Francesca DiMattio Art

This vintage 1960s abstract painting by renowned New Mexico modernist artist Ward Lockwood (1894–1963) is an exceptional example of mid-century modern art. The original artwork, crea...

Abstract Geometric Composition Date: Second half of the 20th century Medium: Gouache on paper Dimensions: H 50 cm x W 65 cm approx. Description: Modular geometric structure with ove...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black paper Signed lower right Framed by Bark BIO rene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept. She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together. In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet...

"#224 – ABANDONED, SEPARATED" is from Amy Williams' series A Farewell to Arms – wherein the artist works directly onto page 224 of a found copy of Ernest ...

"#186 – WOUNDED WERE COMING" is from Amy Williams' series A Farewell to Arms – wherein the artist works directly onto pages of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from page 186 to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text. The resulting poem reads "The wounded were coming / men that were scared / I felt the rain in my face / It was getting dark." – Hemingway's novel is a doomed romance between a wounded American soldier and an Italian nurse – note the feminine form on the page, with a "dress" or apron that looks skeletal, bloody and rained upon, all at once. From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...

"#152 – GOOD GIRL" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 152 of a found copy of Ernest Heming...

"#56 – BOTH WOUNDED A LITTLE" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 56 of a found copy of Ernest Hemingway's WWII romance...

"#71 – THEN IT'S HOPELESS?" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 71 of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from the page to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text of the poem. Here the poem reads: "Then it's hopeless? / But sometimes I cannot hope. / I cannot." Note the poem is outlined in dark red and purple radiating lines, while outside there are lighter violet, blue and white lines. From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...

James Balla Untitled gouache painting, 1992 Mixed Media Oil on Linen Signed and dated on the front of the work; the verso of the frame bears the UFO (Albert Merola) gallery label. F...

Abstract Still Life c/1935-1945) Gouache and watercolor on paper 17 3/4" x 24" 21 1/2" x 27 1/2" x 1 1/4" framed Signed "E Cory" lower right.

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the actual signature on the artwork itself. Frame Included: elegantly floated and framed in hand made white wood museum frame with UV plexiglass This work is signed and titled on the back of the artwork itself. The signature shown on the back of the frame is a photo of the actual signature, since the actual pencil signature and title is on the artwork itself, which can't be seen within the frame Measurements: Frame: 21 x 17 x 1.5 inches Artwork: 18 x 14.25 inches The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld...

"#227 – I WAS AFRAID" is from Amy Williams' series A Farewell to Arms – wherein the artist works directly onto pages of a found copy of Ernest Hemingway's WWII romance novel. The art...