Gallery of the Masters Art

Canyon Road, Santa Fe By. William Howard Shuster (American, 1893-1969) Signed Lower Right Edition of 100 Lower Center Titled Lower Left Unframed: 4" x 4.75" Framed: 15.75" x 15.25" A realist and early modernist painter, graphic artist, illustrator, and sculptor, Will Shuster became known primarily for his work in New Mexico where in 1920, he settled in Santa Fe, having been encouraged to come there by John Sloan. He had studied electrical engineering at the Drexel Institute in Philadelphia and later was a student of Sloan's in Santa Fe in both etching and painting. He was in World War I, where he suffered a gas attack. On his return, he studied with J William Server in Philadelphia but was advised to go West for his health. In Santa Fe in 1921, he became one of the founding members of Los Cinco Pintores...

Pickaxe (Spitzhacke) Superimposed on a Drawing of the Site by E.L. Grimm, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Unframed: 26" x 20" Framed: 28.75" x 22.75" Signed and Dated Lower Right Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

Colossal Flashlight in Place of Hoover Dam, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Signed Lower Right Dated Middle Right Unframed: 23" x 22" Framed: 36.5" x 27.5" Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

European City By Dong Kingman (American, 1911-2000) Signed Lower Right Unframed: 15" x 22" Framed: 24" x 31" Born in Oakland, CA on March 31, 1911. When Kingman was five, his family moved to Hong Kong where he grew up and attended Lingnan Grammar School. The headmaster of the school, Szetu Wei, had studied painting in Paris and recognized his budding artistic talent. For several years he trained young Kingman in both oriental and occidental approaches to painting. Returning to San Francisco in 1929, Kingman became active in the local art scene and began painting scenes of the city. His first solo show at the San Francisco Art Center in 1936 brought immediate recognition. During the 1930s he spent five years working on commissions for the Federal Public Works of Art Project. During WWII he created maps and charts for the O.S.S. After the war Kingman settled in NYC and taught at Columbia University. His paintings were used as backdrops for the movie "Flower Drum Song...

Old Dehli By Dong Kingman (American, 1911-2000) Unframed: 15" x 22" Framed: 23" x 30" Born in Oakland, CA on March 31, 1911. When Kingman was five, his family moved to Hong Kong where he grew up and attended Lingnan Grammar School. The headmaster of the school, Szetu Wei, had studied painting in Paris and recognized his budding artistic talent. For several years he trained young Kingman in both oriental and occidental approaches to painting. Returning to San Francisco in 1929, Kingman became active in the local art scene and began painting scenes of the city. His first solo show at the San Francisco Art Center in 1936 brought immediate recognition. During the 1930s he spent five years working on commissions for the Federal Public Works of Art Project. During WWII he created maps and charts for the O.S.S. After the war Kingman settled in NYC and taught at Columbia University. His paintings were used as backdrops for the movie "Flower Drum Song...

Bangkok By Dong Kingman (American, 1911-2000) Signed Lower Left Unframed: 15" x 22" Framed: 24" x 31" Born in Oakland, CA on March 31, 1911. When Kingman was five, his family moved to Hong Kong where he grew up and attended Lingnan Grammar School. The headmaster of the school, Szetu Wei, had studied painting in Paris and recognized his budding artistic talent. For several years he trained young Kingman in both oriental and occidental approaches to painting. Returning to San Francisco in 1929, Kingman became active in the local art scene and began painting scenes of the city. His first solo show at the San Francisco Art Center in 1936 brought immediate recognition. During the 1930s he spent five years working on commissions for the Federal Public Works of Art Project. During WWII he created maps and charts for the O.S.S. After the war Kingman settled in NYC and taught at Columbia University. His paintings were used as backdrops for the movie "Flower Drum Song...

Asian City By Dong Kingman (American, 1911-2000) Unframed: 22" x 15" Framed: 31" x 24" Signed Lower Left Born in Oakland, CA on March 31, 1911. When Kingman was five, his family moved to Hong Kong where he grew up and attended Lingnan Grammar School. The headmaster of the school, Szetu Wei, had studied painting in Paris and recognized his budding artistic talent. For several years he trained young Kingman in both oriental and occidental approaches to painting. Returning to San Francisco in 1929, Kingman became active in the local art scene and began painting scenes of the city. His first solo show at the San Francisco Art Center in 1936 brought immediate recognition. During the 1930s he spent five years working on commissions for the Federal Public Works of Art Project. During WWII he created maps and charts for the O.S.S. After the war Kingman settled in NYC and taught at Columbia University. His paintings were used as backdrops for the movie "Flower Drum Song...

