20th Century Art

Jacques Zucker was born in 1900 in Radom, Poland. He was a notably famous Jewish American artist mostly known for his expressionist figure paintings. In his young years he traveled t...

In the early 1970s, Central Park was a center for celebrations and protests. In his image, the Hare Krishnas who are a mystical sect of Hinduism are capture in singing their mantra....

Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones. With Robin’s extensive experience as a gallery curator, all Robin Rice Gallery endeavors are superbly managed. Whether working with corporate clients, interior designers or established collectors, the Robin Rice Gallery guides patrons throughout the selection process, inspiring them to build a stylish collection or striking décor. The Robin Rice Gallery offers a bevy of styles that Robin has procured with her own signature school of artists. C Print, Blue, House, Red Door, Vignette, Blur, House, West Cork...

Original lithograph printed in four colors (blue, yellow, red, black) on wove paper. “After Matisse” La Chute d’Icare, pochoir, from Verve, Vol. IV, No. 13, ...

Triple Exposure of Jack Frost with Orchid Filter early 1960s Signed, dated, and numbered, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,...

Artist: Dan May (American, 1955-) Title: "Reclining Nude (Blue) II" Portfolio: Reclining Nudes *Signed and numbered by May in pencil lower left Year: 1983 Medium: Original Screenprin...

Marcel Duchamp was one of the pioneers of Dada, a movement that challenged preconceived notions of what art should be and how it should be made. In the years leading up to World War I, Duchamp enjoyed success as a painter in Paris. But he soon abandoned painting almost entirely, explaining, "I was interested in ideas, not just visual products." Seeking an alternative to representing objects in paint, Duchamp began to present objects as art...

Cosca II “VP 100” Screen print, 1982 Signed and numbered by the artist (see photo of signature) Edition: 325 plus 65 Vasarely Foundation (127/325) Editor: no editor/publisher is prov...

Una Foce - Diecicomeleditadiduemani is a color silk-screen print on acetates, realized in 1973 by the artist Ennio Pouchard (1928). Signed on plate on the lower right. From t...

Artist: Dan May (American, 1955-) Title: "Reclining Nude (Purple)" Portfolio: Reclining Nudes *Signed and numbered by May in pencil lower left Year: 1982 Medium: Original Screenprint...

Artist: Dan May (American, 1955-) Title: "Nude" *Signed and numbered by May in pencil lower left Year: 1987 Medium: Original Screenprint on unbranded soft-cream wove paper Limited ed...

The early 1970s was a period of reexamination of the state of photography for Mitchell Funk. He broke with the tradition of shooting gritty street photography in black and white and ...

Slim Aarons Pool At Porto Rotondo 1982 C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. A sw...

Original vintage recruitment poster - Join the Special Constabulary Ask at your local Police Station - featuring artwork depicting a man in uniform ...

Joan MIRO Boy with Red Sun Original linocut Printed signature in the plate Published in 1938 by San Lazzaro for XXe Siecle On wove paper 32 x 25 cm (c. 13 x 10 in) References : Dut...

Keith Haring Memorial 1990 (Keith Haring Baby, Keith Haring Barking Dog: Original screen-printed folding invitation with double-sided artwork publish...

This artwork "Untitled #3" c.1970 is a colors pastel and crayon on thick paper by American artist Jerry Opper, 1924-2014. It is hand signed in pencil at the lower right corner by the artist. The image size is 21.75 x 16.75 inches, sheet size is 24 x 19 inches. It is in excellent condition, there are pastel marks on the margin all around the artwork and also on the back, see picture #1. About the artist: Jerry Opper was born in Cleveland, Ohio, on September 5, 1924. He moved to Los Angeles with his family in 1933. After graduating from Hollywood High School, he worked in movie studios and attended art classes at Chouinard Art Institute. In May 1942, Opper was drafted into the army and was then able to study at the Colorado Springs Fine Arts Center while his outfit was stationed in Colorado. Later he was sent to Guam and was discharged in December 1945. Opper returned to Chouinard and his work in movie studios until 1947, when he moved to San Francisco. He enrolled as a full-time student at the California School of Fine Arts (now SFAI) and received his diploma in June of 1950. In 1948, Opper met his wife Gertrud Ruth Friedmann, daughter of artist Gustav Friedmann, whose works are also in the Lost Art Salon collection. It was love at first sight and a few weeks after their first encounter at the Black Cat in San Francisco's North Beach, they got married and enjoyed a passionate, life-long romance. Shortly after he finished school, Opper worked briefly as a decorator’s assistant and then started his career as a commercial artist, working for several firms such as Fibreboard, Beatrix Food and Precision. Working full-time and dedicating himself to having a rich family life occupied most of Opper's time, but he continued to be creative. He was above all a family man with the pride of having raised two exceptional daughters, Erika and Jody. Year after year, Opper would painstakingly craft their Halloween costumes...

