Hanna Ben Dov Art

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed.

Antique American modernist abstract landscape oil painting. Oil on canvas. Framed.

Oil on canvas, 27 x 31 inches overall, 20 x 24 inches image size. A modern urban nocturne depicting the Manhattan Bridge at night, painted with gestural brushwork and a restrained, b...

Antique American modernist landscape pastel painting. Pastel on board. Framed in plexi box.

Antique American modernist signed abstract tropical oil painting. Oil on board. Framed.

Antique American modernist signed abstract landscape oil painting. Oil on canvas. Signed. Framed.

Antique American modernist landscape oil painting. Oil on canvas. Framed. Signed verso.

Antique American modernist cityscape oil painting. Oil on canvas. Framed. Signed. Measuring: 29 by 25 inches overall, and 20 by 24 painting alone. In excellent original condition. ...

Artist: (after) Dan Flavin (American, 1933-1996) Title: "Dan Flavin: A Retrospective" Year: 2004 Medium: Original Offset-Lithograph, Exhibition Poster on heavy smooth wove paper Limi...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed illegibly.

Vintage American modernist abstract landscape oil painting. Oil on canvas. Framed. Signed. Measuring: 14 by 21 inches overall, and 9 by 16 painting alone.. In excellent original co...

Brice Marden Elevation print (Hand Signed by Brice Marden), 2019 Offset lithograph. Hand Signed by Brice Marden Boldly signed in black marker by Brice Marden on the front 24 × 34 3/4 inches Provenance: Acquired from Gagosian gallery Publisher: Gagosian Gallery, NY Unframed Produced in 2019 on the occasion of the exhibition "Brice Marden: It reminds me of something, and I don’t know what it is." at Gagosian. This signed example was acquired directly from Gagosian gallery before they sold out. About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...