Otto Binx Wall Decorations

Augustus Welby Northmore Pugin created around one hundred wallpapers, which were manufactured and flocked by William Woollams & Co of London. Augustus Welby Northmore Pugin created a...

Partial design #105 textile swatch. Frank Lloyd Wright for Schumacher, c. 1955. USA Frank Lloyd Wright designed a line of decorative fabrics and wallpapers called the "Taliesin L...

Phillip Jeffries Japanese Paper Weave, White, 842, Bolt, 12 yards, Japan. Japanese Paper Weave, White. Fine threads of natural paper are dyed prior to weaving to create a virtually ...

Handcrafted with the finest authentic materials, this sophisticated specialty wallcoverings is three dimensional and includes luxurious artisanal details like a multi-layered process...

From the Mulberry Home Modern Country Wallpaper Collection This design features the famously iconic 'flying ducks' in a hand painted effect. Shown here in indigo. Product code no ...

Coordonné’s Cheetahs Azul wallpaper in an animal designed in White/Grey tones from the Anima collection. Specifications Collection Anima Quality Non-woven Roll size 50x1000 cm ...

Brunschwig & Fils x Musée des Arts Décoratifs, Paris, Marot Wallpaper, Mural 1999. Gorgeous Trompe L’oeuil drapery effect in light blue with pink ribbons and bows at edge, comes toge...

Francesco Scavullo, Joe Dallesandro with a small child, 19.25 x 13.25 in Rare photo from Scavullo’s New York studio. 1968. Large scale photo mounted on board. Exceedingly rare image ...

Frank Lloyd Wright Coonley House Tile Hand-printed Wallpaper, Schumacher, 1976. Exceedingly rare, printed by Schumacher. Handprinted wall co...

Brunschwig and Fils bamboo grove handprinted floral wallpaper, Celadon Cream, USA. Listing is for a triple roll (15 yards x 36”). Gorgeous chinoiserie print. No longer in production.

Francesco Scavullo, Andy Warhol's Flesh: Joe Dallesandro with Child II, 19.25 x 13.25 in. Rare photo from Scavullo’s New York studio. 1968. Large scale photo mounted on board. Exceed...

Andy Warhol, Joe Dellasandro, ‘Trash’, 1968 (1978), Black & White Photograph. Large silver gelatin print. Printed in 1978. Provenance: Archive of After Dark Magazine, New York. This ...

Francesco Scavullo black & white photograph Jay & Jed Johnson. Large scale photo on board from Scavullo Studio. 1968-1969. 18.25 x 12.25 inches. Minnesota twins, Jay and Jed Johnson...

One of the original members of the Abstract Expressionist "New York School", Salvatore Grippi (1921-2017) exhibited in two of the famous New York Painting and Sculpture Annuals (1953...

Francesco Scavullo, Joe Dallesandro with a small child, 19.25 x 13.25 in Rare photo from Scavullo’s New York studio. 1968. Photo mounted on board. Exceedingly rare image from the ser...

Jack Mitchell black and white photograph of Andy Warhol as filmmaker. This silver gelatin print is dated 1968 on the back. 11 x 14 in. Rare image, original print. Jack Mitchell (1925 - 2013) Photographer for the American Ballet Theater, the Alvin Ailey American Dance Theater, Dance magazine. His Photos appeared in Time, Life, Newsweek, Rolling Stone, The New York Times, Vanity Fair, Vogue, New York Times. Permanent collection National Portrait Gallery, the Museum of African American History...

Pop Art Oil on canvas untitled still-life painting by Salvatore Grippi, 1970 Salvatore Grippi oil painting, Signed New York School One of the original members of the Abstract Express...

Hard Edge New York School Ab Ex Oil on Canvas Painting by Dennis Ashbaugh 1976 Signed. Stunning work by the superstar contemporary NY artist, Dennis Ashbaugh. From his early series...

Phillip Jeffries Champagne wash pewter leaf wallpaper, silver metal wallcovering. “Rembrandt” GV226 Bolt size: 8 yards. Width: 37”; trims to 36” Vertical repeat: N/A Horizontal repeat: N/A Fire rating: ASTM E84 CLASS A Specialty/Artistry Collection...

Eugene Atget (French, 1857-1927) Verrieres, vieux logis, 1922. Albumen silver print. printing out paper print from glass negative. verso right side sta...

Phillip Jeffries white velvet cocoon wallpaper, lasercut gilt velvet textile. Gorgeous wallcovering by Phillip Jeffries from the Velvet Cocoon collection. Item number 9094 Lot number...

Paris 1734 La Cité Natural Cork Wallcovering, Schumacher Wallpaper, Mural. La Cité is a reproduction of the Turgot Map of Paris, originally publish...

