Earl Mayan

"The Final Judgment" Story Illustration, Saturday Evening Post

1960

Signed and Dated "Hannes Bok 1960" Lower Left

The original cover for The Saturday Evening Post, In The Dentist’s Chair, published on October 19, 1957, embodies Ard’s characteristic wit and attention to detail. The young man, still wearing a toy pistol in a holster, seems to have been torn from playing a cowboy with his friends. Having just completed his x-rays, which hang on the wall behind him, the boy awaits the arrival of the dentist to determine his fate. Interestingly, the Post editors empathize with the dentist rather than the patient. The Post describes: “Dentists are to be pitied. How would you like to be greeted by horrified faces like this from morn till night throughout your professional career? Dentists are kindly, humane souls who love their fellowmen, minister constructively to their grinders, and seldom hurt the faint-hearts much while doing it–yet their only reward, besides a fee, is those eternal faces, staring, staring upward as if at an ogre. Next time you go to a D.D.S., smile at him; and if he doesn’t faint, maybe he’ll pull a couple of your teeth for nothing. Kurt Ard...

Cover of The Saturday Evening Post, April 23, 1960. The Post described, "'Here's the pitch, Snider connects! It's a pop foul heading in the direction of the third-base stands. Mathe...

Signed Lower Right by Artist The Saturday Evening Post Cover, September 23, 1944 A proponent of simplicity as a virtue, Stevan Dohan...

The Evangelist Mathew after a Russian Icon. School of Moscow, 15th century. Egg tempera, gold leaf, and gesso, over a wooden board. Dimensions: (H) 52 x (W) 36 x (D) 3 cm. Saint Matthew, the Evangelist, is represented at his own desk, a true artisan laboratory. THE THECHNIQUE This is how the artist sums up the technique used by him to create the icon: “The aim of these steps is to create a durable painting. The icon is eternal. The first step is to choose a support, traditionally made of wood, from the center of the trunk to avoid warping it. For this purpose, two hardwood bolts were often used on the back to give the picture panel additional stability. Often a frame is milled out. Then the image carrier is sanded smooth and now 12 or 14 thin layers of gesso are applied and sanded smooth as well. Then the preliminary drawing is applied and the drawing board is prepared with a special preparation called bolus. This bolus can be polished to a high gloss. Afterwards, the gold leaf is "shot" with special brushes. It dries up within a few hours and can now be polished with an agate. Gold leaf is real 24 carat gold . Now does the actual process of painting begin. Egg tempera is made fresh from egg yolk, water and a little vinegar. This is used to prepare the color pigments. Tempera painting is done in numerous layers from dark to light. When the icon is finished, it is left to dry for a few months and varnished with a special varnish called Olifa made from boiled linseed oil and other ingredients”. ABOUT THE ARTIST Oliver Samsinger...

Quattro Quadro Uno (QQ1) 18.0 x 18.0 x 1.5, 5.0 lbs Tempera, Vinyl Paint, wood Hand signed by artist Artist's Commentary: "From the OPPOSTO series - color, form and their opposites. 'I had to return to the basics of the visual and sculptural languages and to remove all narrative and historical references in my pursuit of pure form in sculpture.' Two colors of a tempera glaze over a wood construction and Black and White hand cut vinyl appliqué." About the Artist: The early work of de Musée...

Sacred Abstraction, Royal blue, red and gold leaf on carved wood pane, signed on the back. Krzysztof (Chris) Sokolovski born in 1985 in Eisiskes in Lithuania. Visual artist creating neosacral art: paintings, luminous objects, installations, and monumental painting. He is a creator of the concept of neosacral art. Since 2003 he lives and creates in Poland. He graduated from Gdansk University of Technology (Faculty of Power Engineering) and the Academy of Fine Arts in Warsaw (Faculty of Painting). Also, the artist took a course in clinical anatomy at the Medical University of Gdansk. Sokolovski has created neosacral chapels in Klebark Wielki (Poland) and in Salesian Sisters Convent in Jerusalem. Concept: Sokolowski wants to create modern sacral art founded on visual tradition and theologies of many cultures. “I think that abstract codification of faith is the prospective and only way to save serious attitude to contemporary human’s spirituality. It is fundamental for responsible usage of developing knowledge about the empirical world and for forming sensibility, which should be adequate to it. In my opinion, the progress of civilization cannot be holistic if it is mostly based on scientific and technological development – metaphysical sensitivity is necessary too. Empirical knowledge is confinement if we use it only for improving conveniences and gaining more knowledge. It is not enough for the evolution of mind, which should advance along with changes in our environment.” Individual Exhibition 2018 – “Neosacral Art”, Saris Museum, Bardejov, Slovakia 2018 – “Neosacral Art”, the John Paul II Catholic University of Lublin, Lublin, Poland 2018 – “Neosacral Art”, Gallery “Camaldolese Cellar”, Church in Bielany Forest, Warsaw, Poland 2018 – “Neosacral Art”, Museum of Mińsk Mazowiecki, Mińsk Mazowiecki, Poland 2017 – “Neosacral Art”, Zielona 13 Gallery, Łódź, Poland 2017 – “Neosacral Art”, the University of Warsaw Gallery, Warsaw, Poland 2017 – “Neosacral Art”, Bohema Gallery, Warsaw, Poland 2016 – “Neosacral Art”, Philosophy of Religion Department, University of Warsaw, Poland 2016 – “Neosacral Art”, Gallery of Association “Polish Community”, Warsaw, Poland 2016 – “Neosacral Art”, Exhibition-Conferential Centre, Białystok, Poland Selected group exhibition 2017 – “Deification of Body”, Sheptytsky National Museum in Lviv, Ukraine 2017 – “Sokolovski / Wąsowski / Jędrzejko / Mazuś”, Bohema Gallery, Warsaw, Poland 2016 – “1st Pomeranian Biennial of Young Art”, Sopot, Poland 2016 – “Shape of Spirit”, Gallery of Mathematics and Computer Science Department, Nicolaus Copernicus University in Toruń, Poland 2016 – “Diverted Reality”, Evelyn E. Jorgenson Gallery, Moberly, Missouri, USA 2016 – “Exhibition of Sacred Art”, Gallery of Saint Sophia...

Minimal abstract style mixed media work by contemporary artist Toby Topek. The work is signed, titled, and dated on the back. It is framed in a white frame with a white matte. Dimensions Without Frame: H 8 in x W 10 in. Artist Biography: Born in Brooklyn, New York, Topek grew up in Houston. She has studied archaeology, art, architecture, the environment, culture and history in Mexico, the Mediterranean, North Africa, Near East, Adriatic, Brazil and Canada. She lived and worked in Greece and Turkey part–time, 1984– 1988. Her work has been exhibited at the Whitney Bank Museum Branch–Houston, Contemporary Arts Museum Houston, Fort Worth Modern Art Museum, Art Museum of South Texas, Corpus Christi, Galveston Art Center, the International Sculpture Conference Houston, College of the Mainland, Lawndale Art Center, Diverseworks, Women and Their Work-Austin, Transco Gallery and Project Row Houses. In 2000, she completed eleven 10 foot marble mosaic medallion...