1960s Mixed Media

The Sewn Seed Irene Rice Pereira, American (1902-1971) circa 1966 Watercolor and Acrylic on rice paper, signed in pencil, titled in sharpie 23.5 x 18.5 in. (59.69 x 46.99 cm)

Myril Adler Untitled c.1960s Intaglio etching collage, ink on paper 3.75"x2" site unframed Signed in ink lower right Myril Adler, was born on September 22...

May Wilson (1905–1986) was an American artist and figure in the 1960s New York City avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photo collages. Wilson was born in Baltimore, Maryland, into an underprivileged family. Her father died when she was young. She was reared by her Irish Catholic mother, who sewed piecework at home. Wilson left school after the ninth grade to become a stenographer/secretary to help support her family. When she turned 20, she married a young lawyer, William S. Wilson, Jr., and give birth to her first child. She continued to work until the birth of her second child, after which she devoted her energies primarily to mothering and homemaking. In 1942, the couple had prospered enough to move to Towson, Maryland, where she began to take correspondence courses in art and art history from several schools, including the University of Chicago. In 1948, after the marriage of their daughter, the couple moved to a gentleman's farm north of Towson, where she pursued painting and gave private art lessons to neighbors. She exhibited her paintings, scenes of everyday life painted in a flat, purposefully primitive manner in local galleries and restaurants. In 1952 and 1958, she won awards for work submitted to juried exhibitions at the Baltimore Museum of Art. In 1956, her son, the writer Williams S. Wilson, gave to Ray Johnson, the founder of the New York Correspondence School, his mother's address. This began a friendship and artistic collaboration between Johnson and Wilson, which would last the remainder of her life. Wilson became an integral part of Johnson's mail art circle and was initiated into the New York avant-garde through letters and small works that she exchanged with Robert Watts, George Brecht, Ad Reinhardt, Leonard Cohen, Arman, and many others. When her marriage dissolved, she moved to New York City in the spring of 1966, aged 61, taking up residence first in the Chelsea Hotel and then in a studio next door, where she threw legendary soirées and became known as the "Grandma Moses of the Underground". By the time she arrived, Wilson was already working with photomontage collage techniques. Encouraged by Johnson, who had sent her magazines through the mail, she scissored patterns into images of pin-up girls and muscle men until they resembled doilies or snowflakes, as Wilson called them. She decorated her hotel room and later her studio on West 23rd Street with these and other manipulated, found object images. Around this time, she also began her series of neo Dada "Ridiculous Portraits", for which she would ride the subway to Times Square, where she made exaggerated faces in photo booths. She then would cut and paste her photo-booth face onto postcards, along with Old Master reproductions, fashion shoots, and softcore Playboy magazine pornography. Long before artists such as Cindy Sherman and Yasumasa Morimura embarked on similar critical projects, Wilson's "Ridiculous Portraits" sent up the ubiquitous sexism and ageism that exists in popular and fine-art images of women. At the age of 70, she converted a nude photograph of herself into a stamp that she pasted on envelopes. Her collages and humorous self-portraits were made as gifts and mail-art items for her friends and were not widely known until after her death. Her work was contemporaneous with the Arte Povera artists Jannis Kounellis and ‎Michelangelo Pistoletto. She was also an innovator of junk art assemblages that incorporated real objects, such as high-heel shoes, bed sheets, sauce pans, toasters, liquor bottles, ice trays, and wrapped baby dolls. Her sculptures were inspired by Surrealist and Dada practices and are similar in spirit to Yayoi Kusama's contemporary accumulations. Wilson was the subject of a 1969 experimental documentary by Amalie R. Rothschild, "Woo Hoo? May Wilson". Since her death, May Wilson's work has been featured in numerous exhibitions and retrospectives at the Baltimore Museum of Art, Maryland; Gracie Mansion Gallery, New York; the Morris Museum, Morristown, N.J.; the Pavel Zoubok Gallery, New York City; and The University of the Arts, Philadelphia. Selected Exhibitions 2010 "Seductive Subversion: Women Pop Artists, 1958-1968", University of the Arts, Philadelphia (traveling exhibition) 2008 "1968/2008: The Culture of Collage", Pavel Zoubok Gallery, New York, City 2008 "Ridiculous Portrait: The Art of May Wilson", Morris Museum, Morristown, New Jersey 2008 "Woo Who? May Wilson", Pavel Zoubok Gallery, New York City 1995 [Retrospective], The Baltimore Museum of Art, Maryland 2001 "May Wilson: Ridiculous Portraits and Snowflakes", Gracie Mansion Gallery, New York, City 2001 "Inside Out: Outside In-The Correspondence of Ray Johnson and May Wilson", Sonoma Museum of Visual Art, California 1991 "May Wilson: The New York Years", Gracie Mansion Gallery, New York City 1973 "Sneakers", Kornblee Gallery, New York City 1973 "Small Works: Selections from the Richard Brown Baker Collection of Contemporary Art", RISD Museum, Providence, Rhode Island 1971 Corcoran Gallery of Art, Washington, D.C. 1970 "Sculpture Annual 1970", Whitney Museum of American Art, New York City 1965 The Baltimore Museum of Art, Baltimore, Maryland 1962 The Johns Hopkins University, Baltimore, Maryland 1957 Bookshop Gallery, Baltimore, Maryland Public collections Whitney Museum of American Art (New York City) The Baltimore Museum of Art (Baltimore, Maryland) Brooklyn Museum (Brooklyn, New York) References William S. Wilson, "May Wilson: Constructing Woman (1905-1986)", in Ann Aptaker, ed., Ridiculous Portrait: The Art of May Wilson, ed. Ann Aptaker, Morristown, N.J.: Morris Museum, Camhi, Leslie, "Late Bloomer", Village Voice, December 18, 2001 Giles, Gretchen, "Cosmic Litterers: Artists Ray Johnson and May Wilson: Taking the Cake", "Northern California Bohemian," June 14–20, 2001 McCarthy, Gerard, "May Wilson: Homespun Rebel", Art in America, vol. 96, no. 8, September 2008, pp. 142–47 Sachs, Sid and Kalliopi Minioudaki, Seductive Subversion: Women Pop Artists, 1958-1968. Philadelphia: The University of the Arts, 2010, ISBN 978-0789210654 Wilson, William S. Art is a Jealous Lover: May Wilson: 1905-1986, andy warhol...

