Bay Area - Art

This mid-1980s photograph, captured by society photographer Slim Aarons, features people snowboarding in Cortina d'Ampezzo. This is an estate-stamped and hand-numbered edition of 15...

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

An iconic image by the photographer Peter Ruck. Roger Moore, downs a Martini, July 17th, 1968. Moore had recently been awarded his second Bravo Otto award for most popular television...

Printed by Imogen's son Rondall Partridge. Hand printed silver gelatin. Mint & New condition. Dry mounted on board 16x20"

This artwork "Untitled" 1999, is an original color etching on wove paper by noted American artist Charles Eckart, b.1935. It is hand signed, dated and inscribed T.P in pencil by the ...

The subtle and brilliant work of art is meticulously hand painted by Lynette Cook, who realistically depicts scenes that she sees during her morning walks through the city, yet her p...

Lynette Cook’s newest acrylic paintings continue her focus on shadows and silhouettes within San Francisco’s urban landscape and surrounding regions, yet they now carry a more myster...

Warm sand and blue surf featured in this California coastline scene with distant rolling hills. 'Sonoma Coast', oil painting on canvas by Willard Dixon, who is one of the finest American contemporary realist painters today. Dixon has painted coastal landscapes for 35 years, capturing the undeniable beauty of the West with its grand and humble spirit. The same sensitivity can be found in his urban street scenes that offer viewers a resting place to contemplate our rapidly changing world, and his portraiture, which largely focuses on his artist friends and illustrious colleagues. Willard Dixon’s work can be found in numerous distinctive private and public collections, as well as the San Francisco Museum of Modern Art (SFMoMA), the Metropolitan Museum of Art in New York, and the Oakland Museum of California. Dixon's work is collected worldwide. 'Sonoma Coast' is 36 x 56 inches. Oil on canvas. It is traditionally framed in thin, minimal natural oak with an outer dimension of 37 x 57 inches. Artist signed and dated. Condition is excellent / as new. Painted in late 2020. From Andra Norris Gallery in California. Born: Kansas City MO, 1942 Education: Art Students League, New York, NY Cornell University Brooklyn Museum School San Francisco Art Institute, M.F.A. 1969 Awards and Commissions N.E.A. Fellowship Grant- 1989 California Supreme Court Mural Commission- 1998 Las Vegas Federal Courthouse Commission, G.S.A.-1998 Teaching 1989-90: San Francisco State University 1975: San Francisco Art Institute Realism Seminar 1974-76: Academy of Art College, San Francisco, CA 1973-74, 1976: California College of Arts and Crafts, Oakland, CA 1971-72: California State University, Hayward, CA One Man Exhibitions 2015: Willard Dixon Portraits College of Marin Fine Art Gallery, Kentfield 2014: SFMOMA Artists Gallery, San Francisco, CA. 2008: SFMOMA Artists Gallery, San Francisco, CA. 2005: Fischbach Gallery, NYC,NY 2005: Dolby Chadwick Gallery, San Francisco, CA 2004: Fischbach Gallery, NYC, NY. 2002: Earl McGrath Gallery, Los Angeles, CA 2002: Bolinas Museum, Bolinas, CA 2001: Hackett Freedman Gallery, San Francisco, CA 2000: Fischbach Gallery, NYC , NY 2000: Hearst Art Gallery, St. Mary’s College, Moraga, CA 1998: Hackett Freedman Gallery, SF, CA 1997: Tatistcheff/Rogers Gallery, Los Angeles, CA 1996, 1995: Contemporary Realist Gallery (now Hackett Freedman Gallery) 1994: Fischbach Gallery 1993: Contemporary Realist Gallery 1992: Fischbach Gallery 1991: Earl McGrath Gallery, 454 North, Los Angeles, CA 1990: Fischbach Gallery 1989: William Sawyer Gallery, San Francisco, CA 1988: Gallery 454 North, Los Angeles, CA 1987: Fischbach Gallery 1987: Gallery 454 North 1986: William Sawyer Gallery 1985: Fischbach Gallery 1984: Harris Gallery, Houston, Tx 1984: William Sawyer Gallery 1983, 1982: Fischbach Gallery 1981: William Sawyer Gallery 1980,1979: Tortue Gallery, Los Angeles, CA 1976, 1975: William Sawyer Gallery 1973, 1972: William Sawyer Gallery Selected Group Exhibitions 2017: SHIFT / with Elizabeth Barlow, Kim Frohsin, Erin Parrish...

The pale gray-green of this monotype calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along th...

