Texas - Art

Robert Mangold Multiple Panel Paintings 1973-1976, Edition C, 1992 Suite of nine screenprints on Fabriano paper 11 3/4 x 24 in (2880.4 x 61 cm) Edition of 300

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

New Release - January 2026 "David Bowie - The Pack" New York, 2001 Museum quality fine art print of David Bowie by photographer Markus Klinko, from his celebrated collection "Bowie...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 12 x 16 Frame Size: 19 x 23 Hand Carved "Melvin" Frame Medium: Oil on Canvas Signed Lower Left 1959 "Red Barn Ranch" Texa...

Robert Wood (G. Day) (1889 -1979) San Antonio Artist Image Size: 28 x 36 Frame Size: 38 x 46 Medium: Oil on Canvas Signed Front & Signed & Titled on Verso Newcomb Macklin Frame Circa Late 1930s "Blue Heaven" Bluebonnets Biography Robert Wood (G. Day) (1889 -1979) A painter of realistic landscapes reflecting a vanishing wilderness in America, Robert Wood (not to be confused with Robert E. Wood) is reportedly one of the most mass-produced artists in the United States. His painting became so popular he was unable to meet all of the demands, and many of his works were reproduced in lithographs and mass distributed as prints, place mats, and wall murals by companies including Sears, Roebuck. He was born in Sandgate, Kent on the south coast of England near Dover, the son of W.L. Wood, a famous home and church painter who recognized and supported his son's talent. In fact, he forced his son to paint by keeping him inside to paint rather than playing with his friends. At age 12, Wood entered the South Kensington School of Art. As a youth, he came to the United States in 1910, having served in the Royal Army, and he never returned to England. He traveled extensively all over the United States, especially in the West, often in freight cars, and also painted in Mexico and Canada. His itinerant existence took him to Illinois where he worked as a farmhand, to Pensacola, Florida where he married, briefly in Ohio, Seattle, Washington, and Portland, Oregon. In 1912, he was in Los Angeles, and in the late 1920s and early 1930s, in San Antonio, Texas, where he lived and in 1928 exhibited in the "Texas Wildflower Competition." From San Antonio, he gained a national reputation for his strong colored, dramatic paintings. Some of that prestige has been credited to his association with Jose Arpa, prominent Texas artist. Wood also gave art lessons, and one of his students was Porfirio Salinas. During this period, Wood sometimes signed his paintings G. Day or Trebor, which is Robert spelled backwards. In 1941 he went to California and painted numerous desert and mountain landscapes and coastal scenes. He lived in Carmel for seven years, and then moved to Woodstock, New York, but he soon returned to California, settling first in Laguna Beach, then San Diego, and finally in the High Sierras, where he and his wife built a home and studio near Bishop and lived until his death in 1979. Robert Wood was born March 4, 1889, in Sandgate, England, a small town on the Kentish coast not far from the white cliffs of Dover. His father, W. J. Wood, was a successful painter who recognized Robert's unusual talent. At the age of twelve, his father enrolled Wood in art school in the small town of Folkstone. He then attended the South Kensington School of Art. While attending art school, Wood won four first awards and three second awards, one each year, a record. In 1910 after service in the Royal Army, nineteen-year-old Wood and his friend, Claude Waters, immigrated to America. Initially, he settled in Illinois and worked as a hired hand on a farm belonging to Water's uncle. He would then strike out on his own, living the life of an itinerant painter. Wood traveled as a hobo, hopping freight trains and selling or bartering small paintings to support him along the way. When times were hard, he worked at whatever job was available. In this manner, he saw most of the United States and fell in love with rural America. By 1912, Wood visited Los Angeles for the first time, arriving on the day of the Titanic tragedy. Later that year, he had met, courted and married young Eyssel Del Wagoner in Florida. The couple moved to Ohio where a daughter, Florence, was born. During World War I, the family moved to Seattle where a son, John Robert Wood, was born in 1919. In the early 1920's, the young Wood family was almost constantly on the move. They stayed for short periods in Kansas, Missouri, California and for a longer time in Portland, Oregon, where Wood's friend Claude Waters had settled. Wood's seemingly endless wanderings disrupted his family life and delayed his development as a painter. However, through his travels he developed an appreciation for the American landscape that would inspire him for the rest of his career. Although aware of the current movement away from traditional realism in American art, he elected to travel that solitary path and remain true to his own vision of American’s grandeur and beauty poetically translated through his landscape and seascape paintings. In 1923, the Wood family discovered the beautiful city of San Antonio, Texas and it was there that he and his family would finally settle. He studied briefly at the San Antonio Art School with Spanish colorist Jose Arpa y Perea (1860-1952), who had arrived in San Antonio that same year. In the latter part of the 1920’s, Jose Arpa’s influence quickly became evident. Wood after several years of experimentation was becoming fine easel painter, capable of great subtlety with a new mature original style. Like Texas painters Robert Onderdonk (1853-1917) and his son Julian Onderdonk (1882-1922), Robert Wood concentrated on the distinctive Texas landscape with its Red Oak trees and wildflowers that covered the hill country landscape. He developed a reputation for his scenes of Blue Bluebonnets, the state flower. In the spring, the Texas prairie is covered with wildflowers, especially in the hill country surrounding San Antonio and Austin. Wood incorporated native stone barns and rough wood farmhouses that added authenticity and romance to his compositions. In 1925, Wood was divorced from his wife. In 1932, he moved to the famous scenic loop on San Antonio's outskirts. While still living in Texas, he took extensive western sketching trips that brought him to California. It is evident that his 1930’s California...

