FOMOBOY Paintings

Yuri Larin (1936-2014). Landscape, 1976. Watercolor on paper, 16.5 x 19.5 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower left. Excellent condition. Image is painted on verso side of block print wallpaper...

A series of six abstract painting by American artist, Edward Pechmann Renouf (1906-1999). Oil on six individual masonite panels, each panel meas...

Harry Leith-Ross (1886-1973). Boat Yards, ca.1960's. Watercolor on paper measures 9 x 17 inches; 18 x 26 inches in original matting. Signed lower left. Ori...

Rene Beckley. City Streets, 1965. Oil on artist board, 16 x 20 inches; 18 x 22 inches framed. Signed and dated lower right.

Helen Malta (b.1912). Tattoo Parlor, ca. 1935. Oil on canvas, 20 x 33 inches. Signed lower right. Metropolitan Museum of Art reproduction rights stamp on r...

Roland Ayers (1932-2017). Improvisation, 2nd Series, #5. Ink on paper, measures 19 x 24 inches. Unframed and unmounted. Signed and dated lower right, titled lower left. There are a few minor areas of loss in margins as depicted in close-up photos. Additionally, there a a few minor tears in margins. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Wayne Timm (b.1937). Subject, 1966. Oil on canvas. 36 x 40 inches; 37 x 41 inches framed. Signed, titled and dated en verso. Minor surface cracking. Paint layer is stable with no fla...

Beautiful landscape by American artist, David Shevlino (b.1962). Oil on wood panel measures 14 x 15.5 inches. Signed and dated lower right. Signed, titled and dated en verso.

Elliot Barowitz (b.1937). Little Blue Head, 1965. Oil on canvas, 1965, signed 'E.O. Barowitz', titled and dated on the stretcher. 16 x 16 in., 16 3/4 x 16 3/...

Pablo O’Higgins (1904-1983). Portrait of Don Nieves, 1960. Watercolor on paper, 18 x 24.5 inches; 19 x 25.5 inches in original frame. Signed lower righ...

Rosemarie Beck (1923-2003). Yaddo Portrait of a Man (possibly Larry Osgood). Oil on canvas, 18 x 22 inches. Without frame. Minor rippling of canvas with...

Karl Drerup (1904-2000). Italian City, c.1930. Oil on masonite panel, 24 x 32 inches; 34 x 42 in custom frame. Signed lower right. Minor conservation to loss in margins. Price on request Biography: Born in Borghorst, Germany in 1904, Karl Drerup earned a Master’s Degree in graphic arts working under Hans Meid...

Murray Hantman (1904-1999). Composition, 1951. Watercolor on paper, 14 x 21 inches. Unframed. Signed lower left. Signed, dated and titled en verso. Provenance: estate of Murray Hantman. Biography: Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War. As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad...

Mon Levinson (1926-2014). The Edge V, 1965. Plexiglass, acetate and paper. 24 x 24 x 3 inches. Minor scuffing on surface of plexiglass. Original gallery label affixed en verso. Biog...

Enrique Climent (1897-1980). Casas de Ibiza, c.1960. Oil and sand on canvas, 35 x 46 inches; 44.5 x 55.5 inches (frame). Signed lower left. Excellent condition with no damage or conservation. Instituo National de Bellas Artes lebel affixed en verso. Biography: Enrique Climent ( Valencia , Spain, 1897- Mexico City , 1980) was a Spanish painter and graphic designer, present in the Spanish Pavilion of the International Exhibition of Paris in 1937 , two of whose works are conserved in the National Museum Art Center Reina Sofía , as part of the collection of the Spanish Museum of Contemporary Art (MEAC). Exiled in Mexico , country in which he died at 83 years of age. He has been associated with the driving group in Spain of the "New Art". Born in a bourgeois family of the Valencian capital, despite paternal opposition, Climent studied at the School of Fine Arts of San Carlos , and with a scholarship received in 1919, traveled to Madrid to complete them in San Fernando . In the capital of Spain he participated in the gathering of Ramón Gómez de la Serna , for whom he illustrated some greguerías , and in the avant-garde activities of the then-called first Escuela de Vallecas , Associated with the Society of Iberian Artists . He also collaborated as an illustrator of Blanco y Negro magazine, 3 and illustrated books by Elena Fortún , Azorín , Juan Manuel Díaz Caneja and Manuel Abril . 3 Before, in 1924 he had been in Paris for two years, where he came to design some stage sets for opera shows. 6 He participated in three of the exhibitions of "Los Ibéricos" (San Sebastián in 1931, Copenhagen in 1932 and Berlin in 1933), as well as in the International Exhibitions of Contemporary Spanish Art in Paris and Venice in 1936. He was one of the Spanish exiles who in 1939 landed in Veracruz , after the crossing of the Sinaia , along with other intellectuals and artists (such as José Moreno Villa , Arturo Souto...

