Luca Caimmi

“Nocturnal Landscape”

Circa 2000

Original oil and acrylic painting on canvas of a contemporary cityscape.. Signed Lee Reynolds lower right. Vanguard Studio label verso. Circa 1975. Condition is excellent. The pain...

Original oil on canvas abstract painting by the American artist, Kathy Buist. Signed, titled “Moving Mist” verso and dated 2023. Signed lower right by the artist. Condition is new. Presently unframed. Framing options are available. Like many Hamptons locals, Painter Kathy Buist has an unimaginable appreciation for the nature that surrounds her everyday. While many only experience one season of the Hamptons each year, Buist enjoys the beauty of her surroundings year-round. Her work has been shown in museums and galleries nationwide including the local Parrish Art Museum, the National Women’s Museum Archives in Washington, D.C., Andrews Museum in Andrews, North Carolina, and the Long Island Museum. Buist also received the highly acclaimed honor of “Today’s Masters” by Fine Art Connoisseur Magazine. Artist's Statement: “Living in New York City my landscapes are of a very different topography. The pieces convey a reverence for the earth, which manifests itself in quite sensual ways. These works play on the elemental values of sun, water, and morning mist to capture the spirit of each environment. It has been observed that some of my paintings almost impart the aroma of the earth. Each has an underlying sensual quality which will emerge in some surprising manner to reveal the paintings essence. This comes from my intimate relationship with the subject matter. In my paintings, I also explore the transformational qualities of light, using the subtle nuances found in refracted morning, afternoon or evening light to embody a particular moment in time. Perhaps these sensibilities are a result of having grown up on a farm in rural Michigan — and a flower farm...

Original oil on canvas painting titled “Multishore” by the well known American artist, Syd Solomon. Signed Syd Solomon lower right. Signed and dated Syd Solomon 1971 on the stretcher, inscribed as titled on the reverse 30 × 26 inches. Condition is excellent. The painting is housed in its original wood with silver reveal floating frame. Overall framed measurements are 32.75 by 28.75 inches. Provenance: A private collector. Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

Original acrylic on fiberboard painting by the Bulgarian/American artist, Iliyan Ivanov. Signed, and dated verso, 2012. Untitled. This painting is part of the “Memories of Unfinis...

Rather than re-creating a literal landscape on canvas or paper, I aim to express its essence in a rich and complex form of delicately painted organic subjects that float and trail ac...

Contemporary acrylic on board landscape painting by Polish artist Barbara Hubert. Although painting is figurative, it is painted in an abstract manner. Composition is quite colorful,...

My paintings and sculptures bridge ancient and modern sensibilities. The subjects are often classical figures and portraits, but my use of materials is pure expressionism. I am mos...

original en plein air oil on panel paint in redland :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Ha...