Contemporary acrylic abstract using eye catching hues of orange, red, green and blue, circa 1970. Original artwork on paper displayed on a white mat with a gold border. Archival p...

Oil painting measures 12 x 9; frame dimensions measure 19 3/8 x 16 3/8 x 3. Housed in an elegant gold-tone frame with decorative edges. Illegible signature, lower right. Support patc...

Modern pencil drawing of a contemporary architectural design, circa 1970. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame. A...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 50 x 40 Frame Size: 59 x 49 Medium: Oil on Canvas. Signed 1951 “Hill Country in Spring “ Biography Porfirio Salinas (1910...

Robert Wood (G. Day) (1889 -1979) San Antonio Artist Image Size: 20 x 24 Frame Size: 29 x 33 Medium: Oil Signed Lower left "Bluebonnet" Biography Robert Wood (G. Day) (1889 -1979) A painter of realistic landscapes reflecting a vanishing wilderness in America, Robert Wood (not to be confused with Robert E. Wood) is reportedly one of the most mass-produced artists in the United States. His painting became so popular he was unable to meet all of the demands, and many of his works were reproduced in lithographs and mass distributed as prints, place mats, and wall murals by companies including Sears, Roebuck. He was born in Sandgate, Kent on the south coast of England near Dover, the son of W.L. Wood, a famous home and church painter who recognized and supported his son's talent. In fact, he forced his son to paint by keeping him inside to paint rather than playing with his friends. At age 12, Wood entered the South Kensington School of Art. As a youth, he came to the United States in 1910, having served in the Royal Army, and he never returned to England. He traveled extensively all over the United States, especially in the West, often in freight cars, and also painted in Mexico and Canada. His itinerant existence took him to Illinois where he worked as a farmhand, to Pensacola, Florida where he married, briefly in Ohio, Seattle, Washington, and Portland, Oregon. In 1912, he was in Los Angeles, and in the late 1920s and early 1930s, in San Antonio, Texas, where he lived and in 1928 exhibited in the "Texas Wildflower Competition." From San Antonio, he gained a national reputation for his strong colored, dramatic paintings. Some of that prestige has been credited to his association with Jose Arpa, prominent Texas artist. Wood also gave art lessons, and one of his students was Porfirio Salinas. During this period, Wood sometimes signed his paintings G. Day or Trebor, which is Robert spelled backwards. In 1941 he went to California and painted numerous desert and mountain landscapes and coastal scenes. He lived in Carmel for seven years, and then moved to Woodstock, New York, but he soon returned to California, settling first in Laguna Beach, then San Diego, and finally in the High Sierras, where he and his wife built a home and studio near Bishop and lived until his death in 1979. Robert Wood was born March 4, 1889, in Sandgate, England, a small town on the Kentish coast not far from the white cliffs of Dover. His father, W. J. Wood, was a successful painter who recognized Robert's unusual talent. At the age of twelve, his father enrolled Wood in art school in the small town of Folkstone. He then attended the South Kensington School of Art. While attending art school, Wood won four first awards and three second awards, one each year, a record. In 1910 after service in the Royal Army, nineteen-year-old Wood and his friend, Claude Waters, immigrated to America. Initially, he settled in Illinois and worked as a hired hand on a farm belonging to Water's uncle. He would then strike out on his own, living the life of an itinerant painter. Wood traveled as a hobo, hopping freight trains and selling or bartering small paintings to support him along the way. When times were hard, he worked at whatever job was available. In this manner, he saw most of the United States and fell in love