Georges Braque Page 63 from Si je mourais la-bas, 1962, captures the heart of many with its poignant and inspiring shade of cobalt blue. Rendered on cris...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club? Why is Schneider not similarly attired? Is there a proximity to an army camp, are these would-be Lolita(s) Rahda and Max wives or American marine groupies, and where is the centre and focus of their identity? It is the ambiguity of personal involvement that is set up by Schneider which deliberately makes problematic any clear sense of narrative construction. The strangely virulent colours of the bleached-out girls stand in marked contrast to Schneider’s own anodyne sense of self-image. Is she identifying with the contents or directing the scenario? With this series, perhaps, more than any other, Schneider creates a feeling of a world that has some degree of symbolic order. For example the girls stand or squat by a dirt road, posing the question as to their sexual and personal status. Following the 29 Palms series, Schneider will trust herself increasingly by diminishing the sense of a staged environment. The events to come will tell you both everything and nothing, reveal and obfuscate, point towards and simultaneously away from any clearly definable meaning. If for example we compare 29 Palms to say Hitchhiker (2005), and where the sexual contents are made overtly explicit, we do not find the same sense of simulated identity. It is the itinerant coming together of two characters Daisy and Austen, who meet on the road and subsequently share a trailer together. Presented in a sequential DVD and still format, we become party to a would-be relationship of sorts. No information is given as to the background or social origins, or even any reasons as to why these two women should be attracted to each other. Is it acted out? Are they real life experiences? They are women who are sexually free in expressing themselves. But while the initial engagement with the subject is orchestrated by Schneider, and the edited outcome determined by the artist, beyond that we have little information with which to construct a story. The events are commonplace, edgy and uncertain, but the viewer is left to decide as to what they might mean as a narrative. The disaggregated emotions of the work are made evident, the game or role playing, the transitory fantasies palpable, and yet at the same time everything is insubstantial and might fall apart at any moment. The characters relate but they do not present a relationship in any meaningful sense. Or, if they do, it is one driven the coincidental juxtaposition of random emotions. Should there be an intended syntax it is one that has been stripped of the power to grammatically structure what is being experienced. And, this seems to be the central point of the work, the emptying out not only of a particular American way of life, but the suggestion that the grounds upon which it was once predicated are no longer possible. The photo-novel Hitchhiker is porous and the culture of the seventies which it might be said to homage is no longer sustainable. Not without coincidence, perhaps, the decade that was the last ubiquitous age of Polaroid film. In the numerous photographic series, some twenty or so, that occur between 29 Palms and Hitchhiker, Schneider has immersed herself and scrutinised many aspects of suburban, peripheral, and scrubland America. Her characters, including herself, are never at the centre of cultural affairs. Such eccentricities as they might possess are all derived from what could be called their adjacent status to the dominant culture of America. In fact her works are often sated with references to the sentimental sub-strata that underpin so much of American daily life. It is the same whether it is flower gardens and household accoutrements of her photo-series Suburbia (2004), or the transitional and environmental conditions depicted in The Last Picture Show (2005). The artist’s use of sentimental song titles, often adapted to accompany individual images within a series by Schneider, show her awareness of America’s close relationship between popular film and music. For example the song ‘Leaving on a Jet Plane’, becomes Leaving in a Jet Plane as part of The Last Picture Show series, while the literalism of the plane in the sky is shown in one element of this diptych, but juxtaposed to a blonde-wigged figure first seen in 29 Palms. This indicates that every potential narrative element is open to continual reallocation in what amounts to a story without end. And, the interchangeable nature of the images, like a dream, is the state of both a pictorial and affective flux that is the underlying theme pervading Schneider’s photo-narratives. For dream is a site of yearning or longing, either to be with or without, a human pursuit of a restless but uncertain alternative to our daily reality. The scenarios that Schneider sets up nonetheless have to be initiated by the artist. And, this might be best understood by looking at her three recent DVD sequenced photo-novels, Reneé’s Dream and Sidewinder (2005). We have already considered the other called Hitchhiker. In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland dessert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whisky Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and open character of their relationship at this time (though they have remained friends), opens up the question as the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet subject to the same unpredictable outcomes that emerge in the process. In Reneé’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring their own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates. I began this essay by speaking about the apparitional contents of Stefanie Schneider’s pictorial narratives, and meant at that time the literal and chance-directed ‘appearing’ qualities of her photographs. Perhaps, at this moment we should also think of the metaphoric contents of the word apparition. There is certainly a spectre-like quality also, a ghostly uncertainty about many of the human experiences found in her subject matter. Is it that the subculture of the American Dream, or the way of life Schneider has chosen to record, has in turn become also the phantom of it former self? Are these empty and fragmented scenarios a mirror of what has become of contemporary America? There is certainly some affection for their contents on the part of the artist, but it is somehow tainted with pessimism and the impossibility of sustainable human relations, with the dissolute and commercial distractions of America today. Whether this is the way it is, or, at least, the way it is perceived by Schneider is hard to assess. There is a bleak lassitude about so many of her characters. But then again the artist has so inured herself into this context over a long protracted period that the boundaries between the events and happenings photographed, and the personal life of Stefanie Schneider, have become similarly opaque. Is it the diagnosis of a condition, or just a recording of a phenomenon? Only the viewer can decide this question. For the status of Schneider’s certain sense of uncertainty is, perhaps, the only truth we may ever know.