Zurich By Dong Kingman (American, 1911-2000) Unframed: 22" x 15" Framed: 31" x 24" Signed Lower Right Born in Oakland, CA on March 31, 1911. When Kingman was five, his family moved to Hong Kong where he grew up and attended Lingnan Grammar School. The headmaster of the school, Szetu Wei, had studied painting in Paris and recognized his budding artistic talent. For several years he trained young Kingman in both oriental and occidental approaches to painting. Returning to San Francisco in 1929, Kingman became active in the local art scene and began painting scenes of the city. His first solo show at the San Francisco Art Center in 1936 brought immediate recognition. During the 1930s he spent five years working on commissions for the Federal Public Works of Art Project. During WWII he created maps and charts for the O.S.S. After the war Kingman settled in NYC and taught at Columbia University. His paintings were used as backdrops for the movie "Flower Drum Song...

San Miguel, Mexico By Dong Kingman (American, 1911-2000) Unframed: 22" x 15" Framed: 31" x 24" Signed Lower Left Born in Oakland, CA on March 31, 1911. When Kingman was five, his family moved to Hong Kong where he grew up and attended Lingnan Grammar School. The headmaster of the school, Szetu Wei, had studied painting in Paris and recognized his budding artistic talent. For several years he trained young Kingman in both oriental and occidental approaches to painting. Returning to San Francisco in 1929, Kingman became active in the local art scene and began painting scenes of the city. His first solo show at the San Francisco Art Center in 1936 brought immediate recognition. During the 1930s he spent five years working on commissions for the Federal Public Works of Art Project. During WWII he created maps and charts for the O.S.S. After the war Kingman settled in NYC and taught at Columbia University. His paintings were used as backdrops for the movie "Flower Drum Song...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...

Emiliano Zapata / Frog Revolutionary, 1981 By David Gilhooly (1943-2013) 20" x 11.5" Whimsical and irreverent, Mr. Gilhooly was internationally accla...

Frog and Swiss on Rye, 1981 By David Gilhooly (1943-2013) 4.75" x 3.5" x 4.5" Whimsical and irreverent, Mr. Gilhooly was internationally acclaimed for his imaginative ceramic works...

Burrito Frog, 1981 By David Gilhooly (1943-2013) 8" x 4" x 2" Signed Underneath Whimsical and irreverent, Mr. Gilhooly was internationally acclaimed for his imaginative ceramic work...

"Portrait of Victory" By Paul Pletka (1946- ) Image Size: 30" x 23" Framed: 42" x 36" Signed: Lower Right Paul Pletka is a neo-surrealistic painter inspired by his fascination from early childhood with Native Americans of the Southwest. His style, described as neo-surrealistic, "is both realistic and deeply spiritual, being highly sensitive to the inner thoughts of Native Americans." Paul Pletka was born in southern California in 1946 and currently resides in New Mexico. After high school, he won a scholarship to Arizona State University and then transferred to Colorado State University, but feeling disappointed in his college art training, did not paint seriously until the late 1960s. His works of art have been exhibited in one-man shows in Colorado, New Mexico, Arizona, Texas, Illinois, New York, Kansas and Missouri continuously since 1964. Pletka's paintings are in more than 40 private and public art collections including the Albany Museum of Art, Albany, GA; Hallmark Cards, Kansas City, MO; Mel Pfaelzer Collection, University of Northern Illinois, De Kalb; the Norton Gallery & School of Art, West Palm Beach...

Bareback Act, Old Hippodrome By Gifford Beal (1879-1956) Signed Lower Right Unframed: 6.5" x 9.5" Framed: 17.5" x 20" Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist." His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World. He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work." Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...

Hoi Lebedang "Majestic Horse" c. 1950s Original Mixed Media on Paper Signed "Lebedang, Paris" Lower Right Site Size: approx 13 x 20 inches Framed Size: ...