with rural America. By 1912, Wood visited Los Angeles for the first time, arriving on the day of the Titanic tragedy. Later that year, he had met, courted and married young Eyssel Del Wagoner in Florida. The couple moved to Ohio where a daughter, Florence, was born. During World War I, the family moved to Seattle where a son, John Robert Wood, was born in 1919. In the early 1920's, the young Wood family was almost constantly on the move. They stayed for short periods in Kansas, Missouri, California and for a longer time in Portland, Oregon, where Wood's friend Claude Waters had settled. Wood's seemingly endless wanderings disrupted his family life and delayed his development as a painter. However, through his travels he developed an appreciation for the American landscape that would inspire him for the rest of his career. Although aware of the current movement away from traditional realism in American art, he elected to travel that solitary path and remain true to his own vision of American’s grandeur and beauty poetically translated through his landscape and seascape paintings. In 1923, the Wood family discovered the beautiful city of San Antonio, Texas and it was there that he and his family would finally settle. He studied briefly at the San Antonio Art School with Spanish colorist Jose Arpa y Perea (1860-1952), who had arrived in San Antonio that same year. In the latter part of the 1920’s, Jose Arpa’s influence quickly became evident. Wood after several years of experimentation was becoming fine easel painter, capable of great subtlety with a new mature original style. Like Texas painters Robert Onderdonk (1853-1917) and his son Julian Onderdonk (1882-1922), Robert Wood concentrated on the distinctive Texas landscape with its Red Oak trees and wildflowers that covered the hill country landscape. He developed a reputation for his scenes of Blue Bluebonnets, the state flower. In the spring, the Texas prairie is covered with wildflowers, especially in the hill country surrounding San Antonio and Austin. Wood incorporated native stone barns and rough wood farmhouses that added authenticity and romance to his compositions. In 1925, Wood was divorced from his wife. In 1932, he moved to the famous scenic loop on San Antonio's outskirts. While still living in Texas, he took extensive western sketching trips that brought him to California. It is evident that his 1930’s California...

Contemporary colorful target painting by Texas based artist Nick Stevenson. The work features a central neon red, green, and yellow target flanked by the text "Arrows & Cents." Signe...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 20 x 30 Frame Size: 28 x 38 Medium: Oil on Canvas Dated 1974 "Blowin' In" Sign...

Leon Collins Birthdate Unknown, died 2025 Galveston / Navasota Texas Artist Image Size: 36 x 24 Medium: Acrylic on Giclee "Sunflowers" After Van Gogh Leon Collins Birthdate Unknown-D...

Vivid and bright watercolor landscape of a village perched atop a hillside in Madagascar by French artist Stephane Magnard (1917-2010), circa 1950. Signed lower left. Stéphane Magna...

Early naturalistic landscape painting of a horse attributed to English artist George Cole. The work features a horse in a green field with a polo match going on in the far distance. ...

Lewis Teel (1883-1960) El Paso Artist Image Size: 27 x 36 Frame Size: 33 x 43 Medium: Oil on Board Circa Late 1930s Signed Lower left and on original price tag on verso. "Ocotillos"...

Striking female nude in reclined back seated position on red blanket in ink and watercolor by English artist Esther Meyer, circa 1950. Original artwork on paper displayed on a whit...

Eye catching abstract mixed media painting blending vivid jewel tone colors by American artist Kismine Varner, 1990. Signed and dated lower right. Original artwork on paper displa...

Acrylic body art featuring upper torso, arms and face by American artist Kismine Varner, circa 1990. Signed lower right. Original artwork on paper displaye...

