Art by Medium: Mixed Media

Joe Brainard Eucalyptus Leaves/Bolinas, 1971 Collage on thin board (with original labels from Fischbach Gallery, The Denver Art Museum and University...

Abstract composition is an artwork realized byLeo Guida, in 1970s.  Mixed media painting. 153 x 77 cm; framed. Good conditions!

Abstract Green Composition is an artwork realized by Leo Guida, in 1970s.  Oil painting on canvas, with frame.  122 x 81 cm. Good conditions

Tribute to Bix Beiberbecke Mixed media collage, 1974 Signed and titled in ink; lower right recto (see photo) Signed and dated ’74 in red crayon verso Image size: 32.5 x 22.75 inches Condition: Wrinkles due to collage and support sheet Provenance: Joseph Erdelac, Cleveland (friend and patron of Longstreet) One of the first Jazz Legends. He died at age 28 from alcoholism. Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist, and composer. Stephen Longstreet (1907-2002) Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

Composition is an artwork realized by Leo Guida in 1970s.  Fabric, 120 x 78 cm; framed. Good conditions.

Billy Al Bengston Turkey Dracula, 1973 Color lithograph with hand coloring and watercolor (unique variant) on Lanaquaralle paper with deckled edges Hand signed and numbered A.P. #6, aside from the regular edition of 24 on the front, with the printer's blind stamp Frame Included: held in original vintage frame Mixed media Lithograph with hand coloring in watercolor (unique variant) Hand signed and numbered A.P. #6 (of 10), aside from the regular edition of 24 on the front, with the printer's blind stamp (Flower) Publisher: Published by Brooke Alexander, Inc. (New York) Printer: Printed by Ed Hamilton (American, born 1941) at Cirrus Editions, Los Angeles (with blind stamp) Measurements: Frame: 25.25 x 25.25 inches Print: 23 x 23 inches About Billy Al Bengston: Billy Al Bengston (b. 1934, Dodge City, Kansas, d. 2022, Venice Beach) moved to Los Angeles with his family in 1948. He studied painting under Richard Diebenkorn at California College of Arts, Oakland, California. In 1957, Bengston began showing with the legendary Ferus Gallery (founded and run by Walter Hopps...

Landscape is an artwork realized by Mario Sinisca, 1970s.  Mixed media on canvas, 143 x 245 cm; not framed. Hand signed lower left. Good conditions. 

Joseph Cornell Hotel du Nord (Little Durer), 1972 Silkscreen in five colors with varnish and stencil additions printed on Buff Arches Paper Pencil signed and annotated Artists Proof ...

Jennifer Losch Bartlett Ocean piece: Untitled painting studies, 1975 Ink and pastel, mixed media on graph paper Boldly signed and dated "Summer 75" by Jennifer Bartlett on the lower right front Frame included: held in a museum quality wood frame with UV plexiglass Ink and pastel on graph paper drawing. Boldly signed and dated "Summer 75" by Jennifer Bartlett on the lower right front. Some of the artist's annotations on the drawings say: Ocean piece Sky Water Beach Sometimes looking from water maybe see mountain two people on beach lying down sometimes they face each other ... bwhitefree hand drawing from water beach w/ towel sky sand water on a diagonal on a curve sky water sand...

Frank Hill is a professional artist living and working in North Norfolk. He studied art at Waltham Forest School of Art and later at St Martins School of Art. Frank’s professional c...

Major Pop artist James Rosenquist used sign-painting techniques to make kaleidoscopic canvases that conjure American advertising. He embraced the visual language of commercial art, f...

Richard Anuszkiewicz Op Art Bowl for Hirshhorn Museum, 1976 Glazed Enamel on Metal Bowl. Artists Signature Fired in Plate Anuszkiewicz' signature fired ont...

BASF Luran mounted on aluminium. Hand signed lower front by Victor Vasarely; Signed, titled, dated and numbered on label to verso. From the edition of 8. Additional images avail...

Linda Stein, Writing on the Wall 001 - Mixed Media Collage Contemporary Art Wall Sculpture These wall constructions and dioramas were made in the 1970s when Linda Stein was also wor...

Chuck Close Phil (Uniquely Signed by Chuck Close), 1976 (the regular limited edition was unsigned; this one is, exceptionally, signed by the artist) Print on Strathmore 3-Ply Paper, ...

Linda Stein, Eagle 002 - Mixed Media Collage Contemporary Wall Sculpture These wall constructions and dioramas were made in the 1970s when Linda Stein was also working on her Below ...

