American Modern Art

Modernist Portrait of St. Francis Compelling modernist oil on canvas portrait of St. Francis by Dr. Tarmo Pasto (American, 1906-1986). Presented in a taupe painted wood frame. Signed "Tarmo Pasto" bottom right, and titled "St. Francis" bottom center. Image size, 25.5"H x19.5"L. Dr. Pasto was a long-time contributor to the California art scene, as well as an art teacher and psychologist to many successful artists. He also authored a book on art, "The Space-Frame Experience in Art", published in 1964. He, however, was mainly known to the world for introducing the works of one of his patients, Martin Ramirez...

Clarence Holbrook Carter (American, 1904-2000) Quadratic, 1979 Acrylic and collage on textured paper Signed and dated lower right 30 x 22 inches 31.5 x 23.5 inches, framed A surreal...

Edition 4/200 Signed, dated and numbered in black ink on print margin by Harold Feinstein Harold Feinstein was born in Coney Island, New York, in 1931. He began photographing in 19...

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

Glowing Tree Etching, engraving & lift ground, 1958 Signed, titled and annotated in pencil (see photos) Edition: Artist Proof (there was a published addition of 30 with five stencil ...

A mid-century modern oil painting by listed female artist Helen L. Roberts. This painting depicts an interior scene with a vase of beautiful flowers and decorative pitcher. Housed ...

Bronze sculpture of a wild mustang horse created by American artist Arnold Goldstein. This artwork has the signature and numbering inscribed. Numbered...

Sea Winds, 3rd quarter 20th century, mixed media on board, signed lower left, 16 x 20 inches, signed, titled, media and price noted in pencil verso, exhibited Visual Art Show, Southe...

Original, archival linen backed, vintage movie poster: FIREBALL 500. Fireball 500, 1966. Original antique muscle car hot rod movie poster for sale, ...

Beautiful oil abstract titled "Coming Out" by Grady McDonald (American, 1938-1980). Signed lower right, titled and dated 1974 on verso. Unframed. Image, 50”H x 44”W. Grady McDona...

Original "The Big Show", US 1-sheet linen-backed movie poster from 1961. Very fine condition. Professional restoration of original theater fold marks. A - A- condition, ready to frame. Original "the Big Show" US 1-sheet, 1961, linen-backed vintage movie poster. Very fine condition with the restoration of original theater-issued fold marks. A - A- condition. NSS 61/125. Ester Williams...

Donald Stacy "Eve" c.1950s Gouache and oil pastel on paper 14x17" black wood frame 14.75"x17.75" Unsigned, Eve written in paint along right margin Came from artist's estate Donald S...

Clarence Holbrook Carter (American, 1904-2000) Caged, 1971 Acrylic on paper Signed and dated lower right 24 x 20 inches A surrealist mid-century figural abstract painting. Clarenc...

These recently discovered 1984 oversize pastels on archival papers were created with a live model, working quickly, mostly in pastel. The series show...

Reginald Marsh "Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism, 20 x 14 inches. Watercolor and pencil on paper, 1938. Signed...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 11.5 x 11.5 Frame Size: 14 x 14 Medium: Batik "Hymn to the Red Moon" Margaret Putnam (1913-1989) Margaret Putnam left an ar...

Work by Alicia Wiencek (Mrs. Edward Fiene) is generally extremely scarce. This print comes up from time to time and was made an actual edition (of 8) at a time when many artists didn...

Artist: Will Barnet, American (1911 - 2012) Title: The Cat Year: 1997 Medium: Screenprint on Arches, signed in pencil Edition: AP Image Size: 16 x 7 inches Siz...

Estate stamp lower right

A ca. 1938 graphite on paper, study of a classical drapery by notable Modernist artist Jan Matulka. The image is drawn on the back of a typewritten, folded sheet of stationery, from...

This image was in the personal collection of the artist. The Wheeler-Beecher House, sometimes referred to as the Hoadley House, is located on Amity Road in Bethany, CT. Built at the ...

