1990er Jahre Kunst

Canovas Malerei bewegt sich ständig zwischen der zwei- und der dreidimensionalen Welt und offenbart eine tiefgreifende Beschäftigung mit Raum und Zeit, Themen, die trotz der radikale...

C F S I ist eine originale handgezeichnete Lithographie der New Yorker Künstlerin Marie Roberts, gedruckt im Handlithographie-Verfahren auf 100% säurefreiem Arches-Papier. C F S I st...

"Aufstieg zum Himmel" Abstrakt-expressionistische Kaltnadelradierung mit tanzenden Figuren Lebendiger figurativer Druck der britisch-indischen Künstlerin Sonia Kakkar (20./21. Jahrh...

Das Gemälde zeigt eine dramatische Meereslandschaft mit einem großen Segelschiff, das durch stürmische Gewässer kämpft. Das Schiff ist mit dynamischen, geschwungenen Linien bemalt, d...

Liebe Von Robert Indiana Robert Indiana (1928-2018) war ein amerikanischer Künstler, der für seine kühne, typografische Pop-Art bekannt war, insbesondere für seine ikonische Skulp...

Gordes, das Luberon-Tal, Provence Französischer Künstler, unterzeichnet und datiert 95 Öl auf Leinwand, gerahmt Gerahmt: 29 x 38 Zoll Leinwand: 24 x 32 Zoll Provenienz: Privatsammlu...

Lithographie von Lucio Rofrano aus den 1990er Jahren. Auflage von 150 Stück, nummeriert und handsigniert. Erstklassiger Zustand.

Auftriebskraft (29 Palms, CA) - 1999 20x20cm, Auflage: 10 Exemplare, plus 2 Artist Proofs. Archiv-C-Print, basierend auf dem Polaroid, Unterschriftenlabel und Zertifikat. Künst...

Limitierte Auflage einer gegossenen Keramikschale mit dem handgeschnitzten Bild einer nackten Frau, die sich in die Form einer Chilischote verjüngt. Diese Skulptur des indianischen K...

"Alice in a Blonde Wig, 1996" von Guido Argentini zeigt die unverwechselbare Bildsprache des Künstlers - sinnlich, raffiniert und skulptural. Die Komposition konzentriert sich auf ei...

Größe des Kunstwerks: 200x190 cm Rahmengröße: 205x196 cm Vom Künstler signiert und verso betitelt. Kostenloser Versand weltweit. Bengt Lindström war ein großer Mann aus dem mittl...

Ilithyia III ist eine Bronzeskulptur des zeitgenössischen Künstlers Yann Guillon mit den Maßen 26 × 16 × 18 cm (10,2 × 6,3 × 7,1 in). Die Skulptur ist signiert und nummeriert, gehör...

John Tarrell Scott, "St. George", Holzschnitt, Auflage 20, 1992. Mit Bleistift signiert, datiert, betitelt und nummeriert "18/20". Schöner, schwarzer Abdruck auf cremefarbenem Japan-...

Waddells Gemälde sind eine Kombination aus groben Spuren, dicker Farbe, transparenten, eleganten Pinselstrichen und gelegentlich einer langsamen, harten, in die Leinwand geritzten Li...

Ufer der Seine, Vernon (bei Giverny, Normandie) Französische Schule, signiert und datiert 1991 Öl auf Leinwand, gerahmt Gerahmt: 24,5 x 27,5 Zoll Leinwand : 18 x 21 Zoll Provenienz: ...

In "Destinations" entwirft Frederick Mershimer ein Bild von Taxis, die am Fuller Building, besser bekannt als Flatiron Building, vorbeirauschen. Das Gebäude ist an seinem abgerundet...

5005 Modernes französisches Cafe Öl auf Leinwand ungerahmt Unterzeichnet

Original-Poster: BATMAN - Automobilmuseum Turin (Museo Dell'Automobile Torino) Künstler: nach Andy Warhol. Größe 27,25" x 37" Gedruckt: 1996 in Mailand, Italien. Ausgezeichnete...