1 Kerry Brougher (ed.), Art and Film Since 1945: Hall of Mirrors, ex. cat., The Museum of Contemporary Art (New York, 1996) 2 Im Reich der Phantome: Fotographie des Unsichtbaren, ex. cat., Städtisches Museum Abteiberg Mönchengladbach/Kunsthalle Krems/FotomuseumWinterthur, (Ostfildern-Ruit, 1997) 3 Photoworks: When Pictures Vanish – Sigmar Polke, Museum of Contemporary Art (Zürich-Berlin-New York, 1995) 4 Slavoj Žižek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, Walter Chapin Simpson Center for the Humanities, University of Washington, Seattle, Occasional Papers, no. 1, 2000. 5 Diane Arbus, eds. Doon Arbus, and Marvin Israel...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Nice original poster of Air France from 1938. Posters are essential to the communication of Air France. It is important to note that Air France has one of the largest collections in ...

In 1951, Air France announced that it was opening up "all of North America to its passengers through its associated companies". Plaquet's poster lists them all: American Airlines, United Airlines, Delta Airlines, Trans-Canada Airlines and many others. On this drawing, sky and sea merge around the American continent overflown by a multitude of planes of the French giant and its new partners. This stylized representation of the map of North America shows the emblematic monuments of its major cities: the Statue of Liberty in New York, the Griffith Observatory in Los Angeles, the "financial district" of San Francisco (before the construction of the controversial Transamerica Pyramid...

On verso: Marsden Hartley

Doug Ohlson Untitled 1960s Op Art Silkscreen, 1968 Color silkscreen on wove paper 22. × 18 1/5 inches x .5 inches Hand signed, dated and numbered 15/50 on...

Original vintage movie poster for an American science fiction space comedy film Galaxina directed by William Sachs and starring Stephen Macht, Avery Schreiber, James David Hinton and introducing the 1980 Playboy Playmate of the Year Dorothy Stratten...

Original vintage Soviet propaganda poster to encourage energy savings featuring a great design depicting the shape of an electric light bulb forming a crescent moon in yellow with th...

Shusaku Arakawa A Man Walking, 1968 Silkscreen on velincarton (thin board) 29 4/5 × 21 4/5 inches Edition of 100 Hand signed and numbered from the edition of 100 on the recto Another rarely seen, richly colored mid century silkscreen by Arakawa, whose estate is represented by Gagosian Gallery. This work has only appeared a handful of times at public auction over the past half century. Shusaku Arakawa (荒川 修作 Arakawa Shūsaku, July 6, 1936 – May 18, 2010) who spoke of himself as an “eternal outsider” and “abstractionist of the distant future,” first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University. He was a member of Tokyo’s Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa’s early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art. Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and over time formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard has said of Arakawa’s work that it “makes us think through the eyes,” and Hans-Georg Gadamer has described it as transforming “the usual constancies of orientation into a strange, enticing game—a game of continually thinking out.” Quoting Paul Celan, Gadamer also wrote of the work: "There are songs to sing beyond the human." Arthur Danto has found Arakawa to be “the most philosophical of contemporary artists." For his part, Arakawa has declared: “Painting is only an exercise, never more than that.” Arakawa and Madeline Gins...

Even at the age of 19, street photographer Mitchell Funk forged a unique style of street color photography. It was based on formal and exacting compositions with an emphasis on stron...

Ernest Howard Shephard (British, 1879 – 1976) The land of the lost toys – ‘Oh that’s you is it’ Inscribed with title (lower edge), and further inscribed ...

