Abstract Mixed Media

A pair of original cut paper collages by Venezuelan American artist Ricardo Morin. Each of these works measure 7" x 5" unframed and come housed in a...

Judy Pfaff original signed paper and mixed media 3D collage, ca. 1986 Mixed media 3:D paper collage with vinyl signed and inscribed "To Connie Love Judy Pfaff" in marker on the front...

Terence La Noue was born in Hammond, Indiana in 1941. He received a Bachelor of Fine Arts from Ohio Wesleyan University in 1964. After going to Berlin as a Fulbright Meister Student ...

Charles Hinman Untitled Geometric Abstraction (Hand Signed), 1980 Pastel & Graphite painting on Paper Signed and dedicated to "Michael and Rene" in graphite by the artist on the fron...

Frank Stella (Whitney Museum Exhibited) Shards IVA (Axsom 151), 1982 Lithograph & Silkscreen on Arches Cover Paper (Whitney Museum exhibition label verso of frame) 45 1/2 × 39 1/4 in...

Pat Adams Free More, 1989 Acrylic and encaustic painting with varnish on paper laid down on canvas Hand signed and dated on the upper left front Original artist's frame included This...

Color lithograph with color paper collage, 1987. Pencil signed lower right and dated, and numbered lower left 5/24. Litho depicts a poem titled "Ariadne" by T. Weiss. Published by ...

Taos Series Mixed media on handmade paper Signed and dated by the artist lower right Archival framing with Conversation Glass Frame size: 29 3/4 x 34 inches Image size: 19 1/2 x 19 1...

D. Tongen "Yellow and Black" 1980s 19.75"x12.5" Soft pastel and pencil on paper Initialed in pencil lower right

D. Tongen "Orange, Brown, Black" 1980s 11.75"x10" Soft pastel and pencil on paper Signed in pencil lower right

D. Tongen Mint, Orange, Yellow, Black 1980s 11.75"x10.5" Soft pastel and pencil on paper Signed in pencil lower right

D. Tongen "Yellow,Blue, Black" 1980s 12.75"x10" Soft pastel and pencil on paper Initialed in pencil lower right

D. Tongen "Rust and Black" 1980s 18.5"x 13" Soft pastel and pencil on paper Initialed in pencil lower right

D. Tongen "Olive Green and Black" 1980s 19.75"x12.5" Soft pastel and pencil on paper Initialed in pencil lower right

D. Tongen Pink, Blue, Mint, Black 1980s 12.75"x9.75" Soft pastel and pencil on paper Initialed in pencil lower right

D. Tongen "Orange and Blue" 1980s 11.75"x9.75" Soft pastel and pencil on paper Initialed and dated in pencil lower right

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

Born in 1955, Hyderabad, India, painter and writer Sangeeta Reddy migrated to the United States in 1978 and continued her studies in art. Currently she maintains a studio on Santa F...

image is 21 X 21 inches; frame: 30 X 30 inches Born in 1955, Hyderabad, India, painter and writer Sangeeta Reddy migrated to the United States in 1978 and continued her studies in a...

Louis K. Stone (1902-1984) Untitled, 1980 Mixed media on paper Framed: 52 1/4 x 42 1/4 in. Signed lower right: Stone 80 An abstract painter, Louis Stone settled in Lambertville, New ...

This is a mixed media monoprint titled Homage a Sam (I first thought it was for Sam Gilliam but the artist told me it was for Sam Francis. He has done a number of these Homages as I ...

East Village Art: From 1978 for 8 years Berlin worked frenetically,at street level, his finger on the pulse of this great city creating The Manhattan Collection. Living & moving in...

Provenance: Corporate Art Collection Nell Blaine, painter of still lifes and landscapes in brilliant colors, created abstract work that gives the appearance of being done in a caref...