SWEETGRASS CARRIERS ist eine handgezeichnete Lithographie in limitierter Auflage (keine Fotoreproduktion oder ein Digitaldruck) des renommierten amerikanischen Künstlers JONATHAN GRE...

Siebdruck auf Vélinpapier. Papierformat: 22 x 17 Zoll. Beschriftung: Unsigniert und nicht nummeriert, wie ausgegeben. Anmerkungen: Aus dem Album, Gedichte von Léopold Sédar Senghor, ...

Lundberg Studios Kunstglasvase. Jedes Stück Glas, das die Handschrift der Lundberg Studios trägt, steht für das Beste, was zeitgenössisches Kunstglas zu bieten hat. Bei der Herstellu...

In den Porträts von The History of Sex, die 1996 in den Niederlanden aufgenommen wurden, blickt die Kamera direkt auf die Modelle, die entsprechend reagieren. Eyes first scheint das ...

Vintage impressionistische Venedig Stadtbild Ölgemälde. Öl auf Leinwand. Unterschrieben. Gerahmt. Ausgezeichneter Zustand, bereit zum Aufhängen und Genießen.

Jim Dine (geb. 1935) war einer der wichtigsten Künstler, die die amerikanische Pop Art der 1960er Jahre prägten. Wie Jasper Johns und Andy Warhol eignete sich Dine in seinem Werk typ...

Im Oktober 1991 errichteten Christo und sein Kollaborateur Jean-Claude eine Installation in zwei Tälern, einem in Japan, nördlich von Tokio, und einem in Kalifornien, nördlich von Lo...

Warmes Eis. Erotische Fotografie, 22,5x16 cm Erotische Frauenfotografie des lettischen Fotografen Juris Abramenko. Foto gemacht im Winter am Meer bei sonnigem Wetter

Das Angebot gilt für UNGESTRAHLTEN Druck. Erkundigen Sie sich bei uns nach der Rahmung. Ausgabe 1 von 10. Wenn das Ausstellungsstück verkauft ist oder der Kunde eine andere A...

Tokion-Poster

Original-Ausstellungsplakat von Roy Lichtenstein, präsentiert in einem schwarzen Rahmen mit den Maßen 20 × 18 Zoll. Der Rahmen hat ein 1,25-Zoll-Profil und eine Tiefe von 1 Zoll und ...

Farblithographie auf Vélin Exhibition Fine Art Cartridge Papier. Papierformat: 12,75 x 9,75 Zoll. Beschriftung: Unsigniert und nicht nummeriert, wie ausgegeben. Anmerkungen: Aus dem ...

In No Thru Traffic bietet der Meistergrafiker Art Werger ein eindrucksvolles Luftbild eines archetypischen Vorstadtviertels, das er mit seiner charakteristischen Präzision und seinem...

Seltene Serigraphie in limitierter Auflage von John Lennons handgeschriebenem Text für den Song "Clean Up Time", der erstmals 1980 auf "Double Fantasy" veröffentlicht wurde. Es wurd...

Der Pirelli-Kalender 1998 wurde von Bruce Weber in Miami fotografiert. Shalom Harlow war eines der vielen ikonischen Modelle, die fotografiert wurden. "Bruce Weber ist ein Fotograf ...

