1990s Mixed Media

Andy Warhol (After) Vintage Large Rosenthal Bowl (Blue Horse), ca. 1991 Large Silkscreen Glass bowl (authorized signature fired onto plate) Warhol's signature is printed on the plate...

Moonstruck 1994 3D porcelain ceramic plate. limited edition. Red Grooms (born Charles Rogers Grooms on June 7, 1937) is an American multimedia artist best known for his colorful pop-art constructions depicting frenetic scenes of modern urban life. Grooms was given the nickname "Red" by Dominic Falcone (of Provincetown's Sun Gallery) when he was starting out as a dishwasher at a restaurant in Provincetown and was studying with Hans Hofmann. Grooms was born in Nashville, Tennessee during the middle of the Great Depression. He studied at the Art Institute of Chicago, then at Nashville's Peabody College. In 1956, Grooms moved to New York City, to enroll at the New School for Social Research. A year later, Grooms attended a summer session at the Hans Hofmann School of Fine Arts in Provincetown, Massachusetts. There he met experimental animation pioneer Yvonne Andersen, with whom he collaborated on several short films. Grooms follows in the tradition of William Hogarth and Honoré Daumier, who were canny commentators on the human condition. In 1969, Peter Schjeldahl compared Grooms to Marcel Duchamp, because both embodied "a movement of one man that is open to everybody." In the spring of 1958, Grooms, Yvonne Andersen and Lester Johnson each painted twelve-foot by twelve-foot panels, which they erected with telephone poles on a parking lot adjacent an amusement park in Salisbury, MA. Inspired by artist-run spaces such as New York's Hansa Gallery and Phoenix, and Provincetown's Sun Gallery, Grooms and painter Jay Milder opened the City Gallery in Grooms' second-floor loft in the Flatiron District. When Phoenix refused to show Claes Oldenburg, Grooms and Milder dropped out of Phoenix and City Gallery presented Oldenberg's first New York exhibition, as well as that of Jim Dine. Other artists who showed at City Gallery include Stephen Durkee, Mimi Gross (daughter of Chaim Gross and Red grooms wife), Bob Thompson, Lester Johnson, and Alex Katz. Inspired by George Méliès's 1902 film A Trip to the Moon...

This unique Agam art work is a preparation for the famous Torah book cover Agam published in 1992. It comes from a private collection of the famous Israeli artist Yitzhak Frenkel Fre...

Nigel Hall Untitled Acrylic and Charcoal Painting on Canvas, 1997 Acrylic and charcoal painting on canvas Signed and titled by the artist on the front. Dated on the back. 36 × 30 inc...

Peter Halley Core, 1991 Limited Edition Silkscreen with lithography on Coventry Rag paper. Pencil signed and numbered 13/50 on the front Publisher: Edition Schellmann & Pace Editions...

Red Grooms Moonstruck (Homage to Cher), 1994 Porcelain 3D Plate Artist signature fired into plate on the front and back. Edition 1976/2500 10 3/4 inch diamet...

Untitled is an artwork realized by Mario Schifano in the 1990s. Mixed Media on Photograph. cm.10x15. Good conditions! Mario Schifano (Homs, September 20, 1934 - Rome, January...

Wajih Nahlé (1932-2017), born in Beirut, Lebanon,was a Lebanese Arab abstract painter and calligrapher. He studied painting in the workshop of the Lebane...

