1990s Art

Serigraph in colors on paper. Hand signed lower right by Peter Max. Hand numbered AP 35/75 lower left (slightly faded; see pic). Sheet size: 16 x 14 inches. Custom framed as pict...

Masri Hayssam (Lebanese, Italian, born 1965) "Veduta Verso Sera" 1998 Oil paint on wood panel Signed by the artist on the bottom left corner and on the back of the painting. “Veduta Verso Sera” is a richly textured landscape, completed in 1998 during a period when the artist was deeply invested in translating lived experience into painterly structure. The title, which evokes an evening view, aligns with the work’s tonal depth and shifting sense of light rather than a fixed geographic location. The composition unfolds through vigorous, layered brushwork, with sweeping passages of green and deep blue suggesting rolling terrain as daylight recedes. Masri’s palette is punctuated by sharp accents of yellow and red, which animate the surface and introduce moments of tension within the otherwise expansive landscape. These gestures pull the viewer forward, creating a sense of movement and immediacy, as though the scene is still unfolding. About the Artist: Masri is a passionate Italian, US-based artist whose work has been exhibited in the USA, the UK, Germany, Lebanon, Italy, and Norway. His work is varied and known especially in Europe and in Major collections - Ellen DeGeneres, Ringo Starr, Al Gore, and many more. Harnessing an insatiable desire for artistic discovery, innovation, and perfection, he dives into experimentation with openness and enthusiasm. As a result, his works are bright, expansive, and bold. Masri has developed a style that captures the Middle Eastern mood with a Lucien Freud...

"Requiem" is an original etching and aquatint by Joan Snyder. The artist signed the piece, and the edition is of 120. This piece features abstract, expressionist text and an striking portrait of a woman with red lipstick on a pink background. 25 5/8" x 20" art 32" x 26" frame Joan Snyder was born on April 16, 1940, in Highland Park, New Jersey. She received her AB from Douglass College in New Brunswick, New Jersey (1962), and an MFA from Rutgers University in New Brunswick, New Jersey (1966). She was the recipient of a National Endowment for the Arts Fellowship (1974) and a John Simon Guggenheim Memorial Fellowship (1983). Snyder lives in Brooklyn and Woodstock, New York. Although Snyder’s paintings are often placed under various art-movement umbrellas—Abstract...

Woman is an original drawing in watercolor and China ink, realized in 1996 by an Anonymous artist of the XX century, Hand-signed and dated on the lower right, the firm is not readabl...

Exibition print dated 1995 by Miller Null is a vintage photographic print on color paper applied on cardboard. Signature in pencil on front of cardboard, dated 1995, a late print before photographer's death...

The work is available as Silver gelatin print, by the artist, made in the darkroom, from the original 35 mm black and white negative and in a total edition of 25. Available in 4 siz...

This Blue Dog work consists of 2 blue dogs sitting on either side of an orange/rust cow skull with horns on a white, brown, and pink background with a white and pink moon in the uppe...

Sottovuoto is a b/w photographic print realized by Plinio Martelli in the 1990s. Very good conditions. Hand signed and titled by the artist on the back of the photograph. Plinio Martelli (1945-2016) After scientific studies he graduated from the Albertina Academy of Fine Arts in Turin with masters such as Enrico Paolucci and Mario Calandri...

Cartagena de India is a very beautiful offset realized by Michele Cascarano in 1992. The print is in very good conditionson a yellowed cardboard. Hand-signed by the artist on the l...

Etching on paper, realized in 1982 by Pasquale Basile. Hand signed and numbered in pencil. Edition of 20. Excellent condition.

Screen print on paper. Hand signed, titled and numbered. Edition of 299. Excellent condition. A striking large-format colour screen print by Italian artist Franco Costa, depictin...

This listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...

The wall sculpture Jupiter came about from the Vogue Magazine Virgo horoscope in September 1991, my birthday month. It stated that Jupiter was in my sign and all my wishes would come...

Screen print on paper. Hand signed in pencil. Not numbered, as issued. Very good condition.

Etching hand watercolored realized by the italian Artist Benito Trolese. Hand signed. Not numbered. Excellent condition.

Vintage Photo. Eddie Murphy and Nick Nolte in a Scene from the Movie "Another 48 Hrs." Good Conditions.

Lithograph, 1995 Edition : 173/250 Publisher : La Différence (Paris) 65.00 cm. x 105.00 cm. 25.59 in. x 41.34 in. (paper) Handsigned by the artist in pencil Certificate of authentic...

Lithograph, 1995 Edition : 197/250 Publisher : Editions de la Différence Printer : Arti Grafiche Motta, Arese 76.00 cm. x 56.00 cm. 29.92 in. x 22.05 in. (paper) 76.00 cm. x 56.00 c...

Theimer - Galerie Di Meo is a vintage poster. This artwork was realized in occasion of the exhibition by Ivan Theimer held at Galerie Di Meo in Paris in 1992. Ivan Theimer (Olomou...

