20th Century Mixed Media

"In the Wings" Wood Panel Original Painting and Carving Carved sculpture and painting by Mickey "Kano" Kane (American, 20th century). This wall sculpture features a bold, symmetrica...

Femmes Objets, 1991 35.5 x 27.5 in. Edition 6 Unframed. Femmes Objets Series In this series in black & white and with the same model. The artist represents what for him the object w...

Suprematist composition. 1919, paper/gouache 21,5 x 28,5 cm Gustav Klucis (1895-1938) Latvian painter, sculptor, graphic artist, designer and teacher, ...

Marty Greenbaum (1934-2020) ''Brooklyn Local in Weege Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

"Ohne Titel (Merzbild Mit Schuhsohle) (Untitled (Merz Picture with Shoe Sole))" is an abstract Post War oil and relief assemblage on plywood painting made by Kurt Schwitters in 1945....

Herman Palmer (American, 1894-1946) Untitled, 20th century Pastel on board Sight size: 11 1/2 x 14 3/4 in. Framed: 18 1/4 x 21 in. Signed lower right: Herman Palmer Herman Palmer ...

Original mixed media drawing with watercolor on paper. Hand signed by Peter Max. Frame size approx 21 x 19.25 inches. Artwork size 13.75 x 12 inch...

Martin Wong (untitled) Cowboy Sacred Heart 1978: Martin Wong constructed this endearing mail art piece for his close friend John Rotter in 1978. This rare high collectible Wong mixe...

Epiphany 1987, paper, mixed technique, 24x29 cm "Epiphany" is a surreal figurative artwork created in 1987. Through its composition, the artwork invites viewers to contemplate the ...

Marty Greenbaum (1934-2020) ''Brooklyn Local in Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

Joan Miro Spanish, 1893-1983 Affiche pour l'Exposition Miro-Artigas, 1963 Lithograph on Rives paper 33" x 22 1/4" W/frame 33 ¾ by 23 in. Pencil signed lower right from an edition of 174/200. Joan Miró Ferra was born April 20, 1893, in Barcelona Spain, the son of a goldsmith and watchmaker.  At the age of 14, he went to business school in Barcelona and also attended La Lonja's Escuela Superior de Artes Industriales in the same city.  Upon completing three years of art studies, and under pressure from his parents, he took a position as an accounting clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Galí's Escola d'Art in Barcelona from 1912 to 1915.  Miró's work before 1920 showed the latest artistic influences, including the bright colors of the Fauves* and the geometric forms of Cubism*. It was in Paris through the 1920s-1930s where, under the influence of Surrealist* poets and writers, Miró evolved his mature style.  His latest works drew on the Surrealist principles of memory, fantasy, and the irrational to create visual art.  Miró's works were also shaped by the flat, two-dimensionality of his native Catalan folk art, Spanish Romanesque...

Artist unknown "Red Vessel" c. 1980s Acrylic and charcoal on paper 22"x30 unframed Unsigned Very Good Condition - Minor wear consistent with age history.

Bernard Buffet (1928-1999) - Japanese girl with flowery hairstyle Lithograph from 1981. Artsit's edition. On Arches paper. Dimensions of work: 53.5 x 39 cm. Hand signed. The wo...

Available at Madelyn Jordon Fine Art. 'Pindewegunglasgemut' by Stanley Boxer, 1994. Oil and mixed media on canvas, 50 x 26.75 in. / Frame: 51 x 27.75 in. This painting has an active...

Chope Visage, Picasso, Pitcher, Edition, 1950's, Design, earthenware, Figurative Chope Visage Ed. 300 pcs 1959 Earthenware clay, decoration in engobes, g...

