Modern More Art

Technique: Fused collage, machine stitched and quilted. Materials: 100 % cotton panel on wooden stretcher Size: 60cm x 60cm (24 x 24inches) each panel

Gorgeous and detailed portrait sketch of a man in a suit with a cane by artist C. Hallam in 1975.

Edition of 50 copies. Copy number 41, signed by the author. Collection of etchings, each of them numbered and hand signed by the artist. Includes introduction in french by Alain Jou...

K. Laxma Goud Untitled Mixed Media on Paper 12 x 16 inches 30.4 x 40.6 cm 2020 Price on Request Style : Goud displays versatility over a range of mediums, from printmaking, draw...

Harding Black San Antonio (1912 - 2004) "Amoeba Bowl" 13 inches long 9.5 inches across at widest point Dated 1952 Weight 7 pounds Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip...

Bucolic scene is a modern artwork realized by Artist of the early 20th century. Mixed colored tapestry. Includes frame: 112 x 12 x 212 cm

In 1960 photographer and designer Herbert Matter made his first visit to Alberto Giacometti's Paris studio and began to create a body of photographs of the renowned artist's work and milieu that both men hoped to see published in book form. Giacometti was astounded by the photographs and told Matter that they enabled him to see his own work in a new light, that they illuminated aspects of his sculptures that he himself had never recognized. In a letter to the photographer, he described the photographs as "each one...a creation in itself, one more beautiful than another." Making these photographs occupied Matter for the next five years; the design of the book and preparations for its publication continued until his death in 1984. Now, more than twenty years after he began, the results of Matter's efforts are finally gathered in this volume. Reproduced here are many of Giacometti's finest works—from the monumental Standing Woman of 1984, to numerous busts of his brother Diego of the 1950s, to the powerful late busts of the 1960s—all sensitively interpreted through Matter's lens. Giacometti's painted portraits of many of the same subjects as the sculptures—his wife, Annette; Diego; the professor Isaku Yanaihara—are an instructive addition to the book. And images of the artist's homeland, the mountainous landscape around Stampa, Switzerland, and his cluttered studio in Paris, filled with objects in various states of completion, add yet another dimension to this study of his art. Complementing the photographs are a preface by Matter himself; brief perceptive texts by art critics Andrew Forge...

An early and stunningly beautiful hand-painted ceramic bowl created by Picasso in 1955, Visage measures 5 inches (12.8 cm) in diameter and is Inscribed 'Edition Picasso/Madoura' (bot...

Bearbrick - ANDY WARHOL - FLOWERS 400% & 100% Date of creation: 2020 Medium: Vinyl figure Edition: Open Size: 28 x 10 x 10 cm Condition: In mint conditions, inside its original packa...

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...

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...

**ANNUAL SUPER SALE UNTIL Feb 29TH. ONLY** **THIS PRICE WON'T BE REPEATED AGAIN THIS YEAR - TAKE ADVANTAGE OF IT** PRIDE GLITTER CHAIR I Collection is a limited edition of only 5 ch...

**ANNUAL SUPER SALE UNTIL Feb 29TH. ONLY** **THIS PRICE WON'T BE REPEATED AGAIN THIS YEAR - TAKE ADVANTAGE OF IT** HARD CANDY GLITTER CHAIR I Collection is a limited edition of only...

Measures about 4 X 3.75 inches. Box frame is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know ...

Measures about 4.25 X 2.25 inches. Box frame is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not kn...

Original lithograph in colors from the unsigned edition included in Miro Lithographs Volume I. Published by Mourlot, Paris. Reference Mourlot 857.

Original lithograph in colors from the unsigned edition included in Miro Lithographs Volume I. Published by Mourlot, Paris. Reference Mourlot 857.

Original lithograph in colors from the unsigned edition included in Miro Lithographs Volume I. Published by Mourlot, Paris. Reference Mourlot 857.

Original lithograph in colors from the unsigned edition included in Miro Lithographs Volume I. Published by Mourlot, Paris. Reference Mourlot 857.