MORNING BREAKFAST is an original mixed media collage on board by Brooklyn artist Karl A. McIntosh. MORNING BREAKFAST is a somewhat amusing, colorful abstract portrait portraying a black family seated together having breakfast. McIntosh shows his inventive use of collage using cut bits of colored paper in shades of red, brown, blue, pink, black. Visible are magazine print clippings for facial details, dishes, lettering layered with wildly expressive yellow, blue, green and white painted accents that create an energetic and rambunctious breakfast table scene. The viewer can't help but continue gazing at the frenzied movement and visual chatter going on in MORNING BREAKFAST, a captivating and irresistible painted collage by Karl A. McIntosh. Framed size - 27.25 in. x 33.5 in. Image size - 221.25 in. x 27.5 in. Excellent condition, archival framing, beveled cherry wood colored frame with green and gold liner, hand signed by the artist "K.A.McIntosh" on upper left edge. About the artist: Karl A. McIntosh is a self taught artist who works is pastel, watercolor, acrylic, stone, wood and metal and is a known for his imaginative transformation of found objects into works of art. Born in Kingston, Jamaica, McIntosh moved to the United States at an early age and later took up art. Among his mentors are artist Otto Neals with whom he worked at the Bob Blackburn Printmaking Working Workshop and artist Marian Griffin. McIntosh is also a poet, drummer and dancer who draws his creative inspiration and expression from his study of African art and culture. McIntosh’s bold, bright colors dance off the page and tantalize the senses. His work is profound in its statement and deliciously whimsical. His work is an honest portrayal of everyday life and the people who live it but on occasion, takes on public figures and world events most often employing satire as thick as the layers of paint or paper he uses to depict them. McIntosh’s work has been exhibited at numerous venues across the country including Dorsey’s Art Gallery, The Skylight Gallery, MOCADA (The Museum of Contemporary Diasporan Art), 843 Studio Gallery, The National Black Fine Art...

Robert Rauschenberg Rare lifetime edition Untitled Limited Edition Porcelain Plate (Guggenheim Museum), 1997 Porcelain Plate (Limited Edition Exclusively for Guggenheim) 10 2/5 in di...

The Long Memory is an 18-color screenprint on paper by the artist Betye Saar The Long Memory 1998 Signed and numbered, recto 18-color screenprint on paper (Edition of 100) 14.5 x...

MICHAELE VOLLBRECHT – "PINUPS" ⚜ Mixed Media Collage ⚜ Signed Lower Left ⚜ Red Shadow Box Frame A SENSUAL, SATIRICAL COLLAGE FROM A FASHION WORLD INSIDER This seductive, layered mix...

Henry Rayburn Finale, 1995 Acrylic and mixed media collage on paper Signed in graphite pencil on the front Unique Frame included Provenance: Irving, Texas Corporate Collection de-acc...

Frank Stella Homage, 1997, 1997 Mixed media with paper collage Signed, dated and inscribed " "Homage" to Dieter Honisch and many many good wishes, cheers again and again Many Many th...

Parrot basket, Wounaan Tribe Darien Rainforest Panama, red, yellow, black, white

This large contemporary assemblage by Swedish artist Bo Sällström has a strong visual character. It is a assemblage with volume that has an intriguing thr...

Jackson Pollock Exclusive invitation with first day cover, 1999 Offset lithograph fold out invitation with postmarked first day cover Stamp with official postmark from the US Post Of...

Raymond Pettibon Up The Threshold 1992 (Raymond Pettibon zine): This visually enticing 1992 Raymond Pettibon artist book/zine includes 20+ evocative drawings. Pettibon’s subjects are...

Sandro Visca, born in L'Aquila in 1944, has lived for many years in Pescara where from 1968 to 2003 he has taught Painting Disciplines at the Academy Section of the "G. Misticoni "(and among his many students, we remember at least the explosive talent of Andrea Pazienza). He made his debut early in important exhibitions, and already in '62 he was selected for the National Design Biennial "Premio Recoaro Terme" together with artists such as Casorati, Capogrossi, Morandi and Guttuso. In 1963 he moved to Rome where he lived until 1967. Versatile and busy, he collaborated in those years with the important seasons of the Teatro Stabile dell'Aquila, realizing in 1969 the scenes of Alberto Burri for "The Adventure of a Poor Christian" by Ignazio Silone (directed by Valerio Zurlini). The meeting with Burri grows to friendship, human association no less than artistic. Together they will spend numerous hunting trips, among the Umbria of the master of Città di Castello and their arcane mountains of Abruzzo. In 1973 he was invited with a work of six meters, in the Italian section "The empty space of the Habitat" of the XV International Triennial of Milan. Passionate frequentist of his mountains, together for love of hiker and science of anthropologist, he realizes in '75 a very particular performance, which is gesture, ritual, manifest, and at the same time medium-length: "A red heart on the Gran Sasso...

Abstract mixed media painting blending bold and rich colors by American artist Kismine Varner, 1990. Signed and dated lower right. Original artwork on paper displayed on a white mat...