Gilbert Lewis (b.1945). Influence of Red (male portrait), ca. 1990s. Oil on masonite panel, 16 x 20 inches. Signed upper right. Ausgezeichneter Zustand. Measures 18 x 22 inches in custom gold leaf float frame. Original gallery labels affixed on verso. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks, Paul Kane, Jody Pinto, Bruce Samuelson, Barbara Sosson, and James Victor. Gloria Etting, Philadelphia The Intimate City (New York: A Studio Book – The Viking Press, 1968), photograph of Gilbert Lewis drawing in the cast hall of the Pennsylvania Academy of the Fine Arts reproduced in the chapter titled, “Art and Collectors,” n.p.. 1974 May 31, 1974, awarded Bachelor of Fine Art degree from the Philadelphia College of Art 1978 Received a Master’s Degree in Creative Arts in Therapy (MCAT) from Hahnemann University, Philadelphia. Gilbert Lewis, The Spontaneous Art Productions of an Institutionalized Geriatric Population: a thesis presented to the faculty of the Graduate School, Hahnemann Medical College, March 30, 1978 Late 1970’s to late 1980s/early-1990s, works as art therapist at Manchester House Nursing Center/Home in Media, Pa. 1977 Summer: studies at the American Projective Drawing Institute’s Annual Summer Institute run by Emanuel F. Hammer, Ph.D. 1981 First solo exhibition at Peale House Galleries (East Gallery) of the Pennsylvania Academy of the Fine Arts, March 5 – 27, 1981 “Since art school I’ve turned from oil to media of gouache and pencil, separately and sometimes together. I’m trying to discover for myself the power of observation without sacrificing the passion of the art materials.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1986 Elizabeth Leonard, Painting Flowers, (New York: Watson-Guptill Publications 1986), reproduced in color, pp. 56, 67, 110, and cover Travels to Italy: Florence, Venice… 1988 Work acquired by Philadelphia Museum of Art: Autumn, 1987, gouache, purchased with Julius Bloch Memorial Fund 1991 October 10, receives A.T.R. from American Art Therapy Association, renewed in 1996 1992 Applies to American Academy in Rome, Philadelphia Regional Visiting Artists Program Around this time he has artwork with American Artist Gallery, Wayne, Pa. 1992 (June) lives at 322 South Street. By May 1994 living at 1804 Catharine Street (until January 2017). 1998 Group exhibition: 135th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 22 – April 26, 1998. Awarded Honorable Mention c. 1999-2007+ teaches at PAFA, certificate and continuing education programs (what years?) 2001 Group exhibition: 138th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 25 – April 29, 2001. Awarded Second Award By 2002 until c. 2014 Works at Blick Art Supply store, Philadelphia 2005 An undated artist statement from this time states: “My inspiration for this series came from the work of the nineteenth-century painter, George Catlin, who painted portraits of the American Indians. My portraits serve to commemorate the “tribe” of contemporary creative youth. Most of the studies were painted from life, originally using transparent and opaque watercolors, and in the past five years the series began to include oil studies on panels. In the watercolor paintings, the forms emerge from multiple layers of color, which have an intensity and a luminosity equal to oil painting on canvas, but demands the additional challenge of maintaining the integrity of the paper’s fragile surface. My oil studies, consisting of many layers of oil glazes over an under-painting, approach a look more like the oil paintings of Catlin that had originally inspired me, but these studies seem to have an additional intense almost icon-like quality.” 2008 Peter Weiermair, editor, Treasures of Gay Art from the Leslie/Lohman Gay Art Foundation, (All Saints Press, 2008). Resting, 1982, gouache on paper, 44 x 30 inches, Founders’ purchase, 2004.1222.0002, reproduced in color p. 50; Swimmer, 1984, gouache on board, 63.75 x 44 inches, gift of George Dudley, 1994.1222.0001, reproduced in color p. 51 2015 Kevin Clarke, The Art of Looking: The Life and Treasures of Collector Charles Leslie, (Berlin: Bruno Gmünder, 2015), Swimmer reproduced in color p. 182 2017 He moves from his home at 18XX Catherine Street, Philadelphia, to the WaterMark. In January 2018 he is moved to Wyncote House, Pa., an Alzheimer’s care facility. Six works acquired by PAFA. Philadelphia, Pa., Pennsylvania Academy of the Fine Arts. Recent Acquisitions, summer 2017. Stephan Salisbury, “PAFA’s 32 New Works,” The Philadelphia Inquirer, Tuesday, July 11, 2017, pp. C-1 and C-6. SOLO EXHIBITIONS 2020 Pennsylvania Academy of the Fine Arts (July 9 - ), Willliam Way Community Center (July 10 - ), and Woodmere Art Museum (July 16 – October 20), Gilbert Lewis 2004 New York, N.Y., Leslie Lohman Foundation, Gilbert Lewis: Becoming Men - • Doug Gruse, “Gilbert Lewis,” Philadelphia Gay News, April 9-15, 2004, pp. 25, 27 and 32; BECOMING MEN: Portrait Paintings by Gilbert Lewis, March 9 – April 17, 2004 127-B Prince Street, (Text from Becoming Men: Portrait Paintings by Gilbert Lewis by Christian Bain, in issue 12 of The ARCHIVE) BECOMING MEN: Portrait Paintings by Gilbert Lewis By Christian Bain Philadelphia artist Gilbert Lewis inspires superlatives. What other artist has been compared to Eakins (whose student was Lewis’ teacher) and Titian in the same Art Matters review, or anywhere else for that matter? Gilbert is also an artist who focuses on the beginning and end of adulthood. During the almost 20 years he worked in a nursing home he painted portraits of elderly patients by day and of young men at night. “One of my motivations in painting has been to celebrate the beginning of adulthood for the young and the final period of life for the old,” Gilbert observes. “What struck me is that both young men and the old are ignored by society. Despite our ostensible focus on youth, young men are in a sort of nether world, no longer teenagers and yet not full adults. They’re in transition with no established identity and no real place in society. “A nursing home is basically an orphanage for elderly adults. It’s a place where people don’t really have their families anymore and visiting relatives and the staff constantly tell them what to do and don’t stop to hear what they have to say. When I was with them doing their portraits we were one on one and we were free to talk about whatever they wanted, with assurance that it would remain confidential. They often told me things even their children didn’t know. “What they had in common with the young men who modeled for me is that they could talk and know that someone was listening. My good fortune was that my young models really appreciated the fact that an adult person was actually there for them and not telling them what to do. I never gave them explicit instructions other than to tell them where to sit or stand. I let them decide how they would do it–I took the queue from each model. “Both the young men and elderly people who sat for me had a sense of trust because I listened to them and didn’t run away. Some of the young models would bring CDs or tapes of their favorite music to play while we sat. “I always painted from live models in gouache, watercolor or oil. The portraits were always completed while the model was still sitting: I only touched up the backgrounds, but never the figures.
“I wish that the exhibition could have colored strings connecting the young men who modeled for me with the models who recommended them and the friends they recommended in turn. It would make a very interesting story.” 1994 Philadelphia, Pa., Rosenfeld Gallery, Gilbert Lewis: watercolors & gouache paintings, April 10 – May 1, 1994, Man in Gray Shirt, 1992, watercolor, 16 x 20 inches, reproduced in color on the postcard. Review: Edward J. Sozanski, “Art. Nudes done dispassionately and romantically, Two very different approaches,” The Philadelphia Inquirer, Friday, April 15, 1994, Study watercolor, reproduced. [Bruce Samuelson ‘s exhibition also reviewed] c. 1990 Educational Testing Services, Gilbert Lewis, ten works (checklist): 1- Left Profile; 2- Dancer (Woodmere Art Museum); 3- Studious; 4- Wrestler (collection of Bill Scott); 5. Untitled Portrait; 6. Man in Red and Blue; 7 Man in Blue Sweater; 8- Student; 9- Young Artist; 10- Man with Intense Gaze 1988 Philadelphia, Pa., Gross McCleaf Gallery, Gilbert Lewis: Paintings and Drawings, October 19 – November 5, 1988. Review:s Victoria Donohoe, “On galleries,” The Philadelphia Inquirer, Saturday, October 29, 1988, p. 5-D.; Jeanne Nugent, “Pennsylvania: Gilbert Lewis,” New Art Examiner, January 1989, pp. 52-53. Study [reclining nude male, arms folded over head], 1988, gouache, 22 x 30 inches, reproduced in black and white; Brenda Reed, “Reviews in Brief,” Art Matters, December 1988/January 1989, p. 2 1987 West Chester, Pa., Mitchell Hall Gallery at West Chester University, Gilbert Lewis: Paintings & Drawings, November 4 – 25, 1987. Hands Together, 1987, gouache on board, 40 x 30 inches, reproduced in color on the invitation. Twenty-one works on the checklist, including #19- Sick Boy (collection of Woodmere Art Museum) 1986 Boston, Mass., Twentieth Century Gallery, Gilbert Lewis, to July 2, 1986; Review: David Bonetti, “On and off the street,” The Boston Phoenix, section three, June 17, 1986 1985 Philadelphia, Pa., Noel Butcher Gallery, through January 30, 1985. Twenty-one works (pricelist/checklist). Review: Tam Mossman, “Lewis: Sex and sensitivity,” Welcomat, January 23, 1985. Works cited in review: Blonde Man [on invitation], Man in Argyle Sweater [both 1984], Man in Black and White Shirt, Boy, Summer Afternoon, Tribute, Gray Robe, Roses, Spring Portrait. Reproduced in the review: Swimmer (Leslie Lohman Foundation); Victoria Donohoe, “Galleries,” The Philadelphia Inquirer, Saturday, January 12, 1985; reviewed by Ann Jarmusch for New Art Examiner???? 