Rem Raymond Coninckx was born on 28th March in Couvin (Belgium) 1904 and died in Dinan 1974. He was a painter, draftsman, engraver and also created metallic panels and mosaics. Cont...

Mirror Arche #1 by Mithé Espelt (1923-2020) is a rare and poetic example of the French ceramicist’s mastery of form, texture, and quiet symbolism. Crafted in the mid-1960s in her ate...

1963 Mixed Media by Mateo Manaure (Venezuelan, 1926-2018) Frame: 12.25" X 15.25" Image: 11" X 13.75" Hand signed Thought provoking abstract, mixed media modern graphic art Not sure of the exact technique but it seems photo based. Mateo Manaure (11926 – 2018) was a Venezuelan modern artist. In Venezuela he is considered a master of modernist abstractionism, and is known for his works in the University City of Caracas and for creating the largest glass murals in the world. Mateo Manaure was born on 18 October 1926 in Uracoa, in Monagas state. Between 1941 and 1946 he studied at the Escuela de Artes Plásticas y Artes Aplicadas under the instruction of Antonio Edmundo Monsanto. Here, he studied graphic arts in the workshop of Pedro Ángel González, to whom he was an assistant. He also began participating in the artist salon of the Museo Bellas Artes in Caracas. In 1947 he won the inaugural National Prize for Plastic Arts and traveled to Paris. He made a trip back to Caracas the next year to work with the Taller Libre de Arte, before returning to Paris in 1950 and being involved with the artistic movement of Los disidentes. (The Dissidents), a coalition of Venezuelan artists (active from 1945-50) that also included -Jesús Rafael Soto, Narciso Debourg, Alejandro Otero, Pascual Navarro, Rubén Núñez, Nena Palacios, J.M. Guillermos Péres, Alirio Oramas, Luis Guevara Moreno, Aime Battistini, Armando Barrios, Omar Carreño (refer to lot 222), and Carlos Gonzáles Bogen. Through their journal of the same name and their accompanying radical manifesto No (1950), Los Disidentes championed a progressive vision, that eschewed the conservative academicism embodied by the Escuela de Artes Plásticas and the Escuela Paisajista in Caracas, and in its place advocated for experimentation and geometric abstraction. Upon his return to Caracas in 1952, Manaure set out in earnest to put these ideas into practice and found an immediate affinity with the modernist project unfolding so indicative of that era's unprecedented growth and development. The latter was most evident in the architectural and public art works designed by the legendary modernist architect Carlos Raúl Villanueva, whose Cuidad Universitaria, the main campus of the Central University of Venezuela, is considered a landmark of city planning and architecture. Villanueva commissioned Manaure to execute several murals, painted wood reliefs, and stained glass windows for Ciudad Universitaria all reflective of the young artist's newly adapted aesthetic. By 1956, the year both of these works were painted, Manaure was a leading figure of the abstractionist movement, exhibiting abroad at the Venice Biennial and locally at the Museo de Bellas Artes. His geometric abstraction painting infuse his compositions with a kinetic power and lyrical sensibility. Manaure's desire to evoke a sense of the local or regional amid the universal. He returned to Caracas in 1952 to found the Galería Cuatro Muros with Carlos González Bogan, and gave the first exhibition of abstract art in Venezuela. He also began collaborating with architect Carlos Raúl Villanueva, first on the University City of Caracas, to which he contributed 26 works of art and was "promoted" to art supervisor of the campus, and then to other public spaces like the redesign of the neighborhood of 23 de Enero. For the next several years, Manaure continued to develop within abstract art, which made up the Venezuelan artistic avant-garde of that time. He later returned to more traditional graphic art forms, especially lithograph prints, though still did some work in abstract expression. He is a Venezuelan Latin American art Master along with Gego, Lia Bermudez, Alejandro Colina, Narciso Debourg, Alejandro Otero, Gerd Leufert, Armando Reverón, Braulio Salazar, Jesús Rafael Soto and Martín Tovar y Tovar. His work was included in the MoMA show Sur moderno, Journeys of Abstraction— Patricia Phelps de Cisneros. It included artists: Israeli, Yaacov Agam, Brazilian, Lina Bo Bardi, Hércules...