Michael David (b. 1954) Billie's Tree Signed, Titled, and Dated 1982 Verso. Provenance: Museum of Contemporary Art, Chicago (bears label en verso) where it had been exhibited for nearly two decades. It was also Exhibited at the Museum of Modern Art (MoMA NYC) just after he won the National Guggenheim Award. The Piece Measures approximately 70" x 71" x 8" Deep. Michael David Singer; born 1954, is an American painter. Born in Reno, Nevada, David's family relocated to Brooklyn, New York, where he was raised. He attended SUNY Fredonia for one year and in 1976 received a B.F.A. from Parson's School of Design. Michael David is classified as an abstract painter, best known for his use of the encaustic technique, a was pigmentation technique which incorporates pigment with heated beeswax. He is also known for his works in mixed-media figure painting, photography and environmental sculpture. He often incorporates religious iconography and symbolism, art historical themes such as the nude, and contemporary politics into his paintings resulting in a critical dialogue between the layered abstraction of the surface and the integrated representational imagery. His work is included in the permanent public collections of the Metropolitan Museum of Art, the Guggenheim Museum, the Jewish Museum in New York, the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among others. In 1976 David, erotic photographer Roy Stuart and Fredonia friend Richie Stotts formed a band called The Numbers, with David on bass. The group was a fixture in New York's early punk rock music scene, playing in clubs alongside punk pioneers Television, Blondie and the Ramones. David also played bass with punk innovators Jerry Nolan of The New York Dolls, Cheetah Chrome of The Dead Boys, Marky Ramone, Peter Gordon, David Van Tieghem and the free-improvisation noise music group Borbetomagus. In 1977, The Numbers were approached by impresario Rod Swenson, who was seeking musicians to form a backing band for singer Wendy O. Williams, whose radical persona he sought to exploit as punk music and performance art. The Numbers became The Plasmatics but the attention David began to gain as an important voice in the art world caused him to leave the band to pursue his burgeoning painting career. David's first one-man show was in 1981 at the historic Sidney Janis Gallery. That year he was awarded a Guggenheim Fellowship, at the time the youngest artist ever to do so, and in 1982 was awarded an American Academy of Arts and Letters prize. He went on to exhibit at galleries worldwide and was represented by Knoedler & Co. for the next 25 years. David is best known for using the encaustic technique of painting, which uses pigment combined with heated beeswax. David built his early career on abstraction and religious iconography, which formed the bulk of his output until 1999. Since then he has also experimented with representational painting and traditional photography. In 2000, he developed the "Chortens" and "Populations" series, about which prominent art historian and critic Donald Kuspit writes: "They are enigmatic works, all the more so because of the way their innumerable details form singularly monumental, intimidating wholes. Dense yet delicate, awesome yet intimate, they convey the fragility as well as grandeur of sheer being. Layer upon layer of paint piles up like layer upon layer of coral, but the textural result is more epic, not to say startling, than any coral island, and virtually any other existing abstract expressionist painting (upon which they are stylistically founded)." In 2001, David developed bi-lateral neuropathy due to being poisoned by gases released by overheated beeswax used in the encaustic process. The disease left him with partial paralysis of his legs, slowing the production of his painting for a number of years. That year, David began painting one of his best-known series, the "fallen Toreadors", inspired by 19th century French Realist painter Édouard Manet's "The Dead Toreador" of 1864. In 1993, David experimented at the "20x24" Polaroid studio in Manhattan, which resulted in a series of portraits of playwright Edward Albee and of friend Jackie Gross, which would become the ongoing "Jackie" series of mixed-media works. When neuropathy rendered him unable to paint during 2003, he returned to the 20x24 camera and shot large-format Polaroids inspired by Caravaggio; nude men and women dressed as Toreadors, and religious imagery. In 2002, David began to develop The Greenhouse Project, an evolving "architectural construct" based on historical American Antebellum greenhouses built using the actual glass negatives sold to starving farmers in the post-American Civil War South. David has indicated that each greenhouse will, through the display of photography and use of social networking, create a forum and exhibit for ideas and artifacts related to civil and human rights; the specifications of each greenhouse particular to the community in which each is built. David's work was reviewed in Artforum and Art in America, and is considered one of the last links to the New York School of painting. David may be the most innovative master of immediate surface since the abstract expressionists. He has acknowledged his debt to Abstract Expressionism, but he has transformed it. Where the abstract expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, and as such to reinstate prehistory, David seems to turn the cave into a temple, as his more considered, concentrated, indeed, dense, contemplative painterliness indicates, so that his paintings have the aura of post history. SELECT GROUP EXHIBITIONS 2023 Radiate, Garvey Simon, New York, New York 2021 Selections from NYFA - Courtesy of the Martin Z. Margulies Foundation, New York, New York 2020 Bill Lowe Gallery Presents: Masterworks from the Gallery 2016 The Golem, The Jewish Museum of Berlin, Berlin, Germany In a Post-World: Post-Punk Art Now, The Invisible Dog Art Center, Brooklyn, New York 2014 Gallery Artists, Bentley Gallery, Pheonix, Arizona 2011 Post Mammalian Tension: Michael David & Scott Browning, Bill Lowe Gallery, Atlanta, Georgia 1999 Waxing Poetic: Encaustic Art in America, Montclair Art Museum, (Jasper Johns, Jackson Pollock, Robert Rauschenberg etc) Forty Years of American Drawings, Raab Galerie, Berlin, Germany Germany Summertime, Knoedler & Company, New York, New York 1997 Michael David and James Hyde...