1983 Philadelphia, Pa., Noel Butcher Gallery, September 9 - October 5, 1983. Reviews: William Southwell, “Reviews in Brief,” Art Matters, October 1983, p. 2; Victoria Donohoe, “3 painters, 3 distinct viewpoints,” The Philadelphia Inquirer, Sunday, September 25, 1983, p. 17-H; Profile advertisement in Art Now/ Philadelphia: Gallery Guide, September 1983, Seated Figure and Reclining Nude reproduced 1982 Philadelphia, Pa., Butcher & More Gallery 1981 Philadelphia, Pa., Peale House Galleries of the Pennsylvania Academy of the Fine Arts 1976 Philadelphia, Pa., La Terrasse Restaurant, Solo Exhibition GROUP SHOWS: 2020 Lincroft, N.J., Brookdale Community College, Morris Blackburn (1902-1979) and His Legacy: Painter, Printmaker, Writer, Teacher, January 22 – February 21, 2020. 2019 Philadelphia, Pa., Leonard Pearlstein Gallery, Westphal College of Media Arts and Design, Drexel University, Stonewall@50, curated by David Acosta and Janus Ourma, June 28 – July 26, 2019. 2018 Montclair, N.J., Montclair Art Museum, Constructing Identity in America (1766 – 2017), September 1, 2018 – January 5, 2019 2017 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Recent Acquisitions Philadelphia, Pa., Woodmere Art Museum, A More Perfect Union: Power, Sex, and Race in the Representation of Couples, February 4 – May 21, 2017. Reproduced in color in the catalog, pp. 53 and 69. Untitled (8-25-83), gouache, reproduced in color in Woodmere Art Museum Calendar, Winter/Spring 2017, p. 4 Philadelphia, Cerulean Arts Gallery ? Philadelphia, Pa., Gross McCleaf Gallery, Todd’s show 2014 Philadelphia, Cerulean Arts Gallery, Lilies, Figs and Folly: Contemporary Still Life Paintings & Works on Paper. Bill Scott, guest curator, November 26 – December 21, 2014 2007 Serves as juror for William Way Center’s Annual Juried Exhibition. The other two jurors were Robert Goodman and Shelly Spector. 2006 or 2007 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition [Vase of Roses] 2006 Philadelphia, Pa., William Way Center, Annual Juried Show, Douglas Pascall, juror Philadelphia, Pa., William Way Center, Gilbert Lewis: Portraits, a solo exhibition, Fall The artist donates his work, Portrait, to the William Way Center for its art collection. Teaches Drawing Fundamentals: a mixed media drawing class, at the William Way Center. 2005 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2004 Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, awarded Mary Butler Memorial Award Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2003 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2002 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2001
Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition Sewell, N.J., Gloucester County College Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 25 – April 29, 2001, awarded Second Award 2000 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1999 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1998 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 22 – April 26, 1998, awarded Honorable Mention Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition 1996 Camden, Stedman Art Gallery, Rutgers, The State University of New Jersey, Rutgers National: Works On/Of Paper, March 11 – April 27, 1996, Study with Blue, Green reproduced in black and white in the catalog. Leon Golub and Ann Philbin, jurors. Northampton, Mass., Smith College, Drawing Philadelphia, Pa., Philadelphia Art Alliance 1995 Media, Pa., Delaware County Community College Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Philadelphia, Pa., Philadelphia Art Alliance 1994 Philadelphia, Pa., Rosenfeld Gallery, (also in 1993) Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Media, Pa., Delaware County Community College 1993 Haverford, Pa., Main Line Center for the Arts Abington, Pa., Abington Art Center Philadelphia, Pa., Woodmere Art Museum, (also in 1989) Media, Pa., Delaware County Community College 1992 Williamsburg, Va., Muscarelle Museum of Art, American Drawing Biennial, April 11 – May 24, 1992, Jack Beal, juror. Exhibited: Study, watercolor Philadelphia, Pa., Philadelphia Watercolor Club Cheltenham, Pa., Cheltenham Art Center (also in 1989) Philadelphia, Pa., Philadelphia Museum of Art, Pertaining to Philadelphia, [June?] – August 16, 1992, reproduced in black and white in Philadelphia Museum of Art’s June 1992 newsletter of Special Exhibitions & Events; Reviews: Edward J. Sozanski, “On Galleries,” The Philadelphia Inquirer, Thursday, June 4, 1992, p. D5; “Local Artist Exhibits at Philadelphia Museum of Art,” Town Talk, Wednesday, July 29, 1992, p. 24M, Autumn reproduced Williamsburg, Va., Muscarelle Museum of Art Allentown, Pa., Allentown Art Museum, 23rd Juried Show. Review: Peter Schnore, “Reviews in Brief,” Art Matters, February 1992, page 1 Philadelphia, Pa., Woodmere Art Museum, The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, closed January 5, 1992. Reviewed: Peter Schnore, “More Reviews,” Art Matters, December 1991/January 1992, p. 9. “…only Gilbert Lewis approaches the level of Eakins. Lewis continues his ongoing documentation of young men seen with a searing empathy, incredible candor, and no more technical flaws than the average...

