Mid-20th Century Mixed Media

Stunning mid century textile abstract mixed media painting of apples by Anna Ballarian (American, 1911-2010). Signed " Anna Ballarian" lower ...

In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, Rauchenburg and many others, in the time he had an Art studio loft in New York City and while working ...

Gouache 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. In 1960, he had his first one-man show, Rien et tout in Laboratoire 32. Ben joined George Maciunas...

"The Cop Who Raided Mexico" As an American artist primarily known for his covers for men's - adventure magazine published by Martin Goodman's Magazine Management Company and for Good...

Date: 1933 Medium: Mixed Media on Board Dimensions: 18.50" x 25.50" Signature: Signed Lower Left Shows Poe seated at a desk in the offices of The Evening Mirror (early publishe...

Paper and Adhesive collage by Wayne Timm Collage measures 12 x 12 in. In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, Rauchenburg and many others, i...

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...

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...

Important watercolor and colored pencil on woven paper study composed of three vignettes done by Jean Helion. Signed with initial H top left and dated 1953. Small crease lower left b...

Important work on paper by French artist Jean Halion. Ink, watercolor and colored pencil study done in 1952. Signed top right in ink and dated in pencil 15-9-52. Jean Hélion was ...

Watercolor, ink and graphite on paper, 1934-1935 by Uberto Bonetti, Italy. Signed lower right: Uberto Bonetti. Framed. 11.61 x 9.06 in ( 29,5 x 23 cm )

Mixed media, gouache and paper, signed . James Coignard est un peintre, graveur et sculpteur français, né le 15 septembre 1925 à Tours et mort le 7 mars 2008 à M...

Rare original photo montage, tempera and paper collage on heavy carton. signed in the upper left image “Vasarely" The work measures 39.5 x 31 cm. good condition, some glue r...

Signed Lower Right Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to ...

Wood mixed media work glued onto a white background. Purple, teal and red color tones. Artist signature in the bottom right corner. Artist Biography: Charles Pebworth is known for ...

Medium: Charcoal and Red Wash Signature: Signed Lower Right Size: 35.50" x 28.00" Story illustration, three men questioning boy. Born in San Francisc...

An original signed framed abstract expressionist painting by mid-century modern Chicago woman artist, Margo Hoff (1910-2008), "Stone Quarry" was created using acrylic, crayon and paper collage on board in shades of purple, blue, brown, white and black. Presented in a custom frame, outer dimensions measure 48 ½ x 40 ½ x 1 ¾ inches. Image size is 48 x 40 inches. Provenance: Estate of the artist, Margo Hoff About the Artist: A prolific artist, Margo Hoff’s exquisite style evolved throughout her career yet was always rooted in the events, people, and places in her life. The human experience was her soul focus, expressed through her eyes alone. Born in 1910 in Tulsa, Oklahoma, Hoff began creating white-clay animals at a young age, giving them to her friends and family. At eleven she contracted typhoid fever and was bedridden for a summer. During her convalescence, she drew and made cutouts, and it was during this time that her bold, artistic imagination came alive. She began formal art training in high school and continued her education at the University of Oklahoma, Tulsa. In 1933 she moved to Chicago and attended the National Academy of Art and the School of the Art Institute of Chicago. Between 1933 and 1960—her Chicago years—Hoff’s works was deeply rooted in a figurative, regionalist style. She often used elements of magical realism, and many of her paintings have dreamlike qualities. As a child she learned about color by grinding down rocks, plants, and berries. Her color pallet during the Chicago years is indicative of her early-life color experimentation as she consistently used warm, earth tones in her work. Hoff was a born adventurer and traveled extensively. She lived, worked, taught, and painted in Europe, Mexico, Beirut, Lebanon, Uganda, Brazil, and China. She also showed at the Denver Art Museum’s Annual Western Exhibitions in 1952-54, 56, and 57. In 1957 she showed along side Colorado modernist Vance Kirkland at the Denver Art Museum’s exhibition, Man's Conquest of Space. What was once a focus on the representational, her work began to change after 1957 when she saw Sputnik in its orbit around Earth. At that moment, feet firmly placed on the ground, she was able to imagine herself in space, looking down from the cosmos, and what she saw was an abstracted world. She then had the opportunity to peer into an electron microscope where once again she was looking down into what seemed to be a realm of pure abstraction. These two events profoundly changed her perspective and she began to move from figural painting to abstract, geometric collage. In 1960, Hoff moved to New York City and she began creating collages. Placing the canvas on the ground, and working from all sides, she used strips of painted paper and tissue—and later painted pieces of canvas—glued onto the canvas surface, building layer upon layer, shape against shape, “action of color next to stillness of color.” She believed these simplified, abstracted forms held the spirit of the subject in the same way poetry reduces words to their essence. These pieces range from aerial cityscapes, to dancers in motions, to flora...