Discover the striking beauty of “Metamorphosis,” an original abstract painting by celebrated mid-century artist Pawel Kontny (also known as Paul Kontny). Created in the late 1960s to...

Helen Pond and Herbert Senn Great Scot! Set Maquette, 1963 Mixed media (Paper, wood, ink, paint) Overall dimensions (including base): 9 1/2 x 17 3/4 x 4 in. Signed on base: Helen Pond, Herbert Senn Helen Pond and her collaborator-husband Herbert Senn worked together on dozens of set designs. This particular piece was created as a preliminary design for Nancy Leeds' Great Scot! Play of 1965, which focused on Robert Burns' love life. Pond and Senn were known internationally for their acclaimed set designs for Broadway shows, opera and ballet companies and for the 400 sets the couple designed at The Cape Playhouse in Dennis for 38 seasons. The pair designed Broadway sets for “What Makes Sammy Run?,” “Roar Like a Dove,” “Oh, Coward,” and the 1982 revival of “Showboat,” and sets for “The Boys from Syracuse,” both for Off-Broadway and the Drury Lane production in London. In addition to the Boston Ballet...

Frost Flowers is an original circa 1965 mixed media drawing by celebrated Denver-based artist Edward Marecak. Executed in pastel and ink on paper, thi...

Untitled (Seascape at night) Tissue paper collage on Fabriano wove paper, 1964 Signed in ink lower left Annotated 42 in pencil on verso Condition: Excellent Image/Sheet size: 10 x 13 7/8 inches Part of a suite of collages created during the artist's sabatical leave from teaching, spent in Florence, Italy, studying at the Accademia D'Arte Firenze in 1963-1964. Ray H. French: The Evolution of an Artistic Innovator Printmaker, painter, and sculptor Ray H. French was born in Terre Haute, Indiana on May 16, 1919. Terre Haute was a cultural wasteland before the opening of the Sheldon Swope Art Museum in 1942. Thus, with a father as a coal miner and carpenter, art remained a luxury for Ray. Nevertheless, local art teachers Mabel Mikel Williams and Nola E. Williams helped to foster his creativity and unshakable drive to create things of beauty. After high school, Ray attended the John Herron School of Art in Indianapolis. His studies there were interrupted by the outbreak of World War II, during which he developed surveillance photographs for the Army Air Force. After the war, Ray transferred to the University of Iowa on the G.I. Bill, where he received both his BFA and MFA degrees. The University of Iowa during the 1940s was a cultural mecca with many major art historians and artists. While in Iowa, Ray played an important role in this culture by becoming a founding member of the Iowa Print Group under Mauricio Lasansky. Following his graduation in 1948, Ray experienced firsthand the rapid rise in creative printmaking in America. By 1949, he had exhibited at The Brooklyn Museum, the Walker Art Center, and MOMA New York. Ray’s early style of printmaking is characterized by pure line engraving on copper plates, a technique suited perfectly to his study of the beauty of animals. This charming and whimsical subject ran counter to the concurrent trends of Lasansky’s horrors of war and Hayter’s non-objectivity, but was equally effective in capturing the public’s attention. Walruses was purchased by the Victoria and Albert Museum, exhibited at MOMA New York and received the Arthur D. Allen Memorial Purchase Prize for its “skillful and economic use of line.” Shortly thereafter, Ray’s treatment of animals developed further into larger format mixed intaglio prints utilizing hard ground, soft ground, etching, and