Art by Medium: Rag Paper

The Sun is Longing for the Sea, 1978, by Japanese artist Hiroshi Yamazaki is a photograph from a limited edition portfolio of masters of Japanese photography. The photograph is signe...

For a 24 x 18in abstract painting on paper Coral Reef, a. muse uses acrylic, oil pastel, gouache, sand, and diamond dust to render colorful biomorphic forms from the sea. Warm and co...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Gingko Leaf Explosion + Year: 2024 + Edition Size: 100 + Stamped and Certificate of Authenticity provid...

These are the foggy woods in the hills of Oakland, across the bay from San Francisco. Shortly after sunrise. The paths are crowded with towering eucalyptus, bay laurel and madrone tr...

Beautifully framed - ready to hang Peter Max Land of the Free, Home of the Brave, 2005 Acrylic and collage on heavy art paper Hand signed in acrylic paint on the front, the back bears the artist's copyright and unique catalogue/inventory # This work is elegantly framed with a raised float - a gorgeous aesthetic touch in a handmade white wood museum frame under UV plexiglass. Land of Free, Home of the Brave, is an original signed painting, an acrylic and collage on heavy art paper, that was part of a series the artist did in response to the 9/11 terrorist attacks in New York City, with each variation in the series unique. It is hand signed in acrylic paint on the front and bears the artist copyright and stamp and the Peter Max unique inventory/catalogue on the back. Measurements: Framed 28 inches vertical by 22 inches horizontal by 2 inches Painting 24 inches vertical by 18 inches No artist of our time has reached such a vast global audience and influenced so many others who paint and draw than the legendary Peter Max. On a level comparable to Andy Warhol, but appealing to a broader base of art lovers, Max is the celebrity painter par excellence, an inescapable presence on the cultural consciousness since he burst on the scene in the 1960s. His art is in the collections of more than a hundred museums, many of which have given him solo exhibitions, as well as United States embassies, corporate headquarters and prominent private collections. Max was the first rock-star-scale artist. Even when he was only in his twenties, he was featured on the cover of Life magazine and appeared on late-night talk shows. Now revered as an “Old Master” of Neo-Expressionism, Max’s legacy has gone way past his graphic design origins and inspired generations of artists, including many gathered under the Park West umbrella. An instant media sensation when he made his debut in the 1960s as the go-to artist for the leading rock bands in the heyday of the Woodstock era, Max’s career became ever more public over the decades. At the invitation of the White House, he has made the portraits of six sitting United States presidents and scores of world leaders. He was named the official artist for the Grammies as well as the United States 2006 Winter Olympics team, the World Cup, the U.S. Open tennis championships, the Super Bowl and several music festivals, high-profile events that carried his signature style literally to billions of viewers. Peter Max’s amazing life story, as captivating as his art, was shaped by world events from the start to this day. The literal journey around the world has all the drama of an epic movie. He was born in Berlin in the perilous year of 1937. The next year, his father Jacob recognized that the family could narrowly escape the Nazis by taking the long ocean voyage to join the extensive Jewish refugee community in Shanghai. He has vivid memories living in an old villa across the street from the bright red columns in front of a Buddhist temple where the bells and incense made an indelible impression on him. He watched in fascination as they practiced their calligraphy with giant, five-foot long brushes that made huge Chinese characters on pieces of paper they laid on the ground. The young Peter was given brightly colored crayons and paper to play with by his mother Salla, but when she left the room, he started to draw on her beautiful set of Louis Vuitton steamer trunks...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

Lord Fauntleroy Nash (Americana, Rusty, Classic Cruiser, Retro, Timeless) 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24 x 24 in...

Douglas M. Olsen (b. 1960). #38, After the Rains, 1980. Watercolor on rag paper, 22 x 22 inches. Signed lower margin and on verso.

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

Douglas M. Olsen (b. 1960). #135, 1982. Watercolor on rag paper, 22 x 30 inches. Signed lower margin and on verso.

"Night Blues" Female Nude, seen from the back, and a second view in the mirror. from another perspective. Part of "Nude in Interior" series, inspired by Matisse. Ultramarine tempera ...

Artist: Alec Cumming Title: To the Sound of the Temple Medium: oil on paper Size: 97 x 63 cm (38 x 25") Year: 2016 Alec Cumming Exhibited at Alec Cummin...

A single oak tree in a meadow with the grass aglow in early morning. These are the foggy woods in the hills of Oakland, across the bay from San Francisco. This is a photograph printe...

These are the foggy woods in the hills of Oakland, across the bay from San Francisco. Shortly after sunrise. The paths are crowded with towering eucalyptus, bay laurel and madrone tr...

The contemporary work on paper is both art and photography, highlighting color fields. 16 x 16in photography and oil pastels on Hahnemuhle paper Tell Me a Story II, 2025 by Roberta F...

