Martin Hoffman

American Flag OUR FLAG Pop Art Acrylic Painting

1975

signed with initials verso and a stamp Kooter Boogers of America. with an intentionally distressed surface. please see photos. Martin Hoffman, a prominent artist whose work in the 1970s was simultaneously identified with high art (gritty realist paintings sold through the O.K. Harris Gallery in New York) and low (illustrations for Playboy magazine). Throughout his career, his style ranged from energetic abstraction and hard-edge pop to photo-based realism and minimalism. In recent years, he created a series of autobiographical paintings in a winsome, cartoon-like style. He also did a series of subtly hued works in which inscrutable words half-disappear into the paint in which they are inscribed. Hoffman’s first job out of college was as art director for the Miami News, a position that he held from 1956 until 1962. Afterward he worked as a graphic designer in Miami while making paintings at home in his spare time. His earliest paintings (which were done, he said, as a “testosterone-driven teenager”) were executed in automotive lacquer on 4 x 8 foot sheets of builder’s hardboard. They combined glossy, visceral surfaces and metallic paints with collaged-on metal shapes and mirrors. In the 1960s, Hoffman’s paintings began to incorporate figures and symbolism with erotic undertones. Through a mutual friend, Sidney Janis saw Hoffman’s paintings and selected one of them for his international “Erotic Art ‘66” exhibition at Sidney Janis Gallery in New York. Others in the show included Pop Art icons Jim Dine, Larry Rivers, James Rosenquist and Tom Wesselman. Hoffman’s painting hung besides an Andy Warhol silkscreen painting of a partially peeled banana. From 1966 to 1992, Hoffman was a freelance Playboy illustrator. He called those years “a wonderful period – it supported my family.” Hoffman painted a series of nudes titled “Woman Eternal” which was featured in Playboy’s December 1972 issue. Through the years, he also created illustrations for books, record albums, movie posters and print ads. Clients included Pfizer, Caesar’s Palace, Harley Davidson Motorcycles and the NASA Art Program, which commissioned a series of works based on activities at the former Kennedy Space Center...

Lowell Nesbitt (American, 1933-1993) Flower, 1978 tempera on board 60 1/2 x 40 1/2 inches. Provenance: Sold: Christie's East, May 18, 1999, Lot 224 Blair Nesbitt is an American painter, draughtsman, printmaker, and sculptor. Although he worked in a variety of media and covered a wide range of subjects throughout his career, he is best known for his large, Photorealist botanical paintings. Born in Baltimore, Maryland in 1933, Nesbitt earned a degree from the Tyler School of Art at Temple University. Later, he also studied at London’s Royal Academy of Arts. Working in stained glass and etching and also producing abstract paintings in his early career, a 1962 encounter with artist Robert Indiana led him to steer his aesthetic toward realism. Though he held his first solo show at the Baltimore Museum of Art in 1958, it was his 1964 debut at the Corcoran Gallery of Art in Washington D.C. that would truly bring him to the attention of the art world. In this exhibit, his botanical series of paintings, drawings, and prints captivated the art world and public alike. The game-changing Corcoran Gallery show would send his career down the trajectory of sustained success. In 1976, Nesbitt moved from his New York City West 14th Street studio to a massive space located at 389 West 12th Street. The 12,500 square foot living and workspace supplied ample room for creating his enormous paintings...

Large acrylic painting by Pat Rosenstein, American Woman Artist, graduate of Pratt Institute whose work has been exhibited extensively. Rosenstein, who...

Large acrylic painting by Pat Rosenstein, American Woman Artist, graduate of Pratt Institute whose work has been exhibited extensively. Rosenstein, who...

