Mid-Century Modern Contemporary Art

Original 1970's Alexander Calder Asymetrie coloured lithograph. Foxing to the paper., which should be visible in the photos. Reframed.

Original painting by contemporary Swedish artist Nicolas Makelberge. Red ink and color pigments dyed in concentrated layers on raw cotton canvas, floating mount behind glass in custo...

"Chimes" by Harris Strong is a mixed media collage wall art in original frame with matting. Minimal color palette and strong color contrasts strengthen this rare, monumental piece w...

Dive into a nostalgic journey with this rare and unique large set of Michelin Man tiles, crafted by an unknown manufacturer in Spain circa 1960. The set comprises the complete series...

Jordi Alcaraz artwork made in 2015. Signed, titled, and dated to verso. Jordi Alcaraz was born in Spain, 1963. Alcaraz’s discourse was born in the Classic tradition of painting an...

Josef Albers abstract lithographs from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from P...

Silvio Giovanetti Acid etched Painting , 1972

Group of Eight Abstract Photolithographs on Vellum by Cy Twombly, from the limited edition "Gaeta" portfolio produced by Hine Editions, San Francisco, CA, circa 1987. They have been ...

A beautiful work done by Philadelphia Artist Jane Potash. All original work with signature on front and original frame. Not dated, probably created late 19...

A 1960s setting of a Brutalist Wall Sculpture in metal and aluminum, made by a Belgium Unknown Artist. The quarter-circle design allows for many pattern opti...

Abstract screen-print, by Josef Albers, from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. This work is fro...

Intriguing color lithograph on Arches paper by Francis de Lassus Saint-Genies (1925 Val André - 2018) printed by G. Monnet & G. Petrie Editeurs, Paris, France. This French color a...

Vintage early 1970s Alexander Calder off-set lithograph: Published by Art in America, circa early 1970s. Good to very good overall vintage condition. Printed signature from an editi...

Geometric composition in rice paper by Victor Vasarely (1906-1997). This is a fantastic geometric composition created in Paris France by the op-art artist Victor Vasarely. The piece of art has been realized in black ink on paper. Great piece of art with gorgeous provenance and professionally framed with UV glass. Victor Vasarely He is considered the father of the Op Art, artist and was born on April 9th, 1908 in Pécs, Hungary. Internationally recognized as one of the most important artists of the 20th century, his innovations in color and optical illusion have had a strong influence on many modern artists. Spanning most of his career, our collection of his prints and sculptures explores his forays into some of his most famous works such as the plastic alphabet and other iconic periods. In 1925, Vasarely was accepted into the University of Budapest’s School of Medicine where he attended for 2 years. Deciding that he wanted to take his life in a different direction, he enrolled in the Poldini-Volkman Academy of Painting in 1927. Though a medical education might have seemed superfluous compared to his new career in art, the time that Vasarely spent in medical school gave him a strong basis in scientific method and objectivity. This basis continued to manifest in his unique style of art. After the artist's first one-man show in 1930, at the Kovacs Akos Gallery in Budapest, Vasarely moved to Paris. For the next thirteen years, he devoted himself to graphic studies. His lifelong fascination with linear patterning led him to draw figurative and abstract patterned subjects, such as his series of harlequins, checkers, tigers, and of course the Vasarely zebras...

Group of Eight Abstract Photolithographs on Vellum by Cy Twombly, from the limited edition "Gaeta" portfolio produced by Hine Editions, San Francisco, CA, circa 1987. They have been ...

Vintage metal tree wall art, three trees. Comes ready to hang.    

Hans Fischer "Beasties" etchings, circa 1959. These etchings are from the limited edition folio ''Homme Deguise en Homme" and dep...

Vintage Color Lithograph by Patricia Jean Burg. Canadian artist and printmaker, active in the United States, born 1934. Very decorative work of ar...

Selection of Joan Miro color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple t...

A wonderful and quite colorful oil on canvas painting by Swedish-American California artist Magnus Engstrom (1936- ). The painting features a futurist cityscape and is done in the neo-cubist abstract expressionist artistic painting style that Engstrom embraced. The painting is signed and dated (1970) by Engstrom. Would be a great addition to any Mid-Century Modern or California art painting collection...

Josef Albers abstract lithographs from folder XI-1, interaction of color, circa 1960s. updated

Known as God's own Pop artist, Sister Mary Corita Kent went straight from high school into Catholic convent life in 1936. While serving her order and teaching art at Immaculate Heart...

Raoul Dufy Hand Colored Illustration Pochoir from the Estate of CZ Guest. Finest quality lithograph is a French Pochoir, a complicated technical printi...

