Anne Kramer

'Abstract, Rose & Parchment', Minnesota Woman Artist, Big Psychedelic Action Oil

Circa 1985

Signed lower left "H. Plas" (French, born 1933) and dated 1971; inscribed verso "Champs de Velden" (Fields of Velden). A substantial Expressionist oil landscape showing a lyrical view of russet and gold fields bathed in evening sunlight outside the Dutch village...

Signed twice, verso, on stretcher 'Marsha Straus' for Marsha Rogow Strauss (American, 1944-2008) and painted circa 1995. A substantial and vibrant oil abstract comprising massed, ov...

Signed, verso, 'Charles Seligman' (American, 20th century) and dated '1986-1988'. Texas abstract artist Charles Seligman boldly interweaves pointilli...

Signed lower left, 'Gregory Deane' (American, born 1938) and painted circa 1985. Framed dimensions: 15 H x 31.5 W x 1.5 D inches This contemporary California Expressionist incorpora...

Signed lower right, 'M.S. Bremer' for Marlene Bremer (German-American, 1937-2018) and painted circa 1995. Additionally signed, verso, 'Marlene Bremer'. ...

Signed, verso, 'Takeshi Nakayoshi' (Japanese-American, born 1952), titled, 'Night Dance' and dated 1999. Born in Osaka, Takeshi Nakayoshi first studied at the University of Oregon before attending the San Francisco Art Institute where he received his BFA (1977) and MFA (1982). Influenced by the work of Matisse and Diebenkorn, Nakayoshi combines this background with his interest in abstract expressionism and his ongoing exploration of the connections between art and music. SELECTED SHOWS: Oakland Museum, 2007 Citibank Building Headquarters, San Francisco, California 2007 Lantham Square Building, Oakland, California 2002 San Francisco Museum of Modern Art Artists Gallery, San Francisco Monterey Museum of Art, Monterey CA Museum of Contemporary Art, Costa Rica San Francisco Art Institute Group Alumni Exhibit St. Francisco Hospital Fund Raising Auction, San Francisco Oakland Federal Building Kobe Earthquake Relief, Diamond & Jewelry Center, San Francisco Triton Art Museum, San Jose Synopsis Corporation, San Jose Mission Cultural Center, San Francisco Cadence Corporation, San Jose Kaiser Center, Oakland, CA Syntex Corporation, San Jose SELECTED PERMANENT CORPORATION COLLECTIONS Adobe Corporation, US Headquarters, San Jose Alza Corporation, Mountain View Bank of America, Washington D.C. Birka-White Law Office, San Francisco Burns, Doane, Sweckers & Mathis LLP, Redwood Shores C & C Investment. San Francisco Cadence Corporation, San Jose CB Commercial Real Estate, Sacramento Don Sebastiani & Sons, Sonoma Fairview Capital, San Francisco Hale and Dorr Law Firm, Boston, MA Hyatt Regency Hotel, Irvine, California Indus Corporation, San Francisco Loral Western Development, San Jose Macy's Union Square, San Francisco Marcus I. Millichamp, Oregon, Washington DC., New Jersey MCI Corporation, San Francisco Mills College, Oakland nth Power, San Francisco NEC Corporation, US Headquarters, Santa Clara Nordstrom, Atlanta, GA Pyramid Technology, San Jose Rolm Corporation. San Francisco Saks Fifth Avenue, San Francisco and Texas Scios Inc., San Francisco Sedgwick James, San Francisco SNK (Shin Nippon Kanko) Corporation, San Francisco Ticor Corporation, San Jose REVIEWS/AWARDS San Francisco Chronicle "Don't Miss" designation by Kenneth Baker for last group show at Chroma Art...

Untitled 01 [Remains of the Remains 01], 2018 oil on canvas 78 47/64 H x 59 1/16 W in 200 H x 150 W cm The large-sized paintings, signed by Zsolt Berszán...

Diving for Pearls, 1986 Oil on canvas 88 x 76 in. (223.5 x 193 cm) Signed, dated, and titled, verso

James Joyce's Smile, 1984 Oil on canvas 66 x 87 in. (167.6 x 221 cm) Signed, dated, and titled, verso

In "Shattered Atlas: The Modern Burden," the artist Masri presents a 40" x 30" mixed media canvas that epitomizes 'Shattered Cubism,' a style that fragments reality into geometric fo...

Large Scale Mid-Century Earth-tone Horizontal Abstract by Joseph Vasica Very large scale (70"H x 160"W) (5.8'H x 13.3'L) mid-century abstract with soft edge, grey and burnt sienna...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...