Thelma Corbin Moody Blue Mountains c. 1960's Gouache on Arches Paper 19 1/4" x 24 3/4", Unframed Unsigned Lovely, mid century gouache painting, b...

Surreal lithograph with light lavender and blue colors, 1982. Titled and numbered on lower left and signed lower right in pencil. Displayed on a white mat with a gold border and fi...

oil on canvas

Lively French lithograph of sunflower field with multiple tones of yellows, orange, red, and while sunflowers, circa 1960. Original artwork on paper ...

Gloria Dudfield Mexican Fruit Bowl 1960s Oil Pastel and Gouache on Paper 36"x32" unframed $1600 *Custom framing available for additional charge. Please...

August Sunset Impressionism Seascape Framed Water Texas Artist Marine Dawn $950 Framed 11" x 13". Is part of newly released small works from V....Vaughan's collection of recent travels. V....Vaughan painted each of these on location "en plein air" It has an Impressionistic Style as seen in many of Virginia Vaughan's paintings. V....Vaughan is know for her animal, Texas missions Italy, France and Gulf Coast paintings...

Early American Impressionist painting by New York born artist André Gisson. The work features a group of three women standing in an open field. The loose brushwork gives the impressi...

The Sanchez Twins by Baron Wolman, taken in San Francisco in 1968 as part of Baron's Groupies series, taken for Rolling Stone magazine. Limited edition ...

Blues Overlapping Orange 47 x 47 Abstract Art Bold Colors $4400 Geometric Shapes Other painting by Marilyn Biles shown in images As life often does, the life of Marilyn Biles h...

Signed limited edition 12x16" print of David Bowie by Brian Aris, taken in Brian’s London studio in 1991. Brian Aris limited edition prints, signed and nu...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Anthony Bourdain was famous for traveling the globe and exploring the local cuisine in No Reservations and Parts Unknown. As soon as he returned home t...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 30 x 48 Frame Size: 41 x 59 Medium: Oil "Ranchers Reward" Dated 1975 Signed Low...

Museum quality fine art print of Dita Von Teese by photographer Markus Klinko in 2013 in Los Angeles. This print is available in the following sizes, signed and numbered by Markus K...

Texas Field contemporary oil landscape painting on canvas 30 x 40 painted in 2020 by Texan artist Steve Parker conveys his understanding of Texas landscapes and the use of native tr...

Robert Gilberg (1911-1970) "Still Life in White" c.1950s Gouache on newspaper from Sacramento Bee 1957 22.75"x15.25" unframed Unsigned Born in Oakland, CA on April 25, 1911. Gilberg...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Dorothy Johnson Image Size: 12 x 16 Frame Size: 14.5 x 18.5 Medium: Oil "Prickly Pear"

Martin Rosenthal "House with Yellow Windows" c. 1960s Encaustic & Oil paint on paper 20"x13" unframed Signed and dated in ink lower left Martin Rosenthal 1899-1974 Artist Mart...

Canvas Size: 12 x 16 in. Frame Size: 20.5 x 24.5 in. Signed, lower left: "Don Warren" A serene, classic, and cheerful scene in the Texas Hill Country by Don Warren. The foreground i...

Contemporary large scale abstract floral painting by Texas based artist Wood Anthony Francher. Inspired by Mexican floral embroidery patterns and textiles, the work is a burst of bol...

Myril Adler "Moonscape" c.1960s Intaglio etching collage, ink on paper 3"x6" site unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vitebsk, Russia (n...

Modern Cubist inspired colorful abstract still life painting by the French artist Marcel Mouly. The work features a collection of bottles and vases arranged on a red table that has b...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 30 x 40 Frame Size: 39 x 49 Medium: Oil on Canvas Dated 1957 "Bluebonnet Creek" Texas Hill Country Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

Ross Stefan (1934-1999) Image Size: 16 x 25 Frame Size: 26 x 34 Medium: oil on canvas "Just Enough Shade" Born in Milwaukee, Wisconsin, Ross Stefan became a painter of western scenes...

E. Salazar Texas Artist Image Size: 23.75 x 17.75 Frame Size: 29.5 x 23.5 Medium: Oil "The Brave"

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Pedro Lazcano (1909-1970) San Antonio Artist Image Size: 16 x 20 Frame Size: 23 x 27 Medium: Oil on Canvas "Bluebonnet and Huisache" Texas Hill Country Pedro Lazcano (1909-1970) I wa...