This artwork "Untitled" is an oil painting on canvas by noted American artist Ruth Wall, 1917-2009. It is signed in the back by the artist. The canvas size is 10.15 x 20 inches, framed size is 13.85 x 22.75. It is custom framed in a wooden gold frame. The painting is in excellent condition, the frame has some scratches and will be replaced if buyer wish, by a similar (not exactly the same) gold frame when is sold. It will be done at no extra cost. This will bring the over all condition to excellent. About the artist: Ruth A. Wall was born in Wyoming on September 10, 1917 but moved to a homestead on an Indian reservation in Uintah, Utah in 1919. After graduating from high school at age 16 she left home to attend college, graduating at age 20 and began teaching high school at age 21. She moved to Los Angeles where she became an Army materials inspector during WWII. She moved to Northern California and became a pilot, but entered the service as a WAC. Here she trained as a physical therapist and became an officer. She remained in the service until 1949. In 1950 she entered the California School of Fine Arts in San Francisco, studying there until leaving for Paris in 1952 where she moved into the Academie Frochot. Returning to the CSFA in 1955 she worked as an artist until she had to take a job to make a living in 1957. Most of her work in printmaking was done in 1952, before leaving for Paris. They are, for the most part, gestural, Abstract Expressionist lithographs, done on the press at the CSFA at night after everyone had gone home. Her teachers were James Budd Dixon, Robert McChesney and, after 1955, Nate Oliviera and fellow students included James Kelly...

Remarkably, this painting tells its own story on the verso. To save your eyesight, here's what it reveals: James McDougal Hart (1828-1901) Landscape, animal, and portrait painter. A ...

Keith Haring Silence Equals Death, 1989 is a remarkable work completed in the final years of the artist’s life. The work is an adaptation of the iconic political poster for the Silen...

a mesmerizing sea of blue, green and ocre color tones from an ongoing photography project since the late 1990s, capturing the details of the human iris and a pupil's unique abstractions Iris I...

This is not a joyful young girl free of worry. Instead, based on her expression in 1922 when this portrait was done. by American artist Ben Silbert (1893-1940), the sitter’s childhoo...

Brigitte Bardot with cigarette in hand by photographer Michael Ochs, originally taken in 1962. (Michael Ochs Archives/Getty Images) As an authorized Getty Images Gallery partner, we...

Subtle but vibrant, this abstraction of a hibiscus in brilliant yellow is framed by a cluster of bird of paradise blooms in the shady foreground—the latter simplified into bursts of the plant’s renown color duo. Bring a garden inside without the watering and weeding. Nice. Oil on canvas Titled "Ode to Day" Dated 1982 Signed faintly on the upper left-hand corner According to the Smithsonian Institution’s archives, the artist Hilda Pertha...

This mid-1960s photograph, captured by society photographer Slim Aarons, features Gordon Butler's Chevrolet Corvette Sting Ray at the Bahamas Speed Week at the Oakes Course, Nassau. ...

Alejandro Rubio Transition, 2024 Acrylic on canvas 60 x 60 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars.

This artwork "Clown with Balloons" c.1980 is an oil painting on canvas by American artist Chuck Oberstein, 1935-2002. It is signed at the lower left co...

GOLDEN by Frank Schott from a series of photographic observances - environmental still life capturing found objects in urban cityscapes 40 x 32 inches (102 x 81cm) signed edition ...

Sophisticated shades of grey and white still life with vases, shell, box and marble. Wonderful complex patterns throughout the oil painting on canvas. In excellent condition. Signed ...

Brett Hammond’s spray-painted canvas panels pay homage to pop art traditions as he explores his own interests in satire, drama, and romantic tension. Above all, his work is smart, fu...

This artwork titled "Rabbit Series #3" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The sheet size is 25.5 x 19.5 inches, framed size is 26.75 x 20.75 inches. It is custom framed in a silver metal frame, with white backing. It is in excellent condition. About the artist: Radovan Kraguly...

Kim Frohsin, Third generation Bay Area Figurative artist began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri...

This artwork titled "Left Bank Cafe, Paris" 1987 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered H.C 166/175 in pencil by the artist. The image size is 26 x 38 inches, sheet size is 32.25 x 44 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

Pair of 19th century American oval portraits of a couple, possibly husband & wife Oil on canvas 21.5 x 26.5

This artwork "Mother and Child" c.1970 is an oil painting on canvas by German/American artist Eva Sikorski, 1917-1990. It is signed at the lower left corner by the artist. The canvas...

