Modern Art

Keep Your Cool Carmen Alvarez enjoying a game of backgammon with Frank ‘Brandy’ Brandstetter in a swimming pool at Acapulco, 1978. (Photo by Slim Aarons) Unframed (Premium Collect...

'Sicilian Farmhouse', oil on canvas, by Yves Brayer (circa 1950s). A dedicated lover of Mediterranean countries and their varied landscapes, this charming and diminutive work by the ...

Le Diable Boiteux is an original modern rare book written by René Le Sage (Sarzeau, 1668 – Boulogne-sur-Mer, 1747) and illustrated by Tony Johannot (9 November 1803 – 4 August 1852) in 1840. Original First Edition. Published by Bourdin éditeur, Paris. Format: large 8°. The book includes 380 pages with several in text and full page illustrations. Mint conditions. Tony Johannot (9 November 1803 – 4 August 1852). Johannot was a French engraver, illustrator and painter. His historical paintings were exhibited at the Paris Salon for the first time in 1831. He became an illustrator much prized for his elegance, his diversity, and the lively character of his drawings, which were converted to engravings either by himself or by such artists as Jacques Adrien Lavieille, Émile Montigneul, and Alfred Revel. He was praised by Théophile Gautier.

Theo Tobiasse Title "On the Shores of the Circus" Suite: Song of Songs of King Solomon Year: 1975 Medium: Original lithograph in colors on paper (deckle edged paper) Publisher: ...

Faye Dunaway Oscar Outtake (Stare) Los Angeles 1977, Printed Later Silver Gelatin Print 30 x 30 inches Edition of 50 Estate signature stamped and numbered edition of 50 with certific...

A Colorful, 1930s Modern Autumn-Themed Still Life Painting with a Pumpkin by Notable Chicago Artist, Francis Chapin (Am. 1899-1965). Completed in the vibrant, painterly style for wh...

"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...

Morris Blackburn, 'Avalon South', wood engraving, 1951, edition 30. Signed, titled, and numbered '12/30' in pencil. A fine black impression on cream wove Japan paper, with wide margins (1 3/8 to 2 1/4 inches), in excellent condition. Archivally sleeved, unmatted. Image size 5 x 7 inches (127 x 178 mm); sheet size 8 5/8 x 10 7/8 inches (219 x 276 mm). ABOUT THE ARTIST Morris Blackburn was a prominent painter, printmaker, and graphic artist, as well as a respected teacher at the Philadelphia Museum School of Industrial Art and the Pennsylvania Academy of Fine Arts. Born in Philadelphia, where he spent most of his career, Blackburn was a descendant of the notable colonial portrait artist Joseph J. Blackburn (c. 1700–1780). He developed an interest in art early on and studied architectural drawing at the Philadelphia Trade School. In 1922, he took classes at the Graphic Sketch Club and later attended the School of Industrial Art. While working for the well-known Philadelphia furniture designer Oscar Mertz, he studied at the Pennsylvania Academy of the Fine Arts from 1925 to 1929. During his studies, he learned painting from Henry Bainbridge McCarter...

Jacques La Grange, 'Columbia Passes Shamrock II', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

A painting unlike any I have encountered before. The surface is alive with texture: a dense, mosaic-like impasto that catches the light and gives rhythm to the composition. Colour mo...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

Details: Title: Pastel Fifties Shapes Medium: Acrylic Paint on Watercolor Paper Size: 100x70 cm , (40x28 inches) Year: 2026 * Frame is for illustrative purposes only. Artwork shipp...