Abundant Harvest – Sommer-Obststillleben Lebhaftes Stillleben mit saftigen, reifen Früchten auf einer Keramikfliese von Alzora Zaremba (Amerikanerin, geb. 1943). Signiert vom Künstl...

Signiert pontillist Öl auf Leinwand Figur in der Landschaft um 1990 von Französisch post impressionistischen Maler Hugues Claude Pissarro. Das Stück zeigt eine Sommerszene mit einer ...

Künstler: Branko Bahunek, Kroate (1935 - ) Titel: Der Flötist Jahr: 1990 Medium: Bronzeskulptur, Signatur und Nummer eingraviert Ausgabe: 10/15 Größe: 52,07 cm x 20,32 cm x 20,32 cm...

Stilleben mit Obst und Brot Rustikales französisches Bauernhaus-Interieur des französischen Künstlers Robert Chailloux (1913-2006) aus dem 20. Kunst misst 29 x 23,5 Zoll Rahmen miss...

Gesamtauflage von 15 signiert und nummeriert Auch erhältlich in: 90 x 120 cm / 35.4 x 47.2 in 120 x 160 cm / 47.2 x 63 in Ein schwarzes nacktes Modell von vorne. Thierry Le Gouès, ...

WEDDING ist eine handgezeichnete Lithografie der amerikanischen surrealistischen Künstlerin Fanny Brennan in limitierter Auflage, die in traditioneller Handlithografie-Technik auf ar...

Künstler: Peter Max (1937) Titel: Profil-Reihe II Jahr: 1998 Auflage: 83/300, plus Probedrucke Medium: Lithographie auf Coventry Smooth Papier Größe: 8,5 x 7 Zoll Zustand: Ausgezeich...

Voyeurismus für den Playboy ist eine Schwarz-Weiß-Fotografie, die von Helmut Newton realisiert wurde. Schwarz-Weiß-Foto. Aus der Serie "Voyeurismus", die Newton für das Playboy-Mag...

Original-Ausstellungskatalog, für Jean-Michel Basquiat - Eine Retrospektive; Musée Cantini, Marseille, Frankreich, 1992. Illustrierter Umschlag mit Klappen, 192 Seiten; ca. 30 x 23 ...