Raymond Pettibon Sonic Youth Record Cover Art: Sonic Youth Goo; original European 1st Pressing, 1990 The most iconic of all Pettibon music-related images, as well as one of the most celebrated record covers of all time, the cover is a off-set illustration of Pettibon's drawing inspired by a paparazzi photo of Maureen Hindley and her first husband, David Smith, witnesses in the case of the Moors murderers Ian Brady and Myra Hindley, driving to the trial in 1966. Off-set lithograph on double-sided vinyl record cover...

With Nine Pointed Stars, the most complex of the “Pointed Star” series executed in 1996, Lewitt employs his trademark systematic use of grids, geometric shapes, and precise mathemati...

Basket, Wounaan Tribe Panama Darien Rainforest, gold, black, red, white

Cheryl Warrick (American, b. 1956), "Both Sides" 1998, acrylic and mixed media painting on paper, Hand signed, titled and dated verso, matted and framed. Dimensions: 13 x 12.75 ...

Untitled Mixed media on paper mounted on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 8 5/8 x 10 1/4 inches Support Sheet size: 11 1/4 x 12 3/4 inches Provenance: Estate of the Artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Sunil Das - Bull & Horse - 9 x 8.5 inches (unframed size) Mixed Media on Thick Paper Free Shipping Without Frame Sunil Das (1939-2015) was a Master Modern Indian Artist from Bengal...

Nam June Paik Untitled, Plate Six from Novecento, 1992 Mixed Media: Color offset lithograph with unique chalk pastel drawing 13 3/10 × 18 inches Hand signed, Edition 104/130 Pencil numbered 104/130, hand signed in pastel chalk on the front Edizioni Carte Segrete, Rome, Italy Excellent condition; held in matting which can be easily removed The matting measures 18" x 21" This was part of a series of works produced for the Nam June Paik retrospective at the Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche. This is one of the editions which bears unique hand coloring with pastel chalk. A comparable work sold at auction in 2015 for US $12,583. (see details below): Nam June Paik Title Novecento Description Nam June PAI K Novecento 1930-1940, 1992 Pastel sur offset en couleurs, épreuve signée et numérotée 104/130 Edizioni Carte Segrete, Rome 23,5 x 39,5 cm EH Oeuvre réalisée a l'occasion de la rétrospective Paik au Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche, cinema e Media Verso il XXI Secolo Medium pastel Year of Work 1992 Size Height 9.3 in.; Width 15.6 in. / Height 23.5 cm.; Width 39.5 cm. Misc. Signed Sale of Millon & Associés: Monday, June 22, 2015 [Lot 00090] Design Sold For 11,057 EUR Hammer (12,583 USD) Nam June Paik Biography Nam June Paik was born in 1932 in Seoul. He received a BA in aesthetics from the University of Tokyo in 1956 where he also studied music and art history. After graduating, he studied for a year with composer Thrasybulus Georgiades Georgiades at the University of Munich and for two years with composer Woflgang Fortner at the International Music College in Freiburg. He attended the International Summer Courses for New Music in Darmstadt in 1957, when he met Karlheinz Stockhausen, and in 1958, when he met John Cage. Cage, and through him Marcel Duchamp, had a significant influence on Paik as he became a major force in the avant-garde through performances. In Hommage à John Cage (1959), Paik employed audiotape and performance to attack traditional musical instrumentation and compositional practices, splicing together piano playing, screaming, bits of classical music, and sound effects. Realizing that taped sound was not enough, he decided to move into performance, first by introducing performative actions into his audio works. In 1961 Paik performed Simple, Zen for Head and Étude Platonique No. 3, in which he became a volatile figure, thrashing about in unexpected patterns and sudden movements to his signature soundtracks. In 1962 Paik participated in the Fluxus International Festival of the New Music in Weisbaden. Paik's first exhibition, entitled Exposition of Music - Electronic Television, in 1963 at Galerie Parnass at Wuppertal, launched his transition from composer and performance artist to the inventor of a new art form: an engagement with the material site of television as an instrument. In the exhibition, thirteen televisions lay on their backs and sides with their reception altered; for example, Zen for TV (1963) reduced the television picture to a horizontal line and Kuba TV (1963) shrank and expanded the image on the television set according to the changing volume. In 1964 Paik traveled to the US. He quickly settled in New York and became a leading innovator among an emerging generation of artists seeking new modes of artistic expression and distribution. That same year, Paik collaborated with Shuya Abe to create Robot K-456 (1964), a remote controlled robot that played audiotaped speeches by John F. Kennedy and defecated beans in Paik's Robot Opera (1964). In the interactive work Magnet TV (1965), Paik invited viewers to modify the television's output into swerving abstract lines through the movement of a magnet over the TV. In 1967 Paik and frequent collaborator Charlotte Moorman were arrested when Moorman performed Paik's Opera Sextronique (1967), a striptease as she played the cello at the Filmmakers' Cinematheque in New York. Paik's TV Bra for Living Sculpture (1969), which Moorman wore in performances, featured two television tubes...