engraving, as exemplified in The Swan. By the late 1950s, Ray’s style evolved into organic non-objectivity, in which he incorporated personal autobiographical vignettes and symbolism. His work during this time was further characterized by a departure from the traditional squared compositional format to his cutting and rounding of the plate to accentuate organic shapes. Ray’s 1959 Enchantment remains particularly illustrative of his use of etching and soft ground intaglio. Enchantment was successfully exhibited at the Brooklyn Museum of Art for the 12th National Print Exhibition of The American Federation of the Arts and received the Pennell Purchase Prize from the Library of Congress in 1960. In the 1960s, Ray also started to focus on blind embossing, which he had first experimented with at the University of Iowa. He was extremely prolific and successful with this medium, selling hundreds of prints in small editions of 10 through the Associated American Artist Gallery in New York. In 1966, Ray built upon his mastery of embossing and began developing a shadow box presentation called a graphic construction that combined color, blind embossing, and multi-layered cutouts to revel intaglio compositions. Noted curator William Lieberman purchased Ray’s masterpiece graphic construction, Moon Rays...

Titled "In G-d We Trust" signed dated and titled verso. there is also a gallery label. Mixed Media wall hanging in a pop art style. Background of pennies and then the foreground is l...

Bernard Buffet (1928-1999) - Still Life with a Glass Lithograph from 1968. Dimensions of work: 31 x 24 cm Publisher: André Sauret, Monte Carlo. Printed by: Fernand Mourlot, Paris...

Sign is a beautiful mixed media on cardboard panel, realized by the artist Esy Belluzzi. Signed in pencil on the back A charismatic abstract composition made of pure sign, action,...

Myril Adler "Flare" c.1960s Intaglio etching collage, ink on paper 4.75"x2.75" site unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vitebsk, Russia ...

Sitting Woman Irene Rice Pereira, American (1902-1971) circa 1966 Watercolor, acrylic, pencil and pastel on rice paper, signed in watercolor 24 x 18.75 in. (60.96 x 47.63 cm)

Matt acrylic-painted wood relief Éditions Denise René - no. X “Exceptionally also signed on the front on 4 VIII 73 in Gordes”. Presented at the exhibition “Vasarely - Le partage des ...

Diana Kurz Two Reds #4 Mixed media on paper 24 x 18 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England ...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 9.5 x 12.75 Frame Size: 17 x 20 Medium: Color Etching "A Drink" Biography Margaret Putnam (1913-1987) Margaret Putnam left...

The Dove of Light Irene Rice Pereira, American (1902-1971) circa 1966 Charcoal, Acrylic, and Pastel on rice paper, signed in pastel, titled in marker 39 x 24.75 in. (99.06 x 62.87 cm)

Amphitrite Irene Rice Pereira, American (1902-1971) 1967 Pastel, acrylic on rice paper mounted on paper, signed and dated in marker Size: 36.5 x 25 in. (92.71 x 63.5 cm)

Ragtime Piano Collage, 1969 Signed and dated '69 lower right Address stamp verso Provenance: Acquired from the artist Joseph M. Erdelac, friend and patron of the artist Stephen Longs...

Project for a Decorative Panel is a beautiful mixed media, original drawings in blue-colored, coupe-papier, applied on cardboard, realized in 1969 by the artist Esy A. Belluzzi, Hand...

Seascape at Sunset Collage with tissue paper and gold foil on Fabriano paper, 1964 Signed and dated in ink, lower right (see photo) Provenance: Estate of the artist Martha A. French...

