1980s Figurative Paintings

Rosa Amarilla Three Women Portrait Painting Artist signed front and verso dated and titled. Felix Mas was born in 1935 Barcelona, Spain. He studied art at Sa...

Arc de Triomphe. 1988, canvas, oil, 100x92 cm Biruta Delle (born 1944.17.I) Biruta Delle studied in Latvia Art academy (1964 – 67) and one of her most i...

This earlier work depicts an unexpected multicolored cone extending from the subject's eye. It represents a field of vision for a young Haitian female who gazes up. It reminds me of something Man Ray or the Dadaists did. Duval-Carrié's work is more than eye-opening. Signed lower right Work is framed - Framed Size - 18 x 22 Edouard Duval...

Beautiful vintage landscape in dark blue, yellow, and red accents of a field dotted with wildflowers and silhouetted birds soaring over the skyline b...

An original oil on canvas, amazing and special and rare painting, by the famous Israeli Georgian artist Meir Pichhadze, the painting is signed and date...

Signed lower right, 'Zarbano' for Mary Zarbano (American, 1931-2019) and painted circa 1985. Born in Nebraska, Mary Zarbano received her MFA from Califor...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Reference number F372 Framed with an ebony color wood floated frame. 49 x 74 cm frame included (29 x 54 cm without frame) This work is painted with oil on a paper that is mounted on ...

Oil Painting by David Euler, realized in 1986. Henri Matisse fascinated me with his ability to capture fruit in its essence. Not like a hyper realism photo-like oil painting, his st...

Synthetic polymer drawing on paper. Unsigned. Warhol Foundation stamp on verso. Sheet size 31.5 x 23.5 inches. Custom framed as pictured. Artwork is in excellent condition. Cert...

Beautiful figurative painting of a female nude figure standing with a vibrantly colored and patterned quilt by Rebecca Hall (American, 20th Century). Signed "Rebecca Hall 1984" on ve...

Remarkably beautiful, lush, and impressionistic in form—Rajasthan is a stunning example of Canadian artist John Graham Coughtry’s masterful use of colour. Rendered in the exotic spic...

Reference number F371 This work is painted with oil on a paper that is mounted on a canvas and placed in a made to measure wood strectcher. It is signed in the bottom left. The paint...

Artist/ School: French School, signed and dated Title: Kissing Couple, beautfiful Modernist work with green, beige, brown, yellow, golden colors. Med...

Sun, Light, Trees, Green, Spring, Yellow, River, Georgij MOROZ (Dneprodzerzinsk, Ukraine, 1937 - St. Petersburg, 2015) MUSEUMS Moscow, Tret’jakov Gallery Moscow, USSR Artists Collect...

"No Place Like Home" By Greg Harris is a perfect example of his most sought-after paintings. Measuring 24x30 in., this painting has a woman dressed in white sitting in a field of flo...

The Lake is an oil painting realized in 1989 and attributed to Tom Sander. Mixed colored oil painting on canvas. Includes frame: 66 x 5 x 90 cm

Birches. Oil on canvas. 46,5x70,5 cm. Arnolds Pankoks (born 1914.21.IX - 2008.) Graduated Art Academy of Latvia (1937 – 43, 1945 – 47) with diploma w...

In this color charcoal drawing two nomad-like figures are standing in the middle of an abstract background that looks like a sand-storm during a ...

Still life with plums, oil painting by Pierre Coquet Reference number F374 The painting is not framed but it could be with a natural oak floated frame (see how it would look like on ...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Signed lower left.

This work exhibits many of the themes that preoccupied her during her career, including the repudiation of the distinction between abstraction and figuration, a distinction that preoccupied her mentor Willem De Kooning, the introduction of a female perspective to her art through the reinterpretation of classical art, and the incorporation of a kind of secular, esoteric, materialistic Jewish tradition into her work. Joffe was serious in a way that many artists today are not: she was an artist engaged with the major questions of her time, attuned to the development of her chosen métier, its intrinsic problems and possibilities. Joffe's career spans the post-World War II Abstract Expressionist movement to the present. She is known for her powerful images of women and horses, often intertwined, and representing reciprocal ideas of power, grace and beauty. Indeed, one NYT critic said that she returned the beauty and grace to the female form that De Kooning had taken away. Embraced by the first generation of Abstract Expressionist painters on the East End of Long Island, she represented a link to central figures in the avant-garde of 20th century American art, including such artists as Willem De Kooning (she was a studio assistant), Philip Pavia, Ibram Lassaw, John Little and Balcomb Greene. She did Tai Chi with Elaine De Kooning on the beach in East Hampton. She exhibited nationally in galleries and museums, showing alongside artists such as Roy Lichtenstein, Eric Fischel, Linda Benglis, April Gornick, Larry Rivers, and Jackie Windsor. Joffe also worked with the pioneering Down Under Manhattan Bridge Overpass, or DUMBO, artists finding a voice within the then emerging New York City avant-garde in the 1970s. Joffe's contribution to the history of Abstract Expressionism is featured in the East Hampton Parrish Museum's "oral histories" series. Note: this work was the cover image of the catalogue for the Joffe Retrospective at Lawrence Fine Art...

