Modern Contemporary Art

Curtis Jere 1989 brass and steel ribbon sculpture.

A breathtaking, large in scope and scale, rivetting work by American abstract expressionist painter, and master printmaker Robert Motherwell (1915-1991). This aquatint/lift ground ...

Contemporary acrylic painting on board by Igor Melnikov titled “Horizon Line” completed in 2005. Featured in the Book on Melnikov’s work titled ‘Pictures’. Of the modern period.

Wrigley Field. Original painting by Lynn Curlee Acrylic on stretched canvas. Gallery wrapped with painted edges This painting was used as an illustrati...

Life is a perpetual cycle with no beginning and no end: everything is, becomes and evolves according to its own nature. The universe does not admit of “nonexistence”: everything, eve...

Circular tapestry, for Dilmos Milano, made in polyester fibre ribbon framed, mounted on an aluminum semicircle structure, sewn and fringed by hand. S...

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this allowed us to produce and divu...

Making artistic mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divu...

"GAA21 – 12 / BS 0147" Bosco Sodi, 2012 Mixed-media on canvas Measures: 186 x 186 cm. Bosco Sodi (No. 1970, Mexico City) is known for its large-sc...

Life is a perpetual cycle with no beginning and no end: everything is, becomes and evolves according to its own nature. The universe does not admit of “nonexistence”: everything, eve...

Ceramic butterfly platinum finished Butterfly, code BU003, measures: 50.0 x 40.0 x H 13.0 cm. Also available in following other sizes: 27.0 x 21.0 x H 9.0 cm. (code BU001) 40....

Large oil on canvas by Belgian modernist painter Gilbert Swimberghe (1927-2015). Swimberghe was part of a Avant Garde movement in the 1950s called De Raaklijn. This group of painters...

Incredibly graphic piece, signed by Ilya Bolotowsky (American, 1907-1981) from the early 1970s. Signed Silkscreen part of the vertical blue ellipse blue series. Silkscreen on Rives p...

Inspiration: Limited edition 1/10 This piece of art tells stories of looting and fury, from pirates to avid treasure hunters. The luxurious dagger ...

YANKEE STADIUM. Original painting by LYNN CURLEE Acrylic on stretched canvas. Gallery wrapped with painted edges. This painting was used as an illustr...

Corbulas Set 60 70 80 90 The set consists of 7 pieces : N. 3 Corbulas 60 in Crema Tunisi stone N. 1 Corbulas 70 in Crema Tunisi stone N. 2 Corbulas 80 in Bianco Diocleziano mar...

CORBULAS 60 This superb, three-dimensional round panel is fashioned of Crema Tunisi stone. The pattern reproduced on the surface evokes the elaborate underside of traditional Sardin...

Making Artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti archive on i...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Life is a perpetual cycle with no beginning and no end: everything is, becomes and evolves according to its own nature. The universe does not admit of “nonexistence”: everything, eve...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #5 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painti...

Rare, vintage Courrèges cotton scarf in excellent condition found in Paris, France. Features bold pop-art style owl sitting on the Courrèges Paris logo. Set in a modern espresso teak...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #19 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

Contemporary New York artist Patrick Carrara's Black Ink on Mylar Drawings were created in 2016 - 2017. This is his latest series Appearance, which he started ten years ago and also ...

Making Artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divu...

Abstract lithograph signed by Robert Natkin in quilt motif.

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #25 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this allowed us to produce and divu...

Acrylic on canvas painting titled "Exhibidores" by Carolina Antoniadis, Argentina, 2014. Carolina Antoniadis was born in Rosario city, province of Santa Fe and from an early age arts started to exist in her life. The main reason was that her grandfather, Demetrio Antoniadis, was a Greek landscape painter. He came to Argentina, dwelt in Rosario and rapidly associated with the impressionists of the time. Demetrio knew pretty well how to convey his love and passion for arts to his family. Five years afterwards, the family moved to Buenos Aires. “My first approach to painting was when I was a kid and I sat and stared at my grandfather’s paintings...

Contemporary New York artist Patrick Carrara's black ink on mylar drawings were created in 2016 - 2017. This is his latest series Appearance, which he started ten years ago and also ...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti archive on i...

A rare, unique and very unusual sculptural hand carved wooden plaque depicting a nude couple in bed signed John Baldwin (b. London, 1937) and dated 1985. ...

HQ Digital Print on art paper Fabriano numbered and signed by the artist.

A lovely Aboriginal contemporary painting by Abie Loy depicting Medicine leaves in Dreamtime. The alternating burnt orange and white dots contrast each other on the black background, a haze of orange mini-dots further providing a shifting visual effect that is subtle and mysterious. The painting comes with COA and photographs of the artist signing the painting. Abie Loy Kemarre...

"Signed Cal Schenkel 1979 Silkscreen Lithographs (Frank Zappa) An original collection of silkscreen lithographs signed by Cal Schenkel, creator of many Mothers of Invention and Captain Beefheart...

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this allowed us to produce and divu...

Anotherview is an ongoing project that takes place in between interior design and video art. It transforms your home into a nomadic place, where virtual window leads to unexpected landscapes or cities to suit however you feels like. The team of Anotherview is constantly collecting new and exclusive views around the world. In a way each view tells a unique story about our time, people, society and the world. The end result of each Anotherview is an hyper realistic window that can be installed in any wall or type of room, with or without windows, that will become an integral part of your interior. Once the time of the day is set, the window view will run for continuously 24 hours according to the user’s time of the day without needing any other intervention, just like in a real window. Each Anotherview window comes with an Anotherview app and an exclusive code to easily access the device with a smartphone and to adjust the time as preferred. Anotherview N.6 -Les Chevaux du Pont...

Making artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass Mosaic collections, all this...

In the series “Heavenly,” Toyoharu Kii honors the fullness of life and its continual rebirth. In some works, white tesserae assume abstract profiles. In others, irregular shapes cont...

Life is a perpetual cycle with no beginning and no end: everything is, becomes and evolves according to its own nature. The universe does not admit of “nonexistence”: everything, eve...

Making Artistic Mosaic, design of unparalleled beauty, inventing ' tromp l'oeil' thanks to the endless colors of the glass mosaic collections, all this allowed us to produce and divu...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #15 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti archive on i...

This handmade decorative tile panel combines the traditional Portuguese faience tile making techniques with a modern approach of shapes and color, res...

"William Gatewood original mixed media collage titled Kite and Kimonos. William Gatewood (1943-1994) is known for Japanese image paintings, wood an...

Josef Albers Formulations - Articulations I & II Edition 974/ 1000 1972 screenprint on paper Embossed with Josef Albers initials, portfolio and folde...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti archive on i...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti archive on i...

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti archive on i...

Contemporary New York artist Peter Buchman's "Once Upon a Time" is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series. To explain t...

Modern stylized print by Dutch artist Guillaume Corneille circa 1979. Two nude female figures with a cat. Very good condition. Dimensions: 1.5" depth x 33" W x 27" H. This piece has ...

Contemporary New York artist Patrick Carrara's Garden of Silence Drawings was created in 2009. G.O.S. (2009-2010) was the first series using a mechanical pencil with a hard 5H graphi...

Vivid color and movement to this original acrylic on canvas. Signed and dated on the verso. Shelley Herman 1970 "June Breath".

Wax, oil, paper and varnish on canvas. Dated 1994. Framed.

The public buildings, the noble ones but also the more modest residences, have been decorated for centuries with decorative panels cemented on the facades. Bottega Gatti...