Oskar D'Amico (1923-2003). Fisherman at Dusk, c.1960. Oil on linen canvas, 16 x 30 inches; 18 x 32 inches (frame). Signed lower right. Excellent condition with no damage or conservation. Biography: Oskar Maria D'Amico (February 22, 1923 – May 3, 2003) was an active Italian artist in Rome, Naples, Lanciano, Cisterna, Milan, Gallarate, Torino, Zagabria, Paris, Toulouse, Melun, Carenac, Maubeuge, Madrid, Barcelona, Zaragoza, Budapest, Győr, Mexico City, Cuernavaca, Morelia, Toronto, New York City, Philadelphia, Los Angeles, San Francisco, Miami, Denver, Santa Fe, Albuquerque and Socorro, between 1943 and 2003. He is considered a Nomad artist because of his ability to work in various styles. He had three major periods in his artistic life: Figurative, Materic and Geometric. [1]He also was an outstanding art director for more than 75 epic movies. D'Amico had a very outgoing personality. He was a non-conformist, which was reflected in his work throughout his life. D'Amico was born in CastelFrentano, Italy, a small village in Abruzzo. At a young age, he felt he had to leave and dive into the big world. After being a seminarist with the Salesiani during World War II, he left Naples, where he studied architecture, and began a great adventure in Rome. He specialized at the time in decorating nightclubs and bars, and invented a special type of double ceiling to hide the lights. D'Amico, who was self-taught as a teenager in drawing and painting, burst onto the filmmaking scene in Rome when an art director asked him to do a perspective of a set design. Soon other moviemakers were calling him.[2] D'Amico was an art director on 75 films including two by Orson Welles. D’Amico was able to create a real marble floor in the set of the palace of the King Saul, in "David and Goliath" directed by Orson Welles. Art directors previously painted a simulated marble on top of concrete due to the cost of the real thing. D'Amico became an associate of Jadran Films in ex-Yugoslavia, which specialized in Roman and Egyptian constructions. While an art director, he never stopped painting. His faceless clowns, reflecting the people who had no identity after World War II, were a big success. In the early 1960s, D'Amico moved with his family to Toronto, Canada, another place he felt was too small. He left for Philadelphia and New York City, which affected his work. He turned his focus to abstract, and for more than a decade created abstract Expressionist paintings "on the plane of all matter" that he called "Materic". The Materic style, which he invented, was done in several media and could not be changed once on the canvas. The paintings were very well received. D’Amico sold more than 400 in Philadelphia and New York City. Unfortunately he had to stop doing the Materics because the colors he used were harmful to his liver. In the mid 1970s, he returned to his architectural roots and developed a new vision for Abstract Constructivism using just acrylic colors. Presented in Paris by his French Art dealer, Francoise Tournier, at the Grand Palais de Paris, and in Mexico City, D'Amico's interpretation of the "New Geometry" was widely admired. In 1983, when he presented the work at the Bodley Gallery, people whispered that he had the potential to be the new Picasso because of his eclecticism and the Nomad nature of his styles. In 1987, D'Amico abandoned the gypsy life and settled in New Mexico. Albuquerque was the perfect place to dedicate himself 100 percent to his work.[3] There were no distractions and a good climate that reminded him of his beloved Cuernavaca in Mexico. Staying in close contact with his French art dealer Tournier, D’Amico had several shows in Denver at the Helen Karsh Gallery and in Albuquerque at the Black Swan and Café Galleries. At least once a year, D’Amico went to Europe to immerse himself in the antique world and visit museums and galleries. In 1992, visiting Tournier at the Castle of Saint Cirq Lapopie, he met the man who founded the MADI movement in 1940, Carmelo Arden Quin...

