S. P. Harper Art

Large acrylic painting by Pat Rosenstein, American Woman Artist, graduate of Pratt Institute whose work has been exhibited extensively. Rosenstein, who...

This is an abstract collage / painting created from acrylic and found objects. It is framed in a wide, dark wooden frame with gold accents. It includes several manipulated historic photograph of figures in many guises, arranged as if on stage. It is signed and dated by the artist lower left. PROVENANCE: Exhibited in "Portals + Revelations: Richard J. Watson," the African American Museum in Philadelphia, Oct 2021 - Mar 2022. "Most of my works are supported by memories of the past and suggested realities. Issues of social politics, ancestral references, and astral projections are presented with fragmented elements of 'real life' collaged and collapsed, as dreams are prone to do. If connections are made, all the better. I feel that life should remind us of our dreams." - Richard J. Watson Richard J. Watson is an icon in the Philadelphia art world. Much of his work relates to his experiences as a Black African American man. He is a graduate of Pennsylvania Academy of the Fine Arts (1968), has taught at his alma mater, and has served in the Exhibitions Department at the African American Museum in Philadelphia since the 1980s. He has been exhibiting his work for decades, and has an extensive bibliography. His work is held in the Petrucci Family Foundation Collection of African American Art; the Pennsylvania Academy of the Fine Arts; the Uniworld Corporation; Sony; the Federal Reserve Bank; the City of Philadelphia; Sprint; the Church of the Advocate; the poet Dr. Sonia Sanchez; and the Woodmere Museum...

signed with initials verso and a stamp Kooter Boogers of America. with an intentionally distressed surface. please see photos. Martin Hoffman, a prominent artist whose work in the 1970s was simultaneously identified with high art (gritty realist paintings sold through the O.K. Harris Gallery in New York) and low (illustrations for Playboy magazine). Throughout his career, his style ranged from energetic abstraction and hard-edge pop to photo-based realism and minimalism. In recent years, he created a series of autobiographical paintings in a winsome, cartoon-like style. He also did a series of subtly hued works in which inscrutable words half-disappear into the paint in which they are inscribed. Hoffman’s first job out of college was as art director for the Miami News, a position that he held from 1956 until 1962. Afterward he worked as a graphic designer in Miami while making paintings at home in his spare time. His earliest paintings (which were done, he said, as a “testosterone-driven teenager”) were executed in automotive lacquer on 4 x 8 foot sheets of builder’s hardboard. They combined glossy, visceral surfaces and metallic paints with collaged-on metal shapes and mirrors. In the 1960s, Hoffman’s paintings began to incorporate figures and symbolism with erotic undertones. Through a mutual friend, Sidney Janis saw Hoffman’s paintings and selected one of them for his international “Erotic Art ‘66” exhibition at Sidney Janis Gallery in New York. Others in the show included Pop Art icons Jim Dine, Larry Rivers, James Rosenquist and Tom Wesselman. Hoffman’s painting hung besides an Andy Warhol silkscreen painting of a partially peeled banana. From 1966 to 1992, Hoffman was a freelance Playboy illustrator. He called those years “a wonderful period – it supported my family.” Hoffman painted a series of nudes titled “Woman Eternal” which was featured in Playboy’s December 1972 issue. Through the years, he also created illustrations for books, record albums, movie posters and print ads. Clients included Pfizer, Caesar’s Palace, Harley Davidson Motorcycles and the NASA Art Program, which commissioned a series of works based on activities at the former Kennedy Space Center...

This is a two-part wall mounted painting / sculpture this integrates found objects and photographs into an acrylic painting on the top, and a wooden shelf with bullet casings and coins below. This is a conceptual, abstract work of art that is a powerful homage to lives lost through calculated gun violence in American cites. signed by the artist. PROVENANCE: Exhibited in "Portals + Revelations: Richard J. Watson," the African American Museum in Philadelphia, Oct 2021 - Mar 2022. "Most of my works are supported by memories of the past and suggested realities. Issues of social politics, ancestral references, and astral projections are presented with fragmented elements...

JUDITH SHAHN Paris river scene with bridge. Hand signed. Dimensions: Image Size: H: 27 inches: a: 41.5 inches. The artist takes a naive approach to depicting the subject by simplify...

