Robert Funk Fine Art

Silver light reflects off an Upper East Side skyscraper as two industrial boats pass in aligned formation. But this is not a picture of a building and boat. The extreme lighting and...

A play of light envelopes the Upper East Side skyline of New York City and projects a feeling of fogginess. Photographer Mitchell Funk captures a moment when the atmosphere transmits...

Two flower children converse among a gathering of hippies in Central Park. They are adorned with yellow flowers in their hair, which symbolize freedom and ideals of universal belong...

The majestic Art Deco Chrysler Building soars in between Manhattan's skyscrapers. The cropping is radical and exudes a sense of urban exactitude, seamlessly woven into the light-fi...

A joyful display of flowers adorns a country house's outdoor window. It's straight out of Norman Rockwell's America. The composition is formal, with rectilinear lines painted in a de...

A monumental Fifth Avenue billboard depicting three nude models from the waist down and only wearing shoes soars above passing pedestrians. The scene is characterized by a deeply imp...

The road to Coconut Grove is adorned with green lush tropical rainforest plants. One of the most graphic is the alocasia macrorrhizos. They function as shapes as much as they do as w...

A stylized cat named Babette is depicted licking her paw. It is rendered in black and white, which bears the influence of Asian art in its simplicity of line, use of wash, and bleedi...

A "Flapper of 1800" is depicted in profile with her maid holding a hat box and cradling a little monkey. The maid is a step to the right and a step behind her. Overlapping garments v...

A solitary boat is dwarfed by a colossal setting sun on a spiritual sea. The image suggests that a larger force is out there and that humans are just a part of the grand scheme. Th...

Done on assignment for Life Magazine, It was photographed outside Tampico Mexico. Elephants were transported to Mexico from for rehab after training in Oregon. The photographer and h...

A celestial golden glow on St Patrick's Cathedral is sheathed in an equally heavenly sky. The image is not only beautiful but communicates a spirit of the divine as all elements lea...

A high-impact graphic of a whimsical Lion sporting a bowler hat is depicted for a cover for Holiday Magazine, April 1958. The issue was about England, and the editors finally ran a ...

An iconic view of the Twin Towers shortly after completion are depicted with an angelic light. Signed dated and numbered on lower right, 3/15 printed later, on Hahnemuhle Paper Oth...

Great price! Wonderfully intricate grape and vine motif. It creates a dominant presence in person. This is a statement piece It's on sale for a limited time only. Incredible v...

A cluster of vintage red Ferraris lounge on displayed in a square in Florence, Italy. Street Photographer Mitchell Funk was struck by the unexpected site and documented the scene em...

Artist Richard Erdoes is as undervalued as he is overlooked. Rarely does an artwork come on that market that combines sharp-witted originality with mind-boggling technical proficiency. In “Mid-Century Expressway,” Erodes painstakingly draws a birds-eye view of a Norman Rockwell-like town buzzing with activity. He paints far away and close up in one image. Each block has its own charming Americana story unfolding. The closer the viewer gets to each scene, the more detail is revealed. In black and white, the artist describes not only the architecture and infrastructure but also human activity - lot's of it. Erodes’s congested town is humming. Overflowing trains, packed busses, zooming cars, stuffed trucks, frenzied pedestrians and even a marching band is depicted with great whit. But do not worry. Progress is coming and all will be well. Superimposed onto this black and white clogged urban scene is a proposed new highway. It's painted in a punchy green and creates an unexpectedly distinct design. The artwork was most likely done for Fortune Magazine or the like. Notice he Esso Gasoline signs...

The surrounding clouds' graphic formation pays tribute to Frank Lloyd Wright's Guggenheim Museum's simplified design of repetitive shapes. In this stunningly original image, Photogr...

Bacchic revelry. A sexy and nude curvaceous young Nymph/Bacchante makes amorous advances to a Herm - whose facial expression reflects her erotic touch. The Herm is stylized where his...