Ronald Bateman (b.1947). Friday Hangover, March 1985, 1985. Oil on canvas, 8 x 10 inches; 9 x 11 inches framed. Signed , title and dated lower margin. ...

Lara Schnitger (b.1969). Pink Gin, 1999. Collage of cut vintage papers on illustration board, measures 10 x 14.25 inches. Measures 17.5 x 21.5 inches framed. Provenance: Anton Kern Gallery. Search terms: woman artist; Feminist artist: Feminist Lara Schnitger 1969 Born in Haarlem, Netherlands 1987-1991 Koninklijke Academie voor beeldende Kunsten, Den Haag 1991-1992 Academie Vyvarni Umeni, Prague 1992-1994 Ateliers ´63, Amsterdam 1999-2000 C.C.A., Kitakyushu, Japan Lives and works in Los Angeles and Amsterdam Solo Exhibitions 2018 Suffragette City, Frieze Live, Frieze Art Fair, Randall's Island, NY 2017 Don't Let The Boys Win, Galerie Gebr. Lehmann, Dresden, Germany Suffragette City, Kunsthaus Dresden, Germany Lundgren Gallery, Mallorca, Spain 2016 In Real Life: Lara Schnitger, Hammer Museum, Los Angeles, CA 2015 Suffragette City, FRAC Champagne-Ardenne, Rheims, France Suffragette City, Parcours, Art Basel, Lichthof Building, Basel, Switzerland 2014 PINK POP Festival, Bonnefantenmuseum Pavilion, Maastricht, Netherlands Stuart Shave/Modern Art, London, UK Never Alone, Anton Kern Gallery, New York, NY 2012 Lara Schnitger, Wilhelm Müller: Colored Fabrics, Galerie Gebr. Lehmann, Dresden, Germany Lara Schnitger & My Barbarian: The Butterfly’s Evil Spell, Anton Kern Gallery, New York, NY 2010 Damned Women, Modern Art, London, UK Two Masters and Her Vile Perfume, Sculpture Center, New York The Artist's Museum, Museum of Contemporary Art, Los Angeles 2009 Anton Kern Gallery, New York Dance Witches Dance (with My Barbarian), Luckman Fine Arts Complex, Cal State, Los Angeles 2008 Museum of Modern Art Arnhem, Holland, Netherlands Dance Witches Dance (with My Barbarian), Museum Het Domein, Sittard [cat.] Double Happiness, Galerie Gebr. Lehmann, Berlin 2007 Stuart Shave/Modern Art, London Anton Kern Gallery, New York 2005 My Other Car is a Broom, Magasin 3, Stockholm, Sweden traveling to Stroom den Haag, The Hague, The Netherlands [cat.] Anton Kern Gallery, New York [cat.] Blacks on Blondes, Triple Candie, New York 2004 Air 2 Paris, Paris 2003 Liesje Leerde Lotje lopen langs de lange Lindenlaan, Revalidatie Centum Friesland, Beesterswaag, Netherlands 2002 Civilized Special Zone, Lara Schnitger and Matthew Monahan, Chinese European Art Center, Xiamen Anton Kern Gallery, New York, NY 2001 Statements, Basel Art Fair, Basel Raum Aktuellekunst, Martin Janda Gallery, Vienna Project Room, Santa Monica Museum of Art, Santa Monica, CA 2000 Kunstwerke, Berlin Gozaimas, Lara Schnitger and Matthew Monahan, Bureau Amsterdam, Amsterdam 1999 Anton Kern Gallery, New York, NY Up & Co, New York, NY 1998 Hyper Space, Galerie Daniel Blau, Munich Basel Art Fair, Galerie Daniel Blau SpaceInvader, Vleeshal, Middelburg, Netherlands 1997 University of Buffalo Art Gallery, Buffalo, NY 1996 Anton Kern Gallery, New York, NY Group Exhibitions 2018 Other Walks, Other Lines, San Jose Museum of Art, San Jose, CA (opening November) Pussy, King of the Pirates, Maccarone, Los Angeles, CA “Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes.), curated by Emmanuelle Lainé, FRAC Champagne-Ardenne, Reims, France bitch MATERial, Kunstquartier Bethanien, Berlin, Germany Reclaimed, Linda Pace Foundation, San Antonio, TX 2017 3. Berliner Herbstsalon, Maxim Gorki Theatre, Berlin, Germany Brightsiders, curated by Adam D. Miller, Verge Center for the Arts, Sacramento, CA Hope and