Provenance: Madison Gallery (Madison Connecticut) bears their label verso. Hunting and fishing cabin themed artwork in a hyper realist or photo realist style. James Carter (Born 1948) is active/lives in Connecticut. James O Carter is known for Trompe l'oeil still life painting. James Carter is known for his for his airbrush acrylic paintings, serigraphs and lithographs. Some of his paintings have written text, and his style combines carefully controlled trompe l'oeil and abstract Surrealism influences. James Carter was born in Port Chester, New York, in 1948. He studied at Silvermine College of Art in Connecticut and graduated with a B.F.A. from the Maryland Institute of Art. Carter’s paintings and prints have been exhibited at the Zenith Gallery, Washington, D.C., the Horizon Gallery, New York, and the Bell Gallery, Greenwich, Connecticut. His still lifes display the influence of Surrealist painters of the 1930s such as Rene Magritte and Max Ernst. Like the Surrealists, Carter juxtaposes unexpected objects – teacups, whales, and blue skies, for example – which often sit uncomfortably within his pictorial space. But he has also been influenced by the late-nineteenth-century American trompe l’oeil painters William Harnett...

Pink and orange abstract figurative mixed media painting by Houston, TX artist Margaret Nobler. The painting features a figure of a female against a pi...

Eliezer Weishoff (Israeli, 20th century) Still life of kettle (Russian samovar) over a warmer, 1973 Acrylic or oil on canvas Signed, dated and signed ...

This is hand signed and dated in English and appears to have Chinese (or Taiwanese) calligraphic characters above it. This depicts an Asian porcelain or pottery vase in a vibrant blue green color with a dragon motif filled with colorful flowers. This is a bold color painting...

In this painting by Judith Shahn, the artist renders a boat and dock in a series of lines. The artist takes a naive approach at depicting the subject by simplifying the elements in t...

Daniel Fiorda in this new series of sculptures, continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. These new wall pieces feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, computer keyboards, objects that evoke industrial post-digital eras. This piece is a set of 3 artworks that showcases a video editing keyboard on a white background, embedded in resin and they can be arranged for display in a variety of layouts. They come ready to hang with hanging hardware and they are signed by the artist on verso. Art measures 7 x 7 x 1.75 in (each) The overall sense is dystopian rather than apocalyptic. In Fiorda’s previous work, found objects were displayed as if unearthed from a bed of clay by a tacit anthropologist, perhaps decades into the future. A typewriter would be partially buried by dry soil and weathered by the passing of time. The underlying narrative was that of a future civilization unearthing the objects left by ours. Destruction or extinction was implied. In the new work, the obsolete technology is not found but rather engulfed by a new technology. Concrete, as a material and as a technology, has the capabilities to fully encase and envelope. In Fiorda’s new work, uniformity and the appropriation of old/new technology into new structures suggests a historical and technological challenge right around the corner, mirroring the ones in our recent past: the digital age fully replacing the analog world. These astounding sculptures, with embedded objects, are here to examine closely, and make connections between theme, material, and shape. Daniel Fiorda was born in 1963 in Buenos Aires, Argentina. Of Italian ancestry, his lineage includes a grandfather highly respected as a wood craftsman, also his father was a craftsman in addition to being a musician and poet. Because a privileged life was not his, there was no university for Fiorda. In the Old World tradition of passing on knowledge from parent to child, he learned about machinery form his father, who recognized his son's talent and encouraged it. With some private tutoring, he began sculpting in high school using found objects. The press reviews of his first exhibit, at age 20, stated that Fiorda had a definite “poetic feeling”. With this encouragement, he continued to pursue his art. After leaving Argentina, he arrived in Miami Beach via a circuitous route and set up his studio in the South Florida Art Center. He has exhibited widely throughout the US including the OK Harris Gallery, Allan Stone Gallery in New York as well as the Heriard Cimino Gallery in New Orleans, Lélia Mordoch Gallery in Paris France and Lilac Gallery in New York City. Daniel was one of the winners in the 7th Annual Sculptures Competition (2003) held at Washburn University in Topeka , Kansas. Selected on the inaugural 2006 Palm Beach International Sculpture Biennale, and exhibited for the 3rd time in Sculpture Key West. He is an alumni Artist of ArtCenter/South Florida. Two Pieces from his “Convertible Couch projects...

To go towards the unknown in his own cosmos and to bring back paintings inspired by the terrestrial and extra-terrestrial nature, the unknown, space, the galactic void. Halfway betwe...