This is a 19th century hand-colored folio-sized lithograph entitled "Dendrortyx Leucophrys" (White Eye-browed Partridges) by John Gould, published in his monograph 'A Monograph of the Odontophorinae, or Partridges of America' in London between 1844-1850. Reportedly only 250 copies were printed. The print depicts two partridges, one standing and the other lying apparently on sand, surrounded by high grass. A landscape of plants and possibly water is seen in the background. This beautiful hand-colored lithograph is presented in a double cream-colored mat. There is one tiny spot in the left lower corner, faint spots in the right upper print and mild toning about the periphery which is covered by the mat. It is otherwise in excellent condition. It is accompanied by the original text page. John Gould (1841-1881) was an English contemporary of the American John James Audubon. Gould published his first illustrated book on birds in 1831 entitled "A Century of Birds from the Himalaya Mountains", followed by "Ramphastidae" and "Birds of Europe". He then extended the scope of his travels and research to include Australia, New Zealand and New Guinea, drawing birds in their natural habitat. Artists, such as his wife Elizabeth Gould, Henry Richter and Edward Lear, transferred his drawings to hand printed and hand colored stone lithographs, which are known for their beauty, detail and accuracy. As well as an exceptional and prolific artist, Gould was an outstanding scientific naturalist. In approximately 50 years he created approximately 3,000 lithographs of birds...

Framed in museum high quality clear arcylic and wood frame. Excellent condition. Edition 3/25 Purchased directly from Loranc. Stunning printing.

This artwork "Two Native American Women" 1980 Is an original lithograph on creme Arches paper by renown Navajo artist Rudolph Carl Gorman, 1932-2005. It is signed, dated and numbere...

This is an original 19th century duotone lithograph entitled "Great Hall at Karnac, Thebes" by David Roberts, from his Egypt and Nubia volumes of the larg...

Artist: Salvador Dali (Spanish surrealist, 1904-1989) Title: Les Songes Drolatiques De Pantagruel Year: 1973 Medium: Lithograph Edition: Inscribed E.A (Epreuve d' Artiste) i...

This artwork titled "People of the Village" c.1980, is an oil painting on canvas by Hungarian artist Anton Kowalski, b.1926. It is signed at the lower right corner by the artist. The canvas size is 21 x 24 inches, framed size is 26.5 x 30.5 inches. Framed in original dark wood and green frame, with fabric liner. It is in excellent condition. About the artist: The artist was born in Sopron in Hungary in 1926. He was a student of the Academy of Budapest and during the uprising in 1956 against Communism he escaped from Hungary to Vienna where he now lives and works. He has become internationally known for his (typically East European style) “Naive” paintings depicting Village life in the four seasons in glorious color. Children especially like his works as each one tells a story. He has exhibited in many Galleries throughout Europe, particularly in Munich, Vienna, Tokyo, and Harrods in London. His work has been on permanent exhibition at the Stewart Gallery...

John Burnet (1784-1868) a Detailed Family Scene With Grandparents and Grandchild British/Scottish Oil on canvas 10 x 12 framed

From a Portfolio printed by Mother Jones. Authorized copy. Stunning reproduction. Limited Edition. Certification of Authenticity. Embossed with stamp stating from the original negat...

Javier Manrique Territory, 2023 Acrylic on canvas 48 x 72 inches This is an abstract landscape painting created by Javier Manrique in 2023. This one-of-a-kind painting on canvas is ...

Brett Hammond’s spray-painted canvas panels pay homage to pop art traditions as he explores his own interests in satire, drama, and romantic tension. Above all, his work is smart, fu...

This artwork titled "Profile of Caroline" 1983 is a color offset lithograph on Rag-Cote paper by Crow Indian artist Penni Anne Cross A.K.A. (Alawa-Sta...

Large scale photograph of reflective golden architectural abstraction In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and distilled formal purity, connecting the interior to the exterior, the visible to the hidden. These reflections cause one to linger, as they merge to create a dynamic equilibrium of tension, spaces and rythms. AD14491 (She Disappeared into Complete Silence) 60" x 45" / 152cm x 114cm edition of 8 + 2AP 40" x 30" / 102cm x 76cm edition of 8 + 2AP limited edition photograph is printed under artist supervision and accompanied by signed artist certificate: artist signature labels are 8x10 in size signed, editioned, dated and titled by the artist, and stamped for authenticity label is then placed centered on verso if the mounted print __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Mona Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Stanley/Barker Editions published Kuhn's Bushes and Succulents (2018) with a debut at Musee Jeu de Paume in Paris in 2019. Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road with Steidl accompanies a multi-dimensional museum exhibition in Germany and the US. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, the Los Angeles County Museum of Art, The Hammer Museum, the Perez Art Museum in Miami, the Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris, The Whitechapel Gallery and Royal Academy of Arts in London, Musée de l’Elysée in Switzerland, Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Australian Centre for Photography and Taipei Fine Arts Museum in Taiwan. Mona Kuhn currently lives and works in Los Angeles. __________________ Solo Exhibitions 2024 Mona Kuhn: Between Modernism and Surrealism, Houk Gallery, New York, NY 2023 Mona Kuhn: Kings Road, Galerie XII, Paris, France Mona Kuhn: Kings Road, Kunsthaus-Göttingen, Germany Mona Kuhn: Kings Road, Jackson Fine Art...