Artist: Noh Sang-Kyoon, Korean (1958 - ) Title: The Whole Towards the Hole II Medium: Sequins on Canvas, signed, titled and dated verso Size: 54 x 54 inches Frame Size: 55 x 55 inch...

Henry Rayburn Table 2, Couple 1 (unique framed collage by beloved Texas artist), 1995 Acrylic and Mixed media collage on paper Signed in graphite pencil on the front Unique Frame inc...

Virgin of Tijvin, after a Russian icon of the 17th century. Egg tempera, gold leaf on gesso over a wooden board. Measurements in centimeters: 44 x 33 x 3 cm / In inches: 17.32 x 12.99 x 1.18 " Author: Oliver Samsinger...

Wounaan Tribe Panama Rainforest Basket black, white geometric rectangle hand woven, palm fibers natural dye Tribal artwork The baskets are made by ...

Slumped cast glass and found metal tool. One of five pieces from Mary Shaffer's "Tool Wall" series selected for Sonoma Valley Museum of Art's exhibition "Pairings: 16 Artists Creati...

Susan Fateh Sol Posto III Mixed Media Year: 1992 Signed, dated and titled by hand Unique Size: 19.0×12.2in COA provided Ref.: 924802-1173 Susan Fateh (1958) is a Scottish/Iranian co...

This artwork by noted American artist Inez Storer, b. 1933 is titled Homage to Matisse. The piece is composed of mixed media (oil paint, board, latex) with collage on board. The artwork measures 24 x 24 inches (25 x 25 inches, framed.) It is floating in a simple painted wood frame. It is hand signed in the lower right corner of the frame by the artist. The piece is in very good condition. I am estimating this work was created some time in the 1990s based on the subject and style, but that is only an educated guess. About the artist: From Inverness, California, north of San Francisco and working from a studio in Point Reyes, Inez Storer creates mixed-media narrative paintings, collages and assemblages in naive-sophisticated style, which she describes as Magic Realism: "I am a visual raconteur. I use paint to tell stories." Most of these stories are explorations of the human condition with characters who seem allegorically to be walking tightropes. She gets many ideas from her studio collection of old...

Carole Feuerman Shower Profile (Blue), 2012 Mixed media: two color silkscreen with Diamond Dust, mounted to linen Canvas Hand signed, dated and numbered on the back of the canvas Sig...

Cheryl Warrick (American, b. 1956), "Build a nest" 1998, Acrylic and mixed media painting on paper, Hand signed, titled and dated verso, matted and framed. (I have not opened thi...

Steven H. Rehfeld (American, born 1954) "Untitled" 1992 Oil Paint, Paper, Ink, Mixed Media, Canvas, Stretcher Bars The artist signed the back of the painting. "Untitled" by Steven H...

MICHAELE VOLLBRECHT – "TDE LEMPICKA" ⚜ Mixed Media Collage ⚜ Artist’s Signature Incorporated on Pencil ⚜ Shadow Box Frame A BOLD JUXTAPOSITION OF EROTICISM, OBJECTS, AND ART HISTORI...

Signed verso, 'Kevin Keaney' (American, born 1962) and painted circa 1995. This San Francisco Bay area artist studied with Jerry Morgan at the San Francisco Art Institute and has ex...

John Walker British (b. 1939) Salsipuedes Forms (1991) Monoprint relief print with dry pigment, monotype Hand signed lower right Provenance: Garner Tullis Workshop A monotype is literally one of a kind; it is not a method of multiplication. The artist makes an image with a liquid medium on wood, metal or glass, and paper is laid over the moist image and bonded under pressure the paper is then removed bringing with it the transposed monotype. John Walker (born 1939) is an English painter and printmaker. He has been called "one of the standout abstract painters of the last 50 years." Walker studied in Birmingham at the Moseley School of Art, and later the Birmingham School of Art and Académie de la Grande Chaumière in Paris. Some of his early work was inspired by abstract expressionist art and post-painterly abstraction, and often combined apparently three-dimensional, sculptural shapes with "flatter" elements. These pieces are usually rendered in acrylic paint. In the early 1970s, Walker made a series of large...