Marc Chagall "Le Christ a l'Horloge, Paris" (Christ in the Clock) 1957 (M. 196) Color Lithograph on Arches Wove Paper Signed in Pencil "Marc Chagall" Lower Right Initialed "H.C." (Hors Commerce) Lower Left, aside from numbered edition of 90 *Floated in Gold Frame with Linen Matting, UV Plexiglass Sheet Size: 18 3/4 x 14 3/4 inches (47.5 cm x 38 cm) Image Size: 9 3/4 x 8 1/2 inches Framed Size: 28.5 x 24.25 inches Marc Chagall was a man of keen intelligence, a shrewd observer of the contemporary scene, with a great sympathy for human suffering. He was born on July 7, 1887 in Vitebsk, Russia; his original name was Moishe Shagal (Segal), but when he became a foremost member of the Ecole de Paris, he adopted French citizenship and the French spelling of his name. Vitebsk was a good-sized Russian town of over 60,000, not a shtetl. His father supported a wife and eight children as a worker in a herring-pickling plant. Sheltered by the Jewish commandment against graven images, the young Chagall never saw so much as a drawing until, one day, he watched a schoolmate copying a magazine illustration. He was ridiculed for his astonishment, but he began copying and improvising from magazines. Both Chagall's parents reluctantly agreed to let him study with Yehuda Pen, a Jewish artist in Vitebsk. Later, in 1906, they allowed their son to study in St. Petersburg, where he was exposed to Russian Iconography and folk art. At that time, Jews could leave the Pale only for business and employment and were required to carry a permit. Chagall, who was in St. Petersburg without a permit, was imprisoned briefly. His first wife, Bella Rosenfeld, was a product of a rich cultivated and intellectual group of Jews in Vitebsk. Chagall was made commissar for the arts for the area, charged with directing its cultural life and establishing an art school. Russian folklore, peasant life and landscapes persisted in his work all his life. In 1910 a rich patron, a lawyer named Vinaver, staked him to a crucial trip to Paris, where young artists were revolutionizing art. He also sent him a handsome allowance of 125 francs (in those days about $24) each month. Chagall rejected cubism, fauvism and futurism, but remained in Paris. He found a studio near Montparnasse in a famous twelve-sided wooden structure divided into wedge-shaped rooms. Chaim Soutine, a fellow Russian Jew, and Modigliani lived on the same floor. To Chagall's astonishment, he found himself heralded as one of the fathers of surrealism. In 1923, a delegation of Max Ernst, Paul Eluard and Gala (later Salvador Dali's wife) actually knelt before Chagall, begging him to join their ranks. He refused. To understand Chagall's work, it is necessary to know that he was born a Hasidic Jew, heir to mysticism and a world of the spirit, steeped in Jewish lore and reared in the Yiddish language. The Hasidim had a special feeling for animals, which they tried not to overburden. In the mysterious world of Kabbala and fantastic ancient legends of Chagall's youth, the imaginary was as important as the real. His extraordinary use of color also grew out of his dream world; he did not use color realistically, but for emotional effect and to serve the needs of his design. Most of his favorite themes, though superficially light and trivial, mask dark and somber thoughts. The circus he views as a mirror of life; the crucifixion as a tragic theme, used as a parallel to the historic Jewish condition, but he is perhaps best known for the rapturous lovers he painted all his life. His love of music is a theme that runs through his paintings. After a brief period in Berlin, Chagall, Bella and their young daughter, Ida, moved to Paris and in 1937 they assumed French citizenship. When France fell, Chagall accepted an invitation from the Museum of Modern Art to immigrate to the United States. He was arrested and imprisoned in Marseilles for a short time, but was still able to immigrate with his family. The Nazi onslaught caught Chagall in Vichy, France, preoccupied with his work. He was loath to leave; his friend Varian Fry rescued him from a police roundup of Jews in Marseille, and packed him, his family and 3500 lbs. of his art works on board a transatlantic ship. The day before he arrived in New York City, June 23, 1941, the Nazis attacked Russia. The United States provided a wartime haven and a climate of liberty for Chagall. In America he spent the war years designing large backdrops for the Ballet. Bella died suddenly in the United States of a viral infection in September 1944 while summering in upstate New York. He rushed her to a hospital in the Adirondacks, where, hampered by his fragmentary English, they were turned away with the excuse that the hour was too late. The next day she died. He waited for three years after the war before returning to France. With him went a slender married English girl, Virginia Haggard MacNeil; Chagall fell in love with her and they had a son, David. After seven years she ran off with an indigent photographer. It was an immense blow to Chagall's ego, but soon after, he met Valentine Brodsky, a Russian divorcee designing millinery in London (he called her Fava). She cared for him during the days of his immense fame and glory. They returned to France, to a home and studio in rustic Vence. Chagall loved the country and every day walked through the orchards, terraces, etc. before he went to work. Chagall died on March 28, 1985 in the south of France. His heirs negotiated an arrangement with the French state allowing them to pay most of their inheritance taxes in works of art. The heirs owed about $30 million to the French government; roughly $23 million of that amount was deemed payable in artworks. Chagall's daughter, Ida and his widow approved the arrangement. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources: Hannah Grad Goodman in Homage to Chagall in Hadassah Magazine, June 1985 Jack Kroll in Newsweek, April 8, 1985 Andrea Jolles in National Jewish Monthly Magazine, May 1985 Michael Gibson...

