1990s Art

Anthony Benjamin, 'Green Dots', acrylic and gouache on gold leaf board, image size 9" x 12", signed and dated 1999. Artist Estate Stamp on verso Provenance: From the Artist Estate A...

Construction is an original lithograph realized by Luigi Veronesi in 1980. Excellent condition on a white cardboard. Hand-signed and titled with pencil by the artist on the lower m...

Large mixed media on canvas composed of torn piece of burlap on canvas painted with a landscape scene of a city street, abstract shapes and shades and finished with glittered Arabic ...

"Entrance" is a black & white framed silver gelatin collage photograph with forms of a key, shoe, trees, pyramid, hair, and other abstract elements from artist Jenny Lynn's "Extrapol...

Orange, blue, and yellow abstract figurative portrait by Texas artist Ike E. Morgan. This pastel drawing depicts an abstract figure of George Washington against a yellow halo on a re...

Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...

Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...

"Me & You" is a black & white framed silver gelatin collage photograph with images of nudes, insect, heart, key, and other abstract elements from artist Jenny Lynn's "Extrapolations"...

Oil painting on burlap by Edward Marecak (1919-1993) titled "Winter Witches in an Upside World Interfering with Each Other" from 1990. Titled and dated by the artist on verso. Painted in shades of black, gray, red, purple, and green. Presented in the original artist frame, outer dimensions measure 44 ⅛ x 44 ⅛ x 1 ⅜ inches. Image size is 43 x 43 inches. About the artist: Edward Marecak Born Ohio 1919 Died Colorado 1993 Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks, and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of “Peter and the Wolf,” awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier oeuvre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s, he was influenced by surrealist imagery and Paul Klee and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, “Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter.” An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache, and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings. A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera...

Book A Lea Nikel, Israeli (1918–2005) Date: 1991 Screenprint, signed and numbered in pencil Edition of 110, HC Size: 15.5 x 23 in. (39.37 x 58.42 cm)

Diptych, acrylic on canvas. Signed lower right. Two canvases, joined along vertical stretcher on verso. 40 x 60 in. 41 x 61 in. (framed) Custom framed in maple. Provenance Estate of Beatrice Mandelman 203 Fine Art, Taos, NM A certificate of authenticity issued by the Mandelman Ribak Collection at the University of New Mexico Foundation will be provided with this work. Beatrice Mandelman was born on December 31, 1912 in Newark, New Jersey. At age 12, she began taking classes at the Newark School of Fine and Industrial Art, subsequently attending Rutgers University, the Newark School of Fine and Industrial Art, and the Art Students League in New York. In 1935, Mandelman was employed by the Works Progress Administration (WPA), first as a muralist and then as a printmaker with the Graphic Division of the New York Project. One of the original members of the Silk Screen Unit under Anthony Velonis, she worked until the disbandment of the WPA in 1942. During this period, she was associated with numerous New York School artists including Louis Lozowick, Willem de Kooning, Arshile Gorky, Jackson Pollock, and Stuart Davis. Mandelman married fellow artist Louis Ribak in 1942, and two years later they traveled to Santa Fe, NM to visit his teacher and mentor, the artist John Sloan. Finding Santa Fe congested, they took the train along the Rio Grande and a stagecoach up to Taos and decided to settle there. An impulsive and inspired move, it was a decision that would effectively remove them from mainstream art involvement, for which Santa Fe had become an important outpost in the west. While Taos was a well-known within the art community, there were no galleries exhibiting modern art. This changed later in the decade, with an influx of new artists arriving from New York and California. Some of these artists would come to be known collectively as the “Taos Moderns...

Lithograph, 1993 Handsigned by the artist in pencil and annotated HC Publisher : La Différence 76.00 cm. x 56.00 cm. 29.92 in. x 22.05 in. (paper) 74.00 cm. x 55.00 cm. 29.13 in. x...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

Work on Arche paper

Blue, Red & Green Abstract Expressionist Painting, entitled 'Tropical City #1', an extremely rare early work from leading British Contemporary Artist...

Abstract conceptual painting. it has a lacquer resin like finish to it. it is not framed. Siren Bliss was born Michael Whipple in Salt Lake City in 1947. He attended the University ...

1991 Oil and wax on canvas, 2 panels 20 x 20 inches, each; 20 x 40 inches, overall Signed and dated, verso Osvaldo Mariscotti’s art is an art of fundamentals: color, line, and the p...

United Europe - France 2 is a color etching and aquatint on paper, realized in 1994 by the Italian graphic master Piero Dorazio (Rome, 1927 - Perugia, 2005). Signed and dated in pen...