Composizione, 1963 is an interesting original drawing (mixed media: pencil, pastel, China ink, watercolor) by the Informal Italian artist, Gaston...

Label from Obelisk Gallery verso. Henry C. Pearson (October 8, 1914 – December 3, 2006) was an American abstract and modernist painter. Pearson was born in Kinston, North Carolina, graduated from the University of North Carolina in 1938, and studied theatrical design at Yale University. He served in the U.S. Army Air Corps in the Second World War, designing maps for the Okinawa campaign, and then re-enlisted to serve in the US occupation of Japan, where he was influenced by Japanese art and theatre forms. Henry Pearson is perhaps best known for a mildly optical manner of painting, featuring a mutable labyrinth of undulating parallel lines, which somewhat inadvertently linked him to the Op Art movement of the 1960s. Although included in the Museum of Modern Art's landmark exhibition The Responsive Eye in 1965, his work displays an intuitive rhythm and poetic elegance that falls well outside of the calculated, often hard-edged quality normally associated with the Op group of artists. Pearson came late to the visual arts. His first career, in theatre design, was cut short by the Second World War. He entered the U.S. Army in 1942, and at war's end requested duty in occupied Japan, where a prolonged contact with Japanese culture nurtured a passion for painting. Upon his discharge from the army, in 1953, he enrolled in the Art Students League in New York City, where he studied with, among others, Reginald Marsh and Will Barnet. Inspired by Malevich, he turned to rectilinear abstraction, and employed it as the dominant means of expression in his painting between 1954 and 1961. As early as 1959, however, sensing an incipient decadence in his geometric canvases...

Image dimensions: 29 x 19 cm. Black composition is a beautiful original mixed media on canvas, realized by Mario Sinisca (Naples, 1929), an Italian post-war master that can not be l...

Image dimensions: 34 x 18 cm. Blue Horizon is a wonderful mixed media on canvas realized by Mario Sinisca (Naples, 1929), an Italian post-war master that can not be labeled in any a...

Artist: Josep Grau-Garriga Title: Untitled Washington Action Year: 1969 Medium: Mixed Media and Collage on Paper Size: 18 x 23.5 inches

Original mixed media pencil, charcoal and white lead by Nicola Simbari. Hand-titled in pencil on lower-left margin, and signed in pencil on the lower margin at the center. In good...

22X30 without frame, 29X36 with frame Peter (Gethin) Thomas is active/lives in District Of Columbia. Peter Thomas is known for abstract expressionist painting. He was Dean of the Corcoran School of Art in the 1970s and then became the head of the Graphics Department at the Federal Reserve, both in Washington, D.C. On that faculty were some outstanding artists and fine teachers. William Christenberry, Sam Gilliam, Ed McGowin, Robert Stackhouse, Brockie Stevenson, Peter G...

Important painting by the great Spanish artist Josep Guinovart. Signed and inscribed in the back with is a label from an exhibition at Fiamma Vigo's Galleria Numero, one of the most...

Elfi Schuselka (Austrian, b. 1940), Abstract Figural Composition, Mixed Media on Paper, mounted on board, circa 1965, apparently unsigned, unframed. 8.5" H x 11" W x 0.75" D. Provena...

Gouche and technic mixte on paper.signed in the text. Benjamin Vautier was born July 18, 1935 in Naples, Italy to a French family. He is the great-grandson of the Swiss painter Marc Louis Benjamin Vautier [fr] (1829-1898). He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp and the music of John Cage. In 1959, Vautier founded the journal Ben Dieu.[2] In 1960, he had his first one-man show, Rien et tout in Laboratoire 32. Ben joined George Maciunas...

Colored paper collage, c. 1960 Signed lower right. Provenance: Estate of the artist Distinguished Private Collection, Indianapolis, Indiana Sight dimension...

Artist: Josep Grau-Garriga, Spanish (1929 - 2011) Title: Nivea and Insects Year: circa 1966 Medium: Acrylic and Collage on Paper Size: 23.5 x 18 in. (59.69 x 45.72 cm)

Title Unreadable " _______ _______ No. 102" Mixed media Signed and dated lower right Manuscript notes on black paper backing Condition: Excellent Image size: 6 1/2 x 12 3/4 inches Bo...

Classic crewel embroidered Owl textile in original frame.

