New River Fine Art

Mixed Media house paint on wood 36 x 36 in

Mixed Media house paint on panel 48.50 x 17 in

Tom Wesselmann (1931 - 2004) Shiny Nude from the Rubber Stamp Portfolio (/1000), 1977 Rubber stamp on Kromekote paper 8 x 8 in

Marc Chagall (1887 - 1985) Itinerant Players from Chagall Lithographs I, 1960 Lithograph 12.50 x 9.50 in

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Mixed Media on Paper

Mr. Brainwash (b. 1966) With All My Love, 2021 Silkscreen and mixed media on paper 36 x 36 in

Mixed Media

Signed and numbered to lower edge ‘48/75 Miró’. This work is number 48 from the edition of 75 published by Maeght Éditeur, Paris. Literature: Dupin 501

Lithograph

Joseph Safina Atlantic, 2024 Resin and mixed media with decommissioned 1911 gun10 x 10 x 3 in (25.40 x 25.40 x 7.62 cm)

Henri Matisse (1869 - 1954) Bateau, 1952 Lithograph after a gouache decoupee from Verve 35/36 14 x 10.50 in

Robert Indiana Number 7 from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Plastic Jesus In Case Of Emergency, 2019, (/30) Compact metal bodied fire extinguisher with gold leaf and mixed media 16 x 10 x 6 in

Robert Indiana To The Bridge from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Robert Indiana The New Glory Penny from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Robert Indiana The Calumet from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Robert Indiana Red Diamond from the American Dream Portfolio, 1997, (48/395) Screen print in colors 22 x 17 in

Robert Indiana The Beware Danger from the American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Robert Indiana Oranges from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Robert Indiana Tilt from the American Dream Portfolio, 1997, (254/395) Screenprint in color 22 x 17 in

Robert Indiana Parrot from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Cey Adams (b. 1962) American Flag (1961), 2024 Mixed media collage on panel 72 x 36 x 4 in

Cey Adams (b. 1962) American Flag (Here Again), 2024 Mixed media collage on panel 46 x 24 x 3 in

Cey Adams (b. 1962) Love (Orange), 2023 Mixed media collage on panel 24 x 24 x 3 in

Robert Indiana Art from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Robert Indiana 4 Square from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

Jennifer JL Jones (b. 1971) Sun Seeker III, 2023 Painting on Baltic Birch Wood Panel 24 x 24 in

Jennifer JL Jones (b. 1971) Sun Seeker II, 2023 Painting on Baltic Birch Wood Panel 24 x 24 in

Jennifer JL Jones (b. 1971) Sun Seeker I, 2023 Painting on Baltic Birch Wood Panel 24 x 24 in

Jennifer JL Jones (b. 1971) Nilah III, 2024 Painting on Paper 30 x 22 in

Jennifer JL Jones (b. 1971) Nilah II, 2024 Painting on Paper 30 x 22 in

Jennifer JL Jones (b. 1971) Apogee V, 2024 Painting on Paper 16 x 16 in

Jennifer JL Jones (b. 1971) Apogee IV, 2024 Painting on Paper 16 x 16 in

Jennifer JL Jones (b. 1971) Apogee III, 2024 Painting on Paper 16 x 16 in

Mixed Media on Paper

Mixed Media

Lithograph after a gouache decoupee from Verve 35/36

Original lithograph in colors from the unsigned edition included in Miro Lithographs Volume I. Published by Mourlot, Paris. Reference Mourlot 857.

Original lithograph in colors from the unsigned edition included in Miro Lithographs Volume I. Published by Mourlot, Paris. Reference Mourlot 857.

Lithograph after a gouache decoupee from Verve 35/36

Lithograph after a gouache decoupee from Verve 35/36

Lithograph

Alex Katz (b. 1927) Ada 9 — From the ADA Portfolio, 2022, (/100) Silkscreen in colors on Saunders Waterford High White HP 425 gsm paper 54 x 40.50 in (137.16 x 102.87 cm)

Alex Katz (b. 1927) Ada 6 — From the ADA Portfolio, 2022, (/100) Silkscreen in colors on Saunders Waterford High White HP 425 gsm paper 54 x 40.50 in (137.16 x 102.87 cm)

Alex Katz (b. 1927) Ada 5 — From the ADA Portfolio, 2022, (/100) Silkscreen in colors on Saunders Waterford High White HP 425 gsm paper 54 x 40.50 in

Alex Katz (b. 1927) Ada 3 — From the ADA Portfolio, 2022, (/100) Silkscreen in colors on Saunders Waterford High White HP 425 gsm paper 54 x 40.50 in

Jennifer JL Jones (b. 1971) Summer Sings VIII, 2024 Painting on Paper 16 x 16 in

Jennifer JL Jones (b. 1971) Summer Sings V, 2024 Painting on Paper 16 x 16 in

Jennifer JL Jones (b. 1971) Summer Sings IV, 2024 Painting on Paper 16 x 16 in

Mixed Media House Paint on Laid Fabric 46.50 x 19.50 in

Hunt Slonem Delsin, 2022, (5/Edition of 20 ) Ceramic Sculpture 14 x 7.50 x 5.50 in (35.56 x 19.05 x 13.97 cm)

Keani, 2023

Sculpture of a woman in transparent and chalcedony glass by Dino Rosin, Murano, 2000s. Applied pad mark, signed. H. 13 x L. 7 x D. 5.25 in. Excellent Vintage Condition.

Amber Sunrise, 2023

Large Blue Half Moon, 2023

Artist Statement: I fully believe a certain "luck factor" exists when working with glass; sometimes a piece turns out and others crack or break. Glass can be solid/liquid, can be...

Santiago Medina (b. 1964) Taboo, 2023, (2/5) Italian Stainless Steel Sculpture26.50 x 6.50 x 4.75 in (67.31 x 16.51 x 12.06 cm)

Santiago Medina (b. 1964) Soul, 2023 Italian Stainless Steel Sculpture

Santiago Medina (b. 1964) Desire in Black, 2023, (/5) Italian Stainless Steel Sculpture72 x 8 x 6 in (182.88 x 20.32 x 15.24 cm)