A watercolor on board by Angelo Testa. Signed and dated (1962) Measures: 29½ H × 19½ W in. Angelo Testa was one of the foremost American textile designers of the mid-20th century. In 1945, he became the first graduate of the Institute of Design (formerly the New Bauhaus) in Chicago, where he studied under artist László Moholy-Nagy, architect George Fred Keck, and weaver Marli Ehrman...

Brunschwig & Fils hand-printed Cherubin et Lapins, wallpaper, angels and rabbits, 2000. Lovely yellow background with blue figuration. Vintage, rare, out of print design featuring al...

Francesco Scavullo black & white photograph Jay & Jed Johnson, photo mounted on board. From Scavullo Studio. 1968-1969. 18.25 x 12.25 inches. Minnesota twins, Jay and Jed Johnson m...

Phillip Jeffries Palazzo Pine Portico Wood Veneer Wallcovering, Japan. Authentic wood veneer and cork wallcoverings add warmth and natural beauty to any space. Wood is sliced into ...

Brunschwig & Fils x Musée des Arts Décoratifs, Paris, Marot Wallpaper, Mural 1999. Gorgeous Trompe L’oeuil drapery effect in light blue with pink ribbons and bows at edge, comes toge...

Brunschwig & Fils x Musée des Arts Décoratifs, Paris, Cristaux Wallpaper, 1983. Listing is for one roll of “Crystals,” a gorgeous vintage print from Brunschwig & Fils and the Musée...