Lozenge with Dancer and Hind (#620, Ramie) Red Earthenware Clay Edition Madoura Picasso, 93/500 (Verso)

"Angel" 1979 Color Lithograph Ed. 15/70 Pencil Signed and Number Image: Approx. 25 x 20 Framed Size: 34 1/2 x 28 1/4

Dong Kingman (American 1911-2000) "Old Mission Station" c. 1950 watercolor on paper Signed *Fully illustrated in the book "Dong Kingman, Portraits of Cities" Sheet Size: 22 x 30 inches Framed Size: 32.5 x 40.5 inches The following obituary is from Dong Kingman Jr., son of the artist. DONG KINGMAN (1911-2000) Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Dong Kingman "New York Harbor" c. 1940s watercolor on paper Signed *This is fully illustrated in the book, "Dong Kingman An American Master" (see attached images). Sheet Size: 22 x 30 inches Framed Size: approx. 33.5 x 40.5 inches This is a wonderful painting by the legendary artist, Dong Kingman (1911-2000). Great period for the artist, with his bold color and whimsical approach. The following obituary is from Dong Kingman Jr., son of the artist: Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Village Scene, Crickets in November, New Albany, Ohio, 1919 By Charles E. Burchfield (1893-1967) Signed and Dated Bottom Right Without Frame: 17.5" x 17.5" With Frame: 29" x 29" Bor...

Jazz Players by Bill Hinz (1920-2009) Signature in Textile Bottom Left Unframed: 41.5" x 64" Framed: 42.5" x 64.75" Unique Piece made entirely out of a s...

Falling Man, Black on White Background by Ernest Tino Trova. 52.5" x 52.5" Known for his Falling Man series in abstract figural sculpture, he created ...

Artist Statement Since Roger Weik was early in college in the 70's, he has always held an affinity for thickness and texture. There was something very organic about his work, a sens...

Ken Anderson (20th century) was active/lived in United States. Ken Anderson is known for Abstract hanging sculpture. *See included images and video

Framed Size: 31 x 40 inches DONG KINGMAN (1911-2000) Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout h...

Framed Size: approx. 27 x 44 inches James Rosenquist (1933-2017) "WALL STREET JOURNAL, DINNER TRIANGLES" 1977 Etching and Aquatint on Paper Signed...

Framed Size: approx 17 3/4 x 20 3/4 inches Fred Conway (1900-1973) "Golf Bags, Caddy with Golf Bag on His Back" Pen/Ink/Watercolor on Paper Site Size: approx. 10 x 13 inches Framed Size: approx. 17 3/4 x 20 3/4 inches A member of the faculty of the Washington University Art School from 1929 to 1970, Frederick Conway...

Joan Miro “Bethsabee” 1972 Etching and Aquatint in Colors on Wove Paper Hand-Signed by the Artist in Pencil Lower Right Numbered in Pencil “5/50” Lower Left Maeght editeur Pairs Printing: Morsang, Paris Sheet Size: 36 x 24 3/4 inches Framed Size: approx 41 x 39 inches Catalogue Raisonne: Miro Engravings Vol. 2 (1961-1973), Pg. 197, #556 Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in art...

Signed Lower Right Numbered 61/200 Sight Size: 27.5 x 21.5 Framed Size: 31.5 x 24.5 Andre Masson was born in Balagne, France on January 4,1896. He was an engraver, sculptor, stage d...

Signed Lower Right Numbered Lower Left 166/200 Framed Size: 33 x 25 inches Andre Masson was born in Balagne, France on January 4, 1896. He was an engraver, sculptor, stage designer...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Dong Kingman "Chinese Theater, Los Angeles" 1965 Watercolor on Paper Sheet Size: 15 x 22 inches Framed Size: approx 19 x 26 inches Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Hand-Signed by the Artist Lower Right Titled Lower Center Inscribed "Epreuve d'Artist" (Artist's Proof) Lower Left Framed: 25.5 x 32.75 inches Site Size: 19 x 26.5 inches Marcel Mou...