Work on Arche paper

Squash is a 1991 serigraph printed by Donald Sultan from a larger series entitled, "Fruits and Flowers". Donald Sultan created the eight piece portfolio "Fruits and Flowers" between ...

Detlef Kappeler was born in the city of Stettin, in Mecklenburg-Western Pomerania in Germany in 1938. In 1945, during World War II, his family left the city fleeing the war offensive...

Work on Arche paper

Artist: Al Held, American (1928 - 2005) Title: Scholes I Year: 1991 Medium: Silkscreen, signed and numbered in pencil Edition: 80 Image Size: 23 x 29 inches Size: 29 x 34 in. (73.66 ...

Work on wood 120x120 cm, don't need frame. Yvan MOCATELLI is an artist born in Italy in 1944. His works have been sold at public auction 15 times, mostly in the Painting category. B...

SAM FRANCIS 1923-1994 San Mateo, California 1923 – 1994 Santa Monica (American) Title: Untitled (SFE-081), 1992 Technique: Original Hand Signed and Numbered Aquatint in Colours on ...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

A colorful geometric screenprint by American artist Barbara Lynch Zinkel inspired by the Josef Albers "Homage to the Square". Date: 1994 Medium: ...

Robert Motherwell’s vibrant red lithograph features a collage-like composition with an intense contrast of black and red on top of sheet music. Lincoln Center Mostly Mozart...

Artist Dorothy signed lower right. The artwork is an acrylic on canvas with a size of 36"x35.5". This painting was displayed in Dorothy Marootian's art exhibition "The artist's eye"...

Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...

Genre: Contemporary Subject: People Medium: Digital, Print Surface: Metal Country: United States Dimensions: 49 3/4" x 38 3/4" This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College. Fellowships and Grants Chercheur Accueilli, Institut National d'Histoire de l'Art (INHA); COLA Individual Artist Award; Art Mattes Grant; Mid-Career Award, California Communtiy Foundation; Durfee Fondation ACG; Graves Award for the Humanities; Visiting Scholar/Artist-in-Residence, Getty Research Institute; Senior Fellow, American Art Museum and National Portrait Gallery of the Smithsonian Institution; Fellow, Rockefeller Foundation Study and Conference Center, Bellagio, Italy; Van Lier Fellow, ISP, Whitney Museum of American Art; Rotary International. Select Solo Exhibitions Luis De Jesus Los Angeles; Galerie Steph, Singapore; The Vincent Price Museum, LA; Fred Torres Collaborations, NYC; Tufts University, Medford, MA; Las Cienegas Projects, L.A.; UCSD Art Gallery, La Jolla, CA; Steve Turner Contemporary, L.A.; LAXART, L.A.; CUE Art Foundation, NY, NY; Pomona College Museum of Art, Claremont, CA; Susanne Vielmetter Projects, L. A.; Cristinerose Gallery, NY, NY; White Columns, NY, NY, among others. Select Group Exhibitions Our America: The Latino presence in American Art, Smithsonian Institution; MDE11, Medellin, Colombia; COLA 2011, at LAMAG, Los Angeles; Spy Numbers, Palais de Tokyo, Paris;How Many Billboards, MAK Center, W.H.; State of Mind, MoPA, San Diego; Phantom Sightings, LACMA, L.A.(traveled); Encuentro Hemispherico, Bogota; Under Erasure, Temple Bar Gallery and Studios, Dublin; Under Pain of Death, Austrian Cultural Forum, NYC;ArtMediaPolitique, DIX291, Paris; Viva Mexico, Zacheta National Gallery, Warsaw (traveled); Past Over, Steve Turner Contemporary, L.A.; Crimes of Omission, ICA Philadelphia; Exile of the Imaginary, Generali Foundation, Vienna; Civil Restitutions, Thomas Dane Gallery...

Peter Halley New Works, The Butler Institute of American Art (Hand Signed), 1999 Offset lithograph (signed by Peter Halley) 38 × 21 1/2 inches Boldly signed in black marker by the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 1998 exhibition of new works at The Butler Institute of American Art in Youngstown, Ohio, which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective...

Le Yogu Marc Brotens, dated 1990 signed acrylic painting on canvas, framed framed: 31 x 23 inches canvas: 29 x 21 inches provenance: private collection, France condition: overall ve...

George Dannatt (1915-2009) Painting - Winter 1992 1993 Oil on prepared card 19.0 x 14.0 cm Vertical orientation George Dannatt’s long career as a painter and sculptor ended with t...

Stanley Boxer, (1926–2000) Date: 1990 Screenprint, signed and dated verso in pencil Edition of 7/20 Size: 38.5 x 26 in. (97.79 x 66.04 cm)

Wonderful abstract expressionist painting of couple walking through Golden Gate Park titled, "Memorable Day" by California artist and poet Mary Rudge (American, 1929 - 2014), Circa 1...