White Bunny Drawing by Oleg Cassini for Playboy October 1979, Signed. Illustration of a woman wearing a white body suit, choker, and hat. Signed by Oleg Cassini. Notice the body suit is in the shape of the head of a bunny with clever use of the 'whiskers'. Approximate Measurements: Length: 11" Width: 14" Property from the Collection of Steven Rosengard, Chicago, Illinois This original drawing was commissioned by Playboy and included in the October 1979 issue of Playboy Magazine (pages 225-227) in a feature that included works from designers such as Bill Blass, Oleg Cassini, Edith Head, Fernando Sanchez, and Monika Tilley, among others, who create their versions of the Playboy bunny costume. Candace Collins can be seen modeling some of the designs in the feature. Oleg Cassini is an icon of twentieth-century fashion. Though born to Russian aristocracy and raised in Italy, he built a fashion empire that was unmistakably American. Cassini is perhaps best known for the hundreds of designs he created for First Lady Jacqueline Kennedy (see images 4-8), but his achievements as a collector, connoisseur, and quintessential twentieth-century man go far beyond Camelot. In 1913, Oleg Cassini was born in Paris to the Russian diplomat Count Alexander Loiewski and Countess Marguerite Cassini, a Russian aristocrat of Italian ancestry who also had an interesting link to America. The daughter of Count Arthur Cassini, Russian Ambassador to the United States during the McKinley and Roosevelt administrations, Marguerite dazzled turn-of-the-century Washington as her father’s official hostess and left her mark on the capital city. Stationed in Denmark when the Russian Revolution toppled the czar, Ambassador Cassini and family were exiled to Switzerland before settling in Florence, Italy, where young Oleg was raised. A true Renaissance man, he spoke Russian, French, and Danish before adding Italian and English; he studied medieval and modern European military history and costume and learned to draw; he learned horseback riding, fencing, and the art of chivalry; and, most importantly, he came to understand the struggles of the Russian titled class and other European aristocrats in the wake of the Russian Revolution and World War I. Countess Cassini started a successful fashion business in Florence, and soon the talented young Oleg was sent to Paris to sketch the latest collections for recreation in Italy. In Rome in his early 20s, Cassini created fashions for high society women and designed for a few films, which planted the seed for his move to Hollywood. The drive to reinvent himself brought Cassini to America in the 1930s; in his autobiography he describes arriving nearly penniless in mid-Depression New York City where his title as an exiled Russian Count meant even less than in war-devastated Europe. Down and out, Cassini struggled for employment, having sketching skills but no knowledge of the wholesale trade required for survival in Manhattan’s Seventh Avenue fashion district. However, he excelled at making connections, and Cassini slowly entered New York society. He was soon joined by younger brother Igor (who had studied in America and travelled with the young Emilio Pucci) and his parents, the once-dazzling Countess and his father, the displaced diplomat still loyal to Russia. The family settled in Washington, D.C., and Igor worked his way up the Hearst newspaper chain to become the famous society columnist Cholly Knickerbocker. In New York, Oleg Cassini married the troubled socialite Merry Fahrney (who would go on to marry eight times), but the marriage ended in scandal for Oleg, and he decided to follow his original intention and head for Hollywood. Despite initial difficulties, Cassini gained access to Hollywood’s elite (partially through his skills on the tennis court), and was soon hired as a designer at Paramount Pictures alongside the redoubtable Edith Head. In her 1941 film debut I Wanted Wings, Veronica Lake wore a memorable Cassini design. That same year, Cassini met and married the newest young Hollywood star on the scene, the beautiful 20th Century Fox–talent Gene Tierney. With the outbreak of World War II, Cassini enlisted in the Coast Guard but was transferred to the U.S. Army Cavalry which allowed officers of foreign birth. He attended basic training at Fort Riley, Kansas, and the horsemanship he learned as a boy served him greatly. He attended Officer Candidate School and reached the rank of First Lieutenant (he also became an American citizen at this time, losing his title of Count). Cassini spent several years posted at Fort Riley, where Tierney joined him before he landed a convenient military post in Hollywood. As Tierney’s career thrived (she played the title role in Otto Preminger’s Laura in 1944), she was able to assert her influence over 20th Century Fox’s head Daryl Zanuck, who hired Cassini as designer for Tierney on her 1946 film The Razor’s Edge, which proved to be a brilliant showcase for his talents. The pair separated the same year and, again seeking reinvention, Cassini re-established himself in New York City as a fashion designer. By 1950, the Oleg Cassini label was born. Combining his knowledge of Old World and modern Europe, Hollywood, the tennis courts of Palm Beach and Newport, and of course, New York City, Oleg Cassini invented a new brand of fashion that was distinctly American and of its moment. For his first collection, Cassini took to the stage, narrating the looks and imbuing the scene with his personality, unusual in an industry where the designers typically remained backstage and the models were called by number over a PA. The first collection was a smash — the president of Lord & Taylor devoted all of their storefront windows to his designs — and by 1955 sales had reached $5,000,000. Oleg Cassini’s career had turned a very positive corner. Cassini spent the early 1950s traversing the country, personally selling his collections to department stores in the interior, something his predecessors had never done, and moving between the Hollywood and New York scenes. Cassini’s brother Igor coined the term “the Jet Set” for this generation that constantly flew from New York to Los Angeles (then a ten-hour flight), Las Vegas, Paris, Rome, and the Riviera. In 1954, Cassini set out to woo Grace Kelly and sent her roses every day. The two were briefly engaged before her marriage to Prince Rainier of Monaco. In December 1960, Cassini’s career-defining opportunity came when he was chosen by Jacqueline Kennedy to design her fashions for the White House. Cassini had long known Joe Kennedy and his war-hero son John, and had first met Jacqueline Bouvier before her marriage in the early 1950s. Invited by President-Elect Kennedy to meet Jacqueline at Georgetown Hospital (she had just given birth to son John Jr.) to present to her drawings of potential dresses and First Lady looks, Cassini worked furiously to prepare a new line for the First Lady. Mrs. Kennedy had always had her clothes made by the top French couturiers of the day, but for the White House she wanted an American designer. Cassini wrote in his autobiography that he told the First Lady: “‘You have an opportunity here,’ I said, ‘for an American Versailles.’ She understood completely what I was trying to communicate; she began to talk excitedly about the need to create an entirely new atmosphere at the White House. She wanted it to become the social and intellectual capital of the nation” (Oleg Cassini, In My Own Fashion, 1987, p. 327). Mrs. Kennedy loved Cassini’s design for a gown to wear to the Inaugural Gala (she had already ordered a dress from Bergdorf’s for the Inaugural Ball), and Cassini was selected as the First Lady’s designer and was soon dubbed the “Secretary of Style.” From 1960 to 1963, Oleg Cassini would design over 300 items for Mrs. Kennedy, creating the “Jackie Look” that contributed not only to a fashion revolution but also the dawn of a new age. Cassini wrote that “Jackie played a very active role in the selection of her clothes. She loved brilliant colors — pistachio, hot pink, yellow, and white among others. Her sense of style was very precise; she would make editorial comments on the sketches I sent her. She always knew exactly what she wanted; her taste was excellent” (Oleg Cassini, In My Own Fashion, 1987, p. 334). After the Camelot years, Cassini’s business flourished and grew into a major industry; his name appeared on everything from couture to tennis-, sport-, and swimwear, car interiors, housewares, and perfume. He collected beautiful and rare artwork, arms and armor, and antique furniture, and lived the lifestyle projected by his image. From this period onward, Cassini also came to live in important homes. Of his Gothic Gramercy Park townhouse on Manhattan’s 19th Street he would write imaginatively, “I walked into the foyer and immediately fell in love. It was a place unlike any other in New York, a sixteenth-century Dutch house transported brick by brick from Europe by the Wells Fargo family in the early twentieth century. There was a vaulted, twenty-foot ceiling in the living room, leaded windows, elegantly carved wood paneling...

Large panel swatch Design 105 dating to Frank Lloyd Wright’s original 1955 collection for Schumacher. Extremely rare original large scale fabric, with surged edges to facilitate long...

Panel swatch dating to frank Lloyd wright’s original 1955 collection for Schumacher. "Design 102" Extremely rare original large scale fabric swatch. This swatch is also in the collec...

Vintage Sherle Wagner Handprinted Water Lillies Wallpaper, 1960s. Gorgeous, rare hand-print from Sherle Wagner in their iconic Water Lillies pattern. No longer in production. Amazing...

