Ennio Finzi 1

Dynamic Mid-Century Modern Op-Art Signed Serigraph by Ennio Finzi in Vibrant Red

Circa 1960

This elegant mezzotint print, entitled, "Nature morte au coquetier", was realized by the esteemed artist Mario Avanti in France, 1962. It depicts a stylized rendition of a dove as a ...

This stunning serigraph, "Untitled" (Diagonal Composition) was realized by the esteemed American color field artist Larry Zox (American, 1936-2006) circa 1965. It features a dynamic ...

This dynamic work was realized by the esteemed 20th Century modern artist Mon Levinson in 1964. The work was realized in 1964, and printed in 1965 by Chiron Press in New York- the same year that Levinson was included in the seminal Op-Art exhibition "The Responsive Eye", alongside contemporary luminaries such as Bridget Riley. An identical work from this edition resides in the permanent collection of the New York MoMA. This mixed media work consists of an translucent vinyl sheet layered over a print- part etching, part lithograph. The clear vinyl sheet is embossed with a tight pattern of sinuously curved repeating black lines and is subtly raised in places- creating a subtle three dimensionality and dynamic sense of movement. The paper is inscribed with the same recurring pattern of snaking black lines, like a fine filigree, with two weighty black geometric forms that appear to crowd the composition. Smaller geometric forms reside within creating the apparition of negative space in the bone hued paper. The juxtaposition of the delicate texture and colossal feeling forms imbues the piece with a stunning dynamism and tension, helping to explain why Levinson is among the most influential and important artist to come out of the Op Art movement. His work is in the permanent collections of important institutions around the world including the Museum of Modern Art as well as the Whitney Museum of American Art in New York. Signed by the artist and marked 18/200. The work comes presented in a custom walnut and white gilt frame...

This gorgeous and subtle still life print by Laurent Schkolnyk, realized in France during the latter half of the 20th Century. The work features an arrangement of objects on a plane, presumably a table. Fabric, appearing to be drapes in a sumptuous copper hue, gathers the right edge of the composition next to a perfume bottle with a bulbous base that tapers to a elegantly attenuated neck in a vibrant lime green hue with stylized foliate detailing in azure. The perfume bottle also offers an umber hued atomizer. Moving from right to left, there is a half circular bowl with an abstracted white...

Francis Grose entered the army early in life and served in the cavalry, infantry, and militia. He produced some compelling and sought after engravings on subjects including ancient a...

This beautiful Art Deco poster was realized by the esteemed American Artist George Petty for the A.C. Schultz Company in 1926. The work is an advertisement for DeVilbiss Perfume, which depicts a "Petty Girl" (as they came to be known) in the center of the composition floating in a pentagonal black color block. With short cropped silvery white hair and red lipstick, the female figure in center (suggestive of a stylized flapper) squeezes the atomizer of her perfume bottle misting herself in fragrance. Skyscraper style geometric forms suggesting elaborately faceted gemstones- in hues of rose, lavender, orange sapphire and yellow diamond- explode around her, suggesting the stage design for the set of the iconic film "Metropolis". The top of the composition features a bronze color block reading "DeVilbiss Perfume sprays" and in scrolling Deco lettering text reads “A drop of perfume bursting into myriad atoms of fragrance makes the use of perfume an added delight” near the bottom of the piece. Additionally, there is a solid black color block with crystalline black forms emanating outwards at the base of the composition, as well as a geometric abstract form on the right side of the piece imbuing it with a distinctly modernist inflection. With its quintessentially Art Deco sensibility, this piece is sure to delight discerning collectors of the period as well as those with a distinct appreciation for unusual (and stunning) fine art pieces. its vibrant palate and clean modernist lines make this piece a winning addition to any style of interior from classic Deco to contemporary. The piece comes presented in a custom gallery frame and is in excellent vintage condition. George Petty was an American illustrator known for his series of pin-ups known as "Petty Girls" which he created for Esquire magazine. The Petty Girl were coquettish women whose legs were elongated to create idealized female forms. They were featured on magazine centerfolds, billboards, and calendars for companies such as Ridgid Tools. Born George Brown Petty IV on April 27, 1894 in Abbeville, LA, Petty received his formal training at the School of the Art Institute of Chicago under Ruth Van Sickle Ford...

"Couleur Additive Perseus" has a stunning appearance and an optical effect, which catches the beholder's attention from the very first time. Carlos Cruz-Diez from Venezuela was one o...

Edition on hand is HC 2/3. Printed at Graphicstudio in Florida, this combination print by Richard Anuszkiewicz was printed with a set of two other editions in 1991. This work is comp...

Jürgen Peters Oktoqou III 1974 Silkscreen 59/125 28.25"x28.25" unframed Signed, dated, titled, and print number across bottom in pencil. *Custom framing available for additional cha...

Richard Anuszkiewicz The Paris Review, 1965 Silkscreen on Beckett 90 lb. Hi-White paper with vellum finish 31 × 26 inches Edition 23/150 Signed lower left; dated and numbered lower r...

After Bridget Riley Bridget Riley Works 1959-1978: A Major Retrospective Exhibition, 1978 in collaboration with five international museums Published by the Fine Arts Council UK Offs...

Bridget Riley Flashback (Hand Signed), 2009 Offset Lithograph (hand signed by Bridget Riley) 27 × 27 inches Boldly signed in black marker on the front Unframed Signed by Bridget Riley in her inimitable hand on the occasion of this 2009-2010 exhibition at the Southampton City Art Gallery of works from the Arts Council of Great Britain collection. Bridget Riley Biography Bridget Riley's (b. 1931) abstract compositions yield a singular sense of visual pleasure for the viewer, a notion derived as much from the artist's formative encounters with Old Master and Impressionist painting as from her early experiences with nature. Since 1961, she has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, a wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. This sense of dynamism was explored to great effect in the artist's earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 1967, Riley introduced color into her work, thus expanding the perceptual and optical possibilities of her compositions. Riley was born in 1931 in London, where she attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955. Riley’s first solo exhibitions were held at Gallery One, London, in 1962 and 1963, followed by two exhibitions at Robert Fraser Gallery, London, in 1966 and 1967. She was also at that time included in numerous group exhibitions such as Towards Art?, Royal College of Art London (1962); The New Generation, Whitechapel Gallery, London (1964); and Painting and Sculpture of a Decade 1954–1964, Tate Gallery, London (1964). In 1965, her work was included in the now-seminal group exhibition The Responsive Eye, organized by William Seitz at The Museum of Modern Art, New York. In 1968, she represented Great Britain at the 34th Venice Biennale (along with Philip King), where she was the first living British painter to win the prestigious International Prize for Painting. Her first retrospective, covering the period from 1961 to 1970, opened at the Kunstverein Hannover in 1971 and subsequently traveled to Kunsthalle Bern; Kunsthalle Düsseldorf; Galleria Civica d’Arte Moderna, Turin; and the Hayward Gallery, London. More recent significant solo presentations include those at Dia Center for the Arts, New York (2000-2001); Museum Haus Esters and Kaiser Wilhelm Museum, Krefeld, Germany (2002); Museum of Contemporary Art, Sydney (2004-2005); Musée d'Art Moderne de la Ville de Paris (2008); Walker Art Gallery, Liverpool (traveled to Birmingham Museums and Art Gallery; Norwich Castle Museum and Art Gallery; Southampton City Art Gallery; 2009-2010); The National Gallery, London (2010-2011); Art Institute of Chicago (2014-2015); The Courtauld Gallery, London (2015); De La Warr...