Carroll Dunham Untitled 1984 mixed media assisted wood veneers Frame size;27" x 21.5" inches Image size;18" x 12" inches Statement: The reason I started to focus on painting is b...

Old Place Mixed media on paper Signed and dated 1988, twice Further signed, inscribed and dated to verso Paper size 78 x 99cm framed 95x115

Hannelore Baron Untitled (C82-142), 1982 Signed and dated on the reverse Mixed media collage Sheet 12 1/4 x 10 1/2 inches Provenance: Manny Silverman ...

O.P. 88 (1988) Pencil, ink, enamel and collage on paper 46" x 30" 48 ½" x 32 ½" x 2" framed Stamped "GG88" lower right by artist with his signature stamp. Provenance: M. Knoedler &...

Nell Blaine (1922-1996) American Original India Ink and Wash titled "The Harbor from Banner Hill" The sight size is 17 x 27 inches. Signed and dated 1986 lower right and again verso...

Modern neutral toned abstract mixed media painting by Texas artist Carole Myers. The work features a collage of different textured papers combined with pa...

gilded bronze sculpture with brass base Executed in 1983, the work is an limited edition of three hundred diameter: 5 7/8 in. (15 cm.) height 17 cm hand incised with the artist’s sig...

Bessie Smith - If You Don't Like My Peaches - Don't Shake My Tree Collage, 1980 Signed and dated in pencil lower right (see photo) Titled in pencil lower left Original price verso '3,000' (see photo) Provenance: Acquired from the artist Joseph M. Erdelac, Cleveland, friend and patron of the artist Condition: Very good Usual minor condition issues (wrinkling) associated with the artist's creation process Stephen Longstreet (1907-2002) The artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

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 ...

Bookatz's artistic practice embodies a dynamic and multifaceted approach to creation. His canvases resonate with an improvisational interplay, a reflection reminiscent of the nuance...

JAY MILDER Untitled, ca. 1987 Gouache on Paper hand signed in pencil, lower left. Image is 9 square inches; framed it's 16 square inches Frame included: held in the original vintage frame A protege of Hans Hofmann, Milder also studied Jewish mysticism and Kaballah. Poignant framed color gouache painting on paper by second generation Abstract Expressionist painter Jay Milder, a former student of Hans Hofmann, whose work has been greatly informed by his background and interest in Jewish mysticism and Kaballah. Most recently, Milder had been represented by the Lohin Geduld Gallery in Manhattan and Eric Firestone. The visible sheet measures approximately 9 square inches. Framed, the work measures 16 square inches. Artist's official biography: JAY MILDER Born 1934 in Omaha, Nebraska, Jay Milder became a noted abstract painter in the New York art scene in 1958 when he, Bob Thompson, and Red Grooms founded City Gallery. They were all influenced by Abstract Expressionism, but closer to Willem De Kooning than Jackson Pollock because all three were committed to figurative work. Milder was originally shown at The Allan Stone Gallery and then when Martha Jackson took over as Milder’s dealer, her client, Walter Chrysler...