Antonio Romano (Italian/American, 1953-2017) Mixed Media Painting Size: 21'' x 17'', 53 x 43 cm (board); 26'' x 22'', 66 x 56 cm (frame). A very rare piece of Romano's artwork. Outs...

Signed lower right, 'Inman' for Robert Inman (American, 1927–2016) and dated, lower right, '79'. Retaining original, card, mat and backing boards. Titled on board, 'City Dwellings #2...

Antoni Clavé Untitled, from the Album International 2 Portfolio, 1977 Mixed media: Lithograph in relief 29 1/4 × 19 3/4 inches Edition 1/50 Signed and number on front Unframed This is a rare lithograph by the world renowned Catalan graphic artist, painter and sculptor, signed and numbered in pencil from the limited edition of only 50. Superb provenance as it is was acquired from the original Album International Portfolio, number 1 of 50. Text from the Colophon page reads as follows: Born in Barcelona, living in St. Tropez, France. Lithograph in relief, edition of 50, each numbered and signed by the artist. Antoni Clavé biography Antoni Clavé was born in Barcelona on April 5th, 1913. From 1926 he attended evening courses at the Escuela de Artes y Oficios "Llotja", a school both Picasso and Miró attended in their youth. In 1927, one of Clavé's teachers found him a position as a house painter's apprentice because of his growing fascination with the hands-on nature of painting and especially with the materials used for such work, like learning how to prepare paints. In 1932, Clavé stopped attending evening classes and, on the recommendation of Illescas, an architect, was employed at the firm of Cinaes, where he designed the weekly cinema posters. During the Spanish Civil War (1936-1939), he served as a draughtsman for the Republican government but eventually was forced to flee to France. After a brief internment at Les Haras camp in Perpignan, Clavé settled in Paris in 1939 without any papers, drawing comics and working as an illustrator to get by. In the 1940s Clavé's work showed the stylistic influence of Bonnard and Vuillard, until he met fellow Spanish expatriate Pablo Picasso in 1944. This meeting marked a pivotal change in Clavé's style, and he was forever grateful to be considered a lifelong friend of Don Pablo, as he called him. From 1946, Clavé created numerous designs for the ballet and theatre in Paris, Munich, London and New York and in the 1950s, he turned to book illustration. He was nominated for two Academy Awards (Best Art Direction and Best Costume Design) for his work on the 1952 film Hans Christian Andersen. In 1954, Clavé ceased working as a stage-set designer and illustrator to devote himself entirely to painting, visiting Spain again. His paintings became more abstract and enigmatic; inspired by wall...

Highly collectible and coveted item: Francis Bacon von [with] John Russell (Monograph, hand signed and inscribed twice by Francis Bacon), 1972 Hardback monograph with dust jacket (ha...

Ed Ruscha Nine Swimming Pools and a Broken Glass (HAND SIGNED), 1976 Limited Edition Artist's Book Boldly signed by Ed Ruscha on the first front end page 7 × 5 1/2 inches This is the...

Andy Warhol Deluxe Collectors' Edition of Exposures (Hand Signed and Numbered), 1979 Hardcover Monograph in leather with gilt edge and stamped in gilt. Hand signed by Andy Warhol on...

Marlene Tseng Yu (Taiwanese-American, b. 1936) Untitled, 1971 Mixed media Framed: 37 x 48 in. Marlene Tseng Yu was born in Taiwan in 1937 and came to the U.S. in 1963. From 1969 to...

John Button View: Arcade, 1975 Gouache on Paper (Framed with prestigious Fischbach and Kornblee Gallery Labels) 20 1/2 × 24 1/2 inches Signed and dated on the front This is a unique painting Frame included: held in the original 1970s artist's period frame with prestigious labels This 1970s John Button gouache bears labels from renowned Jill Kornblee as well as Fischbach Galleries...

Genre: Modern Subject: Abstract Medium: Other Surface: Paper Country: United States Dimensions w/Mat: 20" x 21" Bas relief on hand-made paper; Visual statement of society’s role in...

Jacques Lerebourg hand made abstract metal sculpture in welded and polished metal with inclusion of a natural quartz or crystal mineral specimen. part of a distinguished group of Fre...

Abstract Composition is an original painting in mixed media realized by an anonymous artist. Hand-written on the rear, illegible. Good conditions. The artwork is created through h...

