Harry Bertschmann

Untitled, Figural Group in Grays and Tans.

Title: Love Conquers All - Omnia Vincit Amor Extra Large Abstract Investment Bold Color Large rendition in the Unchained Expressions series. It attempts to map the road to freedom...

Sonia Gechtoff The City at Twilight: Twin Towers II, 1985 Acrylic and pencil on paper (held in original frame with Gruenebaum Gallery, NY label) Signed and dated on the front; also b...

"Emancipation" Figurative Painting 25" x 20" inch (1997) by Ibrahim Abd Elmalak Emancipation, 1997 Ink & Acrylic on Paper. Signed & dated The selection of Abd Elmalak’s drawings i...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Auth...

Painting Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Signed on the front side and accompanied by a Certificate of Auth...

This large 119" x 72" mixed media painting by the artist, XVALA, is from his series 'Pandemic Collection: 8' and depicts bright colorful cartoon chara...

Football players cloaked in oversized Browns jackets are seen from behind running off the field. Always the graphic innovator, legendary illustrator Bob Peak creates a radical composition by leaving the bottom two-thirds of the picture plane empty of detail. To convey a sense of motion, Peak uses broad strokes of paint similar to the action painters Franz Kline and Willem de Kooning, who were the dominant force in the fine art world in the 1960s. Clearly, one can see a cross-over influence from Fine Art to commercial illustration as Peak strikes a balance between abstract versus figurative art. This work was done on an assignment for Sports Illustrated...

"Waiting II" Figurative Painting (FRAMED) 19" x 11" in by Ibrahim Abd Elmalak Ink & Acrylic on Paper. Signed Signed The selection of Abd Elmalak...

Large vertical self portrait by Bay Area artist Michael Pauker (American, b.1957). A minimalist portrait of the artist is at the center of this piece, w...

Richard Andres (American, 1927-2013) Interior, 1976 acrylic on canvas signed lower right, signed and titled verso 50 x 59.5 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...