Plate VI from the portfolio of nine works to illustrate Poems by Salvador Espriu. Published by Sala Gaspar, Barcelona in 1975 and printed by J.J. Torralba, Rubi (Barcelona). Signed...

Jazz Players by Bill Hinz (1920-2009) Signature in Textile Bottom Left Unframed: 41.5" x 64" Framed: 42.5" x 64.75" Unique Piece made entirely out of a s...

Correspondence consisting of six autograph letters signed and all dated 1836 by the German classical philologist and writer Theodor Fr. Heyse. Heyse addresses Benedetto Monti in Tiv...

Autograph letter signed “R. Hahn” and postmarked “29-10-1931” by the Venezuelan-born French composer and critic Reynaldo Hahn (Caracas, 1874 - Paris, 1947). Hahn writes to Maurice D...

Autograph letter signed and dated Ronchi 24 Julio 1961 by Jorge Guillén (Valladolid, 1893 - Málaga, 1984). Jorge Guillén was a Spanish poet of the Generation of '27 and professor at Wellesley College...

Autograph letter signed, not dated [postmarked 18 12 1954] by the French writer Francois Mauriac (Bordeaux, 1885 - Paris, 1970). Francois Mauriac was awarded the Nobel Prize for Lit...

Rachel Hubbard Kline Twelve Pattern Plate Medium: Stoneware, underglaze, glaze Year: 2021 Size: 1 1/2" x 8" x 8" Description: Wheel-thrown plate with hand-painted textile pattern -...

Rachel Hubbard Kline Brown 10 Petal Plate Medium: Stoneware, underglaze, glaze Year: 2021 Size: 1 1/4" x 7 3/4" x 7 3/4" Description: Wheel-thrown plate wi...

Warren MacKenzie Finger Swiped Shino Platter approx 3.5 x 19.75 x 19.75" Stoneware and glaze date unknown Possibly stamped under the glaze but cannot see the MA mark.

Measures about 4 X 3.75 inches. Box frame is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know ...

Lozenge with Dancer and Hind (#620, Ramie) Red Earthenware Clay Edition Madoura Picasso, 93/500 (Verso)

Turned Pitcher Edition of 300 A.R. White Earthenware Clay, Oxidized Paraffin Decoration, White Enamel, Black 5.12 x 5.71 inches

William F. Boogar, Jr. Seagull Lamp 1946 Bronze approx. 15 1/4" High x 6 1/2" Wide Signed and Dated Bottom WILLIAM F. BOOGAR, Jr., the Provincetown sculp...

Two painting in one is how the Double Entendre Series starts and a hidden message in a message is how it ends. Can you find the message?

Abstract Expressionist Stencil Painting Signed and dated in ink. Born in Savannah, Georgia in 1912, abstract expressionist painter Morris Shulman studied at the National Academy of D...

JOIE DE VIVRE (A. Ramié no. 346) stamped, marked, engraved and numbered 'Madoura Plein Feu/Empreinte Originale de Picasso (underneath) unglazed white ea...

"Yan Black Headband" (A.R. 514) 1963 Red Earthenware Pitcher Painted in Black Inscised 'EDITION PICASSO MADOURA' and 'EDITION PICASSO' pottery stamps on...

Provenance: The Estate of Louis J. Gartner Jr., Palm Beach, Florida. After the 1946 Paul Cadmus painting titled The Inventor, the needlework completely done in very fine petit point stitchery, with gray border banding around, initialed and dated '60 lower right corner, signed Cadmus. framed in a stained wooden barn siding frame- an amazing piece of needlework. Dimensions: needlework: 25.25 x 21.5 in., framed: 27 x 30.75 in. Louis Gartner...

Particle VIII (Eight) Materials: Ceramic, glaze Year: 2016 The formal languages and frequencies that we find in the natural existence of the universe inform and inspire the investig...

Particle VII (Seven) Materials: Ceramic, glaze Year: 2016 The formal languages and frequencies that we find in the natural existence of the universe inform and inspire the investiga...