This two panel stretched and dyed rubber piece was created by American contemporary artist John Drummer in the early 2000's. This work was featured in the exhibition "Jack Drummer" organized by BT&C Gallery and which coincided with the Burchfield Penney Art Center's exhibition "The Effects of Time". This is currently the only work available for acquisition. The Burchfield Penney exhibition that featured these rare pieces was voted one of the best 10 exhibitions that year in ArtForum's 2016 Top Ten by Matthew Higgs, who would later curate an exhibition of Drummers work for White Columns gallery that was reviewed by Art in America in 2017. John E. (aka “Jack”) Drummer (1935-2013) was an itinerant and mercurial figure. Self-taught as an artist, his earliest works from the late 1950s and early 1960s were included in several key exhibitions in Buffalo and New York City, including the first of Allan Kaprow’s legendary ‘New Forms, New Media’ exhibitions that he curated for Martha Jackson’s gallery in 1960. Drummer’s 1962 solo exhibition at the Gordon Gallery, New York received a rapturous review from critic Brian O’Doherty in The New York Times, who praised Drummer for his ability to “make something out of nothing”, describing his work from this time as “screens for the imagination,” a notion that could equally be applied to his later works on view at White Columns in a 2017 solo exhibition. Despite this early success, Drummer would soon leave New York City, returning initially to Buffalo, before moving to New Orleans and then California, before eventually settling in Hawaii. Very little of Drummer’s early work has survived, including almost none of the 300-odd, often large-scale, styrofoam-based sculptures he produced in Hawaii. On returning to his home-town of Buffalo in the early 1980s, Drummer would embark on an extraordinary body of work that would preoccupy him for the next two decades. Drummer’s late work is clearly related to, and expands upon, the histories of minimal, post-minimal and process-orientated art. His approach is empathetic with that of the Italian Arte Povera artists, sharing their interest and investment in ‘poor’ and quotidian materials. Working almost exclusively with ‘found’ materials, and specifically materials that had previously been employed and subsequently discarded in industrial and manufacturing processes, Drummer’s work of the 1980s-early 2000s was largely overlooked and unexhibited during his lifetime. Drummer’s late works employ the rubber ‘blankets’ – used in offset printing to remove excess ink during the printing process – as supports. These ‘ready-made’ supports often revealed aspects of their ‘histories’: their surfaces are typically marked with ghostly images and texts resulting from the printing process. Drummer would then work directly onto and into these ‘pre-prepared’ supports. Drummer’s late works often incorporate impressions taken directly from the surfaces of walls, floors, and fencing, etc. – ‘images’ created by laying the rubber sheets face down onto a desired surface, and then applying pressure from the back of the sheet to create a subsequent negative impression or image of that surface, likely a physically demanding process, akin to making a ‘brass rubbing...

Titled: Side by side Ann Chernow (Connecticut b. 1936) etching. hand signed 'Ann Chernow' in pencil lower right. Numbered '5/15' in pencil lower left. Titled in pencil lower center. ...

Keith Haring Pop Shop, c.1986: Vintage original 1980s Pop Shop bag designed & illustrated by Keith Haring. Features a bold 1985 Keith Haring prin...

Ink and pencil on paper Paper size: 12.75 x 19.25 inches Framed size: 27.25 x 33.25 inches Signed and dated 03-28-1982 Garfield Sunday Comic Strip Provenance: Private collection,...

Title: Bullfighting Scene Artist: Roberto Domingo Technique: Gouache on paper Dimensions: 7 x 10 in (14 x 17.3 in with frame) Period: 1930s Style: Spanish Impressionism with Post-Impressionist influence Condition: Framed in a classic wooden frame Theme: Bullfighting scene Description of the Artwork "Bullfighting Scene" by Roberto Domingo is a vibrant and dynamic depiction of a typical moment in a bullring. The composition captures the drama and intensity of the moment, with a mounted picador on a striking white horse as the centerpiece, flanked by a matador and assistants preparing for the spectacle. The artwork radiates energy through swift and loose brushstrokes, imbuing the scene with movement and vitality. Domingo’s style emphasizes visual synthesis, focusing on color and form rather than meticulous detail to convey the atmosphere of the bullfighting arena. Warm tones dominate, with vibrant yellows and reds contrasting against the grays and whites of the horse and costumes, creating a captivating chromatic interplay. The classic frame adds sobriety and balance to the piece, further highlighting the expressive power of the gouache. Biography of the Artist Roberto Domingo Fallola (1883-1956), born in Paris, was a renowned painter and illustrator of Spanish descent. The son of the celebrated bullfighting painter Vicente Domingo, he inherited a passion for bullfights and became one of the leading exponents of bullfighting art...

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...

Abstract Cubist Construction Collage Mid 20th Century American Modernism Cubism Vaclav Vytacil (1892 - 1984) Abstract Construction #2 Caesin on board collage 11 x 13 1/2 th inches S...