Israeli kinetic art master Yaacov Agam (1928-), named this beautiful piece “Ancient Battle,” as it certainly carries the pointed and multi-perspective chaos of such a conflict. Obser...

Selection of Modern Art, circa 1950s-1970s. From left to right, they are: 1) The abstract nude female drawing, probably American, circa 1950s....

“I try to make a blank canvas as beautiful as I possibly can, which isn't easy as there are few things as beautiful as a blank canvas” ABOUT THE ARTIST: Nicolas Makelberge (b.1976) ...

Original oil on canvas painting by listed Italian artists Federico Salvatore. The painting depicts a sailboat coming out of the Marina Grande in Capri Italy. Hand marked ‘Marina ...

1974 Mid-Century Modern abstract artwork by Jonas Gerard.

Brass and metal wall sculpture by Curtis Jere. Scene of docked sailboats with multicolor flags and flying sea gulls. Patinated brass and metal in very good condition. Ready to Hang.

“I try to make a blank canvas as beautiful as I possibly can, which isn't easy as there are few things as beautiful as a blank canvas” ABOUT THE ARTIST: Nicolas Makelberge (b.1976) ...

Mid century abstract texture painting This painting measures: 48 wide x 0.3 deep x 36 inches high Great vintage condition We take our photos...

A handsome and sophisticated mixed media on canvas by American artist John Rigsby. Found in a original state of preservation. His works are few and far between. The following biography was submitted by John David Rigsby, Jr., son of the artist. The author is Lisa Rigsby Peterson, daughter of the artist, and owner of the copyright of the biography. John David Rigsby was born on October 10, 1934, the seventh child of an Alabama Depression-era sharecropper's son. He and his family moved frequently, from one one-room structure to another, often with no running water, no plumbing, no heat but the stove. His father was killed in a car accident when Rigsby was just 9 years old. Life for the remaining eight family members proved tumultuous and difficult -- food wasn't plentiful, nor money. The family moved from place to place, following work -- Rigsby attended 30 different schools before graduating from high school. Despite living in poverty, Rigsby demonstrated academic and artistic aptitude at a young age. Two oil paintings on covers ripped off of old books that he painted when he was eight years old show the promise of an imaginative and gifted eye. Rigsby was drafted by the U.S. Army in 1953. As he later wrote, "When basic training at Fort Jackson, South Carolina, was over, I was told to go out and find a job. Jasper Johns was painting visual aids for the 28th Regimental Headquarters. He suggested the Band Training Unit." Rigsby played the clarinet in that unit, and after 2 years of service, he enrolled at the University of Alabama on the G.I. Bill to study art. After just two years, he left school and followed his mentor (and one of the greatest and longest-lasting influences on his art), Japanese artist and U of A art instructor Tatsu Heima, to New York City. Heima introduced him to Isamu Noguchi and suggested that Rigsby work as Noguchi's assistant. Instead, Rigsby chose a job as a guard at the Metropolitan Museum of Art, since "the notion of seeing all of that art appealed more to me than the boring task of studio assistant." The opportunity was a rich one for Rigsby. He had a chance to study the masters, and cited Rembrandt with his simplicity and elegance as another of the most important influences on his work. In the years between 1957 and 1963, when Rigsby eventually earned his BFA in sculpture, the artist traveled back and forth between New York and Tuscaloosa, alternating study with forays into the fertile New York art scene. Rigsby exhibited some of his early sculpture work in 1958 at a small New York gallery, which was also exhibiting the work of Willem and Elaine de Kooning and Theodore Stamos. Shortly thereafter, searching for an educational venue closer to New York City, Rigsby visited New Haven, Connecticut, and spent an afternoon speaking with Josef Albers at Yale. Albers agreed to accept Rigsby into the Yale program on the condition that he take freshman drawing all over again. A brilliant opportunity, but, in Rigsby's words, "When it was time to register, I was hitchhiking back to Alabama, looking for food and shelter." Rigsby had his first one-man show at the University of Alabama in 1959. A visiting critic from New York, J.F. Goosen, reviewed the show and wrote "here is a talent which produces art because that is the thing for a gifted person to do. In his effortless ease of conception and execution, he has already achieved a goal that eludes many artists for a lifetime." Finally, in 1963, Rigsby received his degree in sculpture, dissolved a short-lived marriage, visited his family, packed up his car and headed permanently for New York. That year, his work was included in a group show at the Delgado Museum in New Orleans - which led to a one-man exhibit at the Delgado in 1964. During 1964, Rigsby took drawing classes at Columbia University, and worked at the General Post Office at night. He met his future wife, Linda Palmieri, and married. In 1965, his daughter Lisa was born, followed