. In the end of 1925, Jan Sliwinski held an exhibition in his gallery Au Sacre du Printemps, at 5 rue du Cherche-Midi, Paris. His work was exhibited alongside paintings by his Galician friends Leon Weissberg, Sigmund Menkes and Joachim Weingart. The Group of Four was born. In 1935 he took part in the exhibition of Polish artists in the Paris Galerie des Beaux-Arts. He maintained connections with Poland, showed his works in Polish exhibitions, and was a member of the Plastycy Nowocześni ("Contemporary Plastic Artists") group. In 1944, he participated in the creation of the Jewish Artists Society in Paris, whose president was sculptor Léon...

This mid-1950s photograph, captured by society photographer Slim Aarons, features an evening dress being modelled at a fashion show held by Saks of Fifth Avenue, New York. The audien...

This late 1950s portrait photograph, captured by society photographer Slim Aarons, features actress Dee Hartford, wife of film producer Howard Hawks, sipping a Pussyfoot - a mixture ...

This early 1950s photograph, captured by society photographer Slim Aarons, features Senator John F. Kennedy (1917 - 1963), Shirley Rogan Ellis, and Betty LoSavio at Montego Bay Airpo...