1990er Jahre Kunst

Frühe Triptychon abstrakte Bäume Wald Landschaft Malerei von britischen Urban Artist, Angela Wakefield. Dieses seltene Frühwerk stammt aus einem intensiven abstrakten Werk, das die G...

George Dannatt (1915-2009) Ablenkung des Lichts - Venedig Nr. 1 1995 Gemischte Buntstifte auf Papier Bild: 26,4 x 19,6 cm Passepartout: 40,0 x 32,4 cm Referenznummer: 1233/1 ...

Ein klassischer britischer Fisch- und Pommeswagen an einem klassischen englischen Tag, dem Haddenham Steam Rally Country Fair, Foto von Richard Heeps. Dieses Kunstwerk ist ein auf ...

Rahmengröße 78x87 cm. Rafael Griera Calderón wurde 1934 zufällig in Las Palmas de Gran Canaria geboren. Nachdem er von 1942 bis 1960 in Olot gelebt hatte, wo sein Vater eine Werksta...

Untitled - Fruits ist ein Originalkunstwerk des italienischen Künstlers Mario Schifano aus dem Jahr 1995. Original-Mischtechnik. Gemälde auf Leinwand mit Skulpturenrelief. Handsi...

Linda Stein, Blade Vibration 247 - Aquarell auf Papier, impressionistisch, bunt, grün, blau In den 1990er Jahren begann Linda Stein mit der Arbeit an der Serie Blades, einer Serie v...

Larry Rivers Plakat "Das Musikfestival der Hamptons / 18. bis 27. Juli 1997", Nicht handsigniert. [Abmessungen: 24" H x 18" W] Larry Rivers (geboren als Yitzroch Loiza Grossberg...

Christus Pantokrator nach einer russischen Ikone aus dem 15. Jahrhundert. Tempera und Blattgold auf Gesso über einer Holzplatte. Maße in Zentimetern: 38 x 29,5 x 3 cm. / In Zoll: 1...

Palm Springs Palmen (Californication) - 2023 50x49cm. Auflage: 10 Exemplare plus 2 Probedrucke. Archiv-C-Print, basierend auf dem Polaroid. Label für Zertifikat und Unterschrift...

Francisco Sanchis Cortés - Frau mit roter Blume Medium: Öl auf Leinwand Abmessungen der Leinwand: 73 × 54 cm (28,7 × 21,3 Zoll) Gerahmte Abmessungen: 91 × 72 cm (35,8 × 28,3 Zoll) U...

Aus dem Portfolio Nudes, Einzelblatt mit dem Titel "Thinking Nude, State I" von Roy Lichtenstein, veröffentlicht von Tyler Graphics. Nicht nummeriert und unsigniert. Papierformat: 8...

Ein Mann blickt auf eine Party, während am Himmel eine schwache Gestalt zu sehen ist, vielleicht die unsichtbare Präsenz, auf die der Künstler Erik Freyman im Titel des Kunstwerks an...

Eine unbekannte Kate Moss mit 16 von Jake Chessum 1990 limitierte Auflage Auflage Größe 20 nur diese Größe gedruckt 2024 Archivierungs-Pigmentdruck nummeriert und vom Künstler...

Bunter abstrakter Siebdruck einer kreisförmigen Komposition mit einem saisonalen Thema von Deborah Rumer (Amerikanerin, 20. Jahrhundert). Am unteren Rand betitelt, nummeriert, signie...

Fernando Botero in seinem Studio, Paris, 1992 von Jean-Michel Voge ist ein 13" x 19" großer Archivpigmentdruck in einer Auflage von 5 Exemplaren, gedruckt vom Fotografen auf handgesc...

Van Nazareth ist eine eher zurückgezogene Persönlichkeit und seine Bronzeskulpturen konzentrieren sich auf ursprüngliche, illusionäre Formen. Seine Figuren sind distanziert und unkom...

Mary Cassatt, Nach, Amerikanerin (1844 - 1926) - Mütterliche Liebkosung, Jahr: 1991; Originalveröffentlichung: 1890 - 1891, Medium: Farbradierung auf Arches-Papier, Bildgröße: 13 ...

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...

Fish, Janet (Amerikanerin, geboren 1938). A. M. Farbsiebdruck, 1994. Auflage von 60 Stück, gedruckt und herausgegeben von Stewart & Stewart. Mit Bleistift signiert und nummeriert 16...