Avant la Fête or “Before the Party” is a superb and vibrant work by Wemaere who is a well recognized European abstractionist in the tradition of the CoBrA move...

Bright and colorful highly textured abstract with figurative elements by Weston (American, 20th Century). Signed and dated "Weston '92" lower right corner. Tempera on acrylic sheet. ...

Peter Halley Peter Halley, Jablonka Galerie, Köln (Hand Signed), 1993 Offset lithograph poster (hand signed by Peter Halley) 26 1/2 × 26 1/2 inches Unframed Alpha 137 Gallery is honored to offer this historic offset lithograph of American artist Peter Halley's 1993 exhibition at Jablonka Gallery in Köln (Cologne, Germany) which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective...

Amaranth Ehrenhalt Untitled, 1994 Signed and dated lower left Oil on canvas 24 x 20 inches Provenance: Private Collection, Long Island Amaranth Ehrenhalt was born in 1928 in Newark, New Jersey and grew up in a Jewish family in Philadelphia. She loved painting from an early age and was soon placed in the “creatively gifted” Saturday morning program at the Philadelphia Museum of Art. She carried on with a full-tuition scholarship at the Pennsylvania Academy of the Fine Arts, where she graduated in 1951 with a Bachelor of Fine Arts. In parallel, she attended an art history class at the Barnes Foundation one afternoon per week. After graduation, Ehrenhalt was determined to travel to Paris and from there hitchhiked to Morocco, painting her impressions in her sketchbook as she went. She continued to Rome, where she taught English and continued to paint. Upon her return to the United States, Ehrenhalt settled in Greenwich Village in Manhattan, New York. Her nights were spent at the Cedar Tavern where she met Abstract Expressionist artists such as Franz Kline and Willem de Kooning. The night before Ehrenhalt left on what was meant to be a short trip to Paris, De Kooning told her: “As soon as you get back, call me. We’ll have dinner.” However, Ehrenhalt never returned to New York, as she got sucked into the bustling, creative Parisian life. In Paris, she frequented Le Select, a café that attracted many artists, including Yves Klein and Alberto Giacometti, among others. It was in Paris that she met her husband, a fellow American artist with whom she had two children. They would show their works in their home and live off the sales, until their divorce 15 years later. Though life in Paris was a struggle at times, the city had so much to offer as well, and Ehrenhalt became close with a circle of expatriate American artists among whom were Shirley Jaffe, Sam Francis and Joan Mitchell. Another important connection was Sonia Delauney...

Work on Arche paper

Paul Jenkins International Very Special Arts Festival poster, 1994 hand signed and dated by Paul Jenkins Measures: 37 inches (vertical) x 25 inches (horizontal) Ships rolled in a tub...

Amaranth Ehrenhalt Untitled, 1994 Signed and dated lower left Oil on canvas 24 x 20 inches Provenance: Private Collection, Long Island Amaranth Ehrenhalt was born in 1928 in Newark, New Jersey and grew up in a Jewish family in Philadelphia. She loved painting from an early age and was soon placed in the “creatively gifted” Saturday morning program at the Philadelphia Museum of Art. She carried on with a full-tuition scholarship at the Pennsylvania Academy of the Fine Arts, where she graduated in 1951 with a Bachelor of Fine Arts. In parallel, she attended an art history class at the Barnes Foundation one afternoon per week. After graduation, Ehrenhalt was determined to travel to Paris and from there hitchhiked to Morocco, painting her impressions in her sketchbook as she went. She continued to Rome, where she taught English and continued to paint. Upon her return to the United States, Ehrenhalt settled in Greenwich Village in Manhattan, New York. Her nights were spent at the Cedar Tavern where she met Abstract Expressionist artists such as Franz Kline and Willem de Kooning. The night before Ehrenhalt left on what was meant to be a short trip to Paris, De Kooning told her: “As soon as you get back, call me. We’ll have dinner.” However, Ehrenhalt never returned to New York, as she got sucked into the bustling, creative Parisian life. In Paris, she frequented Le Select, a café that attracted many artists, including Yves Klein and Alberto Giacometti, among others. It was in Paris that she met her husband, a fellow American artist with whom she had two children. They would show their works in their home and live off the sales, until their divorce 15 years later. Though life in Paris was a struggle at times, the city had so much to offer as well, and Ehrenhalt became close with a circle of expatriate American artists among whom were Shirley Jaffe, Sam Francis and Joan Mitchell. Another important connection was Sonia Delauney...