Hazard: A Comedy of Eros, curated by Eric Fischl Hall Art Collection, Reading, VT Do Disturb, Palais de Tokyo, Paris, France 2016 Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016, Hauser, Wirth & Schimmel, Los Angeles, CA [cat.] Reveal the Rats, The Pit, Los Angeles, CA 2015 NO MAN’S LAND: Women Artists from The Rubell Family Collection, Rubell Family Collection, Miami, FL Poor Art - Rich Legacy. Arte Povera and Parallel Practices 1968-2015, Museum of Contemporary Art, Oslo, Norway Beating around the bush Episode #4, Bonnefanten Museum, Maastricht, The Netherlands 2014 Beating around the bush Episode #2, Bonnefanten Museum, Maastricht, The Netherlands 2013 Girls Just Want to Have Funds, La Mama Gallery, New York, NY Paintings, Sculptures, Drawings and Mixed Media Artworks, The Rema Hort Mann Foundation, New York, NY 2012 My Barbarians Collaboration / Performance, Anton Kern Gallery, New York, NY More to Tell, Museum Het Domein, Sittard, Netherlands Chasm of the Supernova, Center for the Arts Eagle Rock, Los Angeles, CA Niki de Saint Phalle Tirs: Reloaded, Getty’s Pacific Standard Time Performance and Public Art Festival Without Hope, Without Fear, Mottahedan Projects, Al Quoz, Dubai, UAE The Butterflies Evil Spell, Anton Kern Gallery, New York, NY 2011 The Artist's Museum, Museum of Contemporary Art, Los Angeles Investigation of a Dog: Works from the FACE collections, Magasin 3 Konsthall, Stockholm, Sweden; La Maison Rouge, Paris, France 2010 Ordinary Madness, Carnegie Museum of Art, Pittsburgh, PA Investigation of a Dog: Works from the FACE collections, Ellipse Foundation, Cascais, Portugal; Deste Foundation, Athens, Greece; Fondazione Sandretto Re Rebaudengo, Turin, Italy 2009 Group Exhibition, Honor Fraser, Los Angeles Strike a Pose, Stephen Friedman Gallery, London Directions, A Palazzo Gallery, Brescia, Italy Double Dutch, Hudson Valley Center for Contemporary Art, Peekskill Investigations of a Dog, Fondazione Sandretto Re Rebaudengo, Turin (re)Visions:(di)Visions, Foster Gallery, University of Wisconsin, Eau Claire 2008 Sonsbeek Sculpture Exhibition, Arnhem Attribution problems, Johann König, Berlin Carried away, Museum Moderne Kunst, Arnhem, NL 2007 Read Me! Text In Art, Armory Art, Pasadena Unmonumental: The Object in the 21st century, New Museum, New York Wild West, Galerie Gebr. Lehmann, Berlin USA Today, Hermitage, St. Petersburg, Russia To Be Continued…, Magasin 3 Stockolm Konsthall, Stockholm, Sweden Frac des pays de la loire, Carquefou, France Don’t Let the Boys Win, Mills College Art Museum, Oakland Fantastic Politics, The National Museum of Contemporary Art, Oslo, Norway Eight Sculptors from Los Angeles, Sabine Knust, Munich Uneasy Angel/Imagine Los Angeles, Sprueth Magers, Munich 2006 Lara Schnitger, Lily Van Der Stoker, Sue Williams, Modern Art Inc., London Ridykeulous, Participant Inc., New York, NY La Retour de la Colonne Durutti, Gallery Isabella Bortolozzi, Berlin USA Today, The Saatchi Gallery, London Implosion, Anton Kern Gallery, New York The “F” word, Andy Warhol Museum, Pittsburgh, USA Red Eye: L.A. Artists from the Rubell Family Collection, Miami, FL 2005 THING New Sculpture from Los Angeles, Hammer Museum, Los Angeles, CA Both Ends Burning, David Kordansky Gallery, Los Angeles [cat.] Follow Me: A Fantasy, curated by Malik Gaines, Arena 1 Gallery, Santa Monica, CA Forms after David, Accademia di Belle Arti, Florence, Italy My Barbarian, Powerplant, Toronto, Canada 2004 Obsession, Galerie Diana Stigter, Amsterdam, NL M.B. The Mary Blair...