"Wall of the Carry Outs" is Wisconsin artist Joseph Rozman's 1968 signed acrylic collage. 36" x 29 1/2" art size Joseph Rozman was born on December 26, 1944 in Milwaukee, WI. He wa...

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

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

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Charles Frederick Ramsey (1875 - 1951) Charles Frederick Ramsey is considered as important a leader among the New Hope Modernists, as Lathrop among the New Hope Impressionists. Ramsey, the son of prominent Philadelphia artist, Milne Ramsey...

Signed Lower Right Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to ...

Works on Paper, watercolor, gouache, and pencil on paper Robert L. B. Tobin Foundation San Antonio, Texas initialed in cartouche bottom center

Signed Lower Right Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to ...

Whimsical oil pastel drawing of an elaborate theater stage hosting a single ballerina made of a vintage photograph by Eli Berg, circa 1940. Original artwork on paper displayed on...

Color pencil and pastel on paper. Signed and dated top right : FGray? 1933. Described top left: " Wilfrabot" Image size: 13.19 x 9.69 in ( 33,5 x 24,6 cm ), Framed: 19.8 x 14.84 in ...

Signed and dated lower right; Manuscript notes on black paper backing

Yayoi Kusama Infinity Mirror Skateboard Deck: Hand Numbered from an Edition of 500 and plate signed by Kusama. Off-set print on maple wood skate deck. New (sealed) in its original ...

Cesare Tacchi (Roma 1940 – 2014), Coppia felice (1967) Tecnica mista, inchiostro e tessuto trapuntato di cm 70 x 70 firmata in basso a destra, sul retro sono presenti il titolo dell...

This Collage made with Black Linen pieces would be great framed in a modern home or office. Aubrey Penny Signed and Dated 1964 Laws of Chance Square Combination Series. 11-2750-A ...

