American Modern Art

2015, Mixed media on paper

A wonderful painting in the style clearly identified with the artist.

Febland always works in rich dramatic narratives that are timeless and yet of this time. Timeless, because human narratives have remained relatively consistent throughout our time here and certainly of this time in regard to his choice of subject matter. This piece, a comment on the "Millennial." The piece feels somewhat lude, in nature. A scantily clad woman walking down the street. Unique hair, nails, tattoos, and clothes that draw attention. The shoulder strap fallen down as if to reference Sargent's "Madame X," a scandalous piece in 19th century Paris. She is in public, grasping her lifeline to the world, the cellphone. Yet she feels isolated and perhaps lost. The rickshaw's in the background as metaphorical guides to an unknown destination, yet she pays them no mind...

Although born in Ohio at the end of the 19th century, Martin Sabransky studied art at Randolph Macon College in Virginia. He began his career path moving west, by first going to Kans...

"Parisian Model" is an oil on canvas painting by Max Weber painted in 1908. The work is signed and dated, lower right, "Max Weber Paris 1908". The painting size is 35 1/2 x 19 5/8 inches. The framed size is 43 x 27 x 2 1/4 inches. "Parisian Model" was painted in 1908, when Weber participated in a life class in Matisse's studio in Paris and painted several nudes. Weber was influenced toward a more Cubist styler after seeing Cezanne's work in the 1906-07 Salon in Paris, and he consorted within avant-garde circles in Paris as early as 1905. After returning to the US in 1909, Weber was credited with showing American audiences Cubism based on his firsthand knowledge of the key players and the style. Several drawings of Weber's from this time are in museum collections at The Met, the Smithsonian, and MoMA and show a similar style and stocatto gesture. Parisian paintings by Max Weber are extremely rare as there are hardly any that have sold publicly. Provenance: Estate of the Artist Gerald Peters Gallery...

DAN BUDNIK (American, b. 1933-2020 David Smith with Voltr1-Bolton XV, Terminal Iron Works, Bolton Landing, N. Y. 1963 Vintage Print on Afga Paper, Silver gelatin, March 1963, printed 1992 by Igor Bakht Paper: 24 x 20 inches Image: 16.38 x 13 inches Recto: signed in black ink in artist's hand Verso: titled, dated, signed in graphite in artist's hand, printer information in graphite State: unmounted. Dan Budnik 1933-2020 As a photojournalist, Dan Budnik is known for his photographs of artists, but also for his photo-documentation of the Civil Rights Movement and of Native Americans. Born in 1933 in Long Island, New York, Budnik studied with Charles Alston at the Art Students League of New York (1951-53) and began his photography career as Philippe Halsman’s assistant. Working at Magnum Photos (1957-64) in 1963, Budnik persuaded Life Magazine to have him create a long-term photo essay showing the seriousness of the Civil Rights Movement, documenting the Selma to Montgomery march and other historical Civil Rights moments. Budnik went on to photograph for premier publications such as Life, Fortune, Look, Newsweek, Sports Illustrated and Vogue. He has been a major contributor to eight Time-Life Wilderness and Great Cities series and received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology Project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation. Biography Pastaza, Ecuador, December 2004 Photo by Kresta King Cuther Pastaza, Ecuador, December 2004 Photo by Kresta King Cuther Dan Budnik, (b. 1933-died 2020), whose career as a photographer has spanned more than half a century, was most recent recipient, in 1998, of the prestigious American Society of Media Photographers Honor Roll Award, an accolade previously accorded to such eminent photographers as Man Ray, Edward Steichen, Walker Evans, Dorothea Lange, André Kertész, Ernst Hass...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) FRUIT FOR SALE c.1928 Color block print. Unsigned. This is an original block print from “Let’s Play”, an intended but unpublished children’s book done in collaboration with her sisters Edna and May in 1928. Image 8 x 7 inches. On a tissue thin laid paper. Irregular sheet 9 3/8 x 8 1/2. The entire series consisted of over 20 children's images. There were very few printed. The editions of the various children varied but likely no more than 50. This impression very well printed with good colors, Very good condition. The margins are likely as issued with the irregular edges. The margins and paper used for this series varies from one print to the next. A bit of tape remnants at top center sheet edge. A very nice example of this print. It is not unusual for impressions of this series to be unsigned, although many are signed "The Gearharts" The Provenance of this example is fascinating. It was acquired from a gentleman who knew the Gearharts as a child in the early 50's in Pasadena. It was part of a collection given to him by Frances. In his adult years he was in the military and took the collection with him as he traveled around Europe, After 81 years, based on the original prints, this book was published by the “California Book...

Signed lower left: H. GASSER

James Lechay was a painter of figures, landscapes, cityscapes and still lifes who played a notable role in the tradition of avant-garde painting in New York and in the Midwest. An ar...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Shipping should be around $100. New building rises as old building falls and a new Miami is created. Shot on Brickell Avenue. Signed, dated and numbered 3/15 lower left recto , unf...

