Paul Pletka Art

Abstraction (Untitled), c. 1930s, mixed media on board, signed lower right, 8 ¼ x 7 inches (image), 15 x 10 inches (board), Literature: Achieving Recognition, American Fine Art Magaz...

Allen Ladd as Shane Colored and metallic paper collage. c. 1960's Signed in ink lower right; Signed in pencil on reverse; (see photo) Titled in pencil upper left recto (see photo) C...

Shimmering Pond in the Woods - Surrealist Abstract 1960s Highly textured abstract composition by Rose Herzog (American, mid-20th Century). A multicolored pond is shown in the middle...

SantaFe Bird is by Anne Embree who is known for her whimsical animal paintings . Santa Fe Bird focuses on the Bird and the surrounding objects Perched is...

Caviar20 is excited to be offering this striking collage by the inimitable Louise Nevelson, who is regarded as one of the most original, influential, and successful American sculptors of the 20th century. Nevelson's enduring appeal lies in her distinct visual language, which is apparent in all of her works, regardless of medium. While her iconic monochromatic wood assemblages are instantly recognizable, she continuously experimented with diverse materials, including resin, steel, and bronze, as well as numerous printmaking techniques. Collage was an important part of Nevelson's practice, defining her signature aesthetic. Much like her approach to printmaking, her collages possess a sculptural ethos that transcends the two-dimensional surface, imbuing the composition with a remarkable sense of volume, texture, and depth. One could argue that Nevelson's sculpture was informed by collage in that she took assorted existing forms combining them in order to create an entirely new and distinct arrangement. This untitled collage is an exceptional example of the artist's mastery of the medium. Featuring an assemblage of wood veneer, mirror, and metal, this work reflects Nevelson's meticulous sense of form and rhythm. Subtle details, such as the alternating direction of the wood veneer grain further heighten the visual complexity of the otherwise minimal composition. The inclusion of wood veneer marks a notable shift for Nevelson, who was previously loyal to a strict monochromatic palette of black or white. It wasn’t until the 1970s with her experimentation in collage that she expanded her palette. Nevelson also created jewellery and this collage acknowledges her activity in that realm. Created at the age of 83 during the final chapter of her career, this piece powerfully captures Nevelson's enduring spirit and dedication to artistic innovation. Today Nevelson's work can be found in every major public collection across North America and beyond. Questions about this piece? Contact us. Visit our Toronto gallery on Thursdays or by appointment. "Untitled" USA, 1983 Mixed media collage Metal, mirror, wood, and wood veneer on grey mat board mounted on 0.25" Luan plywood Signed and dated by artist, bottom right Nevelson Estate no. LN 40830 19.5"H 15.75"W (work) 31"H 21"W (framed) Very good condition Literature: Stein, Judith. Louise Nevelson Collages...

Sea Winds, 3rd quarter 20th century, mixed media on board, signed lower left, 16 x 20 inches, signed, titled, media and price noted in pencil verso, exhibited Visual Art Show, Southe...

Charles Green Shaw Montage, circa 1935 Labeled on verso Pipes, antique playing cards 19 x 16 inches Charles Green Shaw, born into a wealthy New...

This feminist work of a nude gazing directly at the viewer, features graphite on mylar over cut paper, aligned to amplify the forms while maintaining the delicacy of the drawing. These recently discovered 1984 oversize works on mylar and archival papers were created with a live model. The series shows the last existing observational drawings prior to the artist's switch to working with her non- dominant left hand. As a feminist, Anastasi's main focus is presenting other women. Unlike the often objectified male gaze...

Charles Green Shaw Montage (Gaming), circa 1935 18th Century print, playing cards 15 x 10 inches Charles Green Shaw, born into a wealthy New York family, began painting when he was...

Navajo Thunderbird Silversmith Signed in ink, titled in pencil Dimensions: 42 1/4 x 23 inches Mixed media on paper Provenance: Acquired from the art...

Tribute to Bix Beiberbecke Mixed media collage, 1974 Signed and titled in ink; lower right recto (see photo) Signed and dated ’74 in red crayon verso Image size: 32.5 x 22.75 inches Condition: Wrinkles due to collage and support sheet Provenance: Joseph Erdelac, Cleveland (friend and patron of Longstreet) One of the first Jazz Legends. He died at age 28 from alcoholism. Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist, and composer. Stephen Longstreet (1907-2002) Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...