Schumacher x Wedgewood Wild Strawberry Wallpaper, Wedgewood Collection, 1972. Iconic Wedgewood design from 1964 printed by house of Schumacher as...

Frank Lloyd Wright for Schumacher Tokyo Imperial Hotel Geometric Textile Frank Lloyd Wright for Schumacher Imperial Peacock Textile. 54" x 80". Wright...

Vintage Scalamandre trompe L’Oeil Normandy blue ribbon, French wallpaper, 1986. Equivalent to 10+ single rolls at 5 yards each. Totals more than 50...

Stunning lifetime signed dye transfer print by Arthur Siegel. Although color photography was available to the public in the late 1930s, most respected "p...

Braunschwig and Fils Bombay, Dove, Handprinted Wallpaper Double Roll, USA. Gorgeous off-white, light beige, light grey colorway. Geometric pattern inspired by traditional Indian ti...

Brunschwig and Fils Boscobel Restoration Medford Inn 1804 hand-printed wallpaper. Very unusual paper - it is marked as custom hand-printed for the Bo...

Brunschwig & Fils hand-printed Cherubin et Lapins, wallpaper, angels and rabbits, 2000. Vintage, rare, out of print design featuring alternating scenes of rabbits and cherubs surroun...

Wayne Carlson Handprinted Gold and White Wallpaper, Trompe L’oeiul Neo-Classical Revival. One opened vintage roll of gold on white hand-printed wallpa...

Francesco Scavullo black & white photograph Jay & Jed Johnson, mounted on board. From Scavullo Studio. 1968-9. 18.25 x 12.25 inches. Minnesota twins, Jay and Jed Johnson moved to N...

David Bromley immigrated with his family as a child to Australia where he still lives. Self-taught, he began his artistic career as a potter, and then, with a focus on painting, became known for his storybook images of his imagined British childhood. These images are the frequent subjects of his large oils on canvas, small embroideries and gorgeous silk screen prints with children playing, skipping, sleeping or at the seaside in boats, as if from the pages of Dick and Jane books...

JudScott New York Hand-printed Gold Egyptian Revival Corinth Wallpaper, 1980s. Judscott was a small high-end paper and textile company based in New York in the 1970s-80s, producing h...

Owens, John Joseph (American/West Virginia 1887-1931), Model Portrait Study, signed and dated 1909, charcoal on laid paper and pen and ink, about 21 x 17 inches. Provenance: artist's...

Philip Jeffries Natural Silver Max’s Metallic Raffia Natural Wallcovering, Japan. Width 36 in (91.4 cm) Pre-Trimmed Bolt Size: 8 Yards Repeat None Fire...

Midcentury figural oil painting "Triumph of the Egg", 1970s.

Tytgat's style can be described as a simplification of reality with an intended naivety. He derived his inspiration mainly from daily life and incorporated these experiences in his own dream world. For the present lot Tytgat was inspired by the traditional seven sacraments in the Church: Baptism, Confirmation or Chrismation, Eucharist, Penance, Anointing of the Sick, Holy Orders, and Matrimony. Tytgat also references the Flemish tradition of visual representation of these sacraments that dates back all the way to age of Jan van Eyck and Rogier van der Weyden...

Biker in a mirror black and white photograph Gravure print by Burk Uzzle 1980 Gravure print (1984, France). Burk Uzzle is an American photojournalist, previously member of Mag...

Phillip Jeffries Navy Blue Velvet Cocoon Wallpaper, Lasercut Gilt Velvet Textile. Gorgeous wallcovering by Phillip Jeffries from the Velvet Cocoon collection. Item number 9103 Lot nu...

Francesco Scavullo black & white photograph Jay & Jed Johnson. Photo on Board. From Scavullo Studio. 1968-1969. Large scale. 18.25 x 12.25 inches. Minnesota twins, Jay and Jed Jo...

Brunschwig and Fils Boscobel Restoration Medford Inn 1804 hand-printed wallpaper. Very unusual paper - it is marked as custom hand-printed for the Boscobel Restoration, Inc. with a copyright date of 1977. The Boscobel Restoration is a rebuilt historic mansion (see images 9 and 10) in Garrison, NY using salvaged parts of an original Federal-period home that was demolished in the 1950s. This is a historic pattern, marked on the paper as "Medford Inn, 1804" and a registered design of the Society for the Preservation of New England Antiquities. The Medford Inn (see image 11) was built in 1804 and became known as a well-known hotel located on Main Street in Medford, Massachusetts. The design of the paper hearkens back to Roman tradition of wall decoration, with a trompe l’oleil effect that mimics ornate panelling and stone inlay. As per the this paper was also produced in a brown colorway and is part of the Digital Public Library of America and Historic New England...