Approximate Date: 1920-1925 Medium: Oil on Canvas Signature: Signed Lower Right Size: 29.50" x 23.00" Interwoven Socks Advertisement Literatu...

A painting by Gregory Sumida. “Tree Study, Whittier, CA” is a landscape painting, watercolor on watercolor board in an earth-tone palette by American artist...

The United Nations Building is positioned next to the Chrysler Building. Two iconic New York City architectural masterpieces are juxtaposed from the precise lens of veteran New York ...

Jim’s of Lambertville is proud to offer this artwork by: Arthur B. Carles (1882-1952) Born in Philadelphia, Pennsylvania, Arthur Carles was a painter whose work went through phases...

Signed, dated, numbered lower right, recto. Edition 3 of 15, Unframed. Other size available Printed on Hahnemühle Fine Art paper Mitchell Funk is a different type of street photogr...

Signed (at lower right): Louisa Chase

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Robert Alexander Darrah “R.A.D.” Miller (1905 - 1966) Robert Alexander Darrah Miller, called “RAD” by his friends, was born in Philadelphia. He enrolled at the Pennsylvania Academy of the Fine Arts from 1923 to 1927 under the tutelage of Daniel Garber. In 1928, Miller moved to Bucks County where he would meet and marry Celia Belden Marshall, daughter of Dr. George M. Marshall, who at that time owned the Phillips Mill property. Nearly a year later, in 1929, a committee headed by artist, William Lathrop, negotiated to purchase the Mill property from Dr. Marshall for the purpose of holding art exhibitions. Thus, the Phillips Mill Art Association was formed. RAD Miller was a regular exhibitor at the Phillips Mill with the traditional New Hope Impressionists. Many of the original founders of the New Hope Art Colony, set in their ways, frowned upon the concept of modernist painting. A decision was made by the Association to not include the growing group of modernist painters in the area to exhibit with them at Phillips Mill. Although clearly not a traditional impressionist, Miller was not being excluded with the others, largely because his father-in-law formerly owned the mill and was one of the Association’s board of directors. RAD was sympathetic to his fellow modernists. In 1933, he was one of the original members of the Independents, a group formed for modernist artists who chose to embark on a more non-traditional creative path. They would exhibit in tandem with the Impressionists but at different locations. Around the time of his arrival to New Hope in 1928, Miller struck up a friendship with Thomas Hart Benton, and in 1932 he worked under Benton on a mural project. RAD’s paintings...

Signed lower right. Inscribed on the reverse 'My first color illustration, Nov. 1954.' Work is unframed, Film Noir in paint

Charming portait with Modernest colors. Provenance: Christie's Mercedes Matter, daughter of the artist, Salander-O'Reilly Galleries, New York. Private Collection. Sale: Skinner, Inc...

The arching shape of a 20mm lens reflected in the grand arches of the Eiffel Tower. Flocks of meandering tourists give a sense of scale Grandiose wrought iron tower...

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC

Jim’s of Lambertville is proud to offer this artwork by: Bror Julius Olsson “B.J.O.” Nordfeldt (1878 – 1955) Bror Julius Olsson was born in Tullstrop, Sweden in 1878. He immigrated to the United States in 1891, later adopting his mother’s maiden name of Nordfeldt. Beginning his art studies at the Art Institute of Chicago where he was chosen to assist fellow artist, Albert Herter, with a large mural project for the McCormick Harvester Company. In 1900, he was sent to Paris by McCormick to help set up the completed mural at the Paris Exposition. While there, he studied briefly at the Academie Julian before traveling to England to study woodblock printmaking under F. Morley Fletcher. Returning to Chicago in 1903, Nordfeldt would spend the next ten years painting mainly figurative works in an academic style similar to that of the Old Masters. By the mid-teens he had developed a bold dramatic modernist style and divided his time between New York and Provincetown, Massachusetts. There, he invented the “Provincetown Print...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Horns and Bow), 1941, oil on board, signed and dated lower right, 15 x 20 1/x inches...

Ronard Brooks KITAJ Swimmer Screen print Signature printed in the plate On heavy paper 101 x 64 cm (c. 40 x 26 inch) Made for the Olympic Games in Munich, 1972 Excellent condition

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Blue Lake, c. 1940s, oil on masonite, signed lower right, 20 x 36 inches, label and inscriptio...

Getting Ready for the Revolution - Learning How to Ride in the Subway Litho crayons on illustrator’s board, c. 1932 Signed: Adolf Dehn (VED) lower right corner (signed by Virginia De...

Bull Ring Brass - Mexico City Watercolor, pen and ink on paper, 1955 Signed in ink, dated and titled in pencil (see photos) Condition: 1'' repaired tear left edge, along with other ...

MINIATURE GEN X ROOM CASE STUDY -A.P.-R Transport yourself back to 1988 with this handmade room box featuring: -Working T.V. w remote playing movie clips from Jaws (licensed by Univ...

This horizontal painting on canvas contains several layers of color, with textures and transparencies, representing a dreamlike scene where fantastic animals and humans in yellow and...