Blue and pink abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is a ...

Sebastian Alvarez Gran Chaco, Yiclôcat Also shown are other drawings but the Indigenous in the Chaco o region of Paraguay Esteban the Class : Motifs of shamanic significance are ver...

Museum quality print of Marilyn Monroe by Lawrence Schiller, taken on the set of Somethings Got To Give in 1962 during the famous naked swimming pool scene ...

Sunset Impressionism Seascape Framed Water Texas Artist Marine Dawn Framed 11" x 13". Is part of newly released small works from V....Vaughan's collect...

Museum quality fine art print of Cai by photographer Markus Klinko in 2000 in New York. This print is available in the following sizes, signed and numbered by Markus Klinko 24" high...

James Spencer Russell "#4" 1958 Collage with paper, sand, gouache Signed in pencil 19.25x13.5" James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of h...

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). Edition 115 recorded impressio...

From the estate of Jerry Opper & Ruth Friedman Opper Black Floor c. 1940-1950's Gouache on Paper 15" x 18" Unframed *Custom framing available for additional charge. Please expect framing time between 3-5 weeks. From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...

This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, on February 26th, 1976, at Maple Leaf Gar...

Pastel Impressionist style painting by American landscape artist George Ames Aldrich. The work features a woman standing at the edge of a river in a quaint pastoral French town. Sign...