Signed, titled and numbered by the artist. Created as part of a group portfolio by members of the California Society of Printmakers, based on the works of Shakespeare. Pat was an artist, printmaker and teacher throughout her life. She studied with Akira Kurosaki in Berkeley, Antonio Frasconi in France and Unchi Hiratsuka in Japan. Her prints reflect a lifetime of experimentation in printmaking first nurtured in Japan by contact with the artists of the Sosaku Hanga...

George Segal (Hand signed, dated and inscribed), 1979 Hardback monograph with dust jacket, hand signed, dated and warmly inscribed to David by George Segal Hand signed, dated and ins...

Henry Newman: 1923-1996. Listed American artist with auction results Over $800. This assemblage is a really clever piece, showing an artist and his model. It is made of different mat...

Andy Warhol To Earl and Camilla, Love Andy Warhol, 1979 Original Heart Drawing held in book with unique dedication to Earl and Camilla McGrath (Signed Twice by Andy Warhol) The original dedicated Warhol drawing is boldly signed by Warhol. The book is also signed by Warhol on the cover. 11 1/2 × 9 1/2 inches Wonderful provenance! We would not acquire or sell drawing in a signed Warhol book without knowing the provenance was irrefutable. This is one of them. Makes a memorable and unique gift. This is a signed drawing of a heart, with a beautiful dedication from Andy Warhol to Earl and Camilla McGrath - art and entertainment impresarios. Warhol writes: "To Earl and Camilla love. Andy Warhol" - on the title page of the hardback monograph "Exposures". The book is also hand signed in marker on the cover - as well! What makes this work even more collectible is that Earl McGrath is even featured in this book - his photograph is reproduced on page 11 of "Exposures". (!!) About the recipients Camilla and Earl McGrath: Camilla McGrath (nee Countess Camilla Pecci-Blunt), wife of art dealer, entertainment executive and impresario Earl McGrath. This work was acquired from the Estate of Earl and Camilla McGrath. (Camilla died in 2007. and Earl died in 2016 at the age of 84.) In remembering Earl McGrath for Vanity Fair magazine, Warhol's editor and confidant Bob Colacello interviewed the many celebrities and artists who adored McGrath: "He was the last of a breed, one of the last great gentlemen and bohemians,” says Harrison Ford.."; He was the funniest man I have ever known,” declares Jerry Hall, whose friendship with McGrath went back to 1975, when she was the girlfriend of Bryan Ferry and he was vice president of Atlantic Records. “He also had a huge heart and was a magnet for us all in New York and Los Angeles.”; “Earl was so brilliantly irreverent,” says Anjelica Huston, who credits McGrath with introducing her to her late husband, the sculptor Robert Graham, who showed at his Los Angeles gallery; “He wasn’t always the jokester,” notes Brice Marden, who frequently dined tête-à-tête with McGrath. “He also had a keen eye and a kind of natural wisdom, albeit with a slightly warped attitude towards things. I just found him a really good person to hang out with. Whenever I had some deep question, I always wanted to consult Earl. It was reassuring to hear what he had to say.”...So who was this Earl McGrath? Unknown to the general public (and liking it that way), he was very well known to the very well known, the ultimate insider equally at home in the upper echelons of music, art, letters, and entertainment. Among the regulars who flocked to the salon-like lunches and dinners he and his wife, Countess Camilla Pecci-Blunt, a descendant of Pope Leo XIII, gave at their apartment across from Carnegie Hall and their house in West Hollywood were Andy Warhol; Mick Jagger; Gore Vidal; Audrey Hepburn; Anita Loos; Cy Twombly; Larry Rivers; Francesco and Alba Clemente; Prince Rupert Loewenstein; Connie Wald; Wendy Stark; Michelle Phillips; Julian Sands; Annie Leibovitz; Jann and Jane Wenner; Sonny and Gita Mehta; Terry Southern; Fernanda Eberstadt; Wes Anderson; Prince Michael of Greece and his wife, Marina Karella...

mixed media on paper

Mixed media original painting of Muhammad Ali training at the famous 5th street Gym in Miami Beach. It is titled Ali 5th Street Gym MB and dated 1-30-71. It is also signed by the a...

Roy Lichtenstein Hardback monograph of drawings and prints hand signed and inscribed by artist, 1973 Hardback Monograph. Hand signed, inscribed and...

This work adheres to the canons of most of Masi's paintings, namely the use of cardboard as it moves the artist away from the confines of two-dimensionality, providing an ideal basis...