in 1966 by the birth of his son, John David Jr. In 1966, Rigsby had a successful one-man show at the Pietrantonio Gallery in New York. Shortly thereafter, he and the family moved to Tunis, Tunisia at the suggestion of a colleague, who urged him to "come paint by the light of Klee." Rigsby worked for the United States Information Agency as a teacher, and he spent the next year and a half painting over ninety paintings inspired by the smells, light, and Phoenician and Roman art surrounding him. He also executed a number of character and landscape drawings, capturing the Tunisian way of life. During his time in Tunisia, Rigsby's work was shown there in two major exhibits. Upon the family's return to the U.S. in 1968, Rigsby once again exhibited at the Pietrantonio Gallery. Later that year, Rigsby enrolled in Southern Connecticut State College's Urban Studies program, earning a master's degree in 1970. During his time at SCSU, Rigsby worked as the city of Bridgeport's Curator of Exhibits, driving a mobile art gallery from schools to neighborhood fairs and housing projects. After completing his degree, Rigsby had an exhibit at the Telfair Museum in Savannah, Georgia. This exhibit caught the attention of a member of the search committee looking to hire an artist for a newly-developed program in neighboring South Carolina. In 1970, Rigsby was selected as the first Artist-in-Residence in the state of South Carolina for the National Endowment for the Arts Artists in Schools program. His work with the newly-integrated students at Beaufort (SC) High School over the term of his residency precluded substantial work on his own art. He did, however, set up a studio in downtown Beaufort, and was able to create a modest number of paintings, which were included in exhibits at the Columbia Museum in South Carolina in 1971 and Yale University in 1973. At the end of his residency in 1974, Rigsby was named the National Visual Arts Coordinator of the Artists in Schools program for the NEA, a post he held for two years. In this position, Rigsby traveled the country, reviewing grant applications, meeting with state leaders in government, education and the arts to promote program concepts and explore local opportunities. The message he repeated over and over again echoed that of one of the other major influences on Rigsby as an artist - Ruth Asawa Lanier, whose words taught him that all of the work that the artist does is the artist's work, not simply the paintings he creates. In his capacity as National Coordinator, as well as many times in the future, Rigsby stressed that artists function in the same way as any other person in society, and deserved the same respect and place for their work as did all other professions. After two years traveling the country, Rigsby was ready for a change, saying "for the first time in my adult life, there was not a body of paintings to show for the years put into my work." In 1976, a summer retreat to the mountain community of Central City, Colorado, led to a permanent relocation. Eventually settling in the small town of Evergreen, Rigsby followed his own advice about artists becoming actively involved in their communities, and he established the Evergreen Visual Arts Center. The Center provided working space for artists, classes for adults and children, and, most importantly, a place for Rigsby to create his own work. Buoyed by the opportunity to concentrate once again on his art, and inspired by his new surroundings, Rigsby entered an extremely prolific period in his career. In 1977, he organized a traveling exhibition of his paintings, which showed at the Kimball Arts Center in Utah, the Kennedy Center in Washington, D.C., and the Arvada Center in Colorado. 1978 brought more exhibits, notably in Aspen and Denver, as Rigsby's work continued. He took an extended trip to visit his mentor, Tatsu Heima, in Japan, where he climbed Mt. Fuji, followed by travels to Tehran, Delhi, and several European countries. He chronicled his impressions from his travels in a small collection of paintings upon his return to the U.S. - the beginning of a practice which would continue through the rest of his life. In 1979, Rigsby's marriage failed, and at the same time he lost the lease to his Evergreen studio to redevelopment plans. In response to the personal chaos around him, Rigsby began a series of what he called "hard-nosed process paintings," the watercolor paintings of dots which marked his work from this period. The paintings gained him an NEA Individual Artist grant in 1980, as well as a Yaddo fellowship in 1981. The polka dot paintings were followed by a series of cupcake-like images, again examining space and color. During the early 1980s, Rigsby lived in a suite of old dentists' offices in a rundown part of Denver, with a studio in an area that reminded him of the Bowery in New York. In 1984, Rigsby founded the Progreso Gallery in the building where he lived, using the space both to show his own work and also to mount shows of the work of many Colorado artists. The gallery also served as a focal point for Denver's local arts community, hosting weekly discussion groups and classes. In 1984, Rigsby traveled to the Baja Peninsula and then in 1985 to