John Steuart Curry (American, 1897-1946) Wisconsin Twilight, 1934 Signed Lower Left Gold Leafed Frame with Silk Mat and Gold Leafed Fillet 29 x 36.5 inches 41 x 46.5 inches with frame Born in Dunavant, Kansas on November 14, 1897, John Steuart Curry became the youngest member of the famed "Benton-Wood-Curry trio" of Regional Painters of the early 20th-century American Scene movement. He gained national reputation for his Kansas rural scenes of people terrorized by natural phenomena such as tornadoes, drab farm-house living conditions, religious gatherings such as prayer meeting and baptisms, and spirited animals who got out of control. A good example of his weather-related painting was Tornado Over Kansas, 1929, in the collection of the Muskegon Museum of Art in Muskegon, Michigan. In this scene, a family scurries for shelter, trying to outrun a funnel cloud headed for their home. The mother carries her baby, and the children rescue pets and toys. It was later said that Curry never directly experienced a tornado but had many scares from them as a child when his family, faced with frightening skies, made frequent trips to their fruit cellar. In 1933, Tornado Over Kansas received second prize at the Carnegie International Exhibit. He was especially focused on people who were down-to-earth, plain spoken and who were self reliantly making a living through hard physical labor challenged by harsh weather. In many of his paintings, he showed his disdain for racial discrimination and hatred, something he believed was psychologically poisonous. He did many murals dealing with land settlement and these themes of racial justice, and his, reflecting these themes, murals are in the Capitol Building in Kansas, the University of Wisconsin, Department of the Interior, and Department of Justice in Washington D.C. Curry was a descendant of many generations of farmers, whose American ancestors originally were from Scotland. Some of them immigrated to South Carolina, and later followed "the line of the frontier into the Mississippi Valley." The first born of five children, Curry said of his childhood: "I was raised on hard work and the shorter catechism---Up at four o'clock the year round, doing half a day's work before we rode to town on horseback to our lessons." From a young age, he was constantly drawing, an activity encouraged by his mother, who arranged art lessons for him from age 12. She also gave him his first glimpse of the Old Master painters through reproductions of their work she had collected on her honeymoon. Never of the studious nature, Curry quit the county high school in Winchester, Kansas and spent that summer as a railroad section-hand. His earnings provided him with enough money to buy a suit of clothes so that he could go to Kansas City and attend the Art Institute. A month later he moved to the Art Institute of Chicago, and remained there for two years, supporting himself by sweeping floors and acting as a bus-boy in the cafeteria. Upon America's declaration of war, Curry went to training camp, only to be sent home when it was discovered that he was still under age. In 1918 he enrolled at Geneva College, played football for two seasons, and spent the following five years training to earn his money as an illustrator of "blood-and-thunder" scenes for a popular western story magazine. In this capacity, he worked for illustrator Harvey Dunn in New Jersey from 1919 to 1926. He married and then persuaded art patron Seward Prosser to loan him $1000. 00,, which he used for one year of study in Paris in 1927. The year in Europe, which included study at the Academy Julian, reinforced his independent nature. He was much more impressed by the paintings of Rembrandt and Rubens than by the modernist American painters, many whom were adopting the 'isms' of abstract styles of French contemporary artists such as Pablo Picasso's Cubism and Max Ernst's Surrealism. Curry determined to paint American subjects without European models and to celebrate American patriotism and regional pride rather than lofty, remote ideals espoused by the academics. He returned to America penniless, and settling in Westport, Connecticut, swore that he would turn out a worthwhile picture or give up painting entirely. There in 1928 from memory he painted his first picture that became famous, Baptism in Kansas. Gertrude Vanderbilt Whitney bought it for her museum and subsidized him for two years at $50 a week. Baptism in Kansas was heralded nationally as work of a new American genre, but fellow Kansans were not impressed until much later when they realized the scope of his recognition. Purchased by Gertrude Vanderbilt Whitney, one of his key benefactors, Baptism launched his career as a regionalist. In 1930, he had his first one-man exhibition, held at the Whitney Studio Club, and was received enthusiastically by critics. Although he lived primarily in the East, he returned often to Kansas where he stayed at his parents' farm and sketched rural-life scenes. His first wife died, and he gave up his studio in Westport, and secluded himself in a drab New York City studio. He taught at the Cooper Union and the Art Students' League, and held a show of circus studies after touring New England with Ringling Bros.-Barnum & Bailey Circus. This tour and the resulting circus sketches and watercolors were inspired from his attendance in Kansas at many rural county fairs. Reportedly the circus people said they liked Curry but "quibbled over minor technical errors in his series of circus paintings." In 1934 he married Kathleen Shepard, returned to Westport, recovered his old enthusiasm, and painted one of his most famous paintings, Line Storm. Westport beginning to appreciate him, commissioned him to do a double mural for the local high school. Additionally, the United States government selected him to paint murals for the Department of Justice and the Department of Interior buildings in Washington, D.C. He was appointed Artist-in-Residence in the College of Agriculture, University of Wisconsin, in 1936. At $4,000 a year he had his studio on the campus, where he could mingle with students, but he conducted no formal classes. Curry also traveled occasionally to Arizona where he visited his parents who had a second home there and spent their winters. The Marianna Kistler Beach Museum of Art in Manhattan, Kansas, is the repository of the Curry archives including many paintings. According to Bill North, the Museum's Senior Curator, Curry "did produce a number of paintings and watercolors with Arizona subjects, some, certainly prior to 1940. Relatively little is known about this aspect of his life and work. I assume that many, if not all of Curry's Arizona paintings...

Naturalistic pastoral mixed media landscape painting by Texas-based artist Kermit Oliver. The work features a young girl standing in a field with a cow in the background. Signed in t...

