1990s Art

D. and Felix (Stranger than Paradise) - 1997 Edition of 2/30. Image size 16 x 21.6 inch, External dimensions: 17.7 x 23.3 inch. Archival C-Print, based on the Polaroid. Mounted...

This enchanting reproduction titled Sunrise by Erté beautifully captures a moment of transformation and renewal, where a woman gracefully emerges from her cocoon, seemingly transform...

This series of photographs were taken for a European calendar. The idea was to create postcards with several countries on different continents, in the images the artist decided to cl...

Sam FRANCIS Color explosion, 1992 Original lithograph Unsigned On Arches vellum 86.5 x 29.5 cm Numbered on the back Authenticated by Moulot blind stamp INFORMATION : Edited by Gale...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Clean Up Time" first released on "Double Fantasy" in 1980 . It was written when Lennon was in Bermud...

This high-quality reproduction of Brown and Orange on Slate faithfully captures Mark Rothko’s signature exploration of color, light, and emotion. Rothko’s artistic process was deeply...

This vintage postcard, estate authorized and produced in 1998, features an iconic design by Keith Haring, showcasing his signature style and playful themes. Titled Fold 'n Please Car...

No two shapes are alike. Yet they work together as a harmonious whole. Painter David Braden has described his vision overall in abstract terms. Inspired by individuality, he especial...

Date: 1990 Screenprint Poster, signed and dated in plate, numbered in pencil Edition of 1000 Image Size: 28 x 20 inches Size: 32 x 23 in. (81.28 x 58.42 cm) Commissioned by Playboy. ...

Robert Rauschenberg (1925-2008). "Arts for Act (1994)." Original offset lithograph poster created for the "Arts for Act." 1994. Signed in the plate (Bold Yellow), Additionally si...

This piece, titled "Groovin' High", is a printer's proof created by the renowned artist and civil rights activist Faith Ringgold. The print is signed an...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

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...

April Gornik, American (1953 - ) - Horizon, Year: 1996, Medium: Lithograph, signed, numbered and dated in pencil, Edition: 100, Image Size: 21 x 17.75 inches, Size: 27.5 x 23.5 ...

Offset Lithograph from a portfolio of six prints published by the Museum of Modern Art, but now out of print. Jasper Johns Map is one of his most celebrated and recognizable works, ...

Paper Size: 37.75 x 54.5 inches ( 95.885 x 138.43 cm ) Image Size: 27.5 x 54.5 inches ( 69.85 x 138.43 cm ) Framed: No?Condition: A-: Near Mint, very light signs of handling Shipping...

When the world thinks about the famous Group of Seven, this is likely the kind of image they recall—the quiet majesty of the Canadian wilderness. This lithograph by one of its youngest members, Alfred Joseph Casson is one of many classic landscapes he painted of the north—mountains, lakes, bare trees in the foreground rendered in his favoured bright palette of autumn colours—red, yellow, orange, a touch of green, and deep blue lakes against a cloudy white sky. Casson was an avid canoeist and spent many hours camping and drawing in northern Ontario often alongside fellow members of the Group. “I had to develop my own style. I began to dig out places of my own...” A. J. Casson He moved on to two commercial art firms in Toronto where he worked as an assistant to the artist Franklin Carmichael, one of the founding members of the renowned Group of Seven, (A group of Canadian landscape painters that included Tom Thomson, Lawren Harris and A. Y. Jackson.). Carmichael encouraged him to sketch and paint on his own. Casson was invited to join the Group of Seven in the 1920’s with whom he painted for years. Following their demise, he formed the Canadian Society of Painters in Water Colour...

Günther Förg (Germany, 1952-2013) 'Erker-Gallery', 1995 Original poster from exhibition of 1995 lithograph on paper 36.5 x 22.6 in. (92.7 x 57.4 cm.) Unframed Ref: FOR100-201 Günthe...

FIRST SUNDAY is a hand drawn, early limited edition lithograph by the South Carolina artist JONATHAN GREEN printed in 1993, using hand lithograph...

Go for Baroque is a striking example of Roy Lichtenstein's playful engagement with art history, where he reinterprets the ornate grandeur of Baroque style through the lens of Pop Art...

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...

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 ...

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...

This reproduction, titled Canto XIV by Barnett Newman, was published by Art Edition in Düsseldorf, Germany. The print is of high quality and features Newman’s characteristic vertical...

signed and numbered edition 7/40 Printed by Chris Sukimoto, Doris Simmelink, and Debra Salopek, Simmelink-Sukimoto Editions Published by Simmelink-Sukimoto Editions online archive #0...

Signed lower right, right-hand canvas, "William S. Burroughs" (American, 1914-1997), dated "1993" and titled "Exterminator II'. Signed on lower left, left-hand canvas, "Steven Lowe" ...

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110.01.98 is a limited-edition photograph by German contemporary artist Klaus Kampert. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm × 3...

M.F. Husain - Untitled ( Controversial Godman ) Ink on Paper 11.5 x 9 inches (Framed & Delivered) M. F. Husain’s “Controversial Godman” sketch, drawn on Rajya Sabha letterhead, is a...

The Red Room (The Last Picture Show) - 2005 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and Signature label. Artist Invent...

Male Nude VI (29 Palms, CA) - 1999, 20x20cm, Edition of 10. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory # 23700. Not mounted. ...

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...

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Peter Blake V is for Valentine (from the Alphabet Series), 1991 Silkscreen in colors on wove paper 40 2/5 × 30 3/5 inches Hand signed, titled and numbered 49/95 on the front Published by Waddington Graphics and Corianda Studios from the Alphabet Series Unframed An exquisite print with romantic imagery in a sweet, romantic pastel pink. 'V for Valentine' is from Blake's 1991 series of alphabet letters. This tender and sentimental piece comprises a collection of antique valentine...