Rare, large format poster for the 2011, Toyota Grand Prix of Long Beach, California. This very rare racing poster is for the 2011 race. The event poster, such as this image was not available to the public for purchase. The artist name may be hidden inside the design, but we believe the artwork to be done by Jeff Foster. The image was printed to give an antique feel with old edges and distress marks, but the poster is in mint condition. It features a driver looking through his helmet as he is racing, with a reflection of a palm tree and the starting flag reflection back on the face shield. The poster has no defects. The Long Beach Grand Prix is the longest-running major street race held in North America. It started in 1975 as a Formula 5000 race and became a Formula One event in 1976. For Grand Prix poster...

This artwork "Still Life #1" 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 22 x 16 inches, sheet size is 24.25 x 18 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...

Clarence Holbrook Carter (American, 1904-2000) Cicada, c. 1960s Watercolor on scintilla 30 x 20 inches Clarence Holbrook Carter achieved a level of national artistic success that wa...

A Stylized, 1930s Art Deco Pastel Landscape Drawing of Two Young Men Planting a Tree by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). Artwork size: 9 x 12 inches, u...

"V" - Original Pop Art Original pop art "V" by Robert Wilham Hends. A white background with a small blue triangle in the top center, with a larger red "V" taking up the majority of ...

Nantucket artist Reggie Levine, evolved from his figurative work in the 40's-50's to abstract in the 1960's and later to found object art. Interestingly I see his interest in found...

Rare, original, linen-backed SANTA BARBARA Championship Sports Car Races. . (May 28-29, 1966 - Santa Barbara, California. Excellent condition original California racing poster....

Joseph Stella(1877-1946) A Corner of Barbados, 1937 Oil on canvas, 11 x 15 inches (27.9 x 38.1 cm) Inscribed on verso: A corner of / Barbados / O:P by / Joseph Stella Provenance The artist; By bequest to his nephew, Sergio Stella, 1946; By descent in the family, until the present Joseph Stella’s artistic career defies easy categorization. He was simultaneously a modernist and traditionalist, a dual citizen of the Old and New World, a bold experimenter and masterful practitioner of time-honored artistic techniques. His iconic paintings of New York City, such as the Brooklyn Bridge and Coney Island, celebrate modernity and the Machine Age, while his exuberant paintings of the natural world speak to the spiritual revelation that guided and grounded him throughout his life. Until recently, the divergent aspects of Stella’s career “confounded his legacy.” But in Joseph Stella: Visionary Nature, the multi-venue museum exhibition that focuses on the artist’s lifelong engagement with nature, a more complete and nuanced understanding of his career has emerged. Stella’s work of flora and fauna demonstrate his deep connection to and close observational study of nature to invigorate his creativity and sustain his human spirit. Indeed, nature was a salve to his woes about life and the modern age. He made countless drawings and paintings of flowers, many of which were done at the New York Botanical Garden – a favorite place for the artist. In these works, Stella explored new styles and pressed the limits of his imagination. Like nature itself, he was always changing, always growing. Stella found himself in Barbados in 1937, when then health of his wife had declined and she asked him to bring her home. He loved the island paradise, as it reawakened his creativity and love the natural world, much as his returns to Italy did. Although he remained in Barbados for only five months, the landscape he absorbed and the motifs he developed fueled his art for the next three years. The Barbados paintings...

Spring Has Sprung on the Farm - Abstracted Landscape in Oil on Masonite Abstract farm with seeds sprouting in a bold abstract expressionist painting by ...

