Board Mixed Media

Diana Kurz Small Green Pale, circa 1960-61 Collage and mixed media on board 12 1/2 x 10 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's fa...

Ben WIlson Lightness, ca. 1980 Oil on masonite board 21 × 25 × 3/10 inches Stamped by artist's estate, Hand signed by the artist on the front AND stamped by the artist's estate on the back Unframed Hand signed by the artist on the front and stamped by the artist's estate on the back. Acquired from the Estate of Ben Wilson. This poignant painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn...

Borderland I 2020 Encaustic wax on board 500 x 500 mm Signed Image 50cm x 50cm 2020

Pre-Johnsonian Equilibrium 2019 Encaustic wax, rust & oil colour on deep-fame board 600 x 600 mm

Double Rainbow Ryan Cronin Oil Paint on Board 48" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw, ...

I Heart Roller Skate Ryan Cronin Oil Paint on Board 40.5" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. T...

Everything I Ever Wanted Ryan Cronin Oil Paint on Board 48" x 72" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them....

Taste Sweet Revenge Ryan Cronin Oil Paint on Board 48" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The ...

A Tie as Wide as Ryan Cronin Oil Paint on Board 48" x 38" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw...

Love Can Fly Ryan Cronin Oil Paint on Board 48" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw, al...

When it Rains it Pours II Ryan Cronin Oil Paint on Board 30" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them...

Me, We, Us Ryan Cronin Oil Paint on Board 48" x 32" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw, almo...

The Elk Ryan Cronin Oil Paint on Board 34" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw, almost ...

Mohonk Tulips Ryan Cronin Oil Paint on Board 36" x 60" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw, a...

Diana Kurz June Watercolor and pastels on board 17 x 23 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to Engl...

Sky Box, 2019 Encaustic wax, rust & oil colour on deep-fame board 600 x 600 mm

Mixed media on board

John Peters 1927-2019 "Golden Statue" 2005 Collage on board 7"x9" Came from a portfolio of the artist's work

Sett , 2019 Perspex, encaustic wax & oil colour on deep-fame board 600 x 600 mm

Robot Butler Stole My Girl 2019 Collage, encaustic wax & oil colour on deep-fame board 600 x 600 mm

Collage, encaustic wax & oil colour on deep-fame board 600 x 600 mm

Acrylic on an impasto ground. With gold paint and atomized acrylic glazes. Colonists have a habit of naming their new homes after their old ones. If we have to leave this planet, wil...

Jute Nebula - 3D Abstract Expressionist Mixed Media on Cardboard Abstract in bold red, yellow and sky blue on a soft black background, by California-based artist Ricardo de Silva (B...

Encaustic wax, pigments & copper on deep-fame board

Three Horsemen And This Other Guy 2019 Encaustic wax & oil colour on deep-fame board 600 x 600 mm

Bill Shields "Micro Biomorphic Abstract Drawing " 1990's Pastel, pencil charcoal on illustration board Site measures 3"x3" silver wood frame 9.75"x10.75" Unsigned came from artist's ...

Dextra Dolores 2019 Metal, rust, plastic, encaustic wax & oil colour on deep-fame board 600 x 600 mm

Anniversary. 1997, pressed cardboard, acrylic, collage, 122x118 cm ALEKSANDRS DEMBO (1931. Paris – 1999. Riga) Born in 1931 in Paris, France, died in 1999 in Riga, Latvia. Professio...

An original mixed media painting and collage on board by American artist James Koenig. Created in 1970, this work is part of the Draw Near exhibition currently on view at Benjaman G...

Mary Scott Oscillation (III) Original Abstract Painting, Abstract, Affordable Contemporary Art Acrylic Paint, Pencil and Gold Leaf (Silver Finish) on Board ...

Signed lower right, 'DMc', for Douglas McCellan (American, 1921-2016) and painted circa 1975. Additionally signed, verso, titled, 'Still Life' and bearing old rental reference label....

Art history has always been a source of inspiration. Since 2010 she has been specifically interested in investigating Tibetan Tangkas. Visiting key collections nearby at the Newark Museum, the Metropolitan Museum and the Rubin Museum repeatedly studying their structure and content. Pat Lay has used computer data and computer parts...

Arman, French/American (1928-2005) 2003 mixed media paint on found metal in a cardboard cut out of a violin inscribed to interior signed lower right and signed to the interior 'Arman...

Acrylic on Cardboard on Wood Panel. Orange Mustard blue Born in Tallahasee Fl, William started his artistic career as a color consultant for his family's Design and Painting company that took on constant projects of custom painted interiors and decorating. This work of 20 yrs lead him to his fascination with textiles and paint, along with custom furniture. After creating and selling dozens of unique pieces of furniture, here began his transition from wall, to wood on furniture, to canvas. Painting on canvas was the culmination of his creative outlet. William feels that his lack of formal training in Fine Art has afforded him a freedom to paint what he envisions and feels, rather than conform to specific style or genre that he feels is limiting Inspired by hard edge abstraction and color field art such as Kenneth Noland, Joseph Albers, Gene Davis, Frank Stella, Anne Truitt, Imi knobel. William is showing his work locally and nationally and being collected in Palm Beach Island, Washington and New York. William is also represented with DTR Modern Galleries on Worth Ave Palm Beach, Fl and New York, and Gary...