Jill Freedman Kissing FDNY 1976, black & white photo on Kodak Endura, Signed. Image also known as ‘Brotherly Love.” This is a black and white photograph ...

Gorgeous red monochrome Pop Art still-life drawing on paper, in the midst of the artist’s untitled table series of which I have a few large canvases listed. Don't miss this treasure!

Gorgeous still life drawing by New York Ab Ex artist Salvatore Grippi. Violet oil pencil on paper.

Frank Lloyd Wright Schumacher Sheer textile panel, curtain or drapery. Extremely rare panel, large scale. Dana House fabric panel, #14730 (1955 / 1986) Measures: 4' 10" W x 7' 11" L.  

This ink figurative abstract Expressionist piece on paper is signed by its creator, noted New York School artist Salvatore Grippi. Though undated, the piece is similar in form and st...

Mid-Century Modern abstract "Arau Potter" painting by Xavier Gonzalez, 1969 Signed and titled bya artist. Measures: Painting: 28.5"x 36". Provenance: From the personal collectio...

Oil on linen. "Pit Thea", Study of a pine cone. From the Plant Series 1968-1989. Signed lower left, dated 1974. Signed and titled and dated on back. 20" X 24" (floating frame 21" X 25"). My imagery is rooted in the world of the spirit which manifests itself through ritual, myth and symbol. The monolithic single-image plant forms which I began painting in 1968 are potent symbols of the ancient Great Goddess in Her aspect as ‘Lady of the Plants’, who . . . has been worshipped under a thousand names since the beginnings of prehistory.” (Buffie Johnson, Artist’s Statement for the exhibition catalogue of The Language of Symbols, Landmark Gallery, New York City, April 1980.) “... in the ancient world ... such images were perceived as sacred. This sense of divinity inherent in the plant has inspired these icons and through them I hope to evoke a similar magical experience. These forms were created both as metaphors for the spiritual mystery of nature . . . [and] as celebrations of the feminine.” (Buffie Johnson, Artist’s Statement for the exhibition catalogue of Buffie Johnson: The Spirit of Plants, Chuck Levitan Gallery, New York City, October 3rd – October 26th, 1997.) BORN: February 20, 1912 New York City DIED: August 11, 2006 at her home and studio , Greene Street, New York City SOLO EXHIBITIONS: 1937 * Jake Zeitlin Gallery, Los Angeles (First Solo Exhibition) 1939 * Galerie Andre J. Rotge, Paris: “Peintures Recentes de Buffie Johnson” (First Solo Exhibition in Paris) 1939 * Wakefield Gallery, NYC: “Buffie Johnson” (First Solo Exhibition in New York) 1941 * James O’Toole Gallery, NYC: “Recent Paintings and Portraits by Buffie Johnson” 1942 * Robert C. Vose Galleries, Boston: “Paintings and Portraits by Buffie Johnson” (First Solo Exhibition in Boston) 1944 * Caresse Crosby's G Place Gallery, Washington, D.C. 1945 * Howard Putzel’s 67 Gallery, NYC: “An Exhibition of Recent Paintings by Buffie Johnson” 1948 * The John and Mabel Ringling Museum of Art, Sarasota: “Buffie Johnson” * Galleria del Cavallino, Venice: “Buffie Johnson” 1949 * The Hanover Gallery, London: “Buffie Johnson” (First Solo Exhibition in London) * Galerie Colette Allendy, Paris: “Buffie Johnson” * The John & Mable Ringling Museum of Art, Sarasota * Galleria del Cavallino, Venice 1950 * Betty Parsons Gallery, NYC: “Recent Works by Buffie Johnson” 1951 * Galerie Bing, Paris * The Paul Mellon Gallery, The Choate School, Wallingford: “Exhibit of Portraits: Buffie Johnson 1936-51” 1956 * Galerie Bing, Paris: “Buffie Johnson: Exposition de peintures” 1960 * Galerie Bing, Paris: “Buffie Johnson: peintures recentes” * Bodley Gallery, NYC: “Buffie Johnson” 1961 * Gallery Thibaut, NYC: Buffie Johnson: “Phases of the Sun” 1963 * World House Gallery, NYC 1964 * Galeria de Antonio Souza, Mexico City: “La exposicion de las obras de Buffie Johnson” * The Granville Gallery, NYC: “Buffie Johnson: Recent Paintings” * World House Gallery, NYC 1966 * Galeria de Antonio Souza, Mexico City 1969 * The New School for Social Research/The New School Associates, NYC: “Buffie Johnson: Creation Myths - Oils” 1973 * Max Hutchinson Gallery, NYC: Buffie Johnson: Paintings 1968-1973” 1975 * Palm Beach Galleries, Palm Beach “Buffie Johnson” 1976 * Andre Zarre Gallery, NYC: “Buffie