TEMPIO BRETTON: from the catalogue MONUMENTA, 19th International Sculpture Biennale, Antwerp, Belgium. Tempio Bretton was created in homage to the celebrated English landscapist Capability Brown for the occasion of an exhibition at Bretton Hall in the Yorkshire Sculpture Park , a park in the style of the great master of English garden design. The inclusion in the English garden of a temple ruin, or "eye-catcher," (architectural folly) was used to draw the eye and mind to a focus in time and space, present the beholder with an immediate relationship to an historic past made new within his or her own surroundings, and create a depth of space never before seen in garden design. I took the idea of the temple ruin eye-catcher and reduced it to a scale at the point where architecture and sculpture merged. Tempio Bretton is not capacious enough to walk into, yet it is considerably larger than a man. One view of it presents a knot of golden columns clustered together, topped by a dome shape. The only clue from this side to the temple's non-conformity to historic principle is a sharp notch cut into the square base. Viewed from the opposite side, the cluster of columns capped by an angular top opens up as if to welcome someone in, yet the mysterious core is still impenetrable. These contradictions articulate a confrontation between past and present, and an exciting truth. The past is always at the heart of our constructions in the present. Walter Dusenbery (born September 21, 1939 in Alameda, California) is an American sculptor. He attended the San Francisco Art Institute, earned an MFA from California College of Arts and Crafts, and then studied in Japan and Italy under Isamu Noguchi. He also held teaching positions at Harvard University and University of California, Berkeley Graduate School of Design. From 1971 to 1988, he lived both in Pietrasanta,Italy, and in Little Italy, New York City. Dusenbery's preferred material is stone, particularly travertine or granite. Dusenbery has a particular interest in adding sculpture to public places, such as federal buildings, to humanize the space, but in 1988, he assembled a show of small, entirely hand-carved alabaster sculptures, called "Walter Dusenbery, The Personal Side," at the Fendrick Gallery in Washington, D.C.. In 1977, Dusenbery created Pedogna, on permanent loan from The Metropolitan Museum of Art to Landmarks, the public art program of The University of Texas at Austin. That same year, 1988, he was awarded a large commission for the Fulton County Building Atrium in Atlanta, Georgia. The commission was for three fountains and related structures over three stories in height, designed for informal and ceremonial public events, Limestone, marble, granite and travertine fountains, pavilions, seating and meeting areas, performance and concert platforms, staircases and planters for hanging gardens. After completion of the "Atlantacropolis," Dusenbery withdrew from the gallery world and focused his energy on site-specific commissions. (like the landscape works of Maya Lin and Beverly Pepper) Seeking a large-scale stone studio for projects closer to home, he discovered there were none. In 1995, he approached sculptor and patron of sculpture J. Seward Johnson Jr. with the idea of creating a state-of-the-art stone-carving studio, so that American sculptors would not have to travel abroad to realize their work. Johnson agreed to fund such a facility, if Dusenbery would direct it. In 1996, Dusenbery designed the facility for the Stone Division at Johnson Atelier Technical Institute of Sculpture, and was its first director. The facility was situated in "a building resembling an airplane hangar," The studio offered the ability to digitally scan three-dimensional forms. The Stone Division was a success and attracted a strong group of sculptors: Magdalena Abakanowicz, Lawrence Argent, Barry X Ball...

2 Sculptures: "The Power" & "The Glory" WPA Depression WWII era mid 20th century by Agnes Yarnall circa 1940s. Sculptor, painter, poet and artistic historian, Agnes Yarnall has, since the age of six been breathing life into her art. Renowned as a sculptor, whose commissioned portrayals of contemporary celebrities are prized. She has sculpted Judith Anderson, Edna St. Vincent Millay, Carl Sandburg...

Georgina Klitgaard Pueblo Indians, Taos, New Mexico Signed lower right Oil on canvas 18 x 24 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to...

The bronze sculpture of a woman by Charles Rumsey is undated, but was created at a point in his career where he began to transition from realism to more modern, looser depictions of ...

Original Menton Fete Internationale du Citron (Menton International Lemon Festival). Archival linen backed in very good condition, A-, and ready to frame. The art group that created this poster is Studio Bazzoli. Printer: Imprimerie Corogec. In 1929, Menton was still the leading lemon producer on the continent. The Menton Festival of the lemon started in 1934, and in 1935 the first Lemon Festival poster was created. This poster is one of the featured posters on the festival website. The image of a woman’s face decorated with yellow and green lemons creating huge hair! The background is done in Mediterranean blue. Note that this is larger than the standard French travel poster size. A very relaxing and beautiful original Menton poster...