Lazzaro Donati (Italian, 1926-1977) Untitled (Abstract Woman), Mid-20th Century Oil on board 20 x 16 in. Framed: 25 3/4 x 21 7/8 in. Signed lower right Lazzaro Donati (1926-1977) was born in Florence in 1926 and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. Mr. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d'art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. Donati was a born host with a warm welcome, an elegant man who possessed enormous charm a good nature and a keen sense of humor. Apparently shy, he preferred to speak on subjects extraneous to his art, purposely distracting you from his paintings, then leading you back to them, tactfully and without pretension. He spoke fluent French and English as well as some Spanish and German. "After all", he said, "you've got to know how to sell a painting to everyone." He had no sympathy for the "drip and splash" studios of his contemporaries, preferring to keep his studio tidy and spotless. "Painting is a matter of precision", he said, "If a painter can't put his paint where he wants it to go, I don't see how he can call himself a painter. For me it is absolutely necessary to control the paint." When asked to reveal the technique he used to achieve the enamel-like finish typical of his paintings he answered, "That is a secret between me and my butler. Actually, most of my paintings are done by him!" But in fact behind the façade, Donati was a serious craftsman who devoted to his painting as a way of life and means of expression. From the beginning of his career, his paintings revealed a striving for perfection and continual research in problems of style and technique. His early works indicated a momentary interest in surrealism and abstract art; they were predominantly two dimensional, depending on line and strong color. But by 1958, with his painting The Lady with a Fan...

ROBERT TAVENER (1920-2004) Cornfield and Downs Signed, inscribed with title and numbered 45/75 Linocut Framed 40 by 55 cm., 15 ¾ by 21 ¾ in. (frame size 62 by 76.5 cm., 24 ¼ by 30...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Gorgeous Joan (1931) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) A woman in white two-piece bathing suit water skiing cir...

Leonard Creo (American, 1923-2019) Untitled (Children on a Playground), c. 20th century Oil on canvas 27 x 30 in. Framed: 32 1/4 x 35 3/4 in. Signed lowe...

Lovers Figurative Bronze Sculpture Signed Illegibly edition 2/10 Large bronze sculpture signd illegible possible in Hebrew.

Antique English modernist landscape oil painting by Phillip Castle (Born 1943). Oil on canvas. Framed. Signed verso.

Beautiful mid century plein air figural landscape of Laguna Niguel, California by an unknown artist (American, 20th Century). The morning sun glistens on the mountain tops and surrou...

Portrait of a Lady by Maurice Delavier (French 1902-1986) stamped verso with the artists studio mark oil on board, unframed board: 7.75 x 9.5 inches provenance: private collection, F...

In this piece, I've channeled a blend of serenity and vitality. The acrylic colors capture nature's essence with a nod to oriental art's poetic elegance. This isn't just a painting; ...

Robert SAVARY Paris : Square with Morris Column, 1969 Original lithograph (Mourlot workshop) Handsigned in pencil On Japan paper 37 x 58 cm (c. 16 x 23 in) Excellent condition

Original Spokane (Washington), The Colorful Capital of the Inland Empire vintage travel fun map. Printed in 1971, this seldom if ever found original map is archival linen backed an...

Sea and Land Abstraction, 1936, oil on canvas board, 16 x 20 inches, signed and dated lower left, exhibited at the 18th Annual Paintings and Sculpture Exhibit at the Los Angeles Muse...

A vibrant, Modern 1950's watercolor of a young male bather kneeling against a sunny Mediterranean beach by notable French artist Andre Delfau. Painted most likely near Marseille in ...

