American Modern More Art

Ken Ferguson Basket with handle Material: Stoneware, glaze Year: Circa 1980 Size: 18 x 13 inches Stamped Kenneth Richard Ferguson was an American c...

In this series, Audrey Anastasi has shifted her focus away from naturalistic domestic settings to a dark, enigmatic, and some might say, unsettling, pl...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (14"x14" framed) each These come in a white frame. Acrylic on Paper Artist Statement...

Josef Albers Album Art complete set of 7 circa late 1950s: A set of 7 vinyl record covers (containing their records) brilliantly designed by Josef Albers between 1958 and 1960. The s...

Nude In Lavender NOT framed Neo Cubism About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk from New York City to paint seascapes, catch ...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Glazed and...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (15"x15" framed) These come in a white frame. Acrylic on Paper Artist Statement: Pa...

Cubist Style Mid Century Color Blue Watusi The Watusi /wɑːtuːsi/ is a solo dance that enjoyed brief popularity during the early 1960s. It was one of the most popular dance crazes of...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 11.5 x 11.5 Frame Size: 14 x 14 Medium: Batik "Hymn to the Red Moon" Margaret Putnam (1913-1989) Margaret Putnam left an ar...

Cubism Style Post Modern American Modern Acrylic on Canvas Comes UNFRAMED About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk from New Y...

This stunning figurative bas relief sculpture captures a female ballet dancer gracefully poised in the arabesque position, created by the acclaimed Colorado/Missouri artist Eric Bransby (1916-2020). Crafted from bronze and polymer Forton casting, the piece beautifully exemplifies Bransby’s mastery of motion and form. Provenance: Collection of the artist, Eric Bransby About Eric Bransby: Eric James Bransby was a highly respected muralist, painter, illustrator, and educator. His education at the Colorado Springs Fine Art Center included studies with renowned artists like Thomas Hart Benton, Jean Charlot, Boardman Robinson, and Josef Albers. He also studied at the prestigious Yale School of Fine Art. Bransby’s career is defined by his exceptional work as a muralist, with notable commissions including the Rockhurst Library Triptych Mural at the University of Missouri, murals at Brigham Young University, the U.S. Air Force Academy...

CAR SERVICE Hand cut paper on heavy weight gessoed watercolor paper, framed in flat gray painted wood & plexi. Ms. Marano is a daughter of Brooklyn. She holds a BFA from Pratt Institute, is an intimate of the visual poetry of Coney Island, created the winning poster for the first Spirit of Brooklyn poster...

Original hand made, hand woven wall hanging modern art tapestry. Manufactura de Tapecarias de Portalegre (Portugal) (TMP Fino) tapestries are woven by hand on vertical looms. Arth...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (14"x14" framed) each These come in a white frame. Acrylic on Paper Artist Statement...

Fisherman Watercolor Comes Framed (see photo) About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk fr...

Wilhelm Hunt Diederich, 'Cossack Dancers', cut paper silhouette, c. 1920. Signed 'WHD' in pencil, lower left image. Black, wove, cut paper, laid on ...

This artwork titled "Generation Gap" c1978 is an original Cliche Verre on paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and inscribed artist proof in pencil by the artist. The image size is 8.75 x 11.75 inches, sheet size is 10.75 x 13.65 inches. It is in excellent condition, two small pieces of hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 129, plate #236 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 6.5 X 18 Like her contemporaries, Aggie Mack, Candy and Patsy Walker (before her conversion to a superhero), Susie Q. Smith was a female Archie-type — not exactly an imitator, because Archie, who had started only four years earlier, hadn't yet become popular enough to spawn imitators, but part of his genre. She attended high school, where her teachers often seemed unreasonable to her, interacted with the opposite gender in a typically adolescent way, and her parents didn't completely understand her. And she was cute and perky as only a teenage girl can be. Susie was the star of a comic strip distributed by King Features, the biggest of the comic strip syndicates, whose other offerings have ranged from Jackys Diary to Prince Valiant...

Stripes Shipping price can change depending on location Artist Statement: Painting has been a powerful medium for expressing my emotions. Through my art, I am able to escape, dream,...