Jordi Curós Ventura (1930-2007) - Woman smoking - Mixed media Mixed technique on canvas board. Work measures 55x46 cm. Frame measures 59x50. Jordi Curós V...

3-D sculpted multiple (to be hung on the wall) by British Pop Art pioneer Richard Smith: Richard Smith D from Logo Suite (Magenta), 1971 Silkscreen on 3-D Molded Plastic Over Wood P...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

This work adheres to the canons of most of Masi's paintings, namely the use of cardboard as it moves the artist away from the confines of two-dimensionality, providing an ideal basis...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This is a rare example of Pettibone's iconic Appropriation Print, as it's silkscreened and sculpted on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster...

Richard Smith Seven from Logo Suite (Pink Blue), 1971 Silkscreen on 3-D Molded Plastic Over Wood Pencil signed, dated and numbered 65 from the edition of 75 on the front 23 1/2 × 19 ...

A freestanding 3-dimensional work that wonderfully captures both the spirit and draftsmanship of this great American artist. I have included a pic of an identical sculpture in this s...

Circus Paper, mixed media, 27,5x39,5 cm ''Circus'' is a delightful and cheerful composition that celebrates the enchanting world of the circus, inviting viewers to immerse themselves in the captivating and joyous experience that only a circus can provide. The artist has skillfully combined various materials and techniques to bring the circus-themed artwork to life. The use of mixed media allows for a dynamic and multi-dimensional visual experience, where different textures and colors blend harmoniously to create an engaging spectacle. Aleksandra Belcova...

Geometric Table is an original design furniture realized by Mario Ceroli in 1970. A unique design table realized in iron and glass with inside the artwork "Squadra e curvilinee". Pu...

Alan Shields Treasure Rute I, 1979 Relief, stamping, linocut, collage on handmade paper Titled, numbered, signed, and dated Treasure Rute I 1/11 Alan Shields 1979 on the bottom front...

Johnny Banks (1912-1988) San Antonio Artist Size: 11 x 14 Frame: 17 x 20 Medium: mixed media Dated 1979 "The Lonely Wild" Biography Johnny Banks (1912-1988) In my opinion one of the greatest Texas folk artists of all time. The following information was compiled and submitted by Stephanie Reeves: John Willard Banks, San Antonio, Texas, African American Folk...

Christo and Jeanne-Claude, Ugo Mulas Wrapped Monument to Vittorio Emanuele II (Hand Signed by Christo) Gelatin silver print on thin board Hand signed and annotated H.C. (Hors Commer...

Tamsin Pender (b.1965) Tamsin Pender is a contemporary printmaker living and working in London. The daughter of Cornish artist Jack Pender (1918-1998),...

Original Mixed Media on Paper Dimensions 14.25″ x 11.25″ unframed. Approximately 28.25″ x 25.25″ Framed Dated 1971.

Ron Gorchov Untitled, inscribed to Robert Vogele, 1978 Watercolor and etching on paper with 2 deckled edges. Hand signed in pencil and inscribed on lower front. Inscription reads as ...

Original mixed-media on paper Dimensions 6″ x 7″ unframed 20.5″ x 21.5″ framed. This is a study for a work entitled “Les Baigneuses” dated 1971 and is included in LeRoy Neiman’s cat...

Robert Indiana Star of Hope, 1972 Enamel on Metal with Artists Stamped Name. Date and Copyright Artist stamped name and copyright on lower right front Frame Included: held in a white...

Chantal Carbonatto Untitled, from the Album International 2 Portfolio, 1977 Batik on paper Signed and numbered 1/50 by the artist on the front 27 1/2 × 19 3/4 inches Unframed This is...

Marty Greenbaum (1934-2020) ''Brooklyn Local in Weege Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

Anne Youkeles' work blurs the line between painting and sculpture. Her works on paper, like this one, are made with several folded pieces of paper, cut, colored, and placed together ...

Mark di Suvero Sketch for van Abbemuseum, Eindhoven, 1972 Marker wash on paper Signed in graphite pencil by the artist on the lower right front Frame included: elegantly floated and ...

Marty Greenbaum (1934-2020) ''Brooklyn Local in Weege Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

This delicate sculpture from Nepal is intricately with decorated turquoise stones around the body, and two coral stones representing the eyes. The head, neck, and portions of the body of this animal also have small pieces of coiled bronze representative of fur. This creature appears to be a type of ram, with two elegant bronze horns...