Listing is for UNFRAMED print. Inquire within for framing. Edition 1 of 25 After 30 years on West 11th Street, The Robin Rice Gallery celebrates its first ever exhibition for Robin...

Vintage postcard published by te Neues Publishing Company, New York. printed in Germany. Presented in a black wood frame with a 1-inch front profile and a 3/4-inch side profile, the ...

Vintage offset lithograph postcard featuring Roy Lichtenstein’s Interior with Mirrored Wall, published by the Guggenheim Museum in conjunction with his 1993 retrospective. Profession...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 1 of 25 Any framed photographs purchased during the show will be available after May 8th. If the exhibitio...

Pont Neuf Le Soir is a hand drawn, limited edition lithograph(not a photo reproduction or digital print) printed using hand lithography techniques on archival Arches paper by the popular French artist Michel Delacroix, well known for his naif style paintings of a city he calls "the Paris of then". Pont Neuf Le Soir is a dramatic Paris night scene depicted with a deep gray blue moonlit evening sky as a backdrop for the oldest historic Paris bridge crossing the River Seine - the Pont Neuf. In the foreground, a nostalgic street scene of people in Victorian dress strolling beneath the glowing lampposts; women with a baby carriage, flowers, children, small dog, and a black tugboat billowing smoke heading up river toward a rosy...

This Blue Dog work consists of a single dog sitting in the middle of a pure white background. The dog has soulful yellow eyes. This pop art animal original silkscreen print on paper is hand signed by the artist. Artist: George Rodrigue Title: Blue Dog “La Petite Femme...

5006 Primative American landscape oil on canvas of the four seasons Framed signed Al Ledesky on verso

Archival pigment print Signed and numbered, verso 16 x 20 inches (Edition of 7 + 3 APs) 20 x 24 inches (Edition of 7 + 3 APs) 30 x 40 inches (Edition of 7 + 3 APs) This artwork i...

Triptych realized by Giuseppe Salvatori in 1990 on oval canvases. Dimensions: 140x60 / 140x70 / 140x60 cm. Signed, dated and titled by the Artist. Registered in the Archive "Giuseppe...

Artwork size: 56 x 58 cm. Frame size: 76 x 78 cm. Free shipment worldwide. Archive number (P90/36) Acquired directly from the artist. “The heart is an eye,” writes Nobel laureate Octavio Paz in an essay on Matta’s paintings. Matta creates a world coloured both by a sunny faith in the future and by visions of impending doom. Roberto Sebastian Echaurren Antonio Matta, who died aged 91 on 23 November 2002, was born in Santiago, Chile, on 11 November 1911 into a family with Spanish, French and Basque roots, and raised in an atmosphere of religiosity. By the age of 21 he had graduated and begun work as an architect, but his leisure time he devoted to sketching and painting. In 1933 he travelled to Europe for the first time, visiting Greece, Yugoslavia, Italy and other countries, and subsequently taking the initiative to collaborate with the architect, Le Corbusier. As time passed, however, Matta’s enthusiasm for a career in architecture waned, and he began to devote himself full-time to art, making early acquaintances with surrealists such as Max Ernst, Salvador Dalí, André Breton and others. Between 1939 and 1948 Matta, like many of his artistic contemporaries, lived in self-imposed exile in the USA, but, after almost 10 years’ absence from Europe, he returned to make first Rome and then, a few years later, Paris his home. Throughout most of the rest of his life Matta commuted between his studio in Paris and his creative refuge in the monastery outside Rome. And it is here, in Italy, that he produced his greatest paintings. Matta’s first retrospective in Sweden was organised in 1956 when his works were exhibited in what was then Galerie Colibri – run by, among others, the artist C O Hultén at number 36 Södra Förstadsgatan in Malmö, Sweden. This was also the time when Matta began to collaborate with poets and other artists in Sweden. He produced the illustrations for Lasse Söderberg’s first anthology of poems, Akrobaterna (“The Acrobats”), published in 1955, and was also responsible for the cover of the Swedish art and literary magazine Salamander. In 1959 the first museum exhibition of Matta’s work in Europe was arranged at the Museum of Modern Art (Moderna Museet) in Stockholm. Held under the aegis of Pontus Hultén, it was entitled “Fifteen Forms of Doubt” and included 15 or so gigantic paintings...

This limited edition reproduction of Francis Bacon's Portrait of Pope Innocent X, printed on Stonehenge paper, was published by Maeght and printed by ARTE in Paris. Although unsigned...

"The Future and the Past" is an original oil on canvas realized by the russian painter Alexandr Sergheev in 1995. It represents the past and the present of railways in a single, evoc...

"Three Girls in a Tub, Colour, Linda Evangelista, Naomi Campbell, and Christy Turlington, Paris, 1990" by Roxanne Lowit is an iconic and intimate glimpse into the golden era of super...

Barbara Keidel Park XVI Mixed media, pastel on handmade, toned laid paper 1997 Size: 29.5 × 21.25 inches (75 × 54 cm) Signed and dated in pencil Additionally hand-signed, dated, tit...