Artist: Walasse Ting (Chinese-American, 1929-2010) Title: "Galerie Adrien Maeght I (Bleue)" *Issued unsigned Year: 1974 Medium: Original Lithograph, Exhibition Poster on wove paper L...

Cat is an original Woodcut Print realized by Simon Haret in the Mid-20th Century. Good condition. Monogrammed on a plate.

In the early 1970s, color photography was not really considered to be art by any standard. Mitchell Funk is one of the early trailblazers of color photography as fine art. In this 19...

1987 Tonys Awards Signed 8x10 Photo Broadway Legends Sondheim Fosse Verdon Simon 1987 Tony Awards photograph signed by 19 legends: Stephen Sondheim, Bob Fosse, August Wilson, Neil Simon Gwen Verdon, Mary Martin, Helen Hayes, Jerry Herman, Ann Miller, Rita Moreno, Bernadette Peters, Cy Coleman, Robert Altman, Tommy Tune...

Serigraph on paper. Hand signed and numbered by the artist. Image size 35.5 x 20 inches. Frame size approx 49 x 32 inches. From the edition of 250. Certificate of authenticity i...

EDITION 2/60 with 10 artist’s proofs) Printed by Rupert Jasen Smith and published by the artist, New York. See F. & S., II. 274-279 and IIa., 274-279. Perhaps no other series reflect mass identity, luxury and wealth as prominently as Warhol’s Dollar Sign Series from 1982. The prints from this series are recognizable for repeatedly featuring the American dollar...

Rare three sheet original vintage Soviet movie poster for the popular classic action adventure film set in the Russian Civil War about a soldier Sukh...

DOOR-MC Screen print, 1982 Signed and numbered in pencil Printed on Arches wove paper Published by Atelier Arcay, Paris Edition: 325 (47/325) Reference Benavides & Vasarely No. 894 C...

Original vintage theatre festival poster - Ruhrfestspiele Recklinghausen 1969 Deutscher Gewerkschaftsbund (DGB) Kunst als Spiel Spiel als Kunst Stadtis...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

JAK  (Raymond Allen Jackson) 1927-1997 "I Think we Should Let the Germans Keep it Next Time" (1992) Visitez La Belle France, Fly Air France 51x59cm Pen, i...

A Sculptor's Full Circle, Yoichi Tamaki at Alex - Washington Post (April 1, 1999). Judging from his lively exhibition at Alex Gallery, Yoichi Tamaki wo...

Provenance: Southampton, NY collector; Peter Marcelle Gallery, Southampton Raymond Parker (1922-1990) was an Abstract expressionist painter who also is associated with Color Field ...

Original Mized media on Wood. Signed, titled and dated in the back with pen.

A signpost in Nassau points the way to Rum Cay, Andros, Abaco, Grand Bahama, Bimini, Eleuthera, Exuma and the Current, May 1964. Slim Aarons Bahamas Signpost Chromogenic Lambda print Slim Aarons Estate Edition Printed Later Complimentary dealer shipping to your framer, worldwide. 40 x 30 inches $3350 30 x 20 inches $3000 20 x 16 inches $2500 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Internal: Rum Cay, Andros, Abaco, Grand Bahama, Bimini, Eleuthera, Exuma and the Current, vintage Bahamas...

Léon Zack 1978 Lyrical Abstract Composition Signed Oil on Canvas 82 x 117 cm. Provenance -Galerie Visconti, París Léon Zack (1892-1980) Léon Zack ...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

My own private Travel Diary - Bishop, CA - Winter - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Certifi...

Paul Klee - Vintage Exhibition Poster is a vintage offset print realized in 1979. Good conditions except for some foldings. The poster is realized for an exhibition in Rome in Pala...

Digital C-print Signed, dated, and numbered, verso 19 x 15 inches, image (Edition of 25) 29 x 22 inches, image (Edition of 15) 39 x 30 inches, image (Edition of 15) This artwork is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles and David LaChapelle, James Bidgood revolutionized gay male...

MALCAH ZELDIS (American-Israeli, b. 1931), ''David and Saul'', 1982, Gouache on paper Hand signed and dated lower right, titled in pencil on paper verso...

Dramatic seascape with a full moon by an unknown artist. The moon is partially obscured by clouds, and the light from the moon reflects in the water below. Purple-blue mountains fram...

Untitled. From "La Música Ausente" series. Oil on canvas Image Size: 170 H x 190 W cm. Unframed _______ The paintings of Sergio Bazán have a strong gesture and expressionist impri...

Bold figurative work by Richard Cronin (American, b. 1952). Two figures are at the edge of the sea, one of which is seated and holding two beach balls. ...

