1990s Art

Contemporary colorful silkscreen by Louisiana born artist George Rodrigue. The work features Rodrigue's iconic blue dog character dressed in a yellow bandana and a cowboy hat set aga...

Offset lithograph from a portfolio of six prints published by the Museum of Modern Art, now out of print. Ed Ruscha’s Standard Station is among his most iconic images, encapsulating...

signed and numbered lower image edition 7/40 Catalogue raisonné 00269 Internationally recognized painter and printmaker Alex Katz was born in 1927 in Brooklyn, New York. Over a thir...

This reproduction of Edingsville by renowned American artist Jasper Johns, published by Edition 5 in Germany, offers a faithful and striking representation of the original artwork. J...

This exquisite reproduction of Erté's Gala captures the essence of 1920s glamour, epitomizing the opulence and sophistication of the Art Deco era. The artwork portrays a figure adorn...

David Hockney, Little Boodge, 1993 Offset lithograph on paper 28 x 42 cm (11 × 16 1/2 in) Signed and dated in plate, recto Based upon Hockney's b...

Original exhibition poster by Roy Lichtenstein, presented in a black frame measuring 20 × 18 inches overall. The frame features a 1.25-inch face profile and 1-inch depth, finished wi...

Paper Size: 4.25 x 6 inches ( 10.795 x 15.24 cm ) Image Size: 3.75 x 5.75 inches ( 9.525 x 14.605 cm ) Framed: Yes Frame Size: H: 17.25 x W: 13 x D: 1.25 in. Condition: A-: Near Mint, very light signs of handling Additional Details: This vintage blank...

Shot on film a 14" x 11" a black-and-white contemporary gelatin silver print of a female nude with symmetrical proportions that suggest Greek sculptures. A feminine and statuesque su...

Paper Size: 31.5 x 23.75 inches ( 80.01 x 60.325 cm ) Image Size: 31.5 x 23.75 inches ( 80.01 x 60.325 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Theodore Waddell Midnight Angus Drawing #3 (Midwest, Cattle, Mid-Century, Prairie, Blue) Oil on Paper Year: 1990 Sheet Size: 30 x 40 inches (76.2 x 101.6 cm) Mat Size: 33.5 x 43.5 in...

This five-color offset lithograph, featuring a facsimile signature of Marc Chagall, masterfully captures a vibrant detail from his iconic Paris Opera ceiling. Printed on high-quality...

Signed lower right, 'Mark S' for Mark Shepherd (English, 20th century) and dated 1995. Titled on the original Royal Academy exhibition label, verso. This figural work by Shepherd wa...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Josep Moscardó (1953) - Girona Cathedral Lithograph - Hand signed Lithograph measures 74x52 cm. Frameless. Numbered 121/150 Barcelona, 1953 Painter, s...

Tony Bennett Title: South of France Lithograph Signed and Marked ATL  5/5 ( Printers Proof ) Paper Size: 31" x 24" inches Image Size : 26" x 20" inches Published By : Atelier E. Ettinger Gallery Anthony Dominick Benedetto, known professionally as Tony Bennett, is an American singer of traditional pop standards, big band, show tunes, and jazz. He is also a painter, having created works under his birth name that are on permanent public display in several institutions. Whether he is performing as Tony Bennett or painting as Anthony Benedetto...

The reproduction of Come Sunday by Romare Bearden is based on a piece he originally created in 1967. Come Sunday is a powerful work that reflects the significance of spirituality and...

This is a poster titled Carolina Shout by Romare Bearden originally was created in 1967. Carolina Shout captures the vibrant energy and cultural significance of African American lif...

Contemporary American paper-mache artist Debbee Thibault is a master sculptor in the grand tradition of the WPA sculptors of the early 1930’s. Her belief that “like a fingerprint eac...

This original museum poster titled Two Candles was created for the Fast Forward exhibition at the Dallas Art Museum in 1995. The artwork featur...

Vintage blank postcard published by VG Bild-Kunst, Bonn in 1992 for the Pop Art Show at Museum Ludwig Koln. Printed in Germany. Framed in a white wood frame with a front profile of 1...

Artist: Jim Dine Title: Woodcut Heart. 1993 Image Size: 15 1/8 x 13 1/8 inches Paper size: 23 × 17½ inches Carrier: Mohawk Superfine Cover Medium: Woodcut Proiect Began:January 26, 1...