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. Conte...

This bouquet is a beautiful work of art by the French Master, Bernard Buffet , painted in the medium of gouache and oil . You can see the art work has raised texture and one can also...

Robert Indiana Classic LOVE (Pop Art, Modern, Neo-Dada, Iconography, Tuft, Framed) Tuft - Multiple 1996/2007 Size: 29.1x29.1in Edition: 10.000 COA provided Ref.: 924802-1819 *framed in a black or white frame made from composite wood/plastic. No glass. ** This piece has a lead time of 1-2 weeks Tags: Pop Art, Modern, Neo-Dada, Iconography, Tuft, Framedhy Robert Indiana was an American artist associated with the pop art movement. His "LOVE" print, first created for the Museum of Modern Art's Christmas card in 1965, was the basis for his 1970 Love sculpture and the widely distributed 1973 United States Postal Service...

Painting by Noche Crist (1909 - 2004). Titled "Bearded Man with Cat". Catalogue of an exhibition in 2008 at the Katzen Art Museum in Washington D.C. is ...

John Altoon's work crosses a hybrid between abstract and figurative, influenced by Abstract Impressionism.

LOT:20221222S01 Medium: Collage with colour samples and watercolour Estate stamp and dedication on the reverse Literature: Rotzler, Willy: Johannes Itten....

Fritz Bultman (1919-1985) was an American Abstract Expressionist painter, sculptor, and collagist and a member of the New York School of artists. He was born in New Orleans, Louisiana and moved to Germany to join the Bauhaus at the age of 16. There, he was acquainted with Maria Hofmann, the wife of Hans Hofmann, which initiated a move to New York to study under his guidance. Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core practice. In 1950, Fritz Bultman and 27 other distinguished artists signed a letter protesting the conservative nature of the work selected for a forthcoming national exhibition at the Metropolitan Museum of Art. The signees of this historic letter were identified as, the “Irascibles,” resulting in the majority achieving international acclaim as Abstract Expressionist artists including Willem de Kooning, Robert Motherwell, Jackson Pollock, and Mark Rothko, among others. Throughout his life Fritz Bultman received several awards including Fulbright and Guggenheim Fellowships and was a founding member of the Long Point...

Fritz Bultman (1919-1985) was an American Abstract Expressionist painter, sculptor, and collagist and a member of the New York School of artists. He was born in New Orleans, Louisiana and moved to Germany to join the Bauhaus at the age of 16. There, he was acquainted with Maria Hofmann, the wife of Hans Hofmann, which initiated a move to New York to study under his guidance. Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core practice. In 1950, Fritz Bultman and 27 other distinguished artists signed a letter protesting the conservative nature of the work selected for a forthcoming national exhibition at the Metropolitan Museum of Art. The signees of this historic letter were identified as, the “Irascibles,” resulting in the majority achieving international acclaim as Abstract Expressionist artists including Willem de Kooning, Robert Motherwell, Jackson Pollock, and Mark Rothko, among others. Throughout his life Fritz Bultman received several awards including Fulbright and Guggenheim Fellowships and was a founding member of the Long Point...

John Dean Monroe Harvey (1895-1978) Design for Great Marlborough St, London W1 (1954) by Stone Toms & Partners Gouache on paper 43 x 51 cm Signed and dated ‘J D M Harvey...

Painted wood, polystyrene and perspex relief on board. Signed, titled and dated twice (verso). Constructed Relief is an austerely conceived work in painted wood, polystyrene and pers...

Modern needlepoint textile tapestry of the Biblical parable of Jonah and the whale by Houston artist Robert Lunny. The work features the prophet Jonah sit...

Jack Smith Do Not Open ‘Til Happy Hour c. 1960s Pen on manila folder 12 x 9.5 inches Contact gallery for price. This work is offered by ClampArt in New York City.