16 x 20" Vintage-Silbergelatine-Fotografie, weiblicher Akt in Mehrfachbelichtung. Betitelt, nummeriert, datiert und signiert von Jack Mitchell auf der Vorderseite. Kommt direkt aus d...

Robert Mapplethorpe Seltenes (historisches) Atlantic House, Provincetown - Entre Nous - Chains Poster, 1991 Offsetlithografie-Poster 17 × 11 Zoll Ungerahmt, unsigniert und nicht numm...

Capeláns Werk zeichnet sich durch einen rigorosen Umgang mit verschiedenen künstlerischen Techniken und Verfahren aus, die von der Zeichnung bis zur Installation reichen und auch Mal...

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

Künstler Josep Moscardó (Barcelona, 1953) Titel Las Ramblas, Barcelona Technik Öl auf Leinwand Abmessungen Leinwand: 54 × 81 cm (21,3 × 31,9 Zoll) Gerahmt: 76 × 103 cm (29,9 ...

Steve Jobs war 1997 gerade zu dem in Schwierigkeiten geratenen Unternehmen Apple Computer zurückgekehrt. Jobs und Lee Clow hatten bereits 1984 bei der Einführung des MacIntosh zusamm...

Bedroom at Arles ist eine Offsetlithografie von Roy Lichtenstein, die aus einem vom Guggenheim Museum herausgegebenen Portfolio von sechs Drucken stammt, das inzwischen vergriffen is...

Farbenfrohe mediterrane Landschaft mit Wildblumen und Olivenbäumen, Ölgemälde eines spanischen Postimpressionisten Künstler: Rafael Duran Benet (1931-2015) Titel: Campos de Jaén Med...

Tom Otterness Liebende, 1992 Auf der Unterseite mit den Initialen des Künstlers und der Aufschrift „AP 5/10“ versehen Bronze 11,1 x 10,2 x 8,9 cm Tom Otterness (geb. 1952) ist ein ...

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

Vintage Keith Haring Postkarte Estate Authorized 1998 Fold 'n Please Card Made In France. Da das Stück zum Falten entworfen wurde, gibt es eine vertikale Faltlinie wie ausgestellt. G...

In Márquez' Werk lässt sich eine neue Offenheit gegenüber Natur und Landschaft beobachten. Obwohl man bei der Betrachtung seiner Gemälde von den frühen 1980er Jahren bis heute eine V...

Lebendiger Farbsiebdruck von Warhols ikonischer Banane, die ursprünglich für das Cover des Albums Velvet Underground & Nico von 1967 entworfen wurde. Diese spätere posthume Ausgabe ...

Robert Rauschenberg (1925-2008). "Arts for Act (1994)". Original-Offsetlithografie-Plakat für die Aktion "Kunst für das Gesetz", 1994. In der Platte signiert (Bold Yellow), zusät...

CALVILLE BLANC ist eine imaginäre architektonische Landschaft, die das Reale mit dem Surrealen verbindet. 1995 von dem in Iowa geborenen Künstler Jim Buckels (geb. 1948) geschaffen, der für seine traumhaften Bilder bekannt ist, die in einer akribischen, modernen Airbrush-Technik ausgeführt werden. Dieser Siebdruck in limitierter Auflage wurde im Handsiebdruckverfahren auf schwerem Archivpapier gedruckt, mit sehr feinen Details und in hervorragender handwerklicher Qualität. CALVILLE BLANC präsentiert dem Betrachter eine traumhafte, metaphysische Landschaft, die von kühlen Blautönen, dunklen Grüntönen, Grautönen, Beige, Magenta, Rosa, Gelb, Weiß und Schwarz geprägt ist. Eine friedliche, mondbeschienene Gartenszene...

Dies gilt für den hier aufgeführten Druck. „Internalized Page Project“, Band II. Farbige Iris-Digitaldrucke auf Papier, jeweils auf der Rückseite signiert und nummeriert, Auflage: 15...

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

Einzigartiges und lebendiges Gemälde in Mischtechnik mit nacktem Körperabdruck in Acryl von der amerikanischen Künstlerin Kismine Varner, um 1990. Originalkunstwerk auf Papier auf ...

Sehr dekorative Tierszene mit zwei Hunden in einem Interieur, die eine Katze überraschen, die auf sie zugeht. Grover Hawking war ein Maler des späten 20. Jahrhunderts, der in New J...