Roger Shimomura Night Watch – Minidoka Original 11 Color Lithograph on Rives BFK, White Year: 2014 Edition: 51 of 52 Paper Size: 30.75 × 40.5 inches (78.11 × 102.87 cm) Image Size: 27.75 × 38 inches (70.49 × 96.52 cm) Signed, dated, titled and numbered in pencil along lower margin Printer's Chop lower right Gallery-issued COA provided Print Sheet provided upon request Condition: Mint *Could come framed. Please inquire. Night Watch – Minidoka is a poignant work by Roger Shimomura that reflects his ongoing engagement with themes of identity, memory, and the Japanese American incarceration during World War II. Drawing from his own childhood experience—having been interned with his family at the Minidoka War Relocation Center in Idaho—Shimomura transforms historical trauma into a visually striking and psychologically resonant composition. The artist’s statement—“The grey and brown colors of Camp Minidoka by day turn into a lively theatre of lights at night as the incarcerates complete another day in isolation from the rest of the country.”—captures the duality at the heart of the work. While the daytime environment is marked by monotony and confinement, the nighttime scene introduces a sense of artificial vitality, where illuminated barracks create a theatrical, almost surreal atmosphere. This contrast underscores both the resilience of those incarcerated and the unsettling normalization of confinement. Stylistically, Shimomura blends elements of American Pop Art with traditional Japanese visual strategies, creating a hybrid aesthetic that is both accessible and layered with meaning. His use of bold outlines, flattened perspective, and narrative sequencing enhances the work’s immediacy while reinforcing its historical and cultural significance. Night Watch – Minidoka functions as both a personal recollection and a broader commentary on civil liberties, exclusion, and national identity. It stands as part of Shimomura’s sustained effort to confront overlooked histories and to ensure their continued relevance in contemporary discourse. Night Watch Minidoka, Japanese American internment art, Minidoka camp art...

Ink Abstract by Jacqueline Boisselot, French late 20th century size: 19.75 x 26 inches ink painting on thin paper, unframed condition: very good and ready to enjoy provenance: from...

El Venero, the Moorish villa of Hector and Chico de Ayala in Marbella, Spain, 1967. Gorgeous print measuring a very large 40 x 30" inches / ca 101 x 76 cm's. (printed on a 40 x 30"...

Kenny Scharf Ratfinkbonerthunk : Surrealist Rat, 1990 Original Giclee Print Handsigned in pencil On Arches vellum 56 x 76 cm (c. 22 x 30 in) Published by Editions Vermorel in 1990 ...

Stuart Davis Eggbeater No. 1 Silk Scarf, ca. 1980 100% silks scarf 34 × 34 inches (the smaller measurements shown are after the scarf is folded, to minimize shipping costs, as it sh...

Alexander Mikhailovich Kishchenko (1933–1997) was an outstanding Belarusian monumentalist artist whose work significantly influenced the development of visual arts in Belarus during ...

Three skiing waiters on a ski slope, with the man in the foreground carrying a bird on a tray, the second man carring a wine in an ice bucket and the third carrying a menu, Stowe, Ve...

Oil on canvas realized by Sirio Pellegrini in 1969. Good condition. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his childhood years in R...

A Mid-Century Modern 1950s watercolor of male nude bathers in Morocco by notable French artist, Andre Delfau. Image size: 7 1/2 x 7 3/4 inches. Gouache on paper, dating circa 19...

MARIS Size: 42.5 x 33.5 cm (including frame) Oil on canvas A enigmatic figurative oil painting that presents a striking, abstracted portrait of a lone figure, executed in oil onto c...

Mokuchu URUSHIBARA Koi Carp, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 30 x 24 cm (c. 11.81 x 9.44 in) INFORMATION : Engraving published by Mo...

Henri Matisse Martiniquaise 1946 Etching on annam appliqué on wove paper, Edition of 25 Paper size: 38 x 28 cms (15 x 11 ins) Plate size: 25.2 x 19 cms (10 x 7 1/2 ins) Henri Matiss...

This small exquisite "Bronze Sculpture II" is in excellent condition and a perfect example of Eugene Caples craftsmanship. This is mainly abstract with some graphic or architectural elements and is so delightful that mythical creatures demand to be considered. It cries out to be touched and held, looked at and caressed. The beautiful patina on the surface gives voice to the many hands that have done these things. Eugene Caples is a designer and craftsman who worked in Kansas City in the 1960s and later through the early 21st century. He attended the Kansas City Art Institute, earning his Bachelors of Fine Arts in Industrial Design in 1959. In 1963 he was accepted to Cranbrook Academy of Art, Bloomfield Hills, Michigan. The Cranbrook Academy of Art was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists are alumni of Cranbrook and include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald...

Henri de TOULOUSE LAUTREC Short joys (Fish Seller and Don Quixote) Original lithograph Printed signature in the plate On Chine paper 27.5 x 36.5 cm (c. 10.6 x 14.2 in) Blind stamp o...