These are two 18 x 24-inch hand-printed photographs of the fog in early morning light in the woods in northern California near San Francisco using the antique cyanotype process. Thei...

The contemporary work on paper is both art and photography, highlighting color fields. Tell Me A Story I, 2025 by Roberta Fineberg (RF) is 16 x 16in on Hahnemuhle paper, an original ...

Elizabeth Osborne (American/Philadelphia, b. 1936) "Red." Watercolor on paper. 1991/1992. Signed and dated l.r.. Sight: 9" x 12". Frame: 18 1/4" x 21 1/2". Provenance: Purchased from Jane Haslem Gallery in 1994. From the collection of Nancy Elizabeth Stanley. 1936, born Philadelphia, Pennsylvania 1959, BFA, University of Pennsylvania, Philadelphia, Pennsylvania 1954-58, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania SOLO EXHIBITIONS Berry Campbell, New York, Elizabeth Osborne: A Retrospective, 2022. Locks Gallery, Philadelphia, Pennsylvania, Reflections: Painting Memory, 2017. Locks Gallery, Philadelphia, Pennsylvania, Watercolors: Five Decades, 2017. The Delaware Art Museum, Wilmington, Delaware, Elizabeth Osborne: The 1960s, 2016. Luther W. Brady Art Gallery, George Washington University, Washington, D.C., Color Bloc: Paintings by Elizabeth Osborne, 2015. The James A. Michener Art Museum, Doylestown, Pennsylvania, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne, 2015. (Traveled to The Lancaster Museum of Art, Lancaster, Pennsylvania, 2016.) Locks Gallery, Philadelphia, Pennsylvania, Luminous Gestures: New Works by Elizabeth Osborne, 2013. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: Watercolors, 2011. Locks Gallery, Philadelphia, Pennsylvania, New Work, 2011. The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, Elizabeth Osborne: The Color of Light, 2009. Locks Gallery, Philadelphia, Pennsylvania, Figurative ‘60s, 2007. Locks Gallery, Philadelphia, Pennsylvania, Floating Landscapes: 1971-1979, 2006. J. Cacciola Galleries, New York, Works on Paper, 2006. The Print Center, Philadelphia, Pennsylvania, Recent Prints, 2005. Locks Gallery, Philadelphia, Pennsylvania, 2004. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: 30 Years, Works on Paper, 2002. Locks Gallery, Philadelphia, Pennsylvania, Vantage, 2000. Old Main Art Museum, Northern Arizona University, Flagstaff, Arizona, 1998. Locks Gallery, Philadelphia, Pennsylvania, 1997. Locks Gallery, Philadelphia, Pennsylvania, 1994. Jane Haslem Gallery, Washington, D.C., 1994. North Dakota Museum of Art, Grand Forks, North Dakota, 1993-94. Locks Gallery, Philadelphia, Pennsylvania, 1992. Arronson Gallery, The University of Arts, Philadelphia, Pennsylvania, Watercolors, 1991. University of the Arts, Philadelphia, Pennsylvania, 1990. Marian Locks Gallery, Philadelphia, Pennsylvania, 1988. Fischbach Gallery, New York, 1988. Fischbach Gallery, New York, 1984. Fischbach Gallery, New York, 1982. Fischbach Gallery, New York, 1980. Marian Locks Gallery, Philadelphia, Pennsylvania, 1978. Marian Locks Gallery, Philadelphia, Pennsylvania, 1976. Gimpel & Weitzenhoffer, Ltd., New York, 1977. Gimpel & Weitzenhoffer, Ltd., New York, 1974. Marian Locks Gallery, Philadelphia, Pennsylvania, Landscapes, 1972. Makler Gallery, Philadelphia, Pennsylvania, 1970. American Consulate, Sao Paulo, Brazil, 1969. Peale Galleries, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1963. GROUP EXHIBITIONS Avery Galleries, Bryn Mawr, Pennsylvania, The Women of the Pennsylvania Academy of the Fine Arts: Past to Present, 2024. Berry Campbell, New York, Perseverance, 2024. Locks Gallery, Philadelphia, Pennsylvania, From Dusk Till Dawn, 2015. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, “Something Clicked in Philly”: David Lynch and His Contemporaries, 2014. Locks Gallery, Philadelphia, Pennsylvania, It’s Not the Numbers, 2014. Locks Gallery, Philadelphia, Pennsylvania, Works on Paper, 2013. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, The Female Gaze: Women Artists Making Their World, 2013. Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, Pennsylvania, Four Visions/Four Painters: Murray Dessner...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

Artist: Pierre Marie Brisson (French, 1955-) Title: "Figure Sur Rouge (Figure on Red)" *Signed by Brisson lower right. It is also signed and dated on verso Year: 1983 Medium: Origina...