Born in Cedar City, Utah, Russell was heavily influenced to paint by his father–an accomplished painter and artist in his own right, who spent most of his career as a graphic illus...

'Sunset' by artist Mimi Jensen, who uses bold colors to depict theatrically lit objects. The painting measures 30 x 40 inches and is professionally framed in a contemporary ebonized ...

Racetrack by Frank Schott 24 x 40 inches (56 x 102cm) edition of 25 signed 48 x 88 inches (122 x 224cm) edition of 7 signed archival quality fine art pigment print limited art ...

This early 1960s photograph, captured by society photographer Slim Aarons, features the Bahamas Speed Week in Nassau. This is an estate-stamped and hand-numbered edition of 150 with...

An iconic image. Beams of sunlight streaming through the windows at Grand Central Station, New York City, circa 1930. (Photo by Hal Morey/Getty Images) As an authorized Getty Images...

Here is David Shevlino's Skull with crown created with a minimal range of colors, and features the artist's sensuous application of paint and controll...

This artwork titled "Montee de Seve, from the suite, Pleni Luna" 1974, is an original color lithograph on watermarked Arches paper by Cuban artist Wilfredo La...

This early 1960s photograph, captured by society photographer Slim Aarons, features the Bahamas Speed Week in Nassau. This is an estate-stamped and hand-numbered edition of 150 with...

This is a pair of Vanity Fair color chromolithograph caricatures of the famous and beloved English musical composers and playwrights Gilbert and Sullivan by Sir Leslie Ward (Spy) (1851-1922) and Carlo Pellegini (Ape) (1839-1889). The portrait of Arthur Sullivan entitled "English Music" was published in Vanity Fair on March 14, 1874 and W. S. Gilbert entitled "Patience" was published in the Men of the Day portion of Vanity Fair on May 21, 1881. Sir Arthur Seymour Sullivan (1842-1900) is regarded as the finest British composer of the 19th century. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including such enduring works as H.M.S. Pinafore, The Pirates of Penzance and The Mikado. Sullivan composed 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, incidental music to several plays, and numerous hymns and other church pieces, songs, and piano and chamber pieces. The best known of his hymns and songs include "Onward Christian Soldiers" and "The Lost Chord". Sir William Schwenck (WS) Gilbert (1836-1911) was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan. Gilbert's creative output included over 75 plays and libretti, and numerous short stories, poems and lyrics, both comic and serious. These Vanity Fair portraits of Gilbert and Sullivan are presented in identical ornate black wood frames and cream-colored French mats with grey inner mats. The frames each measure 21.75" x 16" x .88". The frames and prints are in excellent condition. From 1868 until February 5, 1914, Vanity Fair, a weekly magazine of social, literary and political content, was very popular in Victorian and later, Edwardian England. The most popular of its features were the full page caricatures of famous men and women of the day which included their biographies, which remains the magazines lasting legacy. Vanity Fair's most famous artists were Carlo Pellegrini who signed his works “Ape” and Leslie Ward, known as “Spy”, but many other artists and writers contributed caricatures and prose to the publication, including Lewis Carroll, Willie Wilde, P. G. Wodehouse, Jessie Pope and Bertram Fletcher Robinson. Thomas Gibson...

Artist: Jacques Villon (French, 1875-1963) Title: "Pastoral" From the suite "Les Bucoliques" Year: 1953 Medium: Color lithograph Paper: Japan nacre Image size: 8 x 19 inches Sheet size: 22.25 x 18.5 inches Signature: Hand signed in pencil by the artist Edition: From the edition of 245 Publisher: Scripta and Picta Printer: Fernand Mourlot, Paris Condition: Excellent Frame: Unframed About the artist. Jacques Villon was born Gaston Duchamp on July 31, 1875, in Damville, Normandy. His family is one of remarkable artistic repute; he and his three siblings Marcel Duchamp, Raymond Duchamp...

This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

This artwork titled "Poetes, Sculpteurs, Peintres" 1960, is an original color lithograph on Rives paper by renown artist Joan Miro 1893-1983. It is hand signed (monogramed) and numbered II/XV in pencil by the artist. The artwork (sheet) size is 26 x 20 inches, framed size is 39.25 x 32.5 inches. Published by Maeght Editeur, Paris, printed by Fernand Mourlot., Paris. Referenced and pictured in the artist's catalogue raisonne by