Rémy Duval, 'Street Corner, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives pap...

Guests at a fancy dress party held at the Romanoff Restaurant in Hollywood, Los Angeles in 1950. Slim Aarons Safari Party at Romanoff's, 1950 Chromogenic Lambda print Estate stampe...

Sea Drive, 1967 - Vintage Red Automobile Amphibian Car American Waters by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Please n...

Fenetre a Tahiti originally realized in 1935, Photolithograph realized in 1993 after Henri Matisse. On Milano handmade paper. Monogrammed on the plate. Good conditions.

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

Queen Elizabeth - Vintage Photo realized in the 1950s. Good conditions and aged.

The Beatles silver gelatin print 16 x 20 inches edition of 50 Signed and numbered edition of 50 with certificate of authenticity Paul McCartney and John Lennon rehearse for a TV spe...

Antique European tapestry landscape. Framed. Excellent condition, ready to hang and enjoy.

Vincent HADDELSEY (1934-2010) Horse : Canadian Rodeo, 1974 Original Lithograph Handsigned in pencil Numbered / 50 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

This advertising poster, printed by Mourlot for the Office of French Tourism, is a captivating detail from Marc Chagall’s Ceiling of the Opera, specifically a fragment paying tribute...

"Portrait" by Jean Marc (French 1949-2019) watercolour on artist paper signed and dated 97' double sided painting: 12.5 x 9.5 inches provenance: private collection, South of Fran...

Vincente Romero Mademoiselle, 2022 Oil painting on canvas Image Size: 39 x 25 inches Frame Dimensions: 50 x 36 inches Custom framed to museum standards

André Cottavoz (1922-2012) Still Life with Basket of Fruits, 1960 Original oil painting Signed in the bottom right corner Signed and dated on the back On wood panel 19 x 35 cm (c. ...

This painted wood sculpture by the Belgian artist Corneille, circa 1980, is an expressionist rendering of a two nudes. Corneille was influenced by Miró, Picasso and Paul Klee but cl...

Matisse style pastel tulips in vase on kitchen table Oil pastel drawing on paper One of a kind artwork Size: 50 × 65 × 0,1 cm It is original hand drawing on 250 gsm acid-free paper...

"Translucent Streetlights" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by mo...

Les Métamorphoses du Jour is an original modern rare book written by Various Authors and illustrated by Jean Jacques Grandville (Nancy, 1803 – ...

Original The Rocky Horror Picture Show vintage movie poster, professionally linen backed with original fold marks restored, The Rocky Horror Picture Show. A different set of jaws. ...

Etching and sand ground on cream laid paper, 10 1/2 x 7 5/8 inches (262 x 193 mm), full margins. Inscribed "No. 29" in black ink, lower right margin. In good condition with minor tim...

A Striking Mid-Century Modern Portrait of a Young Woman by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A well executed figurative work by the artist, depicting a young woman stylishly dressed in a black sleeveless top seated in a muted studio interior. The painting exemplifies the artist's adept and practiced skill at portraiture, and was likely completed at the artist's studio in Evanston, Illinois. Artwork size: 24 x 20 inches, oil on canvas, accompanied with the original painted Mid-Century frame (framed size: 27 3/4 x 23 3/4 inches). Provenance: Estate of the artist. Walter Burt Adams was a dedicated painter of the American Scene and a singular personality among his peers in the Chicago Modern Art community. His no-nonsense manner, devotion to his craft and sardonic sense of humor characterize a man whose paintings capture life in and around Chicago between the early 1920s and the late 1970s. Born in Kenosha, Wisconsin just after the turn of the last century, Walter Burt Adams spent his childhood in Fargo, North Dakota and began his artistic education there through a correspondence cartooning class as a boy. After finishing high school in Fargo, Adams moved to Chicago in 1922 in order to enroll at the school of the Art Institute of Chicago. Adams’ instruction at the school with artists such as George Oberteuffer, Frederick V. Poole, Charles Wilimovsky...