BYE BYE BIRDIE Original 1960 Broadway Musical Costume Drawing Tony Award Elvis Miles White (1915 – 2000) BYE BYE BIRDIE 11 x 8 inches Mixed Media on Paper Signed Lower Right Framed by Bark Affixed to the back are original gold lame fabric swatches. This drawing is available, along with two other original costume drawings from BIRDIE by Miles White, another of Conrad Birdie and one of Chita Rivera. Miles White, a leading Broadway and Hollywood costume designer for decades. created costumes for the original Broadway productions of OKLAHOMA CAROUSEL, BYE BYE BIRDIE and many others. In film he worked on "Around the World in 80 Days" and "The Greatest Show on Earth." He designed Ringling Bros and Barnum & Bailey Circus, and the Ice Capades for many years. Miles was a close friend for the last 20 years of his life. We live with one of his two Tony Awards and a dozen drawings. BYE BYE BIRDIE is a stage musical with music by Charles Strouse and lyrics by Lee Adams, based upon a book by Michael Stewart...

Artist: Josep Grau-Garriga, Spanish (1929 - 2011) Title: Forma Sobre Forma Year: 1968 Medium: Mixed Media and Collage on Paper, Signed Verso Size: 25.5 x 17.5 in. (64.77 x 44.45 cm)

This abstract artwork is one of a group of over 100 pieces personally selected by the artist, and gifted to a close personal friend in 1969. Please note that this painting was never ...

Untitled (Tuscan Landscape) Tissue paper collage on Fabriano support Signed and dated lower right in ink Provenance: Estate of the artist Martha A. French Trust Created while the art...

From the visual collaborative series between Bernie Taupin CBE and Terry O'Neill CBE, titled 'Two Sides of the 60s; Original Mixed Media on Canvas Hand Signed by Bernie Taupin au ve...

From the visual collaborative series between Bernie Taupin CBE and Terry O'Neill CBE, titled 'Two Sides of the 60s; Limited Edition of 199 Hand Signed by Bernie Taupin

Modern surrealist mixed media sculpture by Houston artist Bob Fowler. The work features a pair of metal fly and tree sculptures arranged within a white and r...

Artist: Josep Grau-Garriga Title: Motion Sickness Year: circa 1966 Medium: Mixed Media and Collage on Paper Size: 23 x 20 inches

Heavily ttextured, layered collaged painting. signed lower right and with a label from American Friends of th Tel Aviv Art Museum verso along with an original label. reminiscent of t...

Dark gray and blue-toned abstract expressionist painting by Louisiana artist William Lee Moreland (William L. Moreland). The piece is framed behind gl...

This abstract artwork is one of a group of over 100 pieces personally selected by the artist, and gifted to a close personal friend in 1969. Please note that this painting was never ...

Genre: Avant-Garde Subject: Abstract Medium: Mixed Media, Collage Surface: Paper Country: United States Dimensions: 14" x 19" Dimensions w/Frame: 19.25" x 25.5" About Nama: In his s...

This sculpture, in the form of a silver electroplated egg with a white porcelain holder, represents esteemed Swiss artist Herbert Distel's most iconic form. He created a 22-ton egg d...

From the visual collaborative series between Bernie Taupin CBE and Terry O'Neill CBE, titled 'Two Sides of the 60s; Deluxe Deckled Print Limited Edition of 50 Hand Signed by Bernie ...

From the visual collaborative series between Bernie Taupin CBE and Terry O'Neill CBE, titled 'Two Sides of the 60s; Limited Edition of 199 Hand Signed by Bernie Taupin

Abstract figurative tapestry of a woman carrying a harvest basket on her head by French outsider artist Cecile d’Apres Coraif. This work is a fantastic example of the collage fabric ...

Paper and Adhesive collage by Wayne Timm. Image measures 13 x 17 In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, Rauchenburg and many others, in the ...

Gouache and paper, mixed media, Signed in the middle center. Armand Avril, né à Lyon en 1926, est un peintre vivant à Cotignac dans le Var. Il est surtout connu pour les assemblages qu'il a réalisés à partir de 1968. D'origine modeste, cependant très tôt intéressé par l'art et les musées où le poussait son père, il s'essaie d'abord à la peinture. Cependant, Avril ne commence à trouver son véritable style qu'à l'âge de quarante-deux ans. Enfant, il est un habitué des musées de Lyon qu’il fréquente sur les conseils de son père. Adulte, sa passion pour la collection l’incite à se nourrir des arts premiers et d’artistes comme Gaston Chaissac...