SALE ONE WEEK ONLY Douglas’s etched ceramic vase in a rich earthy green glaze expresses the Mid-Century Modern style of simplicity of lines, forms and color. Despite its formal shap...

Seemore's Ice Cream Comes unframed About the Artist: My intent is to create a mythic dreamscape that explores the balance between the spiritual and the abstract. The artistic result...

Textile installation by fiber artist Jane Knight titled 'Ziggurat'. This work is comprised of 9 vertical elements with multiple loops at the top. It is signed with an embossed copper...

"Blown Glass" vase is a light beautiful wisp of blown glass infused with a milky white and blue fog of color and bold splashes of red. The vase has a long elegant neck and round body. Herb Babcock known as a Michigan Glass Artist began as a metal sculptor. He studied glass blowing in 1969 and created a series of Glass Image Vessels in 1974. Eventually he began to combine metal and glass in sculpture. The Pillared Series, which includes glass, steel and stone, began in 1989. Herb received both his BFA and his MFA in Sculpture: his bachelor’s degree from the Cleveland Institute of Art and his master’s from the Cranbrook Academy of Art Bloomfield Hills, Michigan. Cranbrook was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), and Morris Brose...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (14"x14" framed) each These come in a white frame. Acrylic on Paper Artist Statement...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 92, plate #125 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (15"x15" framed) These come in a white frame. Acrylic on Paper Artist Statement: Pa...

BIO Artist Philomena Marano is a daughter of Brooklyn. She holds a BFA from Pratt Institute, is an intimate of the visual poetry of Coney Island, created the winning poster for the f...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 6 X 18.25 Like her contemporaries, Aggie Mack,...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 5.5 X 17.75 Like her contemporaries, Aggie Mac...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (14"x14" framed) each These come in a white frame. Acrylic on Paper Artist Statement...