Modern abstract figurative portrait painting by Houston, TX artist David Adickes. The work features a central bearded male figure seated against a light background and a painted tan ...

Reference number F356 Framed with an ebony color wood floated frame. 61 x 44 cm frame included (41 x 24 cm without frame) This work is painted with oil on a board and placed in a mad...

Reference number F355 Framed with a ebony color floated frame 41 x 60 cm frame included (27 x 46 cm without frame) This work is painted with oil on a board. Stamp of the signature in...

Oil on canvas 13 x 20 inches Signed and dated center right: "Matthew Spender / 1981" Titled on canvas overlap verso: "#16 Remote Foreground" Retail: $2...

MALCAH ZELDIS Circus, Trapeze Artists, Horse rider and Acrobats gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Fr...

A charming coastal scene in oil from the late 20th Century, showing a flock of seagulls on the wet sands of Boscombe beach at twilight. The artist has signed and dated to the lower r...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

A dynamic 20th Century oil scene showing a group of cheesemakers in Amsterdam stacking up wheels of yellow cheese onto sledges. There is wonderful industrial movement in the painting...

Here we have a Surreal Male Nude by a famous Cuban artist Carlos Macia (1951-1994). *** please excuse the photos, it is under glass and there are reflections of a yellow light. I’v...

Magical outdoor realism in a grand scale is a fascinating conversation piece for an important indoor space. Kathryn Freeman, American, was living in ...

Signed lower left, 'Frank N Ashley' (American, 1920-2007) and painted circa 1985. Additionally signed, verso, and titled, 'Steeplechase, Los Altos Hunt'. Bea...

Dynamic abstract expressionist painting with crow titled, "Night call" by Kristin Cohen (American, b. 1963), circa 1980. Kristin is a California abstract expressionist artist she studied at Humbolt State University and with Michael Dee Cookinham...

Geometric Composition of Man is a contemporary artwork realized by Luigi Campanelli (1943) in 1980s. Mixed Media on canvas. The artwrok depict figures inside of an architecture.

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is included in numerous private and museum collections, among them the Burchfield-Penney Art Center, the Albright-Knox Art Gallery, the Castellani Art Museum of Niagara University, and the UB Anderson Gallery (all of which are located in Western New York...

Red,Snow,Winter,Wood Boris Lavrenko (Rostov, 1920 – St. Petersburg, 2001) Works by Boris Lavrenko can be found in various private collections in Europe, Japan, United States and in...

A bright and breezy oil landscape showing a group of plein-air painters in Edwardian costume working at their easels beneath clouded blue skies. Signed lower right, 'M. Kane' for Mel Kane...

The Attentive Nurse is an original modern artwork realized by a mid-20th century Artist after Jean Siméon Chardin. Oil painting on canvas. Frame ...

Somnath Hore - Untitled Pen & Ink on Paper, 10.6 x 6.7 inches, 25-03-1987 (Unframed & Delivered) Inclusive of shipment mounted not framed, Should you wish to receive the same framed...

Fantasy Animals is an original contemporary artwork realized by Claudio Bissattini in 1980s. Mixed colored acrylic on canvas. Hand signed on the l...

Oil on paper Joffe's career spans the post-World War II Abstract Expressionist movement to the present. She is known for her powerful images of women and horses, often intertwined, a...

Atlantis, A large spectacular nautical, marine magic fantasy. (without the frame it is 32X39 inches) The roots for Peter Kolin’s fascinating world of Surrealist Fantasy, Magic Realist images can be traced back to the art of Mannerism, a brief period - approximately 1520 to 1610 - between the Renaissance and Age of the Baroque. In Mannerist paintings composition had no focal point and space could be ambiguous. Surreal figures could be characterized by athletic bending and twisting with distortions, exaggerations, elastic elongation of the limbs, bizarre or graceful posturing and the rendering of the heads as uniformly small and oval. (reminds me very much of some of the compositions of Salvador Dali) The composition was full of clashing symbolist colors very unlike the balanced, natural and often dramatic colors of the High Renaissance. Mannerist works presented instability and restlessness and also showed a fondness for allegories with lascivious undertones. Kolin, an exceptionally gifted painter within this tradition, creates gorgeous and mysterious fantasies of Surrealism with each work opening a new and more exciting fantastic world. His narrative world of images and symbols is presented in his own metaphorical language but with a visual accuracy solidly rooted in technical perfection. Today Kolin is a widely acclaimed artist of the Vienna School of Fantastic Realism. (Together with, Arik Erich Brauer, Ernst Fuchs, Rudolf Hausner...