Willy Oster Untitled Geometric Abstract Mixed Media Collage; Acrylic, Paper 1990 27.55 x 39.37 inches (70 x 100 cm) Signed, dated and annotated by hand on verso COA provided *Condit...

OK Corral - part 2 - (Stranger than Paradise), - 1999, 20x20 cm, Edition 5/10, digital C-Print based on the Polaroid, Artist Inventory 318_2.18, Not mounted. Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) Exhibitions Selected (selected) 2018 Participation Bombay Beach Biennale, Bombay Beach, USA (G) March Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin with Adam Berg, Doron Gazit, Kellan Barnebey, Chris Sanchez, Aili Schmelzt 2017 BLICKFELD Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog), (upcoming)
 Rosegallery, Bergamot Station, Santa Monica (G) Magie des Moments, Kunstverein Bad Homburg Artlantis, Bad Homburg (G) 2016 
Instantdreams, Instantdreams Gallery, Berlin 

(S) 2015
 Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky The Ballery in Heat, The Ballery, Berlin (G) 
Blue Nudes, De Re Gallery, Los Angeles (G) 

 2014

 Summer Show, Galerie Catherine et André Hug, Paris, France (G) 6 Finalists, Saatchi Gallery London (G) 
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
 2013 
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region,  Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog) 
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
 Heather's Dream, Short, German Competition Short Film Festival Oberhausen 
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
 The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth...

Self taught outsider art by African American artist from New Orleans with work in major museum and private collections. White created a bold c...

This exquisite reproduction of Mark Rothko's Untitled, originally painted in 1969 using oil on cardboard, showcases the artist's masterful use of pastel colors. Distributed by New Yo...

Paper Size: 22 x 28 inches ( 55.88 x 71.12 cm ) Image Size: 22 x 28 inches ( 55.88 x 71.12 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

In October of 1991 Christo and his collaborator Jean-Claude constructed an installation in two valleys, in Japan, north of Tokyo and one in California, north of Los Angeles. 960 yell...

ELIZABETH CATLETT Candace - 10th Anniversary Celebration 1992, A Tribute to African American Women National Coalition of 100 Black Women, Commemorative Fine Art Poster Year printed...

La Lettera is a notable work by Fernando Botero, from 1976. This reproduction captures Botero's distinctive style, characterized by his use of exaggerated, rounded forms and his expl...

The subject, a nude, is shot from the female gaze. As a woman artist Roberta Fineberg enjoys working with life models for both her art and photography. The title of the photograph, Triggered, references both the cable release used to release the shutter of the camera to make the image and the volatility of human moods and emotions. Triggered, 1994 by Roberta Fineberg is 14" x 11" a gelatin silver print in an edition of 5 with 2 artist's proofs. Signed, dated, titled by the artist. Available: 3/5 Provenance: RF Studio *** Artist's Bio: As a visual artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, the development of ideas and color fields for her mixed media works. Drawn to experimentation, she explores diverse mediums and concepts such as the ephemeral (Butterfly Series), stolen moments (documentary), play, timelessness, the enduring, and the significance of matter. Selected exhibitions include: Women of Spirit Zurcher Gallery New York (2025); Sojourner Gallery New York (2022); Phyllis Harriman Gallery New York studio shows (2020, 2022); CADAF online art fair (2020); Gallery122 New York pop-up group...

BETTIE PAGE – THE TELEPHONE CALL, SIGNED PHOTOGRAPH FROM THE COLLECTION OF HUGH HEFNER ⚜ Black and White Photograph by Bunny Yeager ⚜ Hand Sig...

Josep Maria Vayreda Canadell (Gerona 1932-2001) - Paris - Lithograph Print measurements 52x43 cm. Frame measurements 75x61 cm. Josep Maria Vayreda Canadell Year of birth: 1932 Biography: Member of a family spanish saga of artists, which highlighted Joaquim Vayreda...

Radha Pink (29 Palms, CA) Original Polaroid - Unique Piece 1/1. 10.7 x 8.7 cm. Artist inventory 616.00. Signed on back. Original Polaroids for Sale — The Heart of My Work For ...

Painted sculpted cardboard Unique work Coming from the artist's studio Jacques ROUBY, the aesthetics of mystery "Experimental dreamer, passionate about graphic adventures, delibera...

