Dorr Bothwell Art

James Rosenquist (1933-2017) "Color of Mind and Muscle" Screenprint in colors on wove paper, 1996 31-1/2 x 25-3/4 inches (80 x 65.4 cm) (sheet) A.P. 7/10 edition of 30 Signed, numb...

A panoramic view of the San Francisco docks showing a large destroyer berthed at right, with a view beyond towards Treasure Island and a luminous harvest moon hanging above the hills. Signed, in screen, lower right 'Marion Cunningham' (American, 1908-1948) and dated 1944. Paper dimensions: 10.25 x 14.5 inches Born in Indiana, Marion Osborn Cunningham moved to California in 1911. She first studied art with the American Impressionist, Ruth Heil Emerson, before continuing her education at Santa Barbara City College and receiving her Bachelor of Arts from Stanford University. She subsequently furthered her studies at the California School of the Fine Arts and at the Art Students League in New York City, where she met and married the American abstract artist Ben Cunningham. Returning to San Francisco, she opened a studio on Montgomery Street, the center of San Francisco’s art colony, where she continued to paint and create graphic works for the remainder of her life. Over the course of a distinguished career, Marion Cunningham exhibited widely and with success, including at the National Serigraph Society, the Association of San Francisco Women Artists, the San Francisco Art Association, the San Francisco Museum of Art Inaugural (1935); the Golden Gate International Exposition (1939); San Francisco Watercolor Show (1939); and her memorial retrospective at the Bakersfield Art Association (1957). She was a member of numerous professional associations including the National Serigraph Society, the Association of San Francisco Women Artists and the San Francisco Art Association. Marion Osborn Cunningham's works may be found in the permanent public collections of museums nationwide including the National Gallery in Washington, DC; New York's Metropolitan Museum of Art and Museum of Modern Art; the Pennsylvania Academy of Fine Arts; the San Francisco Museum of Art; the St. Louis Museum of Art; the Cleveland Museum and the De Young Museum...

Frank Stella The Whale Watch Shawl (signed in indelible black marker), held in red silk presentation box; also with embossed COA hand signed by both Frank Stella and Kenneth Tyler, 1994 LARGE: (54 Sq inches) Silkscreen on 100% Italian Silk Shawl, hand signed by Frank Stella in indelible black marker, folded in Red Silk Box with Embossed Certificate of Authenticity (Brand New in Original Red Silk Box) - embossed COA is Hand Signed by Frank Stella and Kenneth Tyler Hand Signed and dated by Frank Stella on recto; signed by BOTH Stella & publisher Kenneth Tyler, and numbered on accompanying embossed COA 54 × 54 inches Unframed and held in original red Italian silk gift box Makes a terrific gift! Stunningly large -- 54 Square Inches. This work looks dazzling framed and hung on the wall -- but as it is a signed silkscreen on silk, but it can also be worn as a gorgeous and exclusive artistic fashion statement. Who else is wearing a Frank Stella scarf...

Robert Natkin Intimate Lighting, 1974 Silkscreen on Arches paper 27 × 38 inches Pencil signed, dated and numbered from the edition of 150 on the front Published by Chromacomp, Inc. ...

Donald Stacy "Mound Street" c. 1950s Gouache paint on paper 24" x 18'" unframed Unsigned Came from artist's estate For sale is a striking black and white painting titled "Mound Stre...

Artist: Dale Chihuly (1941) Title: Float Series Year: 2017 Medium: Mixed Media—Five Color Serigraph & Acrylic on Waterford paper Edition: 18/110, plus proofs Size: 37 x 25 inches Con...

Edward Avedisian ( 1936-2007 ) Gouache or oil on paper, 3 guys around a car, hand signed in paint lower left, Measures 30"x 22.5" Edward Avedisian (June 15, 1936, Lowell, Massachusetts – August 17, 2007, Philmont, New York) was an American abstract painter who came into prominence during the 1960s. His work was initially associated with Color field painting and in the late 1960s with Lyrical Abstraction and Abstract Expressionism. He studied art at the School of the Museum of Fine Arts, Boston. By the late 1950s he moved to New York City. Between 1958 and 1963 Avedisian had six solo shows in New York. In 1958 he initially showed at the Hansa Gallery, then he had three shows at the Tibor de Nagy Gallery and in 1962 and 1963 at the Robert Elkon Gallery. He continued to show at the Robert Elkon Gallery almost every year until 1975. During the 1960s his work was broadly visible in the contemporary art world. He joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists, such as Darby Bannard, Kenneth Noland, Jules Olitski, and Larry Poons. Avedisian was among the leading figures to emerge in the New York art world during the 1960s. An artist who mixed the hot colors of Pop Art with the cool, more analytical qualities of Color Field painting, he was instrumental in the exploration of new abstract methods to examine the primacy of optical experience. One of his paintings was appeared on the cover of Artforum, in 1969, his work was included in the 1965 Op Art The Responsive Eye exhibition at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought after by collectors and acquired by major museums in New York and elsewhere. He has been exhibited in prominent galleries, such as the Anita Shapolsky Gallery and the Berry Campbell Gallery in New York City. Edward Avedisian was known for his brightly colored, boldly composed canvases that combined Minimalism's rigor, Pop art exuberance and the saturated tones of Color Field painting. Roberta Smith of the NYT writes of Avedesian: "Edward Avedisian helped establish the hotly colored, but emotionally cool, abstract painting that succeeded Abstract Expressionism in the early 1960s. This young luminary harnessed elements of minimalism, pop, and color field painting to create prominent works of epic proportions that energized the New York art scene of the time." In 1996 Avedisian showed his paintings from the 1960s at the Mitchell Algus Gallery, then in SoHo. His last show, dominated by recent landscapes, was in 2003 at the Algus gallery, now in Chelsea. Selected Exhibitions: Op Art: The Responsive Eye, at the Museum of Modern Art, Whitney Museum’s Young America 1965 Expo 67, held in Montreal, Canada. Six Painters (along with Darby Bannard, Dan Christensen, Ron Davis...

A very good impression of this color screenprint on Arches Imperial paper. It is signed and numbered 106/250 in pencil by Motherwell. Printed by Maurel Studio, New York. Published by...

Donald Stacy "Two Trees" c.1950s Gouache on paper 24" x 18" unframed $950 Unsigned Came from artist's estate *Custom framing available for additional char...

Terran Last Gun, Landscape No.6, Four-color Serigraph on White Somerset Paper, Edition of 4 2019 36" x 26", framed

Thelma Corbin Moody (1908-1986) Colored Roofs c. 1960s Gouache on Watercolor Paper 22" x 15", Unframed This piece is unsigned and came from a large...

Mid Century Modern Palm Springs Architecture. Steve McQueen vintage car photographed for the first time at his pool in Palm Desert. Archival Inkjet Print on Cotton Paper. Mid Cent...