Pastell auf Papier Elena Borstein lebt und arbeitet derzeit in New York City und in den Adirondack Mountains. Sie wurde in Hartford, Connecticut, geboren und erhielt ihren Bachelor ...

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

Pierre Alechinsky (1927) - À deux mains Radierung von 1997. Pour Raymond, cordialement. Abmessungen des Werks: 76,5 x 60 cm. Handsigniert. Referent: Alechinsky. 50 ans d'Imprime...

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...

"Steve Jobs war 1997 gerade zu dem angeschlagenen Unternehmen Apple Computer zurückgekehrt. Jobs und Lee Clow hatten bereits 1984 bei der Einführung des MacIntosh zusammengearbeitet....

Titel des Kunstwerks: Alineació, París Künstler: Josep Maria Vayreda Canadell Technik: Öl auf Leinwand Abmessungen ohne Rahmen: 16,1 x 13 Zoll Abmessungen mit Rahmen: 22,8 x 19,7 Zol...

Marin. Original Wandteppich RAVENTÓS Mª Assumpció - (San Sadurní d'Anoia, Barcelona 1930). Raventos erhielt seine Ausbildung an der Eliteschule der Schönen Künste Sant Jordi in Barc...

Martha Lloyd (Amerikanerin, 1927-2018) Tauwetter, 1997 Öl und Wachs (Enkaustik) auf Leinwand 20 x 20 in. Gerahmt: 21 1/4 x 21 1/4 x 1 3/4 Zoll. Verso beschriftet Provenienz: Carrie...

Capeláns Werk zeichnet sich durch einen rigorosen Umgang mit verschiedenen künstlerischen Techniken und Verfahren aus, die von der Zeichnung bis zur Installation reichen und auch Mal...

RUSTICATORS AT THE CLOSE OF DAY ist eine originale handgezeichnete Lithographie (keine Fotoreproduktion oder Digitaldruck) der amerikanischen Künstlerin Sally Caldwell-Fisher, gedruc...

Künstler: Urbain Huchet (1930) Titel: Voiliers a Saint-Tropaz Jahr: CIRCA 1990 Medium: Lithographie auf Arches-Papier Auflage: 15/25, plus Probedrucke Größe: 29,5 x 21,25 Zoll Zustan...

Robert Morris Untersuchungen (mit Labels des Guggenheim-Museums), 1990 Graphitzeichnung auf Mylar. Gerahmt mit dem Originaletikett des Guggenheim-Museums (Leihgabe von Sonnabend), so...

Raymond Pettibon, Kim Gordon Sonic Youth in der Frankfurter Musikhalle (handsigniert von Raymond Pettibon und Kim Gordon), 1990 Offset-Lithographie-Poster Kräftig signiert und datier...

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Valeri Farràs (L'Estany, 1950) Mediterrane Landschaft mit Weg und Häusern Medium: Öl auf Leinwand Abmessungen: 38 × 46 cm (ca. 15,0 × 18,1 Zoll) Rahmung: Ungerahmt Signatur: Handsi...

In der Kolumne „Arts in America“ der New York Times schreibt Edward M. Gomez über Valton Tyler: „Visionär scheint das richtige Wort zu sein, um seine lebendigen, ungewöhnlichen und t...

Ein farbenfroher geometrischer Siebdruck der amerikanischen Künstlerin Barbara Lynch Zinkel, inspiriert von Josef Albers' "Homage to the Square". Datum: 1994 Medium: Siebdruck, Nach...

Siebdruck auf Papier. Handsigniert, betitelt und nummeriert. Auflage von 299. Erstklassiger Zustand. Ein auffälliger großformatiger Farbsiebdruck des italienischen Künstlers Fran...

Diptychon ohne Titel, Gemälde von Suzanne Law. Gerahmt Gesamtgröße: Bildgröße: 12,6 Zoll. H x 34.2 in W Rahmengröße: 18,1 Zoll. H x 44.8 in B x 1 in T Individuelle Größe: Bildgröße:...

WALKING BLINDLY ist eine handgezeichnete Original-Lithografie in limitierter Auflage von der hochgelobten afroamerikanischen Künstlerin Elizabeth Catlett, einer Meisterin der Druckgr...

Feria en Huancayo (Markt in Huancayo)" ist ein originales Ölgemälde, das von dem peruanisch-amerikanischen Maler Ernesto Gutierrez signiert wurde. Das Gemälde ist ein hervorragendes ...