Blue On Blue #1, original vintage 1965 abstract painting by Denver artist, Angelo Di Benedetto (1913-1992). Acrylic paint in shades of blue on shaped 3 dimensional (3D) canvas with a circular form protruding from the center of square painting. Presented in a vintage/original frame, outer dimensions measure 26 ¾ x 26 ½ x 1 ¼ inches. Image size is 26 x 26 x 3 ¼ inches. Exhibited: Whitney Museum of American Art, 1965 Annual Exhibition of Contemporary American Painting December 8, 1965 to January 30, 1966 The son of Italian immigrants from the Salerno province in southern Italy, as a teenager Di Benedetto worked as a truck driver in the mornings and a bartender in the afternoons to study at the Cooper Union Art School in New York City (1930-34) from which he graduated with a certificate in freehand drawing. He won a scholarship to the Boston Museum Art School where he studied for three years, beginning in 1934, with Russian émigré painter, Alexandre Jacovleff, a member of Mir Isskustva (World of Art) in St. Petersburg before the Russian Revolution. In 1936 he painted a religious mural for St. Michael’s Grove in Paterson, New Jersey. The following year, he entered his first juried exhibition at the Montclair Museum in New Jersey, winning first prize and first honorable mention. In December 1938, the Royal Netherlands Steamship Line sent him on a two-month ethnological study trip to Haiti, his first exposure to a different environment outside the United States. During what turned out to be an extended six-month stay, he studied and painted the life and religious customs of the island, resulting in a series of colorful, stylized paintings inspired by his immersion in the local culture. He also did scenes of Port-au-Prince and executed commissions received from prominent people in Haiti, including government officials. In 1940, his Haitian paintings were exhibited at the Montross Gallery in New York (his first solo show) and also reproduced in the January 1940 issue of Life Magazine. One of his Haitian paintings, Morning in Port-au-Prince, was owned by an American author, politician and U.S. ambassador, Clare Boothe Luce, while another image, Haiti Post Office, was acquired for the Encyclopedia Britannica Collection and later donated to Fisk University in Nashville, Tennessee. Before World War II, Di Benedetto traveled extensively around the United States in his car and trailer doing regional paintings. In 1941, he did what is considered the first authentic version of George Washington Crossing the Delaware, a contrast to the well-known painting on the same subject (1851) by German-born painter, Emanuel Gottlieb Leutze. During the war, Di Benedetto volunteered for a secret mission to Africa in 1941 before the Allied invasion, serving as director of camouflage, foreman of native laborers, and an interpreter while based in Eritrea. The following year he received a direct commission as a Second Lieutenant in the U.S. Army Air Corps in the First Photo Mapping Squadron, leading groups as a guide and interpreter and doing ground control. During his free time in Africa, he sketched and painted the local population and his fellow servicemen. Following Africa, he served as an orientation officer and aerial photographic officer for the 311th Photo Wing at Bolling Field, in the District of Columbia where he did a series of illustrated articles describing the natives in the different countries where the men of his organization were stationed during the war. In 1945 he was assigned to a mapping unit at Buckley Air Field in Denver where he served until his discharge in 1946. Like many other servicemen stationed at the time in Colorado, Di Benedetto chose to remain in Colorado, impressed by the state’s physical grandeur and healthful climate. After the war, he lived briefly for about a year in Rangely, a small town in northwest Colorado where he traveled and sketched. But finding it a little too remote, he settled in the old mining town of Central City in 1947, his home base for the rest of his life. He spent his first six years there transforming the old Sauder-McShane Mercantile warehouse into a giant art studio. His initial acquaintance with the town’s mining town history in 1947 resulted in a drawing, Death of a Miner, showing a male figure buried under a pile of collapsed rock in a mining tunnel. In 1949 Di Benedetto and his wife, ceramist Lee Porzio, opened the Benpro Art School in his studio where he conducted summer art classes. The following year he teamed up with a Denver-based artist, Frank Vavra, to open the Denver Art Center at 924 Broadway. He and Vavra were founding members of the 15 Colorado Artists who seceded in 1948 from the Denver Artists Guild because they were dissatisfied with the older organization’s underlying conservatism and the disdain of some of its members for modern art. Welcoming anyone wanting to learn how to draw or paint, the Denver Art Center in downtown Denver only lasted about a year. Undeterred by its lack of success, Di Benedetto continued throughout his career to give workshops, classes, and lectures on art-related topics in Denver and elsewhere. Examples of topics ranged from subjects such as “African Art,” Chappell House, Denver (1945) and “University or Artistic Thought” sponsored by the Art for World Friendship Committee (1954). He also taught locally at the Jewish Community Center, Steele Community Center, International House, Southern Colorado State College-Pueblo, and lectured at the University of Denver. Beginning