Original World War II poster: NEXT!. 6th War Loan. Original World War 2 government issued poster. Linen backed with original fold marks restored. T...

From The robbers. lithographs by George Grosz for the drama of the same name. photolithography on watermarked paper. 19 X 25.5 inches (sheet size). This is not hand signed or numbe...

Clarence Holbrook Carter (American, 1904-2000) Up the Avenue, 1979 Acrylic and collage on paper Signed and dated lower right 15 x 11 inches A surrealist mid-century figural abstract...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

A Distinctive, 1950s Mid-Century Modern Cubist Figure Study by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). A visually striking charcoal composite study of three figures, ex...

Gino Hollander: 1924-2015. Well listed American artist with Auction results over $14,000. He lived in California, Colorado, and Spain. This fabulous mixed media measures 11 1/4 inche...

German-born Robert Ernst Marx was a painter, printmaker, and teacher. His main subject was the human condition. This intaglio is somewhat unusual in ...

Clarence Holbrook Carter (American, 1904-2000) Rockefeller Center, 1962 Acrylic and sand on scintilla Signed and dated lower left 25 x 20 inches Clarence Holbrook Carter achieved a ...

This magnificent "Scalloped Box" is a stoneware piece with decorative layers of rich toned glazes and markings that John was so well-known for. He was, also, known for the undulating lip lines on his exquisite boxes that fit together like a puzzle. Each piece that John produced was unique. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes thereby changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

1940s Tromp L'oeil Still Life Rose and Amaranth in Alcove Wonderful rose and amaranth still life in an alcove by Riverda Kapunas (American/Greek, 20t...

Silver gelatin print, studio stamp (verso), 20cm x 23cm, (45cm x 46cm framed). The photographed behind museum quality, UV and non-reflective glass. A titan of American 20th century photography, Platt Lynes took his first photographs as a young artist living in New York and Paris in the 1920s. He maintained an interest in the male figure throughout his career and was part of a close-knit group of artists, including Paul Cadmus, Jared French, Margaret French...

Margaret Patterson created this color woodcut print circa 1920. It is signed in pencil at the paper edge, lower right. Printed in areas to the paper edge -sheet size 10 1/16 x 7 1/...

Landscape with buildings and trees Watercolor on paper, c. 1930's Signed in pencil lower right (see photo) Provenance: Estate of the artist Condition: Excellent Sheet size: 9 3/8 x 1...

A 1930s oil on board painting of a pensive young woman, titled, "Green Scarf" by artist Francis Chapin. Painting is in a dark, painted wood frame. Image size: 14 1/4" x 10". Fram...

Gracie Mansion, c. 1944, oil on canvas, signed lower right, 25 x 30 inches, presented in a newer frame Isabella Markell was a painter, etcher, and sculptor, who is best known for ...

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Summer Gold Medium: Lithograph, signed and numbered in pencil Edition: 250, 5 HC Image S...

This artwork titled "Platform" 1963 is an original silkscreen by American artist Kenneth William Auvil, 1925-1999. It is signed, dated, titled and numbered 9/27 in pencil by the artist. The image size is 17 x 11.25 inches, framed size is 23.5 x 17.65 inches. Custom framed in a bronze color metal frame. It is in good condition, paper is slightly toned by age. About the artist: Educational Background University of Washington, 1953 MFA Art University of Washington, 1949 BA Art Teaching Experience San Jose State University, 1956 -1988 Selected Publications Serigraphy: Silk Screen Techniques for the Artist, Prentice‑Hall, 1965‑1996. Activities: Learning to Use the Macintosh Computer...

For a print that's nearly one hundred years old it feels very contemporary. Signed in pencil; titled in lower margin in pencil.

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. 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...