Berto Lardera (1911-1989). Collage, 1958. Paper, cardboard, paint. 29 x 40.5 inches; 31.5 x 42 inches framed. Signed and dated lower right. Bears origina...

Elizabeth Osborne (b.1936). Still Life Cabbage, 1983. Watercolor on paper, sheet measures 22.5 x 30 inches; 29.5 x 37 inches in custom frame. Original Fischbach Gallery label affixed...

Hans Weingaertner (1896-1970). Oil on canvas measures 8 x 10 inches; 14 x 16 inches in a frame of the period. Signed lower right. Excellent, clean condition with no damage or restoration. Signed with monogram and dated 1966 en verso. Biography: Birth place: Krailburg, Germany Addresses: Lynhurst, NJ; Belleville, NJ Profession: Painter Studied: Royal Acad., Munich, Germany, and with Ludwig Klein, Moritz Hyman, A. Jank. Exhibited: Soc. Indep. Artists, 1929-40; BM, 1932; New Haven PCC, 1934-39; AIC, 1936; traveling exhib., 1936-37; Corcoran Gal biennial, 1939; Montclair AM, 1938, 1939; New Jersey State Mus., Trenton, 1939; Newark Mus., 1940, 1944; Carnegie Inst., 1941; VMFA, 1946; Penn. State Teachers College, 1944, 1946; PAFA Ann., 1951; WMAA; NAD; CAFA; Salons of Am. Awards: prizes, Montclair AM, 1949, 1950; New Haven PCC, 1950; Newark Art Club, 1951; Bamberger purchase, 1964 Member: Mod. Artists, New Jersey; Soc. Indep. Artists; New Haven PCC; New Jersey AA; Audubon Artists; New Jersey WCS Work: Newark Mus.; Rutgers Univ.; Jefferson H...

George Henry Hall (1825-1913). Cupids, 1875. Oil on canvas, 6 x 9.25 inches; 10 x 13.25 inches framed. Original frame with label verso. Excellent condition with no damage or restoration. Signed and dated lower right. Price on request Biography: Birth place: Manchester, NH Addresses: Primarily in NYC from 1852 Profession: Still-life, genre, portrait painter Studied: between 1849-52 in Paris and Rome; and Düsseldorf Royal Acad. with Eastman Johnson Exhibited: PAFA, 1853-68; Royal Acad., British Inst., Suffolk Street Gal., all in London, 1858-74; Brooklyn AA, 1861-81; NAD, 1862-1900; AIC, 1888; Boston AC, 1881, 1889 Member: ANA, 1853; NA, 1868; Century Assn. Work: MMA; BM; BMFA Comments: Best known for his still-lifes, he specialized in detailed and vividly colored fruit and flower...

James Brooks (1906-1992). Plantlike, c.1945. Oil on canvas measures 18 x 24 inches; 24 x 30 inches in a painted wood frame of the period. Signed "J. David Brooks" lower right, Signed...