This is more than a cover illustration depicting the legendary Charlie Parker playing the saxophone. It's an inventive graphic design concept from trailblazing illustrator Robert Weaver. By showing the subject in two parts. The artwork's visual idea is as radical as Parker's music. A wide shot and a close-up butted together dynamically communicates an energetic motion and movement in a still image. Signed lower right. Record album cover illustration for Charlie Parker: Bird with Strings Live at the Apollo, Carnegie Hall and Birdland (Columbia Records, 1976). From Wikipedia: Robert Weaver (July 5, 1924 – September 4, 1994) was an American illustrator who was considered a pioneer of a contemporary approach to the field that began in the 1950s. Biography Beginning in 1952, he embarked on a mission to combine the visual ideas found in fine art with the responsibility of journalist. At the time, many practitioners of illustration were expected to paint and draw for advertising and magazine assignments with artwork that was conservative, idealized and saccharine, while other illustrators such as Ronald Searle, Arthur Szyk, George Grosz, Kathe Kollwitz and later Ralph Steadman and Tomi Ungerer injected their own opinion into the matter. Weaver joined this latter tradition by moving his role of an illustrator from a page decorator to a journalist. He ventured from the typical haven of an illustrator's studio into the world and used a pencil to observe, record facts, and draw real life based visual essays, the way that illustrators such as Burt Silverman and Franklin McMahon did. This approach would later be termed "visual journalism" and in 1983 would form the basis of a special masters degree, Illustration as Visual Essay, from the School of Visual Arts in New York. He died at his home in Manhattan on September 4, 1994.[1] Career and legacy In an article for the AIGA in 1990, noted graphic art historian Steve Heller categorized Weaver as a journalistic illustrator. Other artists included Bob Gill, Jack Beck, Robert Andrew Parker, Thomas B. Allen and Philip Hays. They received crucial assignments from a group of visionary art directors that included Cipe Pineles...

Famed graphic designer Ivan Chermayeff creates a portrait made from cut paper and magazine clippings. Chermayeff names it "Old Lady with Spring Hat " and as one views it "charming"...

Divine Intervention? Magical, almost angelic light envelops an ambulance event in Central Park. The body language of the surrounding crowd and the open ambulance door indicate a seri...

Dancing waters flow down from the Bethesda Fountain in Central Park. The water forms an energized abstract pattern in a monochromatic color scheme. Mitchell Funk's use of backlightin...

A large decal of an American Flag is pasted on the interior of a New York City bus. Street Photographer Mitchell Funk captures a close-up of the bus as it passes by on the street. Th...

Beauty and the Beast-like theme is realized in one side of this work by famed Childens Book illustrators Alice and Martin Provensen. Study for "The Pr...

A glamorous nude female of ideal proportions stands side-by-side with her partially clothed counterpart. They are intertwined with seasonal foliage to symbolize the painting's title, "Summer into Spring." Iconic American Illustrator/Artist Bob Peak integrates the sinuous curves of plants, flowers, and color to indicate a seamless seasonal transition. On the left, the figure is bathed in a soft, dreamy green that subtly transitions into a delicate blue. The painting is large in scale and exhibits a deep knowledge of academic painting, with two female portraits masterfully rendered. Peak also exhibits his skills as a colorist. He harmoniously fuses human flesh tones into a fantasy land of lush floral elements. Drawing inspiration from Art Nouveau, Peak makes a statement about the universal theme of beauty in nature. As a sight to behold, joy ripples through one's body, looking at "Summer into Spring". It is a late work in the artist's career but also one of his best. Signed lower left. Unframed. Provenance: The Estate of the Artist. Color may vary depending on light source. Best viewed with top gallery-style lighting. Bob Peak was the Norman Rockwell of American Illustration from the 1960's to the 1980's. He was as in demand as he was technically and creativley innovative. Regular Clients were, Time Magazine, Sports Illustrated, TV Guide and Esquire and Major Ad Agencies. He has been dubbed Master of the Modern Movie Poster. Fate of a Man, movie poster illustration (U.S. release), 1959 West Side Story, movie poster illustration, 1961 Birdman of Alcatraz, 1962 The Leopard, movie poster illustration (U.S. release), 1963 My Fair Lady, movie poster illustration, 1964 The Cincinnati Kid, movie poster illustration, 1965 The Liquidator, movie poster illustration, 1965 Lord Jim, movie poster illustration, 1965 Kaleidoscope, movie poster illustration, 1966 Modesty Blaise, movie poster illustration, 1966 Our Man Flint, movie poster illustration, 1966 Camelot, movie poster illustration, 1967 In Like Flint, movie poster illustration, 1967 Thoroughly Modern Millie, movie poster illustration, 1967 The Wanderer, movie poster illustration (U.S. release), 1967 For Love of Ivy, movie poster illustration, 1968 A Dream of Kings, movie poster illustration, 1969 Funny Girl, movie poster illustration, 1969 Lions Love (... and Lies), movie poster illustration (alternate poster), 1969 The Secret of Santa Vittoria, movie poster illustration, 1969 There Was a Crooked Man..., movie poster illustration, 1970 Cesar & Rosalie, movie poster illustration (U.S. release), 1972 The Great Waltz, movie poster illustration, 1972 Enter the Dragon, 1973 Mame, movie poster illustration, 1974 The Voyage, movie poster illustration (U.S. release), 1974 The Yakuza, movie poster illustration, 1974 Rollerball, movie poster illustration, 1975 That's Entertainment, Part II, movie poster illustration, 1975 The Missouri Breaks, movie poster illustration, 1976 Equus, movie poster illustration, 1977 Islands in the Stream, movie poster illustration, 1977 The Spy Who Loved Me, movie poster illustration, 1977 Every Which Way But Loose, movie poster illustration, 1978 Superman, movie poster illustration, 1978 The Wiz, movie poster illustration (alternate poster), 1978 Hair, movie poster illustration (alternate poster), 1979 Apocalypse Now...