Art history has always been a source of inspiration. Since 2010 she has been specifically interested in investigating Tibetan Tangkas. Visiting key collections nearby at the Newark Museum, the Metropolitan Museum and the Rubin Museum repeatedly studying their structure and content. Pat Lay has used computer data and computer parts...

Rudolf Baranik Lumen, 1975 Signed, titled, dated on the reverse Collage on board 36 1/2 x 42 inches Born in Lithuania, he immigrated to the United States in 1938, when his family sent him to live with a relative in Chicago. His parents were secular Jewish socialists and were killed by the Nazis during the Second World War. Baranik was well known in the art world for his political advocacy, and was one of the first artists to organize protests against the war in Vietnam. Some of his best known works are the Napalm Elegies, a series of 30 antiwar paintings created between 1967 and 1974. His art was inspired by his sense of the gross inequities around the world, and he led virtually every progressive political movement within the New York art world from the 1960s to the mid-1990s. Significant exhibitions and awards include:1981 Guggenheim Fellowship in Fine Arts, 1982 "Art Couples 1: May Stevens and Rudolf Baranik," P.S. 1, New York, NY, and 1966 Peace Tower. Baranik's art is included in many collections, including the Museum of Modern Art in New York, the Whitney Museum of American Art and the Hirshhorn Museum. Baranik died in Eldorado, New Mexico in 1998. The paintings of Rudolf Baranik are increasingly thought to be among the most important works of the New York School painting...

Patrick Hughes (British, b.1939) House Bricks Collage and oil on board Inscribed with title and dated ‘1966’ (on the reverse) 24 x 24 in. (61 x 61 cm.) Patrick Hughes is a British ...

Mixed Media house paint on cardboard

Colorful blue and orange abstract contemporary collage sculpture that incorporates collage, cardboard, wood, acrylic paint, and wood glue. The organic, amorphous form features spiked spires that resemble a rock formation. Artist Biography: The son of a Lutheran pastor and a psychotherapist, Brent...

Born in Manuel, Cuba in 1973, Juan Lazaro Gutierrez Mamblas is a painter who focuses his vision on the bicycle. His abstract works with forms floating on a virtually monochrome groun...

Golfam Jozdani Saint Minecraft III 2024 Mixed Media on Cardboard; Acrylic, Pencil, Colored Pencil Size: 9.44 x 14.17 inches (24 x 36 cm) Signed and date...

Born in Manuel, Cuba in 1973, Juan Lazaro Gutierrez Mamblas is a painter who focuses his vision on the bicycle. His abstract works with forms floating on a virtually monochrome groun...

Purvis Young (1943 - 2010) People Out, 1995 Mixed Media house paint and carpet on plastic & cardboard 17 x 41 in

10.5" x 15" encaustic and painted cardboard on panel, signed on the reverse by the artist. The letters, L-O-V-E are embedded in pigmented wax, with a heart shape for the "o" in this ...

Sophie Berger Hideaway Original Abstract Work Mixed Media on Board 
Image Size: 40 cm x 60 cm x 4 cm Hideaway is an original work by Sophie Berger. Sophie often sketches on the nort...

Maggie LaPorte Banks Taffeta and Amythest [2020] Original Abstract Acrylic and pigment on canvas art board Image size: H:40 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:3...

Work is double-sided, unframed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before moving toward painting in the 1980s, shaped by Minimalis...

Artist: Jim Jacobs, American (1945 - ) Title: Kansas Year: 1983 Medium: Oil on Aluminum Laid Board, signed and dated verso Size: 60 in. x 48 in. x 1 in. (152.4 cm x 121.92 cm x 2.54 cm)

Mary Scott Oscillation (I) Original Abstract Painting Acrylic Paint, Pencil and Gold Leaf (Silver Finish) on Board Board size: H 50 cm x W 40 cm x D 0.5cm F...

Born in Manuel, Cuba in 1973, Juan Lazaro Gutierrez Mamblas is a painter who focuses his vision on the bicycle. His abstract works with forms floating on a virtually monochrome groun...

David Hare Cronus Asleep in the Cave, 1991 Acrylic on paper on board 26 X 34 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

David Hare Cronus Waiting, 1990 Ink and Wash on Paper on Board 34 x 25 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

cardboard and string, Signed lower right original work framed 61 x 51 x 3 cm

Collage by Swiss artist Albert Chubac, signed and numbered 7/8, measuring 127cm x 87cm.

Collage by Swiss artist Albert Chubac, signed and numbered 1/8, measuring 127cm x 87cm.

Not That End Of Time 2019 Collage, encaustic wax & oil colour on deep-fame board 600 x 600 mm

Bill Shields "Micro Biomorphic Abstract Drawing II" 1990's Pastel, pencil charcoal on illustration board Site measures 3.5"x2.5" silver wood frame 10.5"x10.5" Unsigned came from arti...

Artist's proof numbered 2/4 measuring 127cm x 87cm.