Johnson: Recent Paintings” 1977 * The Stamford Museum and Nature Center, Stamford: “Two Organic Women: Buffie Johnson / Stella Snead” 1979 * Gallery 700, Milwaukee: “Buffie Johnson: Floral Paintings” 1981 * Ankrum Gallery, Los Angeles: “Buffie Johnson” * Landmark Gallery, NYC: "Retrospective" 1984 * Elizabeth Leach Gallery, Portland: “Buffie Johnson” 1989 * 56, Bleecker Gallery, Ltd., NYC: “Buffie Johnson Portraits 1936-1947” 1991 * Cardiff House at University of California, Santa Cruz: “The Numbering Series” 1992 * PMW Gallery, Stamford: “Buffie Johnson: A Span of Time” Retrospective 1993 * The Institute for Contemporary Art, P. S. 1 Museum, Long Island City: “Buffie Johnson: Paintings from the 40s and 90s” curated by Director, Alanna Heiss 1995 * Kingsborough Community College Art Gallery of The City of New York, Brooklyn: “Buffie Johnson: Plants” 1996 * Millennium Art Gallery, East Hampton: “Perceptions”: Buffie Johnson – A Retrospective of her work from the 1940s to the 1990s” 1997 * Chuck Levitan Gallery, NYC: “Buffie Johnson: The Spirit of Plants" (Part I) 1998 * Chuck Levitan Gallery, NYC: “Buffie Johnson: The Spirit of Plants" (Part II) 2002 * Anita Shapolsky Gallery, NYC: "Buffie Johnson: Transcendentalist" 2007 * Anita Shapolsky Gallery, NYC: "Buffie Johnson Memorial Exhibition" Group exhibitions: 1938 * Galerie Le Niveau, Paris: “Paysages: Exposition de Groupe” 1939 * Wakefield Gallery, NYC * The Fine Arts Gallery, Balboa Park, San Diego: The Fine Arts Society of San Diego: “The Eleventh Annual Southern California Art Exhibition” * Galerie de Beaune, Paris: “VIIe Exposition de Gravures et Platres Gravés du Groupe de L’Atelier 17” 1940 * Wakefield Gallery, NYC: “Group of Small Paintings” 1941 * Carnegie Institute, Pittsburgh: "International Exhibition of Painting and Sculpture" * Marie Sterner Gallery, NYC: “International Group of Contemporary Painters” * The American British Art Center, NYC: “First ABAC Exhibition: Paintings and Sculpture from England, Canada & America” * The American British Art Center, NYC: “Stage and Circus: An Exhibition of Contemporary Paintings, Designs and Model Stages by American and British Artists” 1942 * Society of the Four Arts, Palm Beach: “Fourth Annual Exhibition by Artist Members” * Parke-Bernet Galleries, NYC: “A Loan Exhibition of Paintings for the Benefit of The American Red Cross representing Happier Days in The United Nations arranged by Marie Sterner” 1943 * Peggy Guggenheim's Art of This Century, NYC: “Exhibition by 31 Women” 1945 * Howard Putzel’s 67 Gallery, NYC: “Preview 1945-1946 Season of Two-man and Group Exhibitions at this Gallery” * Howard Putzel’s 67 Gallery, NYC: “40 American Moderns” 1946 * Walker Art Center, Minneapolis: "136 Americans" * The Springfield Museum of Fine Arts, Springfield, MA: “Sixth Annual Spring Purchase Exhibition: 30 Paintings by 30 Contemporary American Artists” 1948 * Salon des Realites Nouvelles, Paris 1949 * Salon des Realites Nouvelles, Paris 1950 * The Brooklyn Museum, Brooklyn: "Fourth National Print Annual Exhibition" * La Galerie Arnaud, Paris: “sculpteurs et peintres abstraits americains de paris” * The Riverside Museum, NYC: “Creative Art Associates” * Guild Hall, Moran Gallery, East Hampton: 10 East Hampton Abstractionists” 1951 * Guild Hall, East Hampton: “Frankly Romantic” 1953 * Guild Hall, East Hampton: "A Selection from 12 East Hampton Collections" * Guild Hall, East Hampton: "17 East Hampton Artists" * The Brooklyn Museum, Brooklyn: "17th Biennial International Watercolor Exhibition" 1954 * stabile Gallery, NYC * Whitney Museum of American Art, NYC: “The Whitney Annual” * The Baltimore Museum, Baltimore * Hampton Gallery & Workshop, Amagansett: "Group Show: Eight Painters, Two Sculptors" 1955 * stabile Gallery, NYC * Moderna Galerija, Ljubljana, “Exposition Internationale de Gravure” 1956 * Haus der Heimat, Iserlohn: "Junge Amerikanische Kunst" * Group Espace, Paris * Guild Hall, East Hampton: “13 Artists of the Region: Museum Acquisitions and Recent Works” 1957 * Signa Gallery, East Hampton: "Second Exhibition" 1959 * Hirschl & Adler Galleries, NYC: "Works by Gallery Artists" 1960 * Guild Hall, East Hampton: "Monotypes and Prints" * Whitney Museum of American Art, NYC: Friends of