Helen Frankenthaler (after) A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned & U...

Ilithyia III is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 26 × 16 × 18 cm (10.2 × 6.3 × 7.1 in). The sculpture is signed and numbered, it is part of a l...

This poster features Ken Keeley's photorealist depiction of the iconic Manhattan landmark, Paddy's Clam House. Known for his meticulous attention to detail and ability to capture the...

Artist: Raya Sorkine Title: "La Roue Qui Tourne" Title: Wedding in Venice Year: 1999 Print - Lithograph on Arches Archival Paper   39'' x 29.5'' Edition: signed in pencil and number...

Jean-Michel Basquiat (1960-1988) Crowned T-Rex, 1997 Lithograph Printed signature in the plate On paper 76 x 56 cm (c. 29.9 x 22 in) Published by Galerie Enrico Navarra Authentica...

Keith Haring frequently chose not to title his artworks, a decision that aligns with his artistic philosophy and the context of his creative process. By leaving pieces untitled, Hari...

Manuel Velasco (Spain, 1966) 'S/T 1', 1991 silkscreen, collage on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 50 Unframed ID: VEL1400-001-050 Hand-signed by author

Title: Fruit Market in Haiti Artist: JM Gary Delly Medium: Oil on canvas Dimensions (unframed): 9.8 x 7.9 in Dimensions (framed): 15 x 13 in Period: Approx. 1990-1999 Origin: Haiti Condition: Good, with frame included Description of the Artwork This painting captures a lively Haitian market scene, embodying the essence of Haitian primitivist art with its vibrant colors and thick impasto brushstrokes. The scene depicts a bustling marketplace where vendors and buyers interact, surrounded by piles of tropical fruits arranged in baskets. The figures are dressed in bright, contrasting tones, enhancing the painting’s dynamic and energetic atmosphere. The artist’s expressive, thick strokes and saturated colors create a sense of movement and liveliness. The composition is carefully balanced, with figures arranged in different planes, providing depth and perspective in an intuitive manner. The lush vegetation in the background and the bright blue sky add further context to the scene, situating it in the Caribbean setting. Haitian art, influenced by its African and Caribbean heritage, is known for its naïve style and depictions of everyday life. JM Gary Delly follows this tradition, celebrating the vibrancy of Haitian culture in his work. Comparable Artists This artwork shares stylistic similarities with renowned Haitian artists, including: Wilson Bigaud (1931-2010): A master of Haitian art, famous for his detailed depictions of everyday life and folklore. André Normil (1934-2015): Known for his naïve style and colorful representations of Haitian life. Laurent Casimir...

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...

From the Nudes promotional portfolio published by Tyler Graphics in 1994, this authorized offset lithograph was issued as part of an informational set that included a title sheet lis...

This striking reproduction of Wassily Kandinsky's "Murnau" captures the vivid color palette, bold geometry, and dynamic composition that define the artist’s most celebrated expressio...

Male Nude (29 Palms, CA) - 1999 58x56cm, Edition of 10, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, matte surface, based on a Polaroid. Signature la...

Vintage impressionist Venice cityscape oil painting. Oil on canvas. Signed. Framed. Excellent condition, ready to hang and enjoy.

Signed lower right, 'Sanzone' for Mario Sanzone (Italian, born 1946) and titled, 'Portofino'. Previously with: Zantman Art Galleries, Carmel, CA. A substantial oil on canvas showi...

This is an Markus Pierson Dreaming of Her Sculpture Wood Sculpturer 1987 48 inches tall 50 made. Measures 48x12. In good condition

Artist: Christo (1935 - 2020) Title: Wrapped Trees Vertical Size: 31" x 23" inches Type: Lithograph Poster Hand Signed Christo was born in 1935 in Gabrova, Bulgaria. (He would drop ...

Abundant Floral Still Life Oil Painting, Signed 1999, Framed 36x29 Beautiful still life oil painting, abundant with color and texture in a variety of fruit and flowers. A full spect...

COULD ALSO BE FRAMED IN A BLACK FRAME - SAME SIZE & MODEL Christo The Umbrellas (Yellow & Blue) Lithoserigraphs Year: 1991 Size: 14.6 × 16.4 on 19.1 × 19.9 inches (EACH) Framed: 20....

Untitled 08 (Saigon) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist Inventory #19813. Not ...

This reproduction poster of Gerhard Richter's Lovers in the Forest was published for the Israel Museum's Fall 1995 exhibition, showcasing the stylistically versatile German artist's ...

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...

Original oil on board painting of a beautiful young woman in a lush outdoor setting. Signed lower left and date “91”. Also signed lower right. Gallery label with title verso. Condit...

Barbara Keidel Untitled (XX) (Abstract, Red, Grey) Linocut 1996 Edition: 3 Numbered and dated by hand in pencil Size: 9 x 8.25 inches (22.86 x 20.95 cm) COA provided Tags: Abstr...

The 1998 Pirelli Calendar was photographed in Miami by Bruce Weber and titled "Women that men live for; Men that women live for." Eva Herzigivá was among the many iconic models photo...

This museum-quality reproduction of The 1001 Nights is based on Henri Matisse’s original cut-out composition created in 1951 in his room in Nice, during the artist’s celebrated late ...

The proposed work is a mixed media canvas created by artist Michele Zalopnay, measuring 63 x 100 cm is in excellent state of preservation Michele Zalopany is an American Postwar and ...