Dimensions: 32"h, 25"w canvas; 38.5"h, 32"with frame Work is titled "Two Lillies" Elsie Stevenson (1890–1965) was an American painter and printmaker. Beulah Stevenson, (1875-1965) American painter and printmaker. Born in Brooklyn Heights, Beulah (Elsie Sloan) Stevenson lived there her entire life. In New York she studied at the Pratt Institute and the Art Students League, where her instructors included Ashcan artist John Sloan; in Provincetown, she worked and studied with Abstract Expressionist artist Hans Hofmann (an influential teacher whose students included many notable artists including Lee Krasner, Helen Frankenthaler, Irene Rice Pereira, Gerome Kamrowski, Fritz Bultman, Wolf Kahn, Marisol Escobar and Beulah Stevenson), a long-time curator at the Brooklyn Museum, was also among his pupils. Her work appeared in many group shows, and she won a number of awards. She was a curator at the Brooklyn Museum for many years, and that museum owns a number of examples of her work, as do the Library of Congress and the New York Public Library. Stevenson maintained many professional associations during her career; she was president of the New York Society of Women Artists, a board member of the National Association of Women Artists, and a vice-president of the Brooklyn Society of Artists, Art Institute of Chicago, International Graphic Society Inc., Philadelphia Print Club, Provincetown Art Association and the Creative Artist's Association. She also belonged to the American Artists' Congress which promoted social-realist style of American scene painting, she left to join the Federation of Modern Painters and Sculptors established To Promote Avant-Garde Art. Stevenson was said by a friend to have destroyed many of her papers prior to her death, but a collection was donated to the Archives of American Art at the Smithsonian Institution. Select Group Exhibitions Art Institute of Chicago; , Library of Congress, Washington, D.C.; Print Club of Philadelphia; National Arts Club, New York; Metropolitan Museum; Whitney Museum; Brooklyn Museum; Chicago Art Institute; Pennsylvania Academy Of Fine Arts; Rochester Memorial Museum; St. Paul Museum; M. H. De Young Memorial Museum Of Art; Houston Museum Of Art; William R. Nelson Museum Of Art; Columbus Museum Of Art; American Institute Of Graphic Arts; Provincetown Art Association; Columbia Museum Of Art; Schenectady Museum Of Fine Art; Portland Museum, ME; Royal Society, London; Gallery O...

A Pacific Northwest native, Bauer was born in Vancouver, Washington, and has maintained a studio in Portland, Oregon since 1976. She attended the Pacific Northwest College of Art and the University of Oregon where she received her M.F.A. Since that time, she has exhibited her work throughout the Northwest while teaching art as an associate professor at Marylhurst University. Bauer applies her modernist approach to her artwork, and her paintings become a sort of balancing act in reconciling her subjects and her techniques. Teetering between abstraction and representational, Bauer's houses are depicted as simplified forms, exploiting a universal iconography. The recognizable elements in her artwork – trees, buildings – are unconventionally depicted in wide patches of overlapping color, "pulling each painting away from literal interpretation." Marlene Bauer's abstractions stem from her interest in the visual dynamics of a quick impression of a landscape from a moving car or a glance out a window. The artist has exhibited her work in solo exhibitions at the Laura Russo Gallery, the Elizabeth Leach Gallery (both in Portland), and the Davidson Galleries in Seattle. Bauer's artwork is included in many of the region's public and private collections including the King County Regional Justice Center, Bank of America, the City of Portland, the City of Seattle, the Oregon State...

Petunias mixed [2016] original acrylic on canvas Image size: H:61 cm x W:61 cm Complete Size of Unframed Work: H:61 cm x W:61 cm x D:4cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look I wanted to paint the bold colours of petunias but from a birds eye view to focus on the shape and composition. Rachel Tighe...

A large pop piece depicting Andy Warhols iconic Campbell's tomato soup holding a colorful bouquet of tulips. Bursting with impasto painting, and quick brushwork we are drawn to the m...

Carl Smith combines his own photographic material with drawings and other fragments of narrative imagery onto canvas. He works with several layout combinations before creating a fini...

Randy Browning’s paintings sparkle with the breath of life. His delightful contemporary paintings offer his viewers a unique way of regarding contemporary still life, combined with old-world attention to detail. Browning feels that to truly observe an object, one must be absorbed by it. The large scale of the paintings helps people focus on the incredible variety and subtlety of apparently common objects. In the triptych, Randy is playing with a red and white striped dinnerware set placed upon a blue and off-white background. The teapot draws you into the middle panel and makes your eyes happily jump to the outside panels to view the whole optical illusion. Randy Browning’s paintings sparkle with the breath of life. His delightful fruit and vegetable paintings...

Randy Browning’s paintings sparkle with the breath of life. His delightful contemporary paintings offer his viewers a unique way of regarding contemporary still life, combined with old-world attention to detail. Browning feels that to truly observe an object, one must be absorbed by it. The large scale of the paintings helps people focus on the incredible variety and subtlety of apparently common objects. In this black and white painting, you are looking down from a birds-eye view of a retro teapot...

Randy Browning’s paintings sparkle with the breath of life. His delightful contemporary paintings offer his viewers a unique way of regarding contemporary still life, combined with old-world attention to detail. Browning feels that to truly observe an object, one must be absorbed by it. The large scale of the paintings helps people focus on the incredible variety and subtlety of apparently common objects. In this painting, a retro red teapot...