Gorgeous oil-on-canvas of a reclining nude female figure by Monterey California-area artist Patricia Gillfillan (American, 1924-2016). Signed "Gillfillan" lower left. Unframed. Size,...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

Michael Beck (American, b. 1943) Watercolor painting on paper, 1986 "First Fruits", Hand signed, dated and titled along lower margins Gallery label verso, Matted and framed under plexiglass, Dimensions: 38"h x 58"w (sight), 48"h x 67"w (frame) Provenance: Property from a Major Corporate Art Collection; Corporate Art Directions, NYC Michael Beck (b. 1943) ( American Photo Realist artist) was born in San Diego California. In 1971, he attended the California College of Arts and Crafts and was awarded the James D. Phelan Award in the Visual Arts, juried by artists Wayne Thiebaud and June Livingston. In June of 2014, he was awarded a Jackson Pollock- Lee Krasner Foundation award. Michael Beck was part of the early Photo Realist Movement in California among other contemporaries like Robert Bechtle, Charles Bell, Chuck Close, Robert Cottingham and Richard Estes and Audrey Flack. Choosing vintage childrens toys as his subject matter. Michael Beck’s artwork stands out for its distinct subjects of toys and objects from a previous era. These unique items include vintage rocking horses...

Interior courtyard scene by Santa Cruz, California artist Betsy J. Miller (American, b. 1956). This piece is a part of the artist's series of "Site Portraits." An square doorway in a...

Carlo Pittore Oil on canvas, 1984, Self Portrait, initialed and dated lower left, slat framed, 21"sqr (frame) 20 X 20 canvas. Provenance: The Private Collection of Wolf Kahn & Emily Mason Carlo Pittore (1943 – 2005) born Charles J. Stanley was an American painter, educator, art activist, and publisher, whose primary study, teaching and body of work was figurative art and portrait painting. He was a pioneer in the Mail Art movement, he corresponded with such mail art luminaries as Buster Cleveland and Ray Johnson. Pittore is noted for opening the first independent art gallery in the East Village, Manhattan. In 1987, Pittore founded "The Academy of Carlo Pittore" in Bowdoinham, Maine. Pittore (née Charles Stanley) was born to Stanford and Estelle Stanley in Queens, New York. He grew up on Long Island, in Port Washington, New York with his sister Marion and brother Elliott. Pittore graduated from Port Washington High School (1961), where he was active in the political and debating scenes. He then went on to graduate from the School of the Museum of Fine Arts at Tufts (1966), and post graduate from the Brooklyn Museum Art School (1978). Pittore changed his name in the 1970s while studying abroad in Rome, Italy. The children nicknamed him "Carlo Pittore", (”Charles the Painter"). From there he went on to study at the Chelsea College of Arts in London. In 1978, Pittore received the Max Beckmann Scholarship in Advanced Painting. It allowed him to begin studying with American feminist painter Joan Semmel at the Brooklyn Museum Art School. He also studied with visual portrait artist Alice Neel. After which, he taught art at the New York Cultural Foundation. In the 1970s, Pittore and his close friend Bern Porter...

Original Vintage Oil Painting of Tollymore Forest in Ireland by Modern Irish Artist Denis Thornton (1937-1999) Art measures 12 x 10 inches Frame meas...

Manuel Pardo (1952-2012). Portrait of a Buddha, 1985. Oil on canvas, 16 x 24 inches. Unframed. Signed and dated upper left. Excellent condition. Manuel P...