Donald Judd (June 3, 1928 – February 12, 1994, American) Untitled, two prints (Schellmann 267-269) 1992-93 Two woodcuts in orange and purple on Echizen kozo paper 23 x 31 in. each Ed...

"The Red Barn - Wisconsin Landscape Series" is an original oil painting on canvas by Dan Muller. The artists signed the painting in the lower left....

Lithograph on paper. Hand signed in pencil. Not numbered, as issued. Very good condition.

Dome, Blue, 2017 Archival pigment inks on Crane Museo Max 365 gsm fine art paper 37 x 34 inches (94 x 86 cm) Edition of 40 Suite of 3 also available for $7500 Ross Bleckner is an i...

Escritura y Barcos original expressionist acrylic painting RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts...

Screen print on paper realized in 1990s. Hand signed and numbered. Edition of 50. Very good condition.

Barcelona watercolor original paper expressionist painting. framed MUNDO Ignasi Ignasi Mundó trained at the School of La Lonja, with Joaquín Mir, Mariano Pidelaserra and Manolo Hugu...

Aaron Bohrod The Magnificent Seven, 1990 Signed lower right Oil on gesso panel 11 x 14 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a regionalist painter of American scenes, particularly of his native Chicago, Bohrod later devoted himself to detailed still-life paintings rendered in the trompe l'oeil style. He also worked for several years in ceramics and wrote a book on pottery. Born in 1907, Bohrod began his studies at Chicago's Crane Junior College in 1925, and two years later enrolled in the Art Institute of Chicago. But it was at the Art Students League in New York City, from 1930 to 1932, that he studied under the man believed to be his most significant early influence, John Sloan. Sloan's romantic realism is reflected in the many depictions of Chicago life...

Color lithograph on wove paper Elizabeth Catlett has said the purpose of her art is to “present black people in their beauty and dignity for ourselves and others to understand and en...

Original limited edition exhibition poster produced for Eduardo Chillida’s 1990 show at Galerie Lelong, Paris. Dated 18 October – 20 November 1990, the poster features a striking min...

Steve Jobs had just returned to the struggling company, Apple Computer in 1997. Jobs and Lee Clow had collaborated back in 1984 to launch the MacIntosh. Now was the time to recover t...

Waddell's paintings are a combination of rough marks, thick paint, transparent elegant strokes, and, on a few occasions a slow, hard line scratched into the canvas. You can feel the ...

Geoff Rees (1930–2018) A Modernist Voice of the West Coast Geoff Rees was a defining figure in Western Canadian abstraction, known for paintings that balance radiant colour, medita...

Aaron Bohrod Double Bill, 1990 Signed upper right Oil on gesso panel 9 x 12 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a regiona...

Jack Roth (American, 1927-2004), Untitled, Acrylic on Canvas, 1994, signed and dated "Roth 94" lower right, estate stamp and marked "JR-4288" verso, unframed. 36" H x 36.25" W x 1" ...

"On Watch" is an original oil painting on canvas by Raymond Suchomel. The artist signed the painting in the lower right. It depicts a bald eagle on a tree branch surveying the bright...

"Metamorphosis" is a 40" x 26" acrylic on paper abstract painting by American painter Ray Leight. The painting is in original condition, from the estate of the artist, and it is sign...

"Snapshot Taken of a Saucer Touchdown" is an original oil pastel drawing on a grocery bag by Reginald K. Gee. The artist signed the piece lower right and dated it on the back. It dep...

Untitled 1999 Signed, dated, and numbered in pencil, recto Iris print (Edition of 100) 22 x 30 inches (55.9 x 76.2 cm), sheet 18 x 19.75 inches (45.7 x 50.2 cm), image This work ...

Christo The Wrapped Reichstag at Night, 1993 Offset Lithograph Plate signed (printed signature) by Christo on lower right front 40 × 25 1/2 inches Unframed and affixed to matting (a...

Artist: Thom Cooney-Crawford, American (1944 - ) Title: Four Earth Signs: Wingeo Medium: Bronze Sculpture, signature and number inscribed Edition: 4/5 Size: 20.5 in. x 11 in. x 4 in....

C Print. Unframed. Richard Caldicott is most well known for this earlier work series which used Tupperware containers as the subject for his photographs. As he describes: "Tupperwa...

Original exhibition poser for "Howard Hodgkin: Paintings 1975-1995" held at The Metropolitan Museum of Art in 1996. Hand signed in black ink by Hodgkin. Paper Size: 30 x 33.5 inch...

"Therapeutic Horse Knowledge" is an original oil pastel drawing on board by Reginald K. Gee. The artist signed the piece upper left. This piece features a surreal and abstract enviro...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Painted sculpted cardboard Unique work Coming from the artist's studio

Aaron Bohrod The Beginning, 1990 Signed center Oil on gesso board 10 x 8 inches Aaron Bohrod's work has not been limited to one style or medium. Initially recognized as a regionalis...