Pablo Picasso "Diurnes" (Femme Assise En Pyjama De Plage II) 1962 Linocut printed in ochre and brown, 1962, on Arches paper Inscribed "Epreuve D'Artist" (Artist Proof) lower left, as...

JOIE DE VIVRE (A. Ramié no. 346) stamped, marked, engraved and numbered 'Madoura Plein Feu/Empreinte Originale de Picasso (underneath) unglazed white ea...

Heloise Crista (1926-2018) Peace Brass and Copper approx. 15 x 17 x 10 inches Heloise Crista, Acclaimed Sculptor and Frank Lloyd Wright Apprentice FRANK LLOYD WRIGHT FOUNDATION JU...

Elizabeth Catlett “Man” 1975 (The Print Club of Cleveland Publication Number 83, 2005) Woodcut and Color Linocut Printed in 2003 at JK Fine Art Editions Co., Union City, New Jersey Signed and Dated By The Artist Lower Right Titled Lower Left Ed. of 250 Image Size: approx 18 x 12 inches Elizabeth Catlett (1915-2012) is regarded as one of the most important women artists and African American artists of our time. She believed art could affect social change and that she should be an agent for that change: “I have always wanted my art to service black people—to reflect us, to relate to us, to stimulate us, to make us aware of our potential.” As an artist and an activist, Catlett highlighted the dignity and courage of motherhood, poverty, and the working class, returning again and again to the subject she understood best—African American women. The work below, entitled, “Man”, is "carved from a block of wood, chiseled like a relief. Catlett, a sculptor as well as a printmaker, carves figures out of wood, and so is extremely familiar with this material. For ‘Man’ she exploits the grain of the wood, allowing to to describe the texture of the skin and form vertical striations, almost scarring the image. Below this intense, three-dimensional visage parades seven boys, printed repetitively from a single linoleum block in a “rainbow roll” that changes from gold to brown. This row of brightly colored figures with bare feet, flat like a string of paper dolls, raise their arms toward the powerful depiction of the troubled man above.” Biography: Elizabeth Catlett (1915-2012) Known for abstract sculpture in bronze and marble as well as prints and paintings, particularly depicting the female figure, Elizabeth Catlett is unique for distilling African American, Native American, and Mexican art in her work. She is "considered by many to be the greatest American black sculptor". . .(Rubinstein 320) Catlett was born in Washington D.C. and later became a Mexican citizen, residing in Cuernavaca Morelos, Mexico. She spent the last 35 years of her life in Mexico. Her father, a math teacher at Tuskegee Institute in Alabama, died before she was born, but the family, including her working mother, lived in the relatively commodious home of his family in DC. Catlett received a Bachelor of Arts degree from Howard University, where there was much discussion about whether or not black artists should depict their own heritage or embrace European modernism. She earned a Master of Fine Arts degree in 1940 from the University of Iowa, where she had gone to study with Grant Wood, Regionalist* painter. His teaching dictum was "paint what you know best," and this advice set her on the path of dealing with her own background. She credits Wood with excellent teaching and deep concern for his students, but she had a problem during that time of taking classes from him because black students were not allowed housing in the University's dormitories. Following graduation in 1940, she became Chair of the Art Department at Dillard University in New Orleans. There she successfully lobbied for life classes with nude models, and gained museum admission to black students at a local museum that to that point, had banned their entrance. That same year, her painting Mother and Child, depicting African-American figures won her much recognition. From 1944 to 1946, she taught at the George Washington Carver School, an alternative community school in Harlem that provided instruction for working men and women of the city. From her experiences with these people, she did a series of paintings, prints, and sculptures with the theme "I Am a Negro Woman." In 1946, she received a Rosenwald Fellowship*, and she and her artist husband, Charles White, traveled to Mexico where she became interested in the Mexican working classes. In 1947, she settled permanently in Mexico where she, divorced from White, married artist Francisco Mora...