Signed lower right, "Maxon" for John Maxon (American, 20th century) and created circa 1995. Additionally titled, verso, 'White Flower'. Monotype with additional hand-painted detail. ...

Limited-edition poster published by the Israel Museum, Jerusalem, after Chagall’s beloved composition celebrating love and dreamlike flight over his native Vitebsk. Produced by the m...

"Of Ships and Men" - Nautical Trompe l'Oeil Composition in Oil on Board Maritime still life by Russell Tripp (American, 1942-2025). This hyper-realistic painting captures a collecti...

Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...

Roy Lichtenstein, American (1923 - 1997) - As I Opened Fire. Year: 1964 Year Printed: 1997, Medium: Three Offset Lithograph Posters, Image Size: 24 x 19.5 inches, Size: 25 x 20.5 in...

Randall Exon (b.1956). Matthew, 1990. Oil on wood panel. Measures 24 x 36 inches. Unframed. Excellent condition with no damage or conservation. Signed and dated lower right. Gallery stamp on verso. Plastic wall mount taped down on verso. Provenance: The More Gallery INC, Philadelphia; Aramark Corporate Collection. Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. In 2003, the James A. Michener Art Museum in Doylestown, Pennsylvania, staged a solo exhibition of his work. He was awarded the Thomas Benedict Clarke Prize in the 2004 179th Annual Invitation Exhibition of Contemporary American Art at the National Academy Museum and School of Fine Arts, New York. More recently, Exon’s work was featured in Visions of the Susquehanna, a traveling exhibition organized by the Lancaster Museum of Art, Pennsylvania, in 2008, and Haunting Narratives, a major exhibition at the Woodmere Art Museum, Philadelphia, in 2012. BORN 1956 Vermillion, SD EDUCATION 1982 M.F.A. in Painting, University of Iowa, Iowa City, IA 1981 Skowhegan School of Painting, Skowhegan, ME 1981 M.A. in Painting, University of Iowa, Iowa City, IA 1978 B.F.A. in Painting, Washburn University, Topeka, KS SOLO EXHIBITIONS 2013 Hirschl & Adler Modern, New York, NY 2009 Hirschl & Adler Modern, New York, NY 2007 Hirschl & Adler Modern, New York, NY 2004 Hirschl & Adler Modern, New York, NY 2003 Randall Exon: A Quiet Light, James A. Michener Art Museum, Doylestown, PA 2001 Mulvane Museum of Art, Topeka, KS 2000 More Gallery, Philadelphia, PA 1998 More Gallery, Philadelphia, PA 1996 More Gallery, Philadelphia, PA 1994 More Gallery, Philadelphia, PA 1993 Tasis England American School, Main Gallery, Thorpe, Surrey, England 1992 More Gallery, Philadelphia, PA Theatre Gallery, Washburn University, Topeka, KS Widener University Art Museum, Chester, PA 1990 Charles More Gallery, Philadelphia, PA 1988 West Chester University, McKinney Gallery, Mitchell Hall, West Chester, PA Charles More Gallery, Philadelphia, PA Carleton College, Northfield, MN 1987 University of Maine at Machias, University Gallery, ME Topeka Public Library, Central Gallery, KS 1986 More Gallery, Philadelphia, PA 1984 More Gallery, Philadelphia, PA Stoneybrook School, Suffolk, Long Island, NY 1981-82 Florence Wilcox Gallery, Swarthmore College, PA Beauchamp Gallery, Topeka, KS SELECTED GROUP EXHIBITIONS 2019 Unforeseeable Thereness, Stanek Gallery, Philadelphia, PA 2018 Vis-à-Vis, Hirschl & Adler Galleries, New York, NY 2017 The New Baroque, Booth Gallery, New York, NY, curated by Robert Zeller Painted Landscapes: Contemporary Views, Heritage Museums and Gardens, Sandwich, MA 2016 Mixed Environs: Contemporary Painters, Lore Degenstein Gallery, Susquehanna University, Selinsgrove, PA 2015 Home is Where the Art Is, Hirschl & Adler Galleries, New York, NY 2014 Our American Life, Hirschl & Adler Galleries, New York, NY 2014 Edge of the Seat, The Rye Arts Center Gallery, Rye, NY 2013 Duets: Art in Conversation, Hirschl & Adler Galleries, New York, NY 2012 Haunting Narratives: Detours from Philadelphia