African American Artist Vincent D Smith makes a statement about racial justice. In this work from 1972, he depicts three African American prisoners with their faces pushed up agains...

Street Photographer Mitchell Funk captures a green-eyed Sci-Fi Star Trek girl illuminated by intense golden light. In most portrait photography, the subject collaborates with the ph...

Dramatic golden light reflecting off a New York City skyscraper with the moon communicates more than just a document of a skyline. This image is about the aesthetic power and perhaps...

Trailblazing Color Photographer Mitchell Funk once again sets the standard for originality and inventiveness. His use of hyper-lighting and composition produces a retina-numbing imag...

An unusually robust gathering of birds is captured in Miami by Photographer Mitchell Funk. We named it Bird Party because they seemed to be having so much hanging out, signing in tu...

A densely packed flock of birds fly over a beach in East Hampton while a magnificent rainbow serves as a backdrop. The tight formation of the flock of birds symbolizes unity and to...

A red-billed duck swims in a pond of impressionist yellow and blue colors that please the viewer's optic nerve and soothe one's mood. The image is as abstract as it is representation...

This dramatic image of an oversized sun with a silhouetted plane gracefully passing through conveys the transience of time. Two spires of the Triborough Bridge are centered in the co...

Welcome to the World. A blue-eyed child in a wide-rimmed hat with flowers and an adult chicken greet the emergence of a chick. The charming illustration is titled " Karen and Etta ( the chicken ) have a Little Chick " Notice the whimsical touch of a piece of egg shell that sits on the chicks head like a little white hat. Signed lower right. unframed Alice Rose[1] Provensen (née Twitchell; August 14, 1918[2] – April 23, 2018[3]) and Martin Provensen (July 10, 1916 – March 27, 1987) were an American couple who illustrated more than 40 children's books together, 19 of which they also wrote and edited.[4] According to Alice, "we were a true collaboration. Martin and I really were one artist."[4] Biographies Their early lives were similar. Both were born in Chicago and moved to California when they were twelve.[5] Both received scholarships to the Art Institute of Chicago, and both attended the University of California, though at separate campuses. After college, Alice went to work with Walter Lantz Studio, the creators of Woody Woodpecker, and Martin took work with the Walt Disney Studio, where he collaborated on Pinocchio, Fantasia, and Dumbo. The pair met in 1943 when Martin, working as a creator of training films for the American military, was assigned to the Walter Lantz Studio. They were married in 1944 and settled in Washington, D.C., where they worked on war-related projects. After the war, they moved to New York City where a friend helped them get their first job, illustrating The Fireside Book of Folk Songs.[5] They illustrated several Little Golden Books including The Color Kittens by Margaret Wise Brown (1949). In 1952, Tony the Tiger, designed by Martin, debuted as a Kellogg's mascot. The Provensens were a runner-up for the 1982 Caldecott Medal as illustrators of A Visit to William Blake's Inn by Nancy Willard...

New York City Skyscraper Super Tall in Angelic Light Signed and dated on lower right, numbered 3 of 15. Unframed. Other size available, Printed later - Printed on Hahnemühle Fine...

Strong light illuminates an upward view of an exaggerated cluster of gathering birds. The birds' warm golden color in chiaroscuro contrasts with the soft blue tropical Miami sky and...