David Adickes (1927-2024) "Man On Horse" Bronze Sculpture 7.5 x 6.5 x 3 Signed inner rear leg. cowboy, horseback, horse, western, wooden base Houston sculptor and painter David Pryor Adickes died on Sunday, July 13 at age 98, leaving a legacy of nearly eight decades of artmaking that included many notable monumental public sculptures and signature paintings. Mr. Adickes may have cut a diminutive figure — at 105 pounds he was once deemed too slight to enlist as a World War II Army pilot — but he became a giant of Texas art over his long lifetime. Mr. Adickes was born in Huntsville in 1927, and lived there through graduating with a degree in math and physics from Sam Houston State University (SHSU), before decamping to Paris in 1948. There he studied the art of El Greco, Pablo Picasso, Georges Braque, and Marc Chagall. In a 2017 Texas Country Reporter story, Mr. Adickes quoted his friend, noted author James Michener — whom he called “Jim” — in saying, “I just come from Texas, but I’m not a Texan. I’m a French artist, if you had to really put geography [on it]. Paris influenced me more than any other place in the world.” But few artists could have been more Texan. In true maverick style, Mr. Adickes sidestepped traditional methods of applying for public art commissions through governmental channels, instead parlaying successful real estate ventures into buying land on which to situate his artworks. One such example is his massive Sam Houston sculpture — a Huntsville icon, titled A Tribute to Courage — grandly stands nearly 70 feet tall on a grassy plot he owned on the southern edge of town, overlooking Interstate 45. Dixie Friend Gay, a longtime friend of Mr. Adickes and noted public sculptor who goes through traditional channels to propose and site her work, said good humoredly, “He talked to me about how I did public art, and he goes, ‘You know what? I just go buy the property and stick what I want to on it.’” Ms. Gay said Mr. Adickes was generous in sharing his substantial knowledge on complex sculptural processes. This trait was also recognized by artist Jack Massing, Executive Director of The Orange Show Center for Visionary Art, who to work through the complex concrete layering processes of building his huge sculptures. “As a maker, he was fearless in making these giant things. He figured it out. He got it done, and he did it for so long,” Mr. Massing said. Linda Wiley also admired Mr. Adickes, for his work as an artist and for his charming personality. They met 30 years ago while he was working on the Sam Houston sculpture. “Those of us around in Huntsville ... had heard of this guy that was building a giant statue, and so I went out and met David and his charming self, and started taking pictures,” she said. That initial encounter eventually became Ms. Wiley’s 1996 book about Adickes as an inspiration for creativity in everyone, Making It Happen: Exploring the Creative Process Through the Sculptures of David Adickes. The title is a reference to Mr. Adickes’ fortitude, Ms. Wiley said. “David didn’t just dream up the dream, he realized the dream.” The two became a couple, then life partners. One dream of Mr. Adickes’ that remains unrealized was finding a permanent Texas home for his collection of 43 famed giant president’s head sculptures, which remain at his downtown studio. The building faces demolition by the Texas Department of Transportation through eminent domain. “So there’s the ticking of the clock, because we’re hoping to get them transferred to their new home before TxDOT says you gotta move them now,” Ms. Wiley said. Thirty years ago, after seeing firsthand the monumental Mount Rushmore National Memorial in South Dakota, Mr. Adickes undertook what would become an expensive and consuming obsession to craft large-scale concrete heads for each president. By the end of his life, he had completed every president through Barack Obama. In a 2014 interview with Houston Public Media, Mr. Adickes said, “It’s this crazy idea, but I have crazy ideas,” concluding with a lightheartedly self-deprecating pronouncement, "It's a curse." In a February 2025 Texas Monthly article on the quandary of their preservation, Mr. Adickes is quoted as saying, “I don’t want them to die. ... My goal is to create works of art that will be here for generations — that will bring pleasure for generations to come. My whole life is based on that desire.” Mr. Adickes purchased the former Huntsville High School, when the building was to be razed, and converted it into the Adickes Art Foundation Art Museum to house his ever-growing collection of paintings and sculptures. Ms. Wiley said they sold the building a few years ago to SHSU, which turned it into a natural history museum. Regarding what will happen to the artistic legacy of Mr. Adickes, “As far as a museum in his honor, that remains to be seen. I’m going to let the stars align on that and see what happens.” She said TammyDowe of Spot On Public Relations in Houston is working on finding a home for the presidents’ heads, and Mr. Massing said he believes the heads will be the most important part of Mr. Adickes’ legacy and hopes they find a home. According to those who knew him, Mr. Adickes will be remembered for his good will as much as his artwork. Mr. Massing said, “His impact is going to be felt for another 30 to 50 years because of the people that he touched.” Ms. Gay remembered him as an engaging personality. “I loved his stories. He was such a unique storyteller,” she said, describing him as a “Renaissance Man” with a wide range of interests. In a 2008 oral history book by Sarah C. Reynolds, Houston Reflections: Art in the City, 1950s, ‘60s, and ‘70s, Mr. Adickes recalled starting The Studio School of Contemporary Art on Truxillo Street with Paris colleague Herb Mears in 1951, and later, opening the Love Street Light Circus and Feel Good Machine in 1967, calling it “the hottest psychedelic club in town," having hosted such bands as The Red Crayola, at the time "just a bunch of kids from Rice (University)." In 2017, Mr. Adickes told the Texas Country Reporter that loving what he did was key to his longevity, declaring, “I’ll never retire. That’s not possible.” Ms. Wiley said he stayed active, in mind and spirit, until he died. “He was David until the very last.” For an extended visual tour of Mr. Adickes’ Houston- and Huntsville-based monumental sculpture, visit the Houston Chronicle’s recent memorial photo essay. A public memorial event will be held in mid-October, Ms. Wiley said, with further details forthcoming. Source: Glasstire (2025), written by Nicholas Frank Submitted by: Stephanie Reeves Biography from the Archives of askART Photo of David Pryor Adickes Sculptor David Adickes is known for a major project titled Presidents Park in Williamsburg, Virginia, where he created 42 portraits bust of American presidents. Each sculpture is twenty feet tall, and their size was the subject of much protest and controversy. However, a court ruling allowed them to stay. Source: Art & Antiques, November 2000 Now mainly known as a creator of giant sculpture, Adickes spent most of his professional life teaching, painting, and creating small bronzes. A commission for Houston's Performing Art Center in 1982 marks the beginning of his giant sculpture design. After the 36-foot tall cellist called the Virtuoso in a cubist style, he created a number of abstract works, including a giant cornet for the jazz stage at the 1984 World's Fair in New Orleans, Louisiana. Circa 1994 he finished a giant statue of Sam Houston, first President of Texas, followed by his 42 statue tribute to United States Presidents. Adickes has degrees in mathematics and physics which serve him well in the engineering of his works. Working on a giant sculpture series which includes the Beatles, and he hopes to end with a 280-foot tall cowboy statue...

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