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (15"x15" framed) These come in a white frame. Acrylic on Paper Artist Statement: Pa...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 6.5 X 19.5 Like her contemporaries, Aggie Mack, Candy and Patsy Walker (before her conversion to a superhero), Susie Q. Smith was a female Archie-type — not exactly an imitator, because Archie, who had started only four years earlier, hadn't yet become popular enough to spawn imitators, but part of his genre. She attended high school, where her teachers often seemed unreasonable to her, interacted with the opposite gender in a typically adolescent way, and her parents didn't completely understand her. And she was cute and perky as only a teenage girl can be. Susie was the star of a comic strip distributed by King Features, the biggest of the comic strip syndicates, whose other offerings have ranged from Jackys Diary to Prince Valiant. King launched the strip in both daily and Sunday form in 1945. Daily, she was only in a panel at first, but it expanded into a full, multi-panel strip on February 7, 1953. In a very odd turn of events, in 1953 the Walters chose to leave King Features behind and hitch their wagon at the McNaught Syndicate. The creators were Harold "Jerry" Walter and his wife, Linda. Jerry was also responsible for Jellybean Jones, who has nothing to do with Jughead Jones's young sister, a modern-day addition to the Archie cast of characters. Together, they did The Lively Ones during the 1960s. Though each was capable of doing both major jobs in comic strip production, their usual working method was for Jerry to dream up the ideas and write the dialog, while Linda did the artwork. The Walters also collaborated on a series of Susie Q. Smith comic books for Dell Comics. Instead of reprinting newspaper strips, these ran new stories by the Walters. Between 1951 and '54, four issues were published as part of the Four Color Comics series, where many minor comic strips, including Dotty Dripple, Timmy and Rusty Riley had found a home. It had no other media spin-offs. Susie Q. Smith had a respectable run in the newspapers, but it ended in 1959. Jerry Walter (1915 - 2007) was an abstract expressionist artist whose output of energetic and colorful paintings were the products of the rich artistic milieu of post-war New York City. He was born Harold Frank Walter in Mount Pleasant, Iowa on November 25, 1915. After graduating from Colgate University in 1937, Walter moved to New York City, where he studied drawing and painting at the New School and the Art Students’ League. Before concentrating seriously on his art, he spent several years as a successful copywriter and idea man for the advertising agencies of J. Walter Thompson, McCann Ericson, and BBDO. During this time, he also worked as a syndicated cartoonist. Collaborating with his wife, Linda, his best-known series was Susie Q. Smith, which first appeared in 1945 and described as a “female Archie type.” Very popular, the cartoon was later the subject of a series of comic books published from 1951 to 1954. After serving in the United States Army for three years during World War II, Walter began to paint seriously. He ascribed his earliest artistic influence to Joan Miró, whose Dog Barking at the Moon (1926) he viewed when he was twelve, the year he published his first cartoon. Walter later wrote that jazz, “the first native expression of so-called modernism” was a strong influence on his work. During the later 1940s, Walters spent time at the Research Studio in Maitland, Florida. Founded in 1937 by artist and architect J. André Smith and supported by the philanthropist Mary Curtis Bok, the Research Studio was a lively colony that hosted prominent artists, including Milton Avery, Ralston Crawford, and Doris Lee. While at the Studio, Walter’s work was purchased by Frank Crowninshield. A founding trustee of the Museum of Modern Art and editor of Vanity Fair, Crowinshield was a noted collector; his collection included important works by Pablo Picasso, Marc Chagall, Henri Matisse, Edgar Degas, George Bellows, and Pierre Bonnard. Returning to New York after his time at the Studio, Walter became an active member of the New York school of the abstract expressionist movement, and in the summer of 1956, Walter exhibited 13 paintings and a selection of drawings at New York’s Chase Gallery. The adroit manipulation of both color and composition evident in his work shows the influence of Abstract Expressionism, particularly Willem de Kooning, Arshile Gorky, and Hans Hofmann. illustrator and female cartoonist Linda Walter was the talented female mind behind the beloved "Susie Q. Smith" comic strip. She played an instrumental role in shaping the cultural landscape through her vibrant illustrations. Known for the timeless charm of the "Susie Q. Smith" comic strip, Linda's artistry brought joy and laughter to countless readers during the 1950s and continues to resonate with fans across generations. She was part of the Woodstock artists community. from Women in Comics: Linda Walter was the artist of newspaper strip Susie Q. Smith, which was written by her husband, Jerry. It was syndicated by King Features Syndicate and ran from 1945 to 1959. The Walters also contributed original Susie Q. Smith stories to Dell's Four Color comic books from 1951 to 1954. From 1964-1965, they created a singled panel comic called The Lively Ones. Vintage Golden Age of Comics era. The Golden Age of Comic Books describes an era in the history of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created. Between 1939 and 1941 Detective Comics (DC) and its sister company, All-American Publications, introduced popular superheroes such as Batman and Robin, Wonder Woman, the Flash, Green Lantern, Doctor Fate, the Atom, Hawkman, Green Arrow and Aquaman. Timely Comics, the 1940s predecessor of Marvel Comics, had million-selling titles featuring the Human Torch, the Sub-Mariner, and Captain America. Another notable series was The Spirit by Will Eisner. Dell Comics' non-superhero characters (particularly the licensed Walt Disney animated-character comics) outsold the superhero comics of the day. The publisher featured licensed movie and literary characters such as Mickey Mouse, Donald Duck, Roy Rogers and Tarzan. Additionally, MLJ's introduction of Archie Andrews in Pep Comics #22 (December 1941) gave rise to teen humor comics, with the Archie Comics...