in 1969 he sponsored over one hundred youths at his studio in Central City to spend a summer learning about art. He also conducted classes for serious working artists. His efforts earned him an honorary doctorate from the University of Colorado in 1977. He likewise promoted contemporary Colorado artists’ work in the 1950s, heading a committee that presented one-person exhibitions in a small gallery at the Vogue Art Cinema on South Pearl Street in Denver. His interest in promoting the arts led to his participation in numerous organizations. In the 1960s he became concerned with environmental and urban art and was the president of Art for the Cities, a Denver-based nonprofit organization. He also was the chairman of and a participant in the first annual environmental art exhibit held at Denver’s American Medical Center. In 1968 Colorado Governor John Love appointed him to the Colorado Council on the Arts and Humanities in which he remained active until 1975. He served for two consecutive years as program coordinator for the Governor’s Conference on the Arts and Humanities. At the 1969 conference, Governor Love presented him an award for his contribution to the art and artists of Colorado. At the same time, he actively participated in the civic life of Central City. The town’s Police Magistrate (1955-56), he twice campaigned for mayor, first in 1966 and again in 1973, and ran for commissioner in 1979. He socialized with artists Ben Shahn, Herbert Bayer and Mark Rothko, as well as theatrical stars appearing at the Central City Opera House, including Helen Hayes, Mae West, and Gypsy Rose Lee. He invited them to carve their autographs on his kitchen table. Di Benedetto worked with equal facility in a variety of media: acrylic, oil paint, watercolor, charcoal, Conte crayon, graphic arts and metal (copper, iron). Up until the early 1950s, his output was dominated by representational figure work and expressionist Colorado landscapes that were not always immune from controversy. When Life Magazine included a reproduction of his Regionalist painting, Lovers in the Cornfield (1941) in its article, “Ten Years of American Art: Life Reviews the Record of a Lively, Important Decade” (November 26, 1946, issue), three counties in Massachusetts banned the publication. Just as immediately, the painting was exhibited in Denver. He said that he liked the West because the people, despite their lack of exposure to art, were individualistic and almost “anarchistic.” In the early 1950s he did woodcuts in a modernist style, including Remembrance, showing his two young daughters. Influenced by Abstract Expressionism at that time, he began considering the elimination of the image from his work. By the end of the decade, he had decided that “the circle – pure and simple was one of the most familiar symbols of mankind and that it metaphored into everything.” At the same time, he noted that “99% of the abstract painters shied away from using…[the circle]. When they didn’t, they slaughtered it, murdered it and buried it. So it became my motif.” For more than three decades he explored the circle in paint, sculpture and shaped canvas. Two examples of the last-named medium are his Red CQ and Black C-1, both from 1969. Because abstraction touched upon his deep feelings and spirituality, he felt he could make visible that part of life which “we feel but almost never see.” His fascination with the circle also relates to his belief that to affect the dialogue existing between object and maker, the artist must “create archetypal shapes [that have universal appeal], not symbols…to reflect simply the intrinsic beauty of the shape itself.” A strong advocate for public art, Di Benedetto headed Art for the Cities, Inc., which sponsored nine sculptures for Burns Park as part of the Denver Sculpture Symposium held in the Mile High City in 1968. The catalysts for the idea of the sculptures were Beverly and Bernie Rosen, who had been instrumental in the creation of the contemporary department at the Denver Art Museum. Along with Di Benedetto, the other participating sculptors were Dean Fleming, Peter Forakis, Roger Kotoske, Tony Magar, Robert Mangold, Robert Morris, Richard Van Buren and Bill Verhelst. The park project eventually served as a prototype for twenty-two states, bringing the sculpture to urban spaces. The sculptures reflected Di Benedetto’s concept of “burden-less environmental art” with no hidden meaning for the public to decipher. His goal in public art was to “create a work which, when integrated with the site, will create a tranquil oasis, a counterbalance to the modern chaotic world we experience daily.” During the 1960s and 1970s, he received other major sculpture commissions: an 80-foot-long copper wall, Jewish Community Center, Denver (1962); sculpture garden, General Rose Hospital, Denver (1964); Fountain, First National Bank of Dallas (1966); Colorado Fuel & Iron Company, Pueblo, Colorado (1969); neighborhood park sculpture, Yonkers, New York (1971); High School Park, Northglenn, Colorado (1974); ice skating rink sculpture, Pueblo (1976). Fate was not as kind to his mural which the Colorado Supreme Court justices commissioned him to paint in 1976 for the Colorado Judicial Building from a field of twenty-two candidates. With his former student, Phyllis Montrose as his principal assistant along with three others, he spent a year and a half executing the mural. Entitled Justice Through the Ages (aka Lawgivers), it depicted sixty individuals from ancient Babylon...