Color offset lithograph - created on the occasion of the tennis tournament 1998 monogrammed in print In great condition

"Hey Did We Scratch?" - Abstract Expressionist Composition Detailed and layered composition by Leroy W. Parker (American, 1941). This piece is divided into a checkerboard, with a variety of overlaid patterns and textures. There are several types of handmade paper applied to the canvas, likely made by Parker himself. Signed "Leroy Wheeler Parker" in the lower right corner. "#1" and an up arrow are written on verso. Tag on verso with artist info, title, media, and date. No frame, but the edges of the canvas are painted for a frame-less display. Leroy W. Parker (American, b. 1941) is an artist from Oklahoma who now resides in Lafayette, California. Parker earned his BFA in painting from the California College of Arts and Crafts in 1966, and then went on to earn his MFA in 1968 from the same institution. He is a Professor of Art at San Jose State University. He has taught classes in fine arts, life drawing, ceramics, paper making (which he instituted in 1984), and sculpture since 1969. Parker has also served on the State Art Commission for sculptural grants. One of his pieces is held in the San Jose Museum of Art. Selected Exhibitions: Drawings and Paintings - ACCI Gallery, Berkeley, CA - 1974 “Artistry in Clay” - Forge Patio Art Gallery, Lafayette, CA - 1980 “A Most Elegant Show” - Sunshine Art Gallery, Fair Oaks, CA - 1982 “Flora” - Harcourts Contemporary, San Francisco, CA - 1983 Idea Gallery, Sacramento, CA - 1985 “Multi-Media Man” - Sacramento Center for Textile Arts, Sacramento, CA - 1994 “The Art of the Family” - Works Gallery, San Jose, CA - 1999 Artist’s Statement: I was born in Eagletown, Oklahoma to Southern Baptist parents, and my father was a preacher. We were two boys and six girls in the family. The most mundane things were magical and special to me. I liked to draw, color, make things, and plant things. I loved the woods and the earth, and watching storms with thunder and lightning. We moved from Oklahoma when I was 11. In the late 1950s, I attended Oakland Technical High School where I met artist Sam Richardson...

"Sexual Spring-like Winter" is a large painterly work, created with layers of pink and resin by the art and film world's favorite enfant terrible, Julian Schnabel. The artist and dir...

Vintage original Barbara Kruger Record Art, 1994 Off-set lithograph on vinyl record cover Measure: 12 x 12 inches Minor shelf wear; in otherwise good vintage condition. Very cool fr...

Francisco Fernández, Claudia Fernández, Diego Toledo, Hector Quinones Corpse Drawing #47, The Return of the Cadavre Exquis, 1993 Ink, graphite, acrylic, and watercolor, with collage ...