Luciano Minguzzi (Italian, 1911-2004) Piccolo Guerriero (Little Warrior) c. 1950s Bronze Monogrammed and Numbered 1/5 Height From Base to Top: approx. 12" High Bronze: 6 3/4 inches x 4W x 3D Luciano Minguzzi was born in Bologna in 1911 and died in Milan in 2004. In 1943 he took part in the Fourth Quadrennial of Rome. In 1950 he was awarded the grand prize for sculpture at the XXV Venice Biennale, and attended again in 1952. His works can be found at Museum of the Fabbrica del Duomo, in the Museum of Modern Art in the Vatican and in the Galleries of Modern Art in Rome, Milan, Bologna, Florence, Trieste, Verona, Carrara, Padova, as well as abroad and overseas. Additional Biography (translated from Italian): Luciano Minguzzi ( Bologna , 24 May 1911 - Milan , 30 May 2004 ) was a sculptor and medalist Italian . Image of the exhibition Luciano Minguzzi: sculptures and gouaches 1950-1970 in the Romanesque cloister of the Cathedral of Prato ( Museo dell'Opera del Duomo ), 24 April - 24 May 1971. Photo by Paolo Monti . Index: He made his first experiences under the wise guidance of his father, also a sculptor , continuing his studies at the Academy of Fine Arts in Bologna following the engraving courses held by Giorgio Morandi , those of sculpture under the guidance of Ercole Drei , attending at ' university the lessons Roberto Longhi. Thanks to a scholarship, he stayed in Paris and London , starting to exhibit in 1933 and already at the Roman Quadrennial of 1943 he obtained his first prize, which was followed by others including the Angelicum of 1946 and the first place ex aequo at the Biennale del 1950. Immediately after the war he created the monument to the Partisan and the Partisan for his hometown , located near Porta Lame , in the area where an epic battle between Nazi-Fascists and partisans took place in 1944 .
The work, composed of two figures of young people - one of which armed - caught in a moment of great naturalness, was forged with cast bronze from the equestrian statue of Benito Mussolini (by Giuseppe Graziosi ) which was located inside the current "Renato Dall'Ara" Stadium, in turn made with some cannons stolen from the Austrians during the Bolognese Risorgimento uprisings of 1848. Still on the theme linked to war , but with a changed style with more dramatic and expressionist tones , in the fifties he created a series of sculptures inspired by the theme of the men of the Lager and the unknown and anonymous victims, obtaining in 1953 the third prize in the competition for the "Monument to the Unknown Political Prisoner " announced by the Tate Gallery ( London ). In 1950 he won the competition for the "Quinta Porta" of the Milan Cathedral , completed in 1965 . In 1962 he participated, together with the most important international sculptors of the time, in the exhibition Sculptures in the city organized by Giovanni Carandente as part of the V Festival dei Due Mondi in Spoleto . He presented a 1958 iron and bronze sculpture entitled Pas-de-quatre. In 1970 he was given the task of building the "Door of good and evil" of the basilica of St. Peter in the Vatican , on which he worked with vigor and passion for seven years. In 2012, on the occasion of the centenary of the artist's birth, a posthumous anthological exhibition was set up in Bologna at the Fondazione del Monte [1] . He also worked as a medalist: his example is the silver 500 lire coin...

Ernest Tino Trova "Black Falling Man with Form" 1996 Bronze Ed. 1/3 Signed, Dated and Numbered Verso approx. 16 x 8.5 x 16 inches Known for his Falling Man series in abstract figura...

Ernest Tino Trova "Car Man, Four Wheels" 17 x 8 x 14.5 inches Inscribed T-06 Bottom Known for his Falling Man series in abstract figural sculpture, he created hard-edge images that ...

Ernest Tino Trova "Falling Man and Form" 1996 Brass and Bronze 14 x 4.5 x 4.5 inches Signed and Numbered 1/1 (Unique) Known for his Falling Man series in...

Dong Kingman "Buckingham Palace, London": c. 1950 watercolor on paper signed sheet size: 15 x 22 inches framed size: approx 23.5 x 30.5 inches DONG KINGMAN (1911-2000) Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