Overall 21 X 27 image is 17.25 X 23.5 This is a mixed media print on canvas by beloved comedian and artist Jonathan Winters. This one depicts a surrealist bird with umbrellas Artist: Jonathan Winters Medium: Mixed media print on canvas; hand embellished Signature: Signed by the artist in gold paint pen, lower right from A/P edition of 25 signed in gold paint pen; original plates have been destroyed Condition: Excellent Jonathan Harshman Winters III (November 11, 1925 – April 11, 2013) was an American comedian, actor, author, and artist. Beginning in 1960, Winters recorded many classic comedy albums for the Verve Records label. He also had records released every decade for over 50 years, receiving 11 Grammy nominations, including eight for Best Comedy Album, during his career. From these nominations, he won the Grammy Award for Best Album for Children for his contribution to an adaptation of The Little Prince in 1975 and the Grammy Award for Best Spoken Comedy Album for Crank(y) Calls in 1996. With a career spanning more than six decades, Winters also appeared in hundreds of television shows and films, including eccentric characters on The Steve Allen Show, The Garry Moore Show, The Wacky World of Jonathan Winters (1972–74), Mork & Mindy, Hee Haw, and It's a Mad, Mad, Mad, Mad World. He also voiced Grandpa Smurf on The Smurfs TV series from 1986 to the show's conclusion in 1989. Over twenty years later, Winters was introduced to a new generation through voicing Papa Smurf in The Smurfs (2011) and The Smurfs 2 (2013). Winters died nine days after recording his dialogue for The Smurfs 2; the film was dedicated in his memory. In 1991, Winters won the Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series for playing Gunny Davis in the short-lived sitcom Davis Rules. 1999 saw Winters become the 2nd recipient of the prestigious Mark Twain Prize for American Humor. In 2002, he was nominated for the Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series for his performance as Q.T. Marlens on Life with Bonnie. Winters was presented with a Pioneer TV Land Award by Robin Williams in 2008. Winters also spent time painting and presenting his artwork, including Surrealist silkscreens and sketches, in many gallery shows. He authored several books. His book of short stories, titled Winters' Tales (1988), made the bestseller lists. Winters was born in Dayton, Ohio, to Alice Kilgore Rodgers, who later became a radio personality, and her husband Jonathan Harshman Winters II, an insurance agent who later became an investment broker. He was a descendant of Valentine Winters, founder of the Winters National Bank in Dayton, Ohio (now part of JPMorgan Chase). Of English and Scotch-Irish ancestry. Winters had described his father as an alcoholic who had trouble holding a job. His grandfather, a frustrated comedian, owned the Winters National Bank, which failed as the family's fortunes collapsed during the Great Depression. During his senior year at Springfield High School, Winters quit school to join the U.S. Marine Corps at age 17 and served two and a half years in the Pacific Theater during World War II. Upon his return, he attended Kenyon College. He later studied cartooning at Dayton Art Institute. During the late 1960s and early 1970s, Winters acted in The Russians Are Coming, the Russians Are Coming (1966), had a weekly CBS show called The Jonathan Winters Show from 1967 to 1969, and appeared in Viva Max! (1970).[3] Additionally, he was a regular (along with Woody Allen and Jo Anne Worley) on the Saturday morning children's television program, Hot Dog in the early 1970s. Winters received eleven Grammy nominations during his career, including eight for the Grammy Award for Best Comedy Album; he won the Grammy Award for Best Spoken Comedy Album for Crank(y) Calls in 1996. In 1999, he was awarded the Kennedy Center's Mark Twain Prize for American Humor, becoming the second recipient. In 2004, Comedy Central Presents: 100 Greatest Stand-Ups of All Time ranked Winters as the #18 greatest stand-up comedian. Winters lived near Santa Barbara, California, and was often seen browsing or "hamming" for the crowd at the antique and gun shows on the Ventura County fairgrounds. He often entertained the tellers and other employees whenever he visited his local bank to make a deposit or withdrawal. Additionally, he spent his time painting and attended many gallery showings, even presenting his art in one-man shows. With his round, rubber-faced mastery of impressions (including ones of John Wayne, Cary Grant, Groucho Marx, James Cagney, and others) and improvisational comedy, Winters became a staple of late-night television with a career spanning more than six decades. He named James Thurber...

MALCAH ZELDIS ''Basketball'', 1988, gouache on paper Hand signed and dated bottom right, titled in pencil on paper verso Malcah Zeldis (born Mildred ...

Guy Johnson: 1927-2019. Well listed American post war surrealist artist. He has had auction results over $10,800. This incredible piece is the finest and m...

Provenance: Galeria Durban Cesar Segnini, Caracas Venezuela. Emerio Dario Lunar was born on January 27, 1940 in Cabimas, Zulia state. Self-taught ...

A modern industrial landscape painting. Signed on the reverse what appears to be Palamar. Possibly Ukrainian artist Ivan Palamar.

MALCAH ZELDIS Circus, Trapeze Artists, Horse rider and Acrobats gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Fr...

Russian landscape ,green we send the work anywhere OLGA BOGAEVSKAJA (Moscow, 1916 – St. Petersburg, 2000) Works by Olga Bogaevskaja can be found in various private collections in E...