This striking Abstract Expressionist sixties composition is by Danish artist Erling Andersen. Painted in 1969 it is a mixed media composition on canvas...

4 panels hinged together of bronze metalic textured paper over wood.

Vintage Keith Haring Record Cover Art: Set of 4: 1982 & 1987. Haring illustrations appear on front and back of each of the 4 record covers, as well as 2 inserts (see last 2 images). ...

Mario Schifano (Khoms, Libya, 1934 – Rome, Italy, 1998) Title: Untitled Medium: Mixed media on photography Dimensions: Photography measures 10 x 15 cm – dimensions with frame 34.5 x ...

Joseph Beuys (German, 1921-1986) 1 Wirtschaftswert (Lötzinn), 1977 medium: Pencil on paper bag, tin solder Dimensions: 7 × 4 1/2 × 1/10 in (17.8 × 11.5 × 0.3 cm) Frame dimensions: 14...

Jacob Otto Pins (17 January 1917 – 4 December 2005) was a German-born Israeli woodcut artist and art collector, particularly of Japanese prints and paintings. Jacob Pins was born in Höxter, Germany, the son of Dr Leo Pins, a veterinarian, and his wife Ida Lipper. He immigrated to Palestine in 1936 to study art. His father tried to discourage him from becoming an artist for financial reasons. Pins' younger brother, Rudolph, (1920-2016) moved to the United States in 1934. His father was sent to Buchenwald. In July 1944, both parents died in the Riga ghetto. Pins first lived on a kibbutz, which was disbanded in 1941. He moved to Jerusalem and studied woodcut and linocut under woodcut master and painter Jacob Steinhardt, also a German immigrant, at his small private school. He lived in poverty in a tiny room, subsisting on a meagre diet. He continued his studies at the new Bezalel Academy of Art and Design. Pins was married to Elsa, the subject of a number of his prints. They had no children. Pins bought his first Oriental print in 1945, and acquired a house on Ethiopia Street, opposite the Ethiopian church, where he lived for the rest of his life. He continued collecting until his death and was one of Israel's foremost art collectors. His book on Japanese Pillar Prints, Hashira-e is the definitive work on the subject. Pins died in Jerusalem in December 2005. Pins' artwork was heavily influenced by German expressionism and traditional Japanese wood block printing. From 1956 to 1977, he taught at Israel's leading art schools, most notably Bezalel, where he later became a professor. He was known as a demanding teacher, emphasizing strong technical skills and discipline. In the 1950s, Pins helped to found the Jerusalem Artists' House, a centre for the city's artists to meet and exhibit. Legacy Pins' extensive collection of Japanese woodprints...

Industrial Landscape Contemporary American Watercolor Magic Realism 20th Century Henry Koerner (1915-1991) J&L Oxygen Plant 18 x 24 1/2 inches Watercolo...

Ray Johnson "Valentine" Double sided collage 6 1/2 x 4 1/4 inches Once described as New York’s “most famous unknown artist,” Ray Johnson was a renowned maker of meticulous collages...

Monochrome Accumulation No. 3001, 1988 by Arman (1928-2005) Acrylic paint tubes and acrylic paint on canvas 40 ¼ x 32 ⅞ inches framed (102.235 x 83.5025 cm) 36 ¼ x 28 ¾ inches unframed (92.075 x 73.025 cm) Inscribed (SA) and numbered (3001) on the reverse Provenance: A.H. Graphics, Stockholm Private Collection, Europe Sotheby's, London, Contemporary Art, 20 March 1997, Lot 74 Description: This mixed media work titled "Monochrome Accumulation No. 3001" by Armand Pierre Fernandez, typically styled as "Arman," is a brilliant collage of found objects and traditional painting techniques. The bright, monochromatic yellow...

Acrylic and lithograph on vélin d’Arches paper. Paper size: 8.5 x 10.5 inches. Inscription: Hand signed, as issued. Notes: Published, printed by Via Max, New York; painted by Peter M...

Patricia Zippin Tillamook Flight 8 of 12 1980s Mixed Media 30.5"x 22.5", unframed Signed in paint on bottom right and signed and titled on reverse in pen Patricia Jayne Zippin (1930...