This is by the great and legendary artist, Dong Kingman (1911-2000). See bio below. Sheet Size: 22 x 30 inches Signed The following obituary is from Dong Kingman Jr., son of the artist: DONG KINGMAN (1911-2000) Dong Kingman, the world-renowned artist and teacher, died in his sleep on May 12, 2000 at age 89 in his home in Manhattan. The cause was pancreatic cancer. Long acknowledged as an American watercolor master, he has received an extraordinary number of awards and honors throughout his 70-year career in the arts. Included are two Guggenheim fellowships in 1942 and 1943; the San Francisco Art Association First Purchase Prize, 1936; Audubon Artist Medal of Honor, 1946; Philadelphia Watercolor Club Joseph Pennel Memorial Medal, 1950; Metropolitan Museum of Art Award, and the National Academy Design 150th Anniversary Gold Medal Award, 1975. In 1987, the American Watercolor Society awarded Dong Kingman its highest honor, the Dolphin Medal, "for having made outstanding contributions to art especially to that of watercolor." His work is represented in the permanent collections of 50 museums and universities, including the Boston Museum of Fine Arts, M.H. deYoung Memorial Museum of Art, the Metropolitan Museum of Art, the Whitney Museum, Museum of Modern Art, Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Sheldon Memorial Art Gallery and Sculpture Garden, Des Moines Art Center, Columbus Museum of Arts and Crafts, Brooklyn Museum and Hirshhorn Museum. Born in Oakland, California in 1911 of Chinese descent, Kingman moved to Hong Kong at age five. He studied art and calligraphy in his formative years at the Lingnan School. The painting master Szeto Wai had recently studied art in Paris and took a keen interest in young Dongs precocious talents. He taught him both Chinese classical and French Impressionist styles of painting. Kingman returned home to Oakland when he was 18 at the height of the Depression. He worked as a newsboy and dishwasher to make ends meet. When he was employed as a houseboy for the Drew family in San Francisco, he painted every spare moment. In a year, he created enough pictures to have a one-man show at the Art Center. It attracted the attention of San Francisco art critics who raved about Kingmans unique style. Wrote Junius Cravens of the San Francisco News: "That young Chinese artist is showing 20 of the freshest and most satisfying watercolors that have been seen hereabouts in many a day Kingman already has developed that universal quality which may place a sincere artist work above the limitations of either racial characteristics or schools. Kingmans art belongs to the world at large today." Dong Kingman became an overnight success. From 1936 to 1941, he was a project artist for WPA and became a pioneer for a new school of painting, the "California Style." His two Guggenheim fellowships enabled him to travel the country painting American scenes. His first one-man show in New York at Midtown Galleries in 1942 was well received in the media, including Time, Newsweek, the New Yorker and American Artist. M.H. de Young Memorial Museum in San Francisco held a major exhibit of his watercolors in 1945. In 1951, Midtown presented a 10-year retrospective of his work. Time Magazine wrote, "At age 40, Kingman is one of the worlds best watercolorists." Other retrospectives, including Corcoran in Washington,D.C. an d Witte Memorial Museum in San Antonio, were held for the artist. Kingman moved to Wildenstein (1958-1969) where he had successful exhibits in New York, London and Paris. Hammer Galleries exhibited his paintings in the 70s, and then the artist expanded his venues to the West Coast and Far East. During World War II, he served with the OSS in Washington, D.C. where he was a cartographer. After his honorable discharge, Kingman moved to Brooklyn Heights from San Francisco when he became a guest lecturer and then art instructor at Columbia University (1946-1958). Hunter College also appointed him instructor in watercolors and Chinese Art (1948-1953). His teaching career continued with the Famous Artists School, Westport, CT in 1953, joining such distinguished artists on the faculty as Will Barnet, Stuart Davis, Norman Rockwell and Ben Shahn. He also became a teaching member for 40 years for the Hewitt Painting Workshops, which conducts worldwide painting tours. He taught at the Academy of Art College in San Francisco, was a member of its board, and received an honorary doctorate from the Academy. In 1954, the U.S. Department of State invited Kingman to go on a cultural exchange program tour around the world to give exhibitions and lectures and to meet local artists. When he came home, he presented the State Department with a 40-foot long report on a scroll, which later appeared in LIFE Magazine. One of Kingman's most treasured experiences was his invitation by the Ministry of Culture of the Peoples Republic of China to exhibit in that country in 1981. He was the first American artist to be accorded a one-man show since diplomatic relations resumed. More than 100,000 visitors attended his exhibitions in Beijing, Hangzhou and Guangzhou and the retrospective received critical acclaim from the Chinese press. Noted the China Daily Mail, "Just as the master painters of the Song Dynasty roamed about mountain and stream to capture the rhythm of nature, Dong Kingman traveled the world capturing the dynamism of modern lifefamiliar scenes have been transformed into a vibrant new vision of life through color schemes with rhythms that play over the entire surface of the picture. The wind swept skies which enliven his watercolors remind us of the pleinairism of the French Impressionists." Kingman, who has been fascinated with movies since seeing his first film "The Thief of Baghdad...

Robert Elton Tindall (1913-1983) "Bleeding Heart" 1944 Egg Tempera with Resin Oil Glazes on Panel Signed and Dated 5/44 Lower Right Site: 12.5 x 15.5 i...

Robert Elton Tindall (1913-1983) "Philodendron" 1941 Egg Tempera with Resin Oil Glazes on Panel Signed and Dated Lower Right Site: 13.5 x 11.5 inches Framed: 21 x 19 inches Proteg...