Modern Masters of Photography. Japan (1960-2003) is a limited edition portfolio of Japanese photography by 12 internationally renowned photographers....

"Pastel Constructivist Triangles" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful combination of geometric shapes in a classy gamut of colors. The use of p...

The pale gray-green of this monotype calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along th...

This is an exclusive handprinted limited edition cyanotype. "Calming Sea Ripples" is a handmade cyanotype print portraying the subtle movements and abstract ripples of the open sea. ...

"From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each ...

This piece titled "Flight Risk" is a limited edition photographic print by Andrew Pinkham and is made from archival pigment on cotton rag. This piece measures 20"h x 20"w unframed an...

This is an exclusive handprinted limited edition cyanotype. "Black Sea Rhythms" shows the peaceful, abstract, subtle ripples of ocean waters in movement. Details: + Title: Black Se...

Archival pigment ink print on Hahnemuhle cotton paper, edition 17 of 30. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, ...

Monoprint with screenprint, collage, acrylic, stitching and embossing in colors on handmade paper, 1994, signed, dated, titled, and numbered 10/40 (each unique) in black and silver i...

"Coyote Wreath" By Johanna Mueller is a unique and detailed piece which depicts a coyote, curled among iconography of the forest, structured in a Native American style flat ink style...

Postcard from Paradise II, St Tropez by a.muse is 24 x 18in abstract painting with multi-colored “dots,” expressive lines, and organic shapes that translate light, energy and joy of...

This is an exclusive handprinted limited edition cyanotype. "Greek Beach Bliss" is a cyanotype of a woman's feet in the fresh water of a sandy beach shore...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes...

"Lime and Black Line Work" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes tha...

These are the foggy woods in the hills of Oakland, across the bay from San Francisco. Shortly after sunrise. The paths are crowded with towering eucalyptus, bay laurel and madrone tr...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 1 of 5. Kristin Moore says o...

Giant oak reach across a shady path in the woods, soft morning light glowing in the distance. These are the woods in the hills of Oakland, across the bay from San Francisco. The phot...

Birch tree branches hang illuminated by t pale blue glow against a deep midnight sky. Neither woodcut nor screen print, this is a double-exposure cyanotype. That means different part...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 5 of 5. Kristin Moore says o...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: This series was captured on a local Texas ranch, where the land stretches wide and the longhorns...

The pale gray-green of this monotype calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along th...

In the artist's abstract print series, Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" x 11"...

Beneath the Sea, 2025 by a.muse is a 24 x 18in work on paper that combines acrylic, pastel, sand, and diamond dust. The artist uses texture adding to the luminous, organic landscape....

You have read about the extraordinary donut portraits by Candice CMC on social media world-wide and we are excited and proud to represent her work. "Alfred E. Donuts" by Candice CMC was actually featured in Mad Magazine...

Unframed pigment ink print on Museo Paper Image size: 36"H 30"W Paper size: 44"H x 35"W Edition: 50 Signed and numbered Dirk De Bruycker is originally from Belgium but spent ov...

Fernando Botero in his Studio, Paris, 1992 by Jean-Michel Voge is a 13" x 19" archival pigment print in an edition of 5, printed by the photographer on handmade Japanese Awagami pape...

Although this looks like a screen print or woodcut, it is actually a form of 19th-century photography, a cyanotype. This pale blue-gray is a very difficult color to achieve with the ...

This contemporary geometric abstract drawing has a beautiful, soft mottled texture created with Judge's unique powered pigment technique. Pop Flower 44B is a predominately light gold...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) is a 10 x 10-inch abstract painting on paper mounted on board. The artist works with natural earth,...

Contemporary, geometric abstract drawing created with Judge's unique powered pigment technique. Primavera Pop 32 is a mandala shape composed of careful lines and dots in an intricate...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº2 + Year: 2022 + Edition Size: 24 + Stamped and...

Artist: Alec Cumming Title: Forms Inside the Moment Medium: oil on paper Size: 69cm x 99cm (27” x 38”) Year: 2016 Alec Cumming Exhibited at Alec Cumming...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Marble Blue Silk Pattern + Year: 2022 + Edition Size: 50 + Medium: Cyanotype on Watercolor Paper + Sta...

Dessert Landscape, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

Although these look like screen prints or woodcuts, they are a form of 19th-century photography, cyanotypes. The normal color is dark blue. However, this unique celadon color that ca...

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

An artist's proof (a/p) of a spiral staircase in Rome by Roberta Fineberg (RF) that captures a cylindrical stairwell in the Eternal City. For a Cities series, RF travels often to Eur...

"Bottle Collection I" is a modern still-life that portrays a collection of bottles and china items that are arranged in a harmonious composition ag...