Mathieu Matégot (1910-2001) Sans titre c.1950s wool tapestry, Manufactura de Tapeçarias de Portalegre 150 x 70 cm signed ‘Matégot’ and with the Manufactura de Tapeçarias de Portalegre monogram (lower right) Price: $11,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF21324) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Oberon c.1950s wool tapestry, Manufactura de Tapeçarias de Portalegre; (possibly) no. 2 125 x 202 cm signed ‘Matégot’ and with the Manufactura de Tapeçarias de Portalegre monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $18,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF19387) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Castille c.1950s Aubusson tapestry, Pinton Frères; (probably) unique 156 x 120 cm signed ‘Matégot’ and with the Pinton Frères monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $14,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF11410) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Apollo c.1950s Aubusson tapestry, Manufactura de Tapeçarias de Portalegre; edition 3 of 6 142 x 118 cm signed ‘Matégot’ with the Manufactura de Tapeçarias de Portalegre monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $13,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF19383.3) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern...

Colorful collage that includes shades of blue, red, green and white. Robert Goodnough's signature is in the bottom right hand corner. This piece is framed and has a label on the back that lists the artist, title and edition (80/496). Dimensions Without Frame: H 20 in. x W 9 in. Artist Biography: Robert Goodnough (October 23, 1917 – October 2, 2010) was an American abstract expressionist painter. A veteran of World War II, Goodnough was one of the last of the original generation of the New York School; (although he has been referred to as a member of the "second generation" of Abstract Expressionists), even though he began exhibiting his work in galleries in New York City in the early 1950s. Robert Goodnough was among the 24 artists from the total of 256 participants who were included in the famous 9th Street...

"Rose" is an original artwork realized by Jannis Kounellis in 1963. It is hand signed overleaf and made with mixed media on cardboard. The Certificate of Authenticity is on a signed photograph. Exhibitions: Rome 1960 - the Dealer's Choice, Galleria Angelica, Rome, 2012. Reference: Luca Beatrice, Roma ’60, Milano, Silvana Editoriale, 2010, p. 189. Very good conditions, wooden frame included. Jannis Kounellis (1936 – 2017) was a Greek painter and sculptor. He anticipated and fostered the development of the Arte Povera movement. From the 1980s, his artworks often retrieved fragments and ancient objects...

Navajo Folk Art Figure, Charlie Willetto, Native American Orange White Effigy Vintage Navajo medicine man Charlie Willeto (1897-1964) was also an art...

Signed in ink lower right; Titled in pencil upper left recto Provenance: Joseph Erdelac Collection, Cleveland Erdelac was a noted Longstreet collector who donated many of the arti...

Collage with Picasso etching 'Soneto Funebre' from Vingt Poemes and book spine of Keats poetry Titled verso 'Le Secret Eternal' Stamped 'Estate of Erwin Blu...

Original Production Cell From the Color Remake of the original 1930s Cartoon Mutt and Jeff is a long-running and widely popular American newspaper com...

Artist: Romare Bearden Title: Sunrise Coffee Year: 1970 Medium: Collage and Mixed Media on Masonite, signed left and verso Size: 18 in. x 21 in. (45.72 cm x 53.34 cm) Frame Si...