Karl Zerbe (1903-1972) A mixed-media Painting collage of mod neon colored leaves on canvas with parchment backing. Hand signed "Zerbe" bottom left and dated bottom right 1965-65. Dimensions: Collage: 36 in tall x 24 in wide. Frame: 40 in tall x 28 in wide. Karl Zerbe (1903 – 1972) was a German-born American realist painter and educator. Karl Zerbe was born on September 16, 1903 in Berlin, Germany. The family lived in Paris, France from 1904–1914, where his father was an executive in an electrical supply concern. In 1914 they moved to Frankfurt, Germany where they lived until 1920. Karl Zerbe studied chemistry in 1920 at the Technische Hochschule in Friedberg, Germany. From 1921 until 1923 he lived in Munich, where he studied painting at the Debschitz School, mainly under Josef Eberz. From 1924 until 1926 Karl Zerbe worked and traveled in Italy on a fellowship from the City of Munich. In 1932 his oil painting titled, ‘’Herbstgarten’’ (autumnal garden), of 1929, was acquired by the National-Gallery, Berlin; in 1937, the painting was destroyed by the Nazis as "Degenerate art." Entartete Kunst was what they deemed all the Avant Garde, Modernism Movements. In the visual arts, sucf innovations as Expressionism, Fauvism, Cubism, Dada, Bauhaus, Post Impressionism were disdained. Artists such as Käthe Kollwitz, Otto Dix, George Grosz, Max Beckmann, Max Ernst, Oskar Kokoschka, El Lissitzky, Franz and Marc Chagall were among those who despite having made significant contributions to the German modernist movement were banned even if they were not necessarily Jewish. From 1937 until 1955, Karl Zerbe was the head of the Department of Painting, School of the Museum of Fine Arts, Boston. In 1939 Karl Zerbe became a U.S. citizen and the same year for the first time he used encaustic. He joined the faculty in the Department of Art and Art History at Florida State University in 1955, where he taught until his death. He was grouped together with the Boston artists Kahlil Gibran (bronze sculpture), Jack Levine and Hyman Bloom as a key member of the Boston Expressionist school of painting, and through his teaching influenced a generation of painters,[including, among others, David Aronson, Bernard Chaet, Reed Kay, Arthur Polonsky, Jack Kramer, Barbara Swan, Andrew Kooistra, and Lois Tarlow. Select solo exhibitions 1922: Gurlitt Gallery, Berlin, Germany 1926: Georg Caspari Gallery, Munich, Germany; Kunsthalle, Bremen, Germany; Osthaus Museum, Hagen, Germany 1934: Germanic Museum (now Busch-Reisinger Museum), Harvard University, Cambridge, Massachusetts 1934, 1935, 1936, 1937: Marie Sterner Galleries, New York City 1936, 1938, 1939, 1940: Grace Horne Galleries, Boston, Massachusetts 1941: Vose Galleries, Boston; Buchholz Gallery, New York City 1943: Mount Holyoke College, South Hadley, Massachusetts 1943, 1946, 1948, 1951, 1952: The Downtown Gallery, New York City 1943, 1947: Berkshire Museum, Pittsfield, Massachusetts 1945, 1946: Art Institute of Chicago, Illinois 1946: Detroit Institute of Arts, Detroit, Michigan 1948, 1949: Philadelphia Art Alliance, Pennsylvania 1948, 1955: Boris Mirski Gallery, Boston, Massachusetts 1950: Munson-Williams-Proctor Arts Institute, Utica, New York 1951-1952: Retrospective Exhibition circulated by the Institute of Contemporary Art, Boston, traveled to: Baltimore Museum of Art; Colorado Springs Fine Arts Center; Currier Gallery of Art, Manchester, New Hampshire; Florida Gulf Coast Art...

Dance Paper, mixed media, 21x26.5 cm The focal point of the artwork is a representation of dance, capturing the movement, rhythm, and expression of the art form through the use of ...

woven wool

La grande incognita (The great unknown) Collage elements with paint, paint and paper foil, 1964 1964 Created while the artist was studying at the Accademia d'Arte, Florence Signed an...

This dynamic mixed media construction was realized by the esteemed American artist Ladislas Segy (1904-1988)- whose work is represented in the collection of the Brooklyn Museum of Ar...