Edward Dugmore

Series X #2

1969

EDWARD DUGMORE Untitled #9 (Icarus), 1969 Oil on Linen 78 x 61 inches 198.1 x 154.9 cm Abstract Expressionist

EDWARD DUGMORE Untitled #14, 1969 Oil on Linen 71 1/2 x 81 inches 181.6 x 205.7 cm Abstract Expressionist - combination of figure and landscape

EDWARD DUGMORE 1961-R, 1961 Oil on canvas 85 1/4 x 115 1/2 inches Loretta Howard Gallery is pleased to present an exhibition of major canvases by Edward Dugmore from the 1960s. The...

EDWARD DUGMORE Untitled #4, 1969 Oil on canvas 74 x 62 3/4 inches 188 x 159.4 cm Abstract Expressionism

EDWARD DUGMORE White, 1962 Oil on canvas 78 1/2 x 90 1/2 inches

EDWARD DUGMORE Untitled B-II, 1972 Oil on canvas 86 x 54 Inches Signed and dated lower left: Dugmore 72 Signed, dated and inscribed verso: 86" x 54" Dugmore '72 / Untitled B-II

Artist: Chuck Close Title: Tavern Year of Work: 1960 Medium: Oil on Canvas Signature: Signed & Dated Upper Left Dimensions: framed 31 x 25 unframed 30 x 24 Provenance: Chuck Close, Marjorie Dalton (Dear friend of Chuck), Private Collection. Tavern, is truly a rare find, an original oil on canvas, in compelling blues and grays with a touch of gold and orange. This work reveals more imagery and detail the longer one enjoys it. This painting was created during his years studying in Yale Art School, and draws different qualities to each new viewer similar to a Rorschach. Close's work is in the collections of most of the great international museums of contemporary art, including the Centre Georges Pompidou in Paris, the Metropolitan Museum of Art New York City. and the Tate Modern in London. Artist Bio: Chuck Close – (1940-2021) an American painter, artist and photographer born in Monroe, Washington. Early childhood illnesses including a neuromuscular condition, nephritis and dyslexia were compounded later in life by a condition known as prosopagnosia (face blindness), which may have inspired him to do portraits. Most of his early, large-format portraits are based on photographs, using photorealism or hyperrealism, of family and friends, often other artists. Close often painted abstract portraits of himself and others, which hang in collections internationally. Even though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he continued to paint inspired by artists like Jackson Pollock and Willem de Kooning. Close's first solo exhibition, held in 1967 at the University of Massachusetts Art Gallery, Amherst, featured paintings, painted reliefs, and drawings based on photographs of record covers. Being much in the mainstream of pop art, a fragment of Close's portrait of singer-songwriter Paul Simon...

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...

Luxury chandelier, made from thinly-cut pieces of exquisite ivory-colored translucent onyx. Ideal to be hung over a table, with versatile configurations. Ivory onyx comes from Middle Eastern quarries and has a unique veining. This translucent stone is carefully worked in Italy, and was chosen because of its combination of interesting patterns, high translucency, and the way it makes the light output look warmer. The 8-shade version is ideal to be hung over a long rectangular table. Our onyx supplier has worked in many high-end architectural projects, and these same materials have been used at the Armani hotel in Milan. When he was shown the chandelier designs, he rose to the challenge and adapted his tooling to make us perfect round discs. He worked hard to find exactly the right thickness that would keep the depth of the texture. It could not be too thick, otherwise it would lose transparency. And too thin, it would look like it was printed. The result is stunning. The combination of carefully-worked translucent stone and brass works perfectly, and the use of the ingenious Orbitale structure allows the geometry of the chandelier to be played with, and it can be configured in several ways. There is nothing else like this on the market. The Sistema collection uses a clever rotating stem structure and features a shallow drum-shaped shade at the end of each arm. The chandelier arms are designed with two lengths so that each can be staggered at different angles. They work well in any space and suit both regular and low-ceilinged rooms wonderfully. Please see the drawing to get an idea of sizes for the different chandeliers. On the upper side of each disc there is a smaller opening to provide ambient light. Top-quality LEDs with over 80 CRI, meaning that the lighting does not alter the color of food and people. The LEDs are on a 24V direct current feed, so there is no flickering. The arms can be rotated 180 degrees to configure various combinations. As well as two rows of evenly-spaced lights over a dining table, a regular 8-shade star or 4-shade star (see photos) are possible, as well as creative sculptural shapes. The arms can be rotated even when the chandelier is lit. The shades can also be rotated on the arm axis to meet any lighting needs in a living room (paintings, bookshelves etc.). This listing shows the smallest drop. A change of drop is complimentary. Silvio Piattelli copyright and design. Specifications (Note: The Sistema chandelier has glass shades, while Sistema Solare...

The Fit Side Table is a minimalist style low table made of treated Travertine marble. This side table is composed by five marble pieces, all of them ...

Signed Lower Right 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...

Robert Tosa Mid Century Modern Abstract Portraits c.1952 Outstanding Mid Century Modern Painting. Various abstract portraits of a dancer. Original oil on board housed in a handsom...

“Cabo Azul 3” is 43” x 36”. Frank Arnold’s paintings exhibit the highest quality materials for a truly archival piece, created to last generations. Much of Frank Arnold’s work is so...

“BS Trust” is 36” x 36”. Frank Arnold’s paintings exhibit the highest quality materials for a truly archival piece, created to last generations. Much of Frank Arnold’s work is sourc...

Oil paint and acrylic paint on canvas Signed lower right Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being alive – W...

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...

American, b. 1934 “Looking at a blank canvas can be both exciting and frightening at the same time. Most of the time exciting wins out and I plunge in. That is, I paint the landscap...

American, b. 1934 “Looking at a blank canvas can be both exciting and frightening at the same time. Most of the time exciting wins out and I plunge in. That is, I paint the landscap...

Abstract landscape oil painting depicting a forest early in the morning.

Abstract oil painting.

Abstract Expressionist seascape oil painting.

American, b. 1934 “Looking at a blank canvas can be both exciting and frightening at the same time. Most of the time exciting wins out and I plunge in. That is, I paint the landscap...