Xavier Bueno (Active Spain/Italy, 1891-1979) "Shelter" Oil on Canvas Signed Upper Left Framed Size: approx. 38 x 30 inches Site Size: approx. 35 x 28 inc...

Kazuhisa Honda (b. 1948) "Lemon Tree" c. 1980s Mezzotint Signed Lower Right Numbered Lower Left 81/250 Site Size: approx. 8 x 5 inches Framed Size: approx...

Mark Tobey "Men at the Seattle Public Market" (Two Figures) 1958 Ink and Tempera on Silk Signed and Dated Lower Left *This is a rare and important work. See attached images with book...

*This color lithograph was done as a lithographic reproduction of Rockwell's original painting that was used for the cover of a 1942 Saturday Evening Post. After Norman Rockwell...

Will Barnet "The Dream" 2002 Color Lithograph on Somerset Velvet White Paper Signed and Titled Ed. 250 Will Barnet, Visionary Artist, Dies at 101 By KEN JOH...

Robert Elton Tindall (1913-1983) "Tending the Garden" (Girl with a Hoe) c. 1940 Egg Tempera with Resin Oil Glazes on Panel Signed Lower Left Site: 10 x 9 inches Framed: 15 x 14 inch...

Huang Gang (b. 1961) "Face with Chinese Calligraphy" Mixed Media including Gold Gilding, Decoupage, Oil on Panel approx 23.5 x 23.5 inches Huang Gang 黄钢 Hu...

Lazzaro Donati (Italian 1926-1977) "La Regina" Bronze Signed on Base Size: approx 19 x 9 x 9 inches Lazzaro Donati (1926-1977) was born in Florence in 1926 and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. Mr. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d'art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. Donati was a born host with a warm welcome, an elegant man who possessed enormous charm a good nature and a keen sense of humor. Apparently shy, he preferred to speak on subjects extraneous to his art, purposely distracting you from his paintings, then leading you back to them, tactfully and without pretension. He spoke fluent French and English as well as some Spanish and German. "After all", he said, "you've got to know how to sell a painting to everyone." He had no sympathy for the "drip and splash" studios of his contemporaries, preferring to keep his studio tidy and spotless. "Painting is a matter of precision", he said, "If a painter can't put his paint where he wants it to go, I don't see how he can call himself a painter. For me it is absolutely necessary to control the paint." When asked to reveal the technique he used to achieve the enamel-like finish typical of his paintings he answered, "That is a secret between me and my butler. Actually, most of my paintings are done by him!" But in fact behind the façade, Donati was a serious craftsman who devoted to his painting as a way of life and means of expression. From the beginning of his career, his paintings revealed a striving for perfection and continual research in problems of style and technique. His early works indicated a momentary interest in surrealism and abstract art; they were predominantly two dimensional, depending on line and strong color. But by 1958, with his painting The Lady with a Fan...

Rockwell Kent "Hail and Farewell" 1930 Wood Engraving on Paper Signed in Pencil Lower Right Sheet Size: 14 3/8 x 11 1/4 in. Image Size: 8 x 5 1/2 in. Framed Size: 17.5 x 13.5 in. Growing up in a genteel family in New York City, Rockwell Kent was a member of the rugged realist school of landscape painters as well as a popular illustrator and printmaker. His 1930 illustrations for Moby Dick are among his most lasting achievements. He was the first American artist to have work exhibited in the Soviet Union, a reflection of his Communist Party sympathies, which earned him the Lenin Peace Prize in 1967. This espousal of radical politics caused his career to suffer badly in the '50s because his leftist views caused him disdain among many Americans. However, his work, reflecting both realism and modernism, has earned increasing attention from American art historians. His subject matter is wide-ranging including scenes of Maine's Monhegan Island, the Adirondack Mountains, book illustrations, and commercial art renderings for companies including General Electric, Rolls Royce, and Westinghouse. Although his first love was painting, in addition to illustration, he also did fabric, ceramic, and jewelry designs, and spent time as a dairy farmer, carpenter, home builder, and lobster fisherman...

Yaacov Agam "Abstract Composition" Agamograph Ed. 87/99 Signed and Numbered Site Size: approx 16 x 13 inches Framed: approx. 24.5 x 22.5 inches An agamograph is a series of images ...

Yaacov Agam "Abstract Composition" Agamograph Ed. 17/25 Signed and Numbered Site Size: approx 13 x 16 inches Framed: approx. 22.5 x 24.5 inches An agamograph is a series of images ...