the Whitney Museum of American Art: "Business Buys American Art" * Bodley Gallery, NYC * The Philadelphia Art Alliance, Philadelphia: “Monotypes & Prints of Related Techniques” Shown concurrently with the publication of Henry Rasmusen’s Printmaking with Monotype 1961 * Bertha Schaefer Gallery, NYC: "Contemporary Collage" 1964 * Long Island University/The Parrish Art Museum, Southampton: "Long Island Artists" at Long Island University’s Galleries * Guild Hall, East Hampton: “Festival of the Arts Exhibition: Artists of the East Hampton Area Each showing one of his own works along with a favorite work of art or object from his collection.” 1965 * The Parrish Art Museum, Southampton: "Twelve Women Painters of the South Fork” 1970 * Le Salon International de la Femme, Nice. (Medailles d’argent) 1971 * Museum of Modern Art, NYC: "Penthouse Exhibition" * Whitney Museum of American Art, NYC: "American Art of Our Century" 1972 * Kunsthaus Hamburg, Hamburg: "Gedok American Woman Artist Show" * Suffolk Museum and Carriage House, Long Island: “Unmanly Art” 1973 * The New York Cultural Center, NYC: "Women Choose Women" * Whitney Museum of American Art, NYC: “1973 Biennial Exhibition: Contemporary American Art" * Women's Interart Center, NYC: "In the Beginning: Women and Religion" * University of Texas at Austin, "The Ciba-Geigy Collection of Contemporary Paintings" * A .I. R. Gallery, NYC * Brooklyn College, Brooklyn: "New York Women Artists" * Lehigh University, Bethlehem, PA: "New York Women Artists" 1974 * Kresge Art Center Gallery, Michigan State University at East Lansing: “Works by Women from the CIBA-GEIGY Collection” * Weatherspoon Art Gallery, The University of North Carolina at Greensboro: “Works by Women from the CIBA-GEIGY Collection” * Cranbrook Academy of Art, Bloomfield Hills: "Waves: An Artist Selects" * Grand Rapids Art Museum, Grand Rapids: "Waves: An Artist Selects" 1975 * Women's Interart Center, NYC: "Color, Light & Image" * The Pratt Institute Gallery, Brooklyn: "Women's Exchange Exhibitions: Artists from the Women Artist Historical Archives of the Women’s Interart Center" * Ashawagh Hall, Springs: "Women Artists Here & Now" * The Aldrich Museum of Contemporary Art, Ridgefield: "A Change of View" * The Brooklyn Museum, Brooklyn: "Works on Paper: Women Artists" * Whitney Museum of American Art, NYC: "Women from the Permanent Collection" 1976 * Buecker & Harpsichords, NYC: “Recent Portraits of Sari Dienes” * Soho Art Tour: A Benefit for Guild Hall of East Hampton * Guild Hall, East Hampton: "Artists and East Hampton: A 100 Year Perspective" * Landmark Gallery, NYC: “10 Artists" * The Hirshhorn Museum, Washington, D. C.: "A Bicentennial Edition of Banners" * Chuck Levitan Gallery, NYC: "A Bicentennial Edition of Banners" * National Museum Singapore, Singapore: “Artists Celebrate the Bicentennial” * Marion Koogler McNay Art Institute, San Antonio: "American Artists ‘76: A Celebration" * The Bronx Museum of the Arts, Bronx: "The Year of the Woman: Reprise" 1977 * The Bronx Museum of the Arts, Bronx: "The Magic Circle" * Hurlbutt Gallery, Greenwich: The Friends of the Greenwich Library Present: "Contact: Women and Nature” The Works of 30 contemporary women artists selected by New York critic and author Lucy R. Lippard * The Brooklyn Museum Art School, The Brooklyn Museum, Brooklyn: "Contemporary Women: Consciousness and Content" * New York University, Contemporary Arts Gallery, NYC: Visual Artists Coalition Exhibition: “Women Painters and Poets” 1978 * Women’s Interart Center, NYC: Women Artists: Sketch Books 1979 * Elaine Benson Gallery, Bridgehampton: "Five Artists New York/Hamptons" * Connecticut College, Cummings Center, New London: Visual Artists Coalition Exhibition: “Women Painters and Sculptors” * Clayworks Benefit Exhibition, 4 Great Jones Street, NYC 1980 * Landmark Gallery, NYC: "The Language of Symbols" * Fordham University, Lowenstein Library Gallery, NYC: “Evocative Images” * The Tweed Museum of Art, University of Minnesota, Duluth, “Invitational Print Show” 1981 * Landmark Gallery, NYC: "118 Artists" * The Parrish Art Museum, Southampton: "Alive at the Parrish" * American Academy and Institute of Arts and Letters, NYC: "Paintings And Sculpture by Candidates for Art