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 5.5 X 19.5 Dated August 13, 1954 in top right corner. Like her contemporaries, Aggie Mack, Candy and Patsy Walker (before her conversion to a superhero), Susie Q. Smith was a female Archie-type — not exactly an imitator, because Archie, who had started only four years earlier, hadn't yet become popular enough to spawn imitators, but part of his genre. She attended high school, where her teachers often seemed unreasonable to her, interacted with the opposite gender in a typically adolescent way, and her parents didn't completely understand her. And she was cute and perky as only a teenage girl can be. Susie was the star of a comic strip distributed by King Features, the biggest of the comic strip syndicates, whose other offerings have ranged from Jackys Diary to Prince Valiant. King launched the strip in both daily and Sunday form in 1945. Daily, she was only in a panel at first, but it expanded into a full, multi-panel strip on February 7, 1953. In a very odd turn of events, in 1953 the Walters chose to leave King Features behind and hitch their wagon at the McNaught Syndicate. The creators were Harold "Jerry" Walter and his wife, Linda. Jerry was also responsible for Jellybean Jones, who has nothing to do with Jughead Jones's young sister, a modern-day addition to the Archie cast of characters. Together, they did The Lively Ones during the 1960s. Though each was capable of doing both major jobs in comic strip production, their usual working method was for Jerry to dream up the ideas and write the dialog, while Linda did the artwork. The Walters also collaborated on a series of Susie Q. Smith comic books for Dell Comics. Instead of reprinting newspaper strips, these ran new stories by the Walters. Between 1951 and '54, four issues were published as part of the Four Color Comics series, where many minor comic strips, including Dotty Dripple, Timmy and Rusty Riley had found a home. It had no other media spin-offs. Susie Q. Smith had a respectable run in the newspapers, but it ended in 1959. Jerry Walter (1915 - 2007) was an abstract expressionist artist whose output of energetic and colorful paintings were the products of the rich artistic milieu of post-war New York City. He was born Harold Frank Walter in Mount Pleasant, Iowa on November 25, 1915. After graduating from Colgate University in 1937, Walter moved to New York City, where he studied drawing and painting at the New School and the Art Students’ League. Before concentrating seriously on his art, he spent several years as a successful copywriter and idea man for the advertising agencies of J. Walter Thompson, McCann Ericson, and BBDO. During this time, he also worked as a syndicated cartoonist. Collaborating with his wife, Linda, his best-known series was Susie Q. Smith, which first appeared in 1945 and described as a “female Archie type.” Very popular, the cartoon was later the subject of a series of comic books published from 1951 to 1954. After serving in the United States Army for three years during World War II, Walter began to paint seriously. He ascribed his earliest artistic influence to Joan Miró, whose Dog Barking at the Moon (1926) he viewed when he was twelve, the year he published his first cartoon. Walter later wrote that jazz, “the first native expression of so-called modernism” was a strong influence on his work. During the later 1940s, Walters spent time at the Research Studio in Maitland, Florida. Founded in 1937 by artist and architect J. André Smith and supported by the philanthropist Mary Curtis Bok, the Research Studio was a lively colony that hosted prominent artists, including Milton Avery, Ralston Crawford, and Doris Lee. While at the Studio, Walter’s work was purchased by Frank Crowninshield. A founding trustee of the Museum of Modern Art and editor of Vanity Fair, Crowinshield was a noted collector; his collection included important works by Pablo Picasso, Marc Chagall, Henri Matisse, Edgar Degas, George Bellows, and Pierre Bonnard. Returning to New York after his time at the Studio, Walter became an active member of the New York school of the abstract expressionist movement, and in the summer of 1956, Walter exhibited 13 paintings and a selection of drawings at New York’s Chase Gallery. The adroit manipulation of both color and composition evident in his work shows the influence of Abstract Expressionism, particularly Willem de Kooning, Arshile Gorky, and Hans Hofmann. illustrator and female cartoonist Linda Walter was the talented female mind behind the beloved "Susie Q. Smith" comic strip. She played an instrumental role in shaping the cultural landscape through her vibrant illustrations. Known for the timeless charm of the "Susie Q. Smith" comic strip, Linda's artistry brought joy and laughter to countless readers during the 1950s and continues to resonate with fans across generations. She was part of the Woodstock artists community. from Women in Comics: Linda Walter was the artist of newspaper strip Susie Q. Smith, which was written by her husband, Jerry. It was syndicated by King Features Syndicate and ran from 1945 to 1959. The Walters also contributed original Susie Q. Smith stories to Dell's Four Color comic books from 1951 to 1954. From 1964-1965, they created a singled panel comic called The Lively Ones. Vintage Golden Age of Comics era. The Golden Age of Comic Books describes an era in the history of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created. Between 1939 and 1941 Detective Comics (DC) and its sister company, All-American Publications, introduced popular superheroes such as Batman and Robin, Wonder Woman, the Flash, Green Lantern, Doctor Fate, the Atom, Hawkman, Green Arrow and Aquaman. Timely Comics, the 1940s predecessor of Marvel Comics, had million-selling titles featuring the Human Torch, the Sub-Mariner, and Captain America. Another notable series was The Spirit by Will Eisner. Dell Comics' non-superhero characters (particularly the licensed Walt Disney animated-character comics) outsold the superhero comics of the day. The publisher featured licensed movie and literary characters such as Mickey Mouse, Donald Duck, Roy Rogers and Tarzan. Additionally, MLJ's introduction of Archie Andrews in Pep Comics #22 (December 1941) gave rise to teen humor comics, with the Archie Comics...