Realism, 1935-Present, Woodmere Art Museum, Philadelphia, PA Structuring Nature, Walton Arts Center, Fayetteville, AR Summer Selections, Hirschl & Adler Modern, New York, NY 2011 Masterworks: The Best of Hirschl & Adler, Hirschl & Adler Galleries, New York, NY 2010 Summer Selections, Hirschl & Adler Modern, New York, NY 2009 Holiday Selections, Hirschl & Adler Modern, New York, NY 2008-2009 American Green – Art and Stewardship, Somerville-Manning Gallery, Greenville, DE 2008 Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY 2007 Finding a Form: Influences in Figurative Painting, Tower Gallery, Philadelphia, PA Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY 2006-2008 Visions of the Susquehanna, Susquehanna Art Museum, PA; Governor’s Residence, Harrisburgh, PA; Washington County Museum of Fine Arts, Hagerstown, MD; Roberson Center for Art and Science, Binghamton, NY. 2006 Summer Selections, Hirschl & Adler Modern, New York, NY 2004 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy of Design, New York, NY Selected Works from the Ballinglen Collection, United States Embassy to Ireland, Ambassadors Residence, Phoenix Park, Dublin, Republic of Ireland. Part of the Art in the Embassies Program, Washington D.C. 2001 Personal Affinities, Contemporary Artists Influenced by the works of Edwin Dickinson, Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA 2000 December Show, Fenton Gallery, Cork City, Ireland Works from the Archives, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1999 New Realism for a New Millennium, Memorial Art Gallery, University of Rochester, NY Indomitable Spirits, The Figure At The End Of The Century, The Art Institute of Southern California, Laguna Beach, CA 1998 Visual Poetry, A Selection of Work by Artists Inspired by the Words and Sentiments of Walt Whitman, Stedman Gallery, Rutgers University, Camden, NJ The Artist's Window, Lee Hansley Gallery, Raleigh, NC Embodied Fictions, Twelve Contemporary Figure Painters, The Boyden Gallery, St. Mary's College of Maryland, St. Mary’s City, MD 1997 Abstract and Image, Four Painters, Hopkin's Center, Dartmouth College, Hanover, NH An Extended View: Landscapes by Philadelphia Artists, Levy and Paley Galleries, Moore College of Art and Design, Philadelphia, PA 1996 Figure Drawings, Hillyer Hall, Smith College, Northampton, MA Figurative Paintings, Edith Caldwell Gallery, San Francisco, CA A Show of Hands (Exhibit and auction to assist AIDS research), Moore College of Art and Design, Philadelphia, PA 1994 Figures in the Landscape, More Gallery, Philadelphia, PA 1992 Landscapes by Randall Exon & Joseph Byrne, Dartmouth College, Hanover, NH 1991 A Show of Hands, Moore College of Art and Design, Philadelphia, PA 1991 Ten Contemporary Philadelphia Painters, Westmoreland Museum, Greensburg, PA 1991 Sport in Art, Woodmere Museum, Chestnut Hill, PA 1990 Myth and Monument, More Gallery, Philadelphia, PA 1990 Evidence of the Senses, 7 Painters, Woodmere Museum, Chestnut Hill, PA Pollack Award Winners, Mulvane Gallery, Washburn University, Topeka, KS 1989 Works on Paper, More Gallery, Philadelphia, PA Nocturnes, More Gallery, Philadelphia, PA 1986 Nature Morte, Southern Alleghenies Museum of Art, St. Francis College, Loretto, PA 1984 The Spirit of the Coast: Paintings, Monmouth Museum, NJ Drawings: Personal and Intimate, More Gallery, Philadelphia, PA Night Paintings, Florence Wilcox Gallery, Swarthmore, PA 1983 Realist Direction, Penn State University Museum, University Park, PA 1981 Graduate Student Traveling Exhibit, University of Iowa, Iowa City, IA 1980 Selected Painters, Mulvane Gallery, Washburn University, Topeka, KS 1979 Artists Choose Artists Exhibit, University of Missouri at Kansas City Art Gallery, MO JURIED SHOWS 1990 Philadelphia Art Now, Philadelphia Museum of Art, PA 1989 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1987 