A small mixed media work of art by Bernd Mattiebe. Bernd Mattiebe is a German abstract artist. He has been creating art since the 1980s, and his work has been exhibited in numerous ...

A small mixed media work of art by Bernd Mattiebe. Bernd Mattiebe is a German abstract artist. He has been creating art since the 1980s, and his work has been exhibited in numerous ...

Vibrant and dynamic monoprint by David Stephens (American, 20th Century). Sand (or a similar medium) was used in the pressing of this monoprint, creating a pocked texture in multiple...

White and brown abstract mixed media painting by Israeli artist Yigal Ozeri. The piece depicts a thin translucent material with brown paint strokes res...

Piero Dorazio Morning Circles (Cercles Du Matin) Color Lithograph Year: 1992 Size: 19.68 x 27.56 in (50 x 70 cm) Signed, dated and numbered by hand Edition: 90 Publisher: Erker Pres...

Beach Artist Wizard in red Abstract Figural Acrylic on Paper Beach art Surf session abstracted scene of the artist under an umbrella with Surfboard by Ricardo de Silva (Brazilian, 20th Century). Watercolor in blue and red at the beach under and umbrella after de Kooning...

Yellow Red Umber in Oil on Paper Stylized symbolic imagery in Umber yellow and Red by California-based artist, Ricardo de Silva (American/Brazil, 20th C). Bold lard strokes and spon...

Alexandra Nechita Can this be real From the my journey collection - 1999 Print - Lithograph on Arches Archival Paper   35½'' x 23¾'' inches Edition: Signed in pencil, dated and marked AP 16/50 (Artist Proof) Embossed with Mourlot Paris Stamp "I am so blessed to have a younger brother named Maximillian. Can this be real? I feel so infinitely happy, so full of life, so complete to have Maximillian. Loving to open up a chest full of race cars and trucks or kicking a ball the way boys do, was something unknown to me.""Having my pony tail pulled so much was another surprise of having a little brother. Even wild adventures like building pyramids out of live snails was nothing compared to trying to hold our garden spiders...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edi...

Die Noten is a screen print realized by Paolo Minoli in 1992. Hand-signed and dated in pencil on the lower right. Numbered "Artist's proof" on the lower left, Edition 7/20 prints. ...

n this artwork, the Gelfman's non-traditional techniques create a multi-level surface and palpable texture. The reptilian like patterns in this mixed media piece may reflect the artist's close study of nature as well as Miami's unique everglades landscape...

Lithograph, 1992 Handsigned by the artist in pencil and numbered XXXVIII/L 75.50 cm. x 86.50 cm. 29.72 in. x 34.06 in. (paper) 50.00 cm. x 61.00 cm. 19.69 in. x 24.02 in. (image) ...

Vibrant and dynamic monoprint by David Stephens (American, 20th Century). Sand (or a similar medium) was used in the pressing of this monoprint, creating a pocked texture in multiple...

Miquel Torner de Semir (1938) - The jacket - Oil and collage on board Signed and dated lower right Measures work 103x78 cm. Frameless. Miquel Torner de Semir (1938) Catalan painter attracted by the Middle Ages and Italian Renaissance art. His influences and tastes also include the Romanesque and the Gothic. He trained artistically at the School of Fine Arts in Sant Jordi and at the San Fernando School in Madrid. Miquel Torner was a disciple of the muralist and engraver Ricard Marlet, with him he learned the discipline of drawing and got to know movements such as Catalan Modernism and Nuevocentisme. His first individual exhibition was in 1968 in Terrassa, later he exhibited in other Spanish cities, in Paris and in Europe. The painter Miquel Torner became one of the best known representatives of Mediterranean painting...

Red, purple, and blue modernist biomorphic mobile sculpture by Jon Jon Krawczyk. Signed by the artist at the bottom of the piece. Artist Biography: A graduate of Connecticut College, Krawczyk has studied fine art throughout Europe and apprenticed with various acclaimed sculptors. He realizes his biomorphic sculptures by cutting sheet stainless steel or bronze and welding, pounding and shaping with focused heat. Each sculpture is therefore unique, as the works are never cast from a mold. Krawczyk draws inspiration from artists such as Picasso, Henry Moore and David Smith. He is not only influenced by the obvious masterful techniques of these artists, but also by their philosophies of the sculptural process. Jon Krawczyk works in stainless steel, either brushed or highly polished, and in bronze, to which he applies intense patinas of earth tones and bright blues and greens. These works appear to have the geological marks of boulders, as sentinels that look comfortable in natural environments, can be abstract tendrils or wispy smoke-like forms that defy gravity, or long, thin, yet powerful lines that seem to jump into the sky. His most recent highly polished stainless steel sculptures...