World renowbed Graphic Designer Ivan Chermayeff creates whimsical abstract collage characters in bold colors . Here we have Brno Mechanic. Mixed media collage on paper, 1998, signed 'Ivan Chermayeff', titled and dated lower right. on heavy Arches paper. Framed under plexi 33.5 x 25.5 Slight Staining near glove and minor scattered surface soiling. Otherwise apparently in good condition. Chermayeff & Geismar It was founded in 1957 by the two Yale graduates Ivan Chermayeff and Tom Geismar as well as Robert Brownjohn, a protégé of László Moholy-Nagy and Chermayeff's father, industrial designer Serge Chermayeff, at the New Bauhaus in Chicago.[2] Brownjohn, who struggled with heroin addiction for most of his adult life, left the partnership to join J. Walter Thompson's London branch in 1959. The firm has designed logos for such companies as Pan Am, Mobil Oil...

After a 55-year career creating originally powerful images, Photographer Mitchell Funk outdoes himself. Flock of Birds on Wire was shot in the Windwood section of Miami. End-of-the-d...

Streetlights on Manhattans' Sixth Avenure transform into a starburst of kaleidoscope color through an act of creativity from Photographer Mitchell Funk. The emanating light is a m...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

A recurring motif in Mitchell Funk's work is the inclusion of an oversized moon. It signifies a celestial presence. This work, "Yellow Moon Over Manhattan," is an early example, but ...

A simple park bench acts as inspiration for an early example of semi-abstraction in color photography. Pioneering Color Photographer Mitchell Funk waits for "magic hour" light to ill...

A lone figure is captured running against a Magenta Sky at Dusk. He is small in the frame, with the vastness of nature as a backdrop. This image was taken in 1972 and exemplifies Pho...

In 1971, Central Park was a hub for Vietnam War Protests. In this work, Mitchell Funk captures a packed protest scene with emphasis on the graphic nature of the banners and flags. Th...

The Empire State Building is vividly portrayed as a stand-alone Art Deco skyscraper in an uncluttered New York City sky. Surrounding it is the emptiness of midtown Manhattan. It allo...

Mitchell Funk's photograph of a Red Brick Factory in Long Island City is as much about color-field theory as it is a document of a brightly painted factory facade. Additionally, Fun...

This painting of a classic nude at a pool, "Hilda at the Pool," is both a portrait and a landscape. Leon Kroll rejected Modernism to triumph in the beauty of Classicism. During his l...

A monochromatic winter snow scene in Central Park with a leafless tress raises questions. How can a city with over 8 million people jammed into a small space yield an expansive, unp...

Welcome to Gahan Wilson's magnificently morbid mind, where viewing his cartoons/illustrations gives the viewer the creeps. In this work, a husband designs...

A determined, lone, sexy nude male is about to sprint down an endless road in New Mexico and, in a quest for meaning, meet his destiny. The image exudes a sense of primal instincts...

A vibrant orange sunset silhouettes the iconic Statue of Liberty in New York Harbor. In the foreground, a partly out-of-focus green street light occupies the top half of the composi...

Man conquers nature and expresses a victorious gesture to an endless landscape with billowing clouds. A quest for meaning for the individual could be another theme this image. The ...

Dancing waters emanate from a New York City fountain to fill the sky with thousands of circles of light. Bystanders mingle in the mist as Street Photographer Mitchell Funk captures ...

Lorraine Fox was a pioneering female Illustrator/artist who championed a unique style immediately identified as hers. This work, in two parts, was most likely for a newsstand woman's...

Street Photographer Mitchell Funk uses a Nikon Z8 mirrorless megapixel camera to photograph the screen of a Times Square tourist's cell phone camera. The resulting image is a photogr...

Old New York is captured. Angelic golden light caresses an industrial scene truck at a Chelsea West Side loading dock in 1972. The lighting transforms a gritty and oil-soiled space i...

This is a Post-Post-Impressionist, Post-Expressionist, Post- Fauve depiction of a West African landscape by an African American artist. It is characterized by flat pattens of bold co...

Pioneering Street Photographer Mitchell Funk exploits an upward angle of the Twin Towers at the World Trade Center. At the convergence of the two towers, a full moon appears wedged...

From a high angle, we see early morning light skim across the surface of an outdoor basketball court, creating long, dramatic shadows and poetic patterns. In the center of the compos...