Tom Wesselmann Still Life with Fruit, Petunias and Claire, 1988 Limited Edition Ceramic Plaque, 1988 Wesselmann's signature fired onto the porcelain in the front and back (see photos...

Keith Haring record art 1987: A rare vinyl art cover featuring original artwork by Keith Haring. Truly vibrant colors that make for stand-out wall art. Looks very cool framed. Off-...

This is an Abstract Expressionist torn and folded paper painted collage. The paper is metallised through some process. they are very luminous and beautiful. it is mounted on heavy ...

Paper and Adhesive collage by Wayne Timm. Image or mat opening measures 11 x 13 in. In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, Rauchenburg and ...

A wondrous collection of Florentine botanicals lovingly gathered between 1905 and 1907 and presented under glass in a weathered window frame with nine panels, dated, categorized and ...

"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...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Known for her painting and sculpture as well as printmaking. Nancy Randall’s work is featured in collections at the Smithsonian Institution, the Walker Art Center, the Nelson Atkins ...

Artist: Ottavio Missoni, Italian (1921 - 2013) Title: #2 Year: circa 1980's Medium: Woolen Tapestry mounted to support board for hanging Size: 46 in. x 92 in. (116.84 cm x 233.68 cm)

Untitled (Abstract Animal) Collage with watercolor, 1981 Signed and dated lower right (see photo) Condition: excellent Image size: 8 1/4 x 11 1/4 inches Frame size: 16 1/4 x 19 1/2 inches Archival framing with Conservation Clear glass Provenance: Distinguished Private Midwest Collection Ulfert Wilke (1907–1987) was an internationally recognized painter, calligrapher and art collector connected to the abstract expressionism movement. He was born in Bavaria, Germany, and immigrated to the United States in 1938. He is best known for his large canvas paintings...

An original unique mixed media painting and sculptural creation by well listed artist Enrico Embrolli. Enrico Embroli is a mixed media artist born in the small Western New York town...

"Framed and Draped: Material Collection", acrylic on abaca, dyes on rayon; woven, 63" x 38", 1989. This contemporary abstract mixed media tapestry was done by California-based Ameri...

Jean-Claude Gaugy (b. 1944, French) Title: "La Branche" Dimensions: 72" x 60" Medium: Oil on Carved Wood Markings: Signed LR "Gaugy" Framed Jean-Claude Gaugy is a contemporary Fren...

Large original, vintage, Ektacolor print collage Depicts art deco architectural facade of Publix building at Dade Boulevard and Alton Road in Miami Beach, Florida. Multiple prints formed into a collage mounted on a stretched canvas. Printed November 1989. Mounted December 1989. dated lower left. Includes protective canvas slip covering. Size: 81"H x 72"W (205.74 cm x 182.88 cm). Provenance: Bass Museum, Miami Beach, Florida This was exhibited at the Norton Museum in Palm Beach and Bears their exhibition label verso. Rafael Salazar (Cuban- American photographer) was born in Cuba in 1945 and has been a South Florida resident since 1965. He has photographed the development of the City of Miami as well as Miami’s budding art scene over the years. He is primarily known for his panoramic photographs and photo assemblage montages which have both a documentary quality to them but are full of enchantment and depth. Of great importance to him is the preservation on film of art works, especially those of a transitory nature, this has led him to photograph two of Christo and Jeanne-Claude projects; Miami’s Surrounded Islands and the Pont Neuf in Paris. He has also documented the works of Fernando García, Ed Ruscha, and Philip Johnson. His work draws inspiration from his love of the cosmos, spirituality, architecture, Eastern philosophy, and nature. He has been exhibiting his fine art both nationally and internationally for many years. Salazar’s images have earned him a reputation as an innovative and sensitive artist. He has close ties with the Miami-Dade Public Library System and photographed much of the development of Main Library as well as the early exhibitions and events held there. He photographed the library’s Artmobile, painted by New York Realist artist Lowell Nesbitt, an art gallery on wheels decorated with zebra patterns and native flowers that was in service from 1976 until 1992. He also documented the Grand Opening Celebration of the Metro-Dade Cultural Center held in 1986. Since its 1970 start, the Permanent Art Collection has been recognized nationally as a fearless reflection of Miami’s diversity, and an invaluable chronicle of its artistic and social history. Their collection includes Elizabeth Catlett, Purvis Young and Emilio Sanchez. "Fact and Fiction: The State of Florida Photography...