A classic Emil Ganso nude. Quite large, the sheet is 14 1/8 x 21 inches and the image goes all the way across the sheet from left to right. Very delicately drawn - especially for Ganso.

Artist: Tom Wesselmann Title: American Nude Portfolio: 1¢ Life Medium: Lithograph in colors Date: 1964 Edition: 2000 Frame Size: 20 3/4" x 28 1/2" Sheet Size: 16 1/4" x 22 3/4" Image...

Turn- about Color Aluminum plate lithograph from three plates Signed, titled, and numbered in pencil by the artist "Bon-a-tirer" impression (BAT) This is the finished example that the artist approved as the model for the edition. Published at Lakeside Studio with the master printer Jack Lemon. Condition: Very good, one ink stain in the large margin, from printing Image size: 18 3 /4 x 23 1/4" 47.63 x 59.06cm Sheet size: 22 x 29 7/8" "Painter and printmaker Rudolph Otto "Rudy" Pozzatti was born in Telluride, Colorado, on January 14, 1925. Upon graduation from high school, he received a scholarship to attend the University of Colorado in Boulder where he enrolled as an art major. In 1943, his studies were interrupted by his induction into the U. S. Army. After his discharge in 1946, he re-enrolled in the University of Colorado where he studied under Wendell Black...

Donald Stacy "Lounge" c. 1950s Ink on paper 14" x 16.5" unframed Unsigned Came from artist estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fine Art The Art Students League Pratt Graphic Arts Center University of Paris 1953-54 University of Aix-en-Provence 1954-55 Faculty: Art Department of the New School Museum of Modern Art School of Visual Arts Stacy Studio Workshop Exhibitions: Grand Central Moderns George Wittenborn The New School Print Exhibitions, Chicago University of Oklahoma Honolulu Museum Monclair Museum Wisconsin State College Louisiana Art...

A 1950s pastel drawing of a young boy by artist Francis Chapin. Provenance: Estate of the artist. Image size: 16" x 15". Artwork is not matt...