MINIATURE GEN X ROOM CASE STUDY -001-PG-13 Transport yourself back to 1988 with this handmade room box featuring: -Working T.V. w remote playing movie clips from Back to the Future (...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Gracie Mansion, c. 1944, oil on canvas, signed lower right, 25 x 30 inches, presented in a ne...

A black hippie enthroned in a majestic red sombrero is captured playing a flute at a Central Park music festival in 1969. This was the same year the youth "counterculture" celebrat...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1940s. Two Figures, 1949, ebony wood, 24 x 7 x 5 inches, unsigned, but comes from Thomas' daughters ...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Biomorphic Composition), 1948, oil on textured paper mounted on board, signed and da...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Homage to Leger, 1941, oil on canvas, signed and dated lower right, 14 x 17 inches; inscribed ...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Cars), 1940, watercolor on paper, signed and dated lower right, 15 x 18 1/2 inches, ...

This work is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Floral Still Life), ca. 1940s, watercolor on paper, signed lower left, 10 x 13 inches (i...

"At the Opera" WPA Social Realism Mid 20th Century Modern Theatre American Scene John Winters (1904 - 1983) "At the Opera" 17 x 14 inches oil on canvas Signed and dated 1943 lower r...

Shooting Gallery Mid 20th Century American Scene Social Abstract Realism Modern *William Kienbusch (1914 – 1980) Shooting Gallery, Sixth Avenue Poster paint on paper, c. 1941 15 ¾ x...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. ...

Artist: Peter Milton, American (1930 - ) Title: Under Greylock Year: 1993 Medium: Intaglio Etching, signed and numbered in pencil Edition: 175 Image Size: 18.25 x 15 inches Size: 25 ...

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...

Silver print, signed and titled (recto), 35,5 x 28 cm (sheet size), (48cm x 42cm framed). George Valentine Dureau was an American artist whose long career was most notable for charcoal sketches and black and white photography of poor white and black athletes, dwarfs, and amputees. Robert Mapplethorpe is said to have been inspired by Dureau's amputee and dwarf photographs, which showed the figures as "exposed and vulnerable, playful and needy, complex and entirely human individuals." Some of his pieces are held at the Ogden Museum of Southern Art. Several of his works are displayed publicly throughout New Orleans, most notably, the pediment sculpture for Harrah's New Orleans, and his cast-bronze sculptures stand sentinel at the entrance gates of New Orleans City Park...

With the exception of the dark metallic one they are transparent and opaque glass. I have shot the photos on a dark background so you can better see the images. they are signed in ink, dated and numbered from the edition of 25. I am selling them individually. the box from Vincent Fremont Multiples is not included. Suzan Etkin's passionate involvement with glass began in 1993, when she was invited to design sculptural chandeliers for gallery exhibitions with Giorgio Giuman and master glass blowers in Murano, Italy. Prior to working with glass as a medium she was the production manager for Andy Warhol Factory (Production Manager, Film & Video), and quickly emerged as a conceptual artist of global recognition. Her work has been shown in the Museum of Modern Art in New York, Paul Kasmin Gallery, Holly Solomon Gallery, and other museums and galleries around the world. In 2001, Suzan founded sei studio in SoHo with her husband, Brenden FitzGerald. They have collaborated with some of the industry’s most innovative architects and interior designers to produce custom chandeliers and art features for hundreds of landmark spaces, including the W Hotel Seoul, Mandarin Oriental New York, and Intercontinental Hong Kong. School of Visual Art: Instructor Drawing, Sculpture and Interrelating the Arts RESIDENCIES AND GRANTS: Pollack-Krasner Foundation Grant Artist in Residence – Foundation Cartier pour L Art Contemporanian, Jouy-en-Josas, France SELECT EXHIBITIONS Holly Solomon Gallery, New York City Cleveland Center for Contemporary Art, Cleveland Phillipe Rizzo Gallery, Paris The Greenberg Gallery, St. Louis Anders Tornberg Gallery, Lund, Sweden Earl...

A modernist landscape painting by American WPA artist Earle N. Sherm

Original JAPAN, Fly by BOAC to the Caribbean. Small format. Archival linen-backed original vintage European travel poster in mint condition; ready to frame. This antique original poster...

The 8" x 10" editioned print . The image sits on that paper size estimated at 6" x 9" leaving a white border to mat over when framing. Olympics , Figurative, Sepia tone, athlete

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. This is a miniature watercolor and gouache vibrant, colorful bouquet of flowers in a vase. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Mid Century Modern Abstracted Landscape, Big Sur Coast Cliffs Colorful mid-century landscape of jagged cliffs along the dramatic Big Sur coastline by an unknown artist. Unsigned. P...

Untitled (Houses and Railroad Tracks), c. 1940s, oil on canvas board, signed lower right, 16 x 20 inches, presented in a newer frame This work is part of our exhibition America Coas...

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...

Robert Mapplethorpe William S. Burroughs Photograph, Silver Gelatin Print Year: 1982 Size: 9.8 × 7.8 inches Stamped verso Accompanied by Radar, Basel, Edition C.L.A.G., 1982; Text i...

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...