Distressed Abstract Painting Artist Statement: Painting has been a powerful medium for expressing my emotions. Through my art, I am able to escape, dream, hope, remain calm in the m...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 6.25 X 18.25 Like her contemporaries, Aggie Ma...

Distressed Abstract Painting Artist Statement: Painting has been a powerful medium for expressing my emotions. Through my art, I am able to escape, dream, hope, remain calm in the m...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 6.5 X 18 Like her contemporaries, Aggie Mack, Candy and Patsy Walker (before her conversion to a superhero), Susie Q. Smith was a female Archie-type — not exactly an imitator, because Archie, who had started only four years earlier, hadn't yet become popular enough to spawn imitators, but part of his genre. She attended high school, where her teachers often seemed unreasonable to her, interacted with the opposite gender in a typically adolescent way, and her parents didn't completely understand her. And she was cute and perky as only a teenage girl can be. Susie was the star of a comic strip distributed by King Features, the biggest of the comic strip syndicates, whose other offerings have ranged from Jackys Diary to Prince Valiant...

Green Shipping price can change depending on location Artist Statement: Painting has been a powerful medium for expressing my emotions. Through my art, I am able to escape, dream, h...

"Glass Fused Ceramic Vase" is vintage Mid-Century Modern. This handsome vase has an elongated neck with a white glass-fused inlay portion on the front body...

Golden Lady Comes framed (white) see image Neo Cubism About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk fro...

BIO Artist Philomena Marano is a daughter of Brooklyn. She holds a BFA from Pratt Institute, is an intimate of the visual poetry of Coney Island, created the winning poster for the f...

This stunning brutalist wall sculpture, entitled "Saturn Rings" was realized by the esteemed multidisciplinary artist and furniture maker Silas Seandel in the United States Circa 198...

Watercolor Comes Framed Drydocked boats sitting in a boat yard About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk from New York City t...

"Summer Read" is a figurative American contemporary oil painting by Kelly Carmody of a girl reading a book. Kelly Carmody’s work has been widely exhibited and collected. One of her ...

"Boats in Berlin Harbor" is an original pastel painting on cheesecloth. Small tugboats push across the Berlin harbor as a gauzy cityscape watches from behind. Image: 25" x 33" Frame...

Black & White Photo of two rusted Volkswagon's sitting in a desert Comes unframed Also available in 20"x30" About the Artist: My intent is to create a mythic dreamscape that explo...

Jay Alan Babcock is a St. Louis-based graphic designer and painter. His work exhibits his interest in the visual language of Americana, including old ...

Cameo Pink Seaform with Black Lip Wrap (94.678.s1), 1994 Dale Chihuly (American, b. 1941) 14 x 32 x 18 inches Born in Tacoma, Washington, Dale Chihuly became the most famous ornate ...

Zephyr Green Macchia with Blue Lip Wrap, 1996 Dale Chihuly (American, b. 1941) 8 x 10 x 10 inches Signed and Dated on Bottom Born in Tacoma, Washington, Dale Chihuly became the most...

Julia Mitchell Wool on Linen Tapestry, Boulders II Signed and dated JM 82 Julia Mitchell’s Biography Julia grew up in a family of artists, adopting tap...

Pickaxe (Spitzhacke) Superimposed on a Drawing of the Site by E.L. Grimm, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Unframed: 26" x 20" Framed: 28.75" x 22.75" Signed and Dated Lower Right Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

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