Summer fun, bathing suits, swimming pools etc. Jay Wolke lives and works in Chicago, Illinois. He has had solo exhibitions at the Art Institute of Chicago, the St. Louis Art Museum, Harvard University and the California Museum of Photography. His photographs are in the permanent collections of the Museum of Modern Art, New York, the Whitney Museum of American Art, New York, the Art Institute of Chicago and the San Francisco Museum of Modern Art. Three monographs of his work have been published: All Around the House: Photographs of American-Jewish Communal Life (Art Institute of Chicago, 1998), Along the Divide: Photographs of the Dan Ryan Expressway (Center for American Places, 2004) and Architecture of Resignation: Photographs from the Mezzogiorno (Center for American Places, 2011). Kehrer Verlag will publish his fourth monograph, Same Dream Another Time, in 2017. Wolke received his B.F.A. in Printmaking / Illustration at Washington University, St. Louis, and an M.S. in Photography at the Institute of Design, Illinois Institute of Technology, Chicago. Since 1981 he has taught photography and art at various universities. From 1992-1999 he was Coordinator of Graduate Documentary Photography at the Institute of Design (IIT). In 1999-2000 he was Head of Art and Graduate Studies at Studio Art Centers International, Florence, Italy. He is currently a Professor of Photography at Columbia College Chicago, where he also served as Chair of the Art and Design Department from 2000-05 and again from 2008-14. Wolke has received grants and awards from the National Endowment for the Arts, the Illinois Arts Council, Focus Infinity Fund and the Ruttenberg Arts Foundation. His photographs have appeared in numerous publications including Geo France, New York Times Magazine, Financial Times Magazine, Village Voice, Exposure and Architectural Record. SELECT SOLO EXHIBITIONS 2015 Mostre Marte, Salerno, Italy, “Architecture of Resignation” 2014 PrimoPiano Gallery, Naples, Italy, “Architecture of Resignation” 2014 Foundation Studio Marangoni, Florence, Italy, “re-Located” 2014 Ralph Arnold Gallery, Loyola University, Chicago, “re-Located” 2013 Spertus Institute, Chicago, “All Around the House” 2012 University of Indiana Northwest Savanna Center, “Architecture of Resignation” 2010 Sheldon Arts Galleries, St. Louis, MO, “Architecture of Resignation” 2007 California Museum of Photography, Riverside, “Architecture of Resignation” 2006 St. Xavier University SXU Gallery, Chicago, “Architecture of Resignation” 2005 Schneider Gallery, Chicago, “Architecture of Resignation” 2005 City Gallery, Chicago Department of Cultural Affairs, “Along the Divide” 2002 Foundation Studio Marangoni, Florence, Italy, “Architecture of Resignation” 2002 St. Louis Art Museum, "All Around the House" 2000 Comunita Ebraica Salle Servi, Florence , Italy, “All Around the House” 1998 Art Institute of Chicago, "All Around the House" 1995 Harvard University, Carpenter Center, Cambridge, MA, "A Jewish View" 1994 Quad City Arts Center, Rock Island, IL "Temporary Usage" 1993 Northlight Gallery, Arizona State University, Tempe, "Temporary Usage" 1992 OK Harris Gallery, New York, NY, " Photographing American Dream Cities" 1991 Mid-Town Y Photography Gallery, New York, NY, "American Dream Cities” 1988 Portland School of Art, Portland, ME, "Las Vegas Portraits" 1987 Museum of Contemporary Photography, Chicago, IL, " Vegas Portraits" 1985 Chicago Historical Society, “Dan Ryan Project” SELECT GROUP EXHIBITIONS 2016 Le Murate, Florence, Italy, “Arno Collective Imaginary” w. Massimo Vitali, Arno Minkkinen 2015 Palazzo Reale, Milan, Italy, “Henri Cartier-Bresson e gli altri. I grandi fotografi e l’Italia”, 2014 Pitzer College Art Galleries, Claremont, CA, “Racial Imaginary” 2014 Black Box Gallery, Portland, OR, “Architecture, Landscape” 2014-15 Millennium Park Foundation, Chicago, “An Anatomy in Photographs” 2012 Chicago Cultural Center, “Industry of the Ordinary: 2003–2013” 2009 David Weinberg Gallery, Chicago, “Social Landscapes” 2009 Packer Schopf Gallery, Chicago, “39 Verbs” 2009 University of St. Francis, “The Night Hope Won” 2008-09 Chicago Cultural Center, “Made In Chicago: Photographs from Bank of America Collection” 2006 David Winton Bell Gallery, Brown University, Providence, "7 Documentarians: Berenic Abbott, Walker Evans, Larry Clark, Jim Dow, Danny Lyon, Garry Winogrand, Jay Wolke" 2006 Art Institute of Chicago. “Darkroom to Digital” 2005 Fort Worth Community Arts Center, “Cattle Drive” 2001 Illinois Art Gallery, “The Land Around Us” 1998 Carol Ehlers Gallery, Chicago, "Chicago Streets" 1996 Museum of Contemporary Photography, Chicago, "In Focus" 1995 Madison Arts Center, "Photography from Wisconsin, Minnesota, Illinois" 1994 Chicago Cultural Center, "Broad Spectrum" 1991 ARC Gallery, Chicago, "National Exposure" 1989 Art Institute of Chicago, "The City Inside and Out" 1989 Chicago Historical Society, "Changing Chicago, Public Diversions" 1988 Illinois State Museum, Springfield, "Lenscapes" 1987 Everson Museum, Syracuse, NY; Nabisco Corp., NJ; Fay Gold Gallery, Atlanta, GA "American Interiors", traveling exhibit curated Lieberman/Saul Gallery, NY 1986 National Endowment for the Arts/ Midwest Arts Alliance, national traveling 1985 University of Wisconsin, Milwaukee, "New Color Photography" 1985 Society for Cont Photography, Morgan Gallery, Kansas City, MO, "Photo '85" 1984 Art...