Shuli Sadé, Israeli (b. 1952) Pipe Bending (1995) Hand painted silver gelatin photo print Hand signed in pencil lower right, numbered 1/10 Framed: 23.25 X 29.25 sight, 15 x 19 inches Provenance: Estate of Gideon Gartner Shuli Sade (Shuli Sadeh Goshen) is an Israeli Postwar & Contemporary artist born in Israel in 1952. Shuli Sadé studied at the Bezalel Academy of Art, Jerusalem and the School of Visual Arts. Her work, which uses urban movement as a central theme, explores technology and its potential to impact still, moving, and two- and three-dimensional images. Sadé has lectured at the University of Pennsylvania School of Architecture, Parsons The New School for Design, and Barnard College. Her Sadé's cross-disciplinary artwork blends theory and practice with a focus on memory, space, and urbanism. Her work creates maps of urban memory, reflecting the DNA of a city. She mixes mediums including photography, video, augmented reality, site-specific installations, sculpture, and drawing. Her recent exhibitions include Upstream Downstream, a site-specific augmented reality installation, Riverside Park, NYC, part of Re: Growth, public art exhibition (2021), Fluid Formations, Gensler DC, (2019), Wild_Heterotopias, AR installation at the HighLineNine Galleries, and the High Line, (2019), Solid Red, Galeria Ethra, Mexico City, (2018) Day Dreams, AR installation at Montefiore Medical Center, the Bronx, NY (2017) and group shows including Timing is Everything, Mead Art Museum collection (2018), Making Time, AR installation Index Art Center, Newark, NJ (2019), Anniversario, Datasets, Galeria Ethra, Mexico City (2019) Israeli Modernism in the 1970s from the Collection, Haifa Museum of Art (2016). She had collaborated with Neural scientists at the Neurobiology of Cognition Laboratory, Center for Neural Science, New York University, and with architects and designers across the US. Sadé creates large-scale site-specific murals in the Corporate environment. She is an Israeli contemporary woman artist. Her recent artworks are permanently installed in Manhattan, Philadelphia, Boston, North Carolina., Miami, Mexico City, Jersey City, and more. Sadé received the Pollock Krasner Foundation Grant, (2014), the National Endowment for the Arts Fellowship (1991), New York Foundation for the Arts Emergency Grant (2001), Lower Manhattan Cultural Council Fund, NY- Israel Cultural Cooperation Commission Grant, AICF study grant, NY Art Development Committee grants. Her work is in private and public collections. Shuli Sade is a NY artist and architectural photographer. Sade studio photographed Renzo Piano renovations at the Morgan library, Norman Foster Hearst tower, Weiss Manfredi Nexus at Barnard College, Shiseido at Grey Art Gallery by Marble Fairbanks, Sade works on international commissions, Published in Metropolis magazine, Architectural Digest, Eating Architecture, MIT, Avroko Design, Regan books and others. She lives in NYC and works at her studio at Mana Contemporary, NJ. Her work is represented by Galleria Ethra in Mexico City. Select Exhibitions 2012 Reconfiguring Memory, (permanent installation), Center for Neural Science, New York University 2012 Conference of the Birds, CYNTHIA-REEVES Projects at Mana Contemporary, New Jersey 2011 Conceptualizing the Body Gaze, Masquerade, and Spectacle 2011 ENCODE/ DECODE: Work in Progress, The City of Herzliya Art Gallery, Herzliya, Israel 2009 H20 Film on Water, Brattleboro Museum, Bratleboro, NH 2009 Meeting/Place Cabri Gallery of Israeli Art, Kibbutz Cabri: Yigal Ozeri, Alex Kremer, Ofer Lellouche, Lea Nikel, Moshe Kupferman, Ori Reisman, Jan Rauchwerger, David Reeb, Shuli Sadeh, Yehiel Shemi, Marik Lechner, 2006 Illuminated Disjunction, Hungarian Cultural Center, New York, NY 2005 The Silence of the Sea, The National Maritime Museum, Haifa, Israel 2003 Sacred Drawings, Tibetan Healing International Conference, Washington DC 2003 Blueprints Reconfiguring Space, Art in General Gallery, New York, NY 2000 Light and its Opposite, Lemberger Museum of Photography, Tel-Hai, Galilee, Israel 2000 Bassam Abu Shakra Gallery, Um -El-Fahem, Israel 1999 Mythic Arrangements, Ehrenkrantz Eckstut & Kuhn Architects, Los Angeles, CA 1999 Women photographers reflecting women, Talli's Fine Arts Gallery, New York, NY 1999 Neil Folberg Vision Gallery, Jerusalem, Israel 1996 Fragments of Anxiety, Columbia University, Avery Hall, School of Architecture, New York, NY 1995 Agni Vidya- the Fire of Knowledge, City of Venice Biennale, Isola Certosa, Italy 1994 Imprint, A.I.R. Gallery, New York, NY 1993 Sculptors of the Next Century, Socrates Park, Long Island City, NY 1990 Galleria Principal, Altos de Chavon, Dominican Republic 1981 Feminine Objects, Tzavta Jerusalem P.V.V, Israel 1980 Biennale of Contemporary Art, Tel Hai 80, Israel 1980 Borders, Israel Museum of Contemporary Art, Jerusalem, Israel Igael Tumarkin, Shuli Sadeh, Michal Naaman, Yair Garbuz, Gad Ullman...

Mixed media (acrylic and oil paints) splatter painting on canvas Signed and dated verso. Gordon Couch born 1949 British artist based in Cornwall and ...