Jim’s of Lambertville is proud to offer this artwork by: Josef Zenk (1904-2000) Josef Zenk was born in New York City in 1904. After graduating from high school, he studied for thre...

A lovely hand modelled sculpture in bas relief, depicting the head of a smiling young Parisian lady with a gleam in her eyes. The work dates from from the Belle Epoque, the art nouv...

Genre: Modern Subject: Abstract Medium: Mixed Media Surface: Paper Dimensions: 19 1/2" x 19 1/2" Dimensions w/Frame: 29 1/4" x 29 1/4" Simon, an award-winning mixed media artist with four Best Of Show honors, and numerous other distinctions, has been featured in over a dozen one-woman shows and many group exhibits. She has a master's of fine arts degree from the University of Iowa, and has divided her time between Colorado, Iowa and New Zealand. The prestigious Southwest Art magazine a few years ago featured Simon on its cover along with a profile in a two-page spread. "Mine is a happy-go-lucky world where everyone gets along, cares for one another and celebrates the day," Simon remarks. "I am hoping to refine my images to the elegance of a simple Haiku, the short poem that captures a single perfect moment in time — a peaceful kingdom. "In much of my work, I enjoy thinking about what goes on in the canyons, the seas and the nighttime, when no one is watching, perhaps joy and playfulness and even deep thoughts occur during those unseen hours," she says. Simon draws on the past's creative techniques and designs to put her works into action on canvas. "Although my inspiration comes from far and wide, light, nature and the Native American Ancients are the strongest aspects in my works," Simon says...

Byron Browne (American, 1907-1961) Abstract Collage, 1933 Collage, charcoal and ink on paper Signed and dated lower middle 16 x 19.5 inches 24 x 29 inches, framed Byron Browne was a...

Desmond Mclean (1929-2015). Untitled, ca.1960 Mixed media on paper. Sheet measuring 12 x 18 inches. Unframed. Born: Ireland Studied: Heatherly School of Art, London; America...

A wondrous collection of Florentine botanicals lovingly gathered between 1905 and 1907 and presented under glass in a weathered window frame with nine panels, dated, categorized and ...

Richard Smith, British (1931-2016) Untitled (Abstract Composition) (1976) Gouache, crayon, charcoal and metal staples on Arches paper Hand signed lower center sheet: 22 x 22 inches ...

Ray Johnson Moon Mixed media on Masonite 8 3/4 x 6 1/2 inches Once described as New York’s “most famous unknown artist,” Ray Johnson was a renowned maker of meticulous collages and...

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...

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...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil, pastel, and paper collage on canvas. Signed and dated verso. 52.75 x 47.75 in. 54 x 49 in. (framed) Gilded floater frame. Provenance Compass Rose, Chicago Born Sylvan Irwin Goldberg in 1924 and raised in the Bronx, Michael Goldberg was an important figure in American Abstract Expressionism, who began taking art classes at the Art Students League in 1938. A gifted student, Goldberg finished high school at the age of 14 and enrolled in City College. He soon found New York’s jazz scene to be a more compelling environment, and he began skipping classes in favor of the Harlem jazz clubs near campus. Goldberg’s love of jazz would become a lifelong passion and a key component to his approach to composition in his paintings. From 1940 to 1942, like many of the leading artists of the New York School, Goldberg studied with Hans Hofmann. In 1943, he put his pursuit of painting on hold and enlisted in the U.S. Army. Serving in North Africa, Burma, and India, Goldberg received a Purple Heart and a Bronze Star before being discharged in 1946. After his service, he traveled and worked in Venezuela before returning to the United States, settling back in New York and resuming studies with Hofmann and at the Art Students League. Living downtown and frequenting the Cedar Bar, Goldberg befriended many of the artists of the New York School. In 1951, his work was included in the groundbreaking Ninth Street Show, co-organized by Leo Castelli, Conrad Marca-Relli, and the Eighth Street Club, and featuring the work of - among others - Hofmann, Jackson Pollock, Willem de Kooning, and Franz Kline. In 1953, the Tibor de Nagy...