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1984 Butler Institute of American Art Annual Exhibit, Youngstown, OH National Academy of Design Biannual Competition, New York, NY 1981 32nd Iowa Artists Exhibition, Des Moines Art Center, Des Moines, IA 1980 Iowa Artists Solon, Burnnier Gallery, Iowa State University, Ames, IA 1979 Kansas Bankers Association Exhibition, Topeka, KS AWARDS/GRANTS/RESIDENCIES 2004 The Thomas Benedict Clarke Prize, 179th Annual Invitational Exhibition of Contemporary American Art, National Academy Museum and School of Fine Arts, New York, NY 2001 2nd Fellowship, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland Eugene M. Lang Faculty Fellowship, Swarthmore College, PA 1997 Fellow, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1992 Washburn Fellow, Washburn University, Topeka, KS 1989 Eugene M. Lang Faculty Fellowship, Swarthmore College, PA 1988 Andrew Carnegie Prize, 163rd Annual Exhibition of the National Academy of Design, New York, NY 1987 1985-86 1984 1981 1981 1980 1976, 78 TEACHING 1982-present 1994-00 1980-82 Best of Show prize, juried museum exhibition, The State Museum of Pennsylvania, Harrisburg, PA Henry Luce Scholar, Bali, Indonesia Julius Halgarten Prize for Best Painting by an Artist under 35 years of age Academy of Design Annual Exhibition, New York, NY Iowa Artists Salon, Second Prize Skowhegan Scholarship Award, University of Iowa, Iowa City, IA Student Award, 32nd Iowa Artists Exhibition, Des Moines Art Center, IA Charles Pollack purchase prize for the best painting from annual student exhibition, Washburn University, Topeka, KS Professor in Studio Arts, Swarthmore College, Swarthmore, PA Chair, Department of Art, Swarthmore College, Swarthmore, PA Teaching Assistant to Ben Frank Moss, University of Iowa, Iowa City, IA VISITING ARTIST/LECTURES 2002 2001 1998 1995 1994 1993 1994, 1992 1992 1989 1987 1986 1985 1982 Pennsylvania State University, Abington, PA Hollins College, Roanoke, VA Maryland Arts Institute, Baltimore, MD Beaver College, Glenside, PA Union College, Department of Art, Schenectady, NY Allentown Art Museum, PA Pennsylvania Academy of the Fine Arts, Philadelphia, PA Bucks County Community College, Newtown, PA Tasis England American School, Thorpe, Surrey, England Boston Art Institute, MA Boston University, M.F.A. program, MA Beaver College, Department of Art, Philadelphia, PA Dartmouth College, Department of Visual Studies, Hanover, NH Dartmouth College, Department of Visual Studies, Hanover, NH Carleton College, Northfield, MN University of Maine at Machias, ME Horsham College of Art, Horsham, England Stoneybrook School, Suffolk, Long Island, NY Moore College of Art, Basic Drawing, Philadelphia, PA Vassar College, Department of Art, Poughkeepsie, NY PUBLIC COLLECTIONS Allentown Art Museum, PA ARA Corporation, Philadelphia, PA Security Pacific National Bank, Sanger Branch, Los Angeles, CA University of Iowa, Permanent Collection, Iowa City, IA Mulvane Gallery Permanent Collection, Washburn University, Topeka, KS Woodmere Museum, Mt. Airy, Philadelphia, PA Henry Luce Foundation, New York, NY Henry Wendt Collection, Philadelphia, PA Susquehanna Art Museum, Harrisburg, PA SELECTED BIBLIOGRAPHY Sozanski, Edward J. “Simple Situations, in almost holy light,” Philadelphia Inquirer , February 7, 2003 Francis, Naila,“Studies in Light, Space,” The Intelligencer, January 9, 2003 Thompson, Jodi, “Fabulous Realism, seeing the light,” Out & About, January 9, 2003 Hopkin, Alannah, The Irish Examiner, July 1, 2002 Hopkin, Alannah, The Irish Examiner, January 2002 Sosanski, Edward, Philadelphia Inquirer, February 2001 Carr, Jeffrey, “Landscapes of the Imagination,” American Artist, January 1999 “On The Town,” New York Times Art Review, November 1998 Adelson, Fred B...

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