Pierre Marie Brisson (b. 1955) "Portrait 2”. Large mixed media painting on canvas. Purchased from Bowles/Sorokko Galleries, New York in 1992. Brisson's work is displayed in the Fine Arts Museum of San Francisco, San Francisco Museum of Art, Fort Lauderdale Jewish Museum, New York George Page Museum, Los Angeles Bibliotheque Nationale, Paris Musee de la Poste, Paris Pushkin Museum, Moscow Musee Faure, haute couture Paris Groupe Cartier, and the Argentina Musee de L'Hospice Saint-Roch, among many others. Sight Size: 45.75 by 35 inches Overall Size: 51 by 40.5 inches. Condition is very good to excellent.. Framed with a custom marbleized floating...

Terry Frost Valentine - Blues and Purples, 1999 Collage and acrylic hand-signed and dated 99 (lower right); further hand-signed, dated 99 and dedicated (verso) 32 x 31 cm 40.5 x 41 c...

Linda Stein Soft Curve 312 (from the Estate of artist Will Barnet), 1998 Mixed media sculpture of wood, metal and stone Signed, titled and dated with additional sculpted text Unique ...

The painting is being offered with a work and authenticity certificate

The Juggler is an original Contemporary artwork realized in 1990s by the italian Contemporary artist Sergio Barletta. Original mixed colored tempera and oil panting. Hand signed on...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Wilhelmina Barns-Graham (1912 – 2004) Card for Sandra Blow’s 75th birthday (1995) Gouache and collage 34 x 21 cm Inscribed to reverse “For Sandra, Happy Birthday, with love Willie, 13/9/95”. Barns-Graham’s modern design features 70 vividly coloured circles; each one is different from the last, but all are geometrically aligned in neat rows and columns. Sandra Blow’s initials appear separately as “S” and “B” in the design. Blow and Barns-Graham became friends in the 1950s; both spent lengthy periods of time in St Ives, and made major contributions to Britain’s catalogue of post-war art. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that “painting chose me, not I it”. After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun, and William Gear. After her education, Barns-Graham made study trips to Paris, London, and St Tropez before moving to St Ives, Cornwall, in 1940 (at the suggestion of the Edinburgh College of Art’s Principal Hubert Wellington). Barns-Graham moved near to where a group of modernist artists had settled, at Carbis Bay – this was a pivotal moment in her life. On one of her first evenings there she met the sculptor Barbara Hepworth, who made an immediate and lasting impression on her. She then went on to meet Borlase Smart...

Hand Signed. Mixed technique and collage on cardboard. Passepartout included. This artwork is from the series "Cirque du Soleil" that the Italian arti...

Raphael Mahdavi, Untitled, 1990, Oil and wood collage, assemblage painting on paper, Provenance: Kouros Gallery NYC Label. (label and backing torn but present) Dimensions: 17.5 x 23 mat, 25 x 32 frame. Rafael Sinclair Mahdavi (1946-) is a painter and sculptor. He has lived and worked in America, France, Greece, Austria, Spain and England. He has quadruple nationality, France, American, Mexican and Iranian. HIs work combines elements of Contemporary, Symbolist Abstraction and Minimalist art in particularly in his sculpture. Cranbrook BFA & Former Parsons Professor. He taught in Paris, Amiens and Issy-les-Moulineaux, France. Rafael Mahdavi was born in 1946 in Mazatlan, Mexico of an American mother and Iranian father. He was home schooled in Mallorca and later attended board...

Artist: Robert Clerc Title: Le Matin au Cafe Year: circa 1990 Medium: 3-D Painting and Collage Multiple Edition: 12 Size: 21 x 20 x 3 inches [53 x 51 x 8 cm]

Untitled Mixed media with collage elements on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 7 x 6 1/2 inches Support sheet size: 10 1/2 x 8 3/8 inches Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Famed graphic designer Ivan Chermayeff creates a portrait made from cut paper and magazine clippings. Chermayeff names it "Old Lady with Spring Hat " and as one views it "charming"...

Mimmo Rotella (1918-2006) was an Italian artist and leading figure of post-war European art. He is best known for creating layered collage-like works from torn film and advertising p...

Untitled Mixed media with collage elements on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 7 1/16 x 6 inches Support sheet size: 10 9/16 x 8 3/8 inches Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...