Yugoslavia. After each sojourn, Rigsby returned to create vibrant and explosive paintings based on his experiences, showing them at his Progreso gallery and another alternative gallery in Denver, the Edge Gallery. The economic recession of the mid-eighties hit the art market and Rigsby hard, however, and although he continued to create new works of art, major exhibitions were difficult to come by. In 1987, Rigsby decided to leave Denver and spent six months in Barcelona, Spain. It was an electrifying trip for him. Rigsby wrote of that time: "The streets alone are a visual feast, and the additions of museums from Saarinen, Picasso and Miro to 12th century icons produced artistic indigestion. My paintings are always about the way things look and feel. Barcelona was a time machine extending those sensory and emotional concerns back to the Middle Ages. I felt the need to reduce my work to essential elements of color, scale, drawing and format. The [resulting] color studies speak eloquently for themselves, and in doing so, redefine all of the work I've done in the past 35 years of painting." Rigsby completed over a hundred paintings while in Barcelona - color studies, street portraits of the characters he encountered on a daily basis, and a number of dark landscape paintings. He found time to run with the bulls in Pamplona, and began writing stories about his adventures that were later published. Upon his return to Denver in 1988, Rigsby continued to explore the alter egos of the color studies - he concentrated on a series of dark paintings, all prominently featuring back. He commented about these black paintings that he " decided it was time to explore the perception of the eye and physical space as defined by low -light conditions…I find these paintings elegant, joyous and light-filled, with no feeling of heaviness at all." In mid-1988, Rigsby moved permanently to Houston, Texas, where he would spend the last five years of his life. Once in Houston, Rigsby made a discovery that would serve as the inspiration and material for some of the last works of his career. In 1989, he discovered a salvage yard filled with scrap rubber, and he began working on black rubber sculptures, as well as paintings with rubber elements incorporated. He made strong connections in the Houston alternative arts scene, and became a regular contributor and art critic for a local weekly newspaper, The Public News. From 1989 through 1992, he exhibited his sculptures and paintings at Houston's Brent Gallery, Fountainhead Gallery, and Blaffer Gallery. He also produced an installation of his rubber sculptures on the roof of the Diverse Works Gallery in Houston. 1992 also marked Rigsby's return to Denver when he exhibited his sculptures at the Payton-Rule Gallery in Denver, leading to an Absolut Rigsby commission by Carillon Importers. The 1990s were a tremendous struggle for Rigsby, with financial crises compounded by physical trauma (he accidentally sawed off the top joint of the index finger of his left hand while working in his studio). Although his work was being shown, it wasn't selling, and the tremendous financial pressure he felt weighed heavily upon him. He spent an increasing proportion of his time going to flea markets and garage sales, rehabilitating and repairing the things he bought there, and then re-selling them simply to raise enough money to keep a roof over his head. He had little time to paint or sculpt, the things in life that had always, no matter what the circumstances, brought him joy. Rigsby's final works were a series of intricate paintings and drawings on used books that he purchased at the flea market. Most of these drawings, which he referred to as sculptural form drawings, were executed on page after page of science texts, music books, and a Korean bible and fill hundreds of pages. Additionally, Rigsby created an exquisite book he titled 28 de los Angeles, in which his twenty-eight simple and elegant drawings of angels resonated with the influence of Rembrandt he had so admired in his early days. In a sense, Rigsby's final works, art created on used books which were the only materials he could afford, brought his work and life full circle from his childhood days. Rigsby's life, though begun and ended in adversity, was nonetheless illuminated and enriched by the irresistible impulse he had to create art and beauty. John David Rigsby was killed in a one-car accident in Colorado in August, 1993. Biography from the Archives of askART Following is a review by Michael Paglia of the artist's July 2004 retrospective at the Denver Museum of Contemporary Art. It was submitted by John Rigsby, Jr., son of the artist. There's a magnificent retrospective at Denver's Museum of Contemporary Art devoted to the work of the late John David Rigsby, who was a major powerhouse in Colorado's art scene. "Dots, Blobs and Angels" surveys more than forty years' worth of the remarkable artist's paintings and sculptures. The year 1993 was strange, and by that I mean terrible. Many of the city's galleries closed because of bad economic times, and then the artists started dying. In a matter of a few months, Denver lost three significant artists: Rigsby, experimental photographer Wes Kennedy...