Awards" 1982 * Westbeth Gallery #1, NYC: “Sexuality in Art: Two Decades from a Feminist Perspective.” One of sixteen shows of “Views by Women Artists: Sixteen Independently Curated Theme Shows Sponsored by the New York Chapter of the Women’s Caucus for Art” * The State University of New Jersey Rutgers, Mabel Smith Douglass Library, New Brunswick: Women Artist Series at Douglass College: “Modern Masters: Women of the First Generation” * Frank Merino Gallery, NYC: “Heresies 3rd Annual Art Benefit: Work by 146 Women Artists for Sale at Artists’ Prices” 1983 * Philadelphia College of Art, Philadelphia: “An Exhibition of Work by Artists in the Historical Archives of the Women’s Interart Center of New York City” 1984 * Suzanne Gross Gallery, Philadelphia: "Major Contemporary Women Artists: In Celebration of Simone de Beauvoir" 1985 * The Parrish Art Museum, Southampton: "Looking At Pictures" 1987 * Schick Art Gallery, Skidmore College, Saratoga Springs: "Self-Portraits: The Message, The Material" * Hofstra Museum - Emily Lowe Gallery, Hempstead: "Self-Portraits: The Message, The Material" 1988 * Phoenix II Gallery, Washington, D. C.: “Small Works by Forty-Two Artists 1989 * Anita Shapolsky Gallery, NYC: "Early Abstractions: Painting and Sculpture of the 40’s and 50’s" * Knoxville Museum of Art, Knoxville in conjunction with Bennett Galleries, Knoxville: "American Women Artists: The 20th Century" 1990 * Queensborough Community College Art Gallery, Bayside: "American Women Artists: The 20th Century" * Guild Hall/East Hampton Center for Contemporary Art, East Hampton: "East Hampton Avant-Garde: A Salute to the Signa Gallery 1957-60" 1991 * Harmon-Meek Gallery, Naples, FL: “Gallery Group Exhibition” * Harmon-Meek Gallery, Naples, FL: “Recently Added Artists” * Anita Shapolsky Gallery, NYC: “The Prevailing Fifties” 1992 * The Institute for Contemporary Art, P. S. 1 Museum, Long Island City: "Slow Art: Painting in New York Now." Curated by the museum’s Director, Alanna Heiss * Stuart Levy Gallery, NYC: “American Vanguard: Jackson Pollack, Lee Krasner and Friends” for the benefit of The Study Center Development Fund of The Pollock- Krasner House and Study Center, East Hampton, New York * Harmon-Meek Gallery, Naples, FL: “Flowers in Art” * Melvin Gallery, Florida Southern College, Lakeland: “Women Artists From the Harmon- Meek Gallery” * Anita Shapolsky Gallery, NYC: “The Americas” 1993 * Richard Anderson Gallery, NYC: “Songs of Retribution.” Curated by Nancy Spero * Snyder Fine Art, NYC: “Out of the ‘50s”: Works Shaped by the Aesthetic of the 1950s * Benton Gallery, Southampton: “Woman!” * The Museum of the Provincetown Art Association, Provincetown: The Art Students League of New York and The Provincetown Art Association and Museum Exhibition of: “The League at the Cape” Part II: Contemporary Invitational Section * Anita Shapolsky Gallery, NYC: “Women of the Fifties” 1995 * The New York Open Center, NYC: “The Creative Call to the Divine: An interfaith art show and healing experience” * Millennium Gallery, East Hampton: "Living Legends" * Anita Shapolsky Gallery, NYC: “Artists of the Fifties” (Part 2) 1997 * Pollock-Krasner House and Study Center, Springs, East Hampton: "Art of This Century: The Women" 1998 * Anita Shapolsky Gallery, NYC: “Earthly Delights” 1999 * Anita Shapolsky Gallery, NYC: “The Immortals” 2000 * Anita Shapolsky Gallery, NYC: “Buffie Johnson, William Scharf, Yvonne Thomas, Rufus Zogbaum, Wilfrid Zogbaum: Feb. 12-April 29, 2000” 2001 * Emily Lowe Gallery, Hofstra University, Hempstead: “Abstract Expressionism, Then and Now” 2003 * Anita Shapolsky Gallery, NYC: "Re-Examining Abstract Art, Part 2" 2004 * Anita Shapolsky Gallery, NYC: "New York School Artists: Work of 50’s & 60’s" 2005 * Anita Shapolsky Gallery, NYC: "Betty Parsons & the Women" 2007 * Anita Shapolsky Gallery, NYC: "Collectors' Choices" * Thomas McCormick Gallery, Chicago: “Suitcase Paintings...

1950s abstract Expressionism Woodblock print on handmade paper Gorgeous, graphic early work from Grippi. Experimentation with woodblock p...

This ink and watercolor figurative abstract expressionist piece on paper is signed by its creator, noted New York School artist Salvatore Grippi. Though undated, the piece is fits in...