Dieses Roland-Garros-Plakat von Arman aus dem Jahr 2002 ist ein bemerkenswertes Werk, das die Welten des Tennis und der zeitgenössischen Kunst miteinander verbindet. Die dynamische V...

AFFIRMATION ist eine handgezeichnete Lithographie in limitierter Auflage aus der Sacred Garden Serie des britischen Künstlers David Leverett (1938-2020), gedruckt in Handlithographie...

Künstler: Robert Mangold Titel: Unbenannt Mappe: Ein Buch mit Siebdrucken: Multiple Panel Paintings, Edition C Medium: Siebdruck in Farben Jahr: 1992 Ausgabe: AP 1/25 Blattgröße: 11 ...

Giancarlo Impiglia, Italiener/Amerikaner (1940 - ) - Progetto Ritorno, Jahr: 1998, Medium: Acryl auf Leinwand, signiert, Größe: 32 x 26 Zoll (81,28 x 66,04 cm)

Dies ist eine Einzelblatt-Offsetlithografie mit dem Titel "Nude with Blue Hair" aus Roy Lichtensteins ikonischem Nudes-Portfolio, herausgegeben von Tyler Graphics. Gerahmt in einem ...

Zladku Oliver Kleine Hütte Farblithographie Jahr: Unbekannt Handsigniert und beschriftet Größe: 7,8 × 11,7 auf 10,9 × 14,8 Zoll COA bereitgestellt (Galerie ausgestellt) -----------...

Riders for Playboy ist eine Schwarz-Weiß-Fotografie, die von Helmut Newton realisiert wurde. Schwarz-Weiß-Foto.  Aus der Serie "Riders", die Newton für das Playboy-Magazin realisie...

Pepe Herrera (Kuba, ) Ohne Titel", 1998 Siebdruck auf Leinwand 19,7 x 25,6 Zoll (50 x 65 cm) Auflage von 100 Stück Ungerahmt ID: HER1205-001-100_8 Vom Autor handsigniert

Diese Pferdebüste - Skulptur ist ein Originalkunstwerk des italienischen Künstlers Domenico Mazzone (Rutigliano, Bari, 1927-1999) aus dem 20. Jahrhundert. Skulptur aus verlorener Wa...

Künstler: Jim Dine Titel: Dynamit Jahr: 1998 Medium: Holzschnitt, Aquatinta, Radierung und Kaltnadelradierung in Farben auf Folio Antique Papier Auflage: 18; signiert, nummeriert und...

CLÉMENT CYCLES ist eine limitierte Auflage einer Kunstlithographie nach dem französischen Original-Werbeplakat, das von PAL (Jean de Paleologue) für Fernand Clément Bicycle Co. in Fr...

Vintage American modernist abstrakte Ölgemälde. Öl auf Leinwand. Gerahmt. Unterschrieben. Messen: 37 von 25 Zoll insgesamt, und 36 von 24 Malerei allein. In ausgezeichnetem Origina...

Öl auf Leinwand von Pino Romanò (1934) aus den 1990er Jahren. Handsigniert. Rückseitig betitelt. Sehr guter Zustand.

„Siamese Cats“, Feline Portrait, Stickerei Künstlerin, Shorebird Studio, Aquarellmalerei Signiert unten rechts: "Kathryn Molineux" (Amerikanerin, 20. Jahrhundert), gemalt um 1995. V...

Katsumi Hayakawa (Japaner, geb. 1970) Sphärisches Moos, 1999 Öl, Galkyd und Modelliermasse auf Leinwand 64 x 84 x 1 3/4 in. Verso signiert und mit Künstlerinsignien gestempelt Silver...

Highway U.S. 1, Number 5 von Allan D'Arcangelo ist eine Offsetlithografie aus einer Mappe mit sechs Drucken, die vom Museum of Modern Art herausgegeben wurde. Sie ist längst vergriff...

Papierformat: 22 x 28 Zoll (55,88 x 71,12 cm) Bildgröße: 22 x 28 Zoll (55,88 x 71,12 cm) Gerahmt: Nein Zustand: A-: Fast neuwertig, sehr leichte Gebrauchsspuren Zusätzliche Det...