Original limited edition lithograph by Henri Bernard Goetz, number 11/35. Henri Bernard Goetz (September 29, 1909-August 12, 1989) was a French American Surrealist painter and engr...

Charming gathering of five small birds wall plaque, by Marianne Starck for Michael Andersen, Denmark Muted blue glaze with brown highlights on stonew...

Large scale Pop Art lithograph with chrome and glass frame by Henry Pearson. Signed on bottom right and sealed on bottom left. #196/200.

Raphael Fenice infinity mirror in Lucite and led technology When the mirror is off looks like a real mirror. Mirror can be controlled ...

A Mid Century lithograph by well listed Dutch artist Ru Van Rossem ( 1924-2007 ) titled " Destroyed City 2 " signed and numbered 140/ 210 ...

“I try to make a blank canvas as beautiful as I possibly can, which isn't easy as there are few things as beautiful as a blank canvas” ABOUT THE ARTIST: Nicolas Makelberge (b.1976) ...

A wall-mounted sculpture with the signature of Dedessus les Moustier. It was discovered in France. It has a mysterious charm due to its unique color and motif.

Marcel Marceau Signed Surrealist Color Lithograph, Dramatic Apocalyptic Cityscape Scene A dramatic and highly expressive color lithograph signed by Marcel Marceau, the legendary Fre...

Stephen Cimini Artwork tittle "Stepping Up To Paradise" part of his early work collection, in very good condition.

Selection of Joan Miro large color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple that l...

ASTRONOMICAL BLACKBOARD (G.149), 1978, etching, signed in pencil, from the numbered edition of 11/15 AP image 17 ¾ x 35 ¾”, full margins Abstract Art , Pop Art Frame: 44"x27''

Original work by contemporary Swedish artist Nicolas Makelberge. Ink and color pigment on canvas, framed behind glass in a deep antique wood frame with gilded edge. The frame has bea...

Selection of Joan Miro color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple that lived in France from 1951-1983. These ...

Contemporary abstract lithograph by Swedish artist Leif Knudsen (1928-1975). Signed and dated. Framed under glass.

Framed Size: 28 1/4"W ...

Josef Albers abstract lithographs from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from P...

A original silkscreen by Ernest Trova ( 1927- 2009 ) titled " Man Is Only a Memory " printed in 1969 by Domberger Germany . Very well mounted in a aluminum clear floating and ready t...

Mid Century Moody, Stormy Abstract Painting in a fabulous gilt frame. Some see mountains, others see an ocean. Great color, composition and movement. Signed by artist. Curbside to NY...

If Gotham City and a Pierre Cardin fever dream had a love child, it would be this stunning 1970s mixed media artwork. At a striking 48.5 x 48.5 inches, this piece is big, bold, and b...

A wonderful sketched lithograph by famed Swiss artists/sculptor Alberto Giacometti. The lithograph was printed in Paris by Mourlot Freres in 1964 and was issued in an edition of ...

“I try to make a blank canvas as beautiful as I possibly can, which isn't easy as there are few things as beautiful as a blank canvas” ABOUT THE ARTIST: Nicolas Makelberge (b.1976) ...

Rare studio work print by Piero Fornasetti, executed on a laminated synthetic sheet, produced within the Fornasetti workshop. The image depicts an iconic female face rendered in fine...

Selection of color modern lithographs and silkscreens, circa 1930s-2000s. They have been framed in clean lined black lacquer gallery frames under UV resistant glass. They are: Top row, left to right: 1) Black and white abstract lithograph by Eduardo Chillida, circa 1960s. It measures: 21.25" H x 23.25" W. 2) Color silkscreen New Order "Singles" poster, signed by three members of the band, circa 2005. It measures: 30.25" H x 20.25" W. Bottom row, left to right: 3) Switzerland Ski Travel Color Silkscreen Poster, circa 1930s. It measures: 43" H x 27.75" W. 4) Abstract color lithograph, entitled "Spectral" by John...

A unique and very special vintage piece of abstract brutal metal art from 1970s by Henrik Horst, Denmark. This is a very beautiful and special wall hanging, which has a very Mid-cent...

Woven; Wall piece; Artwork; Mid-Century Modern; Tapestries; Contemporary Art; Craftsman This Hand-woven wall piece is a true conversation piece. The depth is created by layering d...

A lithograph titled, "Elegy ( Study )" by Robert Motherwell 1979, signed and numbered 42/98 in pencil with Motherwell's blind stamp. There were 12 artist proofs in addition to the 98...

A fantastic and striking original oil on board painting by the renowned artist John Mackay. This is signed and dated from 2013. It is a great size and b...

This is an incredible large scale Mid-Century Modern signed abstract oil on canvas depicting a seascape. The coloration is so vibrant and will add depth to any design project. It is ...

Parisian cityscape, signed and framed oil on canvas by Serge Belloni, ‘57 This painting has all the quintessential features of Belloni’s renowned Parisi...