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 ...

Robert Motherwell Pull Out All Flags (Engberg, Banach 263), 1980 Aquatint and etching in colors, on German Etching paper, with full margins Hand-signed by artist, Pencil signed and n...

Subaquatic Canyon - Abstract Expressionist on Paper Abstract in bold blue and red with textures created by salt in India ink and watercolor, by California-based artist Ricardo de Si...

KENNETH NOLAND Untitled, for Trustees of the Honolulu Museum of Art, 1984 Mixed Media collage with silver and colored foil on board. Signed on verso (back) with personal inscription. "for Twig and Laila" (Trustees of the Honolulu Museum of Art), Deaccessioned from the Honolulu Museum of Art Collection Inscription done in black marker and reads: "A Little Exercise For Twig and Laila With Thanks For A Wonderful 3 Days At ' Cedar House' On The 'Big Island'... 1 Sept 1984 Honolulu Hawaii." Frame included Measurements Framed: 12.5" x 12.5" x .3" Artwork: 8.75" x 8.75" This reflective Chevron collage was de-accessioned by the Honolulu Museum of Art. In 2018, it was exhibited in the show "On Black Mountain: The Bauhaus Legacy in America", April 5, 2019-April 27, 2019 at the Sager Braudis Gallery in Columbia, Missouri, and is reproduced in the exhibition catalogue. Unique signed and dedicated mixed media collage with silver and colored foil on board by the important Color Field painter Kenneth Noland. It's quite a dazzling work, combining color field, geometric abstraction with Op Art, as the work changes appearance and color with the reflected and refracted light. - sometimes appearing light; sometimes darker. See the photos -- there's a light one and a darker one - and they both depict the same work. What's so impressive is that this work literally changes color depending on how the light reflects against it. The artist wrote a personal and heartfelt inscription on the verso to "Twig and Laila". (Twig (sic), which the artist deliberately misspells, is Thurston Twigg Smith, former publisher of The Honolulu Advertiser, who was married to New York philanthropist Laila Twigg Smith. Laila had lived in Hawaii since 1970, where she and her husband had put together a substantial collection of contemporary art. Unfortunately, the two divorced in 1996 and soon after she returned to New York. Two years later, in 1998, Laila died of liver failure at the young age of only 53. Laila was a major philanthropist and art collector who moved from Manhattan to Hawaii. She was a board member of the New Museum of Contemporary Art in New York and a major donor the Honolulu Museum in Hawaii. Laila donated the present Ken Noland...

Signed lower right, 'Barbara Johnson' (American, 1927-2021) and titled, lower left, 'Oberon Series 1'. Exhibited: Carmel Art Association, circa 1995 (accompanied by original label) ...

DAVID HUMPHREY Lies III (Framed with David McKee Gallery Label), 1986 Monotype on wove paper Unique signed and dated in graphite on the recto Frame included Measurements: 29 1/2 x 21...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #1" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #8" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a pr...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #3" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #6" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a pr...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #13" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a p...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #14" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a p...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #12 Blue" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #11 Blue" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion wa...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #10 Blue" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion wa...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #9" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #7" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New York City Ballet. Moncion was a pr...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #2" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Francisco Moncion's Pastel on Paper "Bourrée Fantasque #5" a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet for the New Y...

Early work was impressionistic and hard abstract. Carola later developed a more mature way of working in a colourful exploration of the subject. Colour was her main interest and she...

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

Robert Petersen After A Rain #2, 1987 Collage on Paper: Pencil, Oil, Acrylic and Cloth Hand signed, dated and titled on lower front with Castelli Graphics label on the back Frame Inc...

Robert Goodnough Collage Canvas Painting III, 1983 Painted canvas collage on cardboard (signed twice and inscribed to artist and curator Matthew Rose) S...