Vintage French Travel Poster, Air france Roger Bezombes (1913-1994) French Bezombes was a painter, sculptor, medalist, and designer. He studied in Paris, at the École des Beaux-Arts, and was much influenced by his friendship with Maurice Denis. Heavily influenced by surrealism, He worked principally as a painter, adopting the saturated Fauvist colors of Henri Matisse in landscapes and figure studies often based on observation of “exotic” cultures, notably Mediterranean and North African. Constrained, because a very young orphan, to all kinds of professions which provide him with the material means to devote himself to painting - he participated in 1930 in the installation of the exhibition of the Bauhaus at the Grand Palais-, Roger Bezombes is student of the National School of Fine Arts in Paris. (Ecole des Beaux Artes) He was trained in the art of fresco by Paul Baudoüin, René Barotte nonetheless restores that the young man's preference goes to the practice of "truancy" which he uses to make copies at the Louvre Museum. It’s the time when Paul Gauguin’s paintings, Vincent Van Gogh and Henri Matisse are revealed to him by Maurice Denis with whom he will remain close until his accidental death, painting him on his funeral bed on November 14, 1943. He executed surrealist tapestry designs for Aubusson and Gobelin tapestries, posters (winning the Grand Prix de l'Affiche Francaise in 1984), costumes and sets for ballets at the Metropolitan Opera House in New York, reliefs and murals. In 1965 he took up medal-making, expressing in his numerous metallic works for the Paris Mint that obsession with found objects which is also evident in his large-scale sculpture and in his posters. He designed posters for Air France and for the French national railways. Roger Bezombes went to Africa for the first time in 1936 thanks to a travel grant and received the same year the second grand prize of Rome . In 1937 he traveled around Morocco where he became friends with Albert Camus. The year 1938 offered him both his first solo exhibition at the Charpentier gallery in Paris with paintings and gouaches on the theme of Morocco and the attribution of the national grand prize for the arts, earning him a great journey which , from Dakar to Algiers , takes it through Chad , Tamanrasset and Hoggar. Roger Bezombes became a professor at the Julian Academy in 1950. For him, 1951 was the year of a trip to Greece and the year where he began his relationship with tapestry work. Roger Bezombes visited Israel in 1953, Tunisia and Egypt in 1954. He was appointed official painter of the Navy in 1955. Pierre Mazars analyzes that “after a period where we notice the influence of Van Gogh and GeorgesBraque, particularly in his landscapes of Provence, he came to a more schematic writing, the colored spots and the thicknesses of material taking more of importance as the subject. He even performed composite works, half-watercolors, half-pasted papers, in which he incorporated pieces of newspapers”. He was elected titular to the Academy of Overseas Sciences in 1978. "The range of Bezombes' talent forms is remarkable,” writes Lynne Thornton, “ranging from paintings, murals, travel posters, tapestry cartons, book illustrations, monumental ceramic decorations, ballet and theater sets, totem sculptures, sculpture objects, jewelry and medallions”. He was part of the mid century mod School of Paris that included Leon Zack, Bernard Lorjou, Paul Augustin Aizpiri, Gabriel Godard, Michel Henry, Hans Erni, Bengt Lindstrom, Alfred Manessier, Andre Hambourg, Raymond Legueult and Jean Rigaud. Select Solo Exhibitions: 1938: Galerie Charpentier, Paris 1950, '53, '55, '57: Galerie Andre Weil, Paris 1953:Wildenstein Gallery, London 1954: Institut Francais, Cologne 1956: Galerie Matarasso, Nice 1957: Horn Gallery, Luxembourg; Guilde de la Gravure, Paris 1958: Denys-Puech Museum, Rodez 1962: Musee de l'Athenee, Geneva; Chateau Grimaldi, Cagnes-sur-Mer 1966: Galerie des Ponchettes, Nice 1967: Galerie Martel, Montreal 1968: Romanet-Vercel Gallery, New York; Reattu Museum, Arles; Le Corbusier Center, Firminy 1969: Galerie Philippe...

My own private Travel Diary - Bishop, CA - Hotsprings - 2001, 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid Slide. Signature label and Cer...

A nice example of an early work by Houston, Texas artist, David Adickes. This painting features a Santa Fe, New Mexico landscape with sombrero cactus and a crescent moon with subtle...

Original vintage travel poster for advertising the Monaco Aquarium featuring a great design depicting fish swimming with weeds and corals on the sandy ...

Slim Aarons' Pool at Porto Rotundo, an Estate Edition photograph, is a vintage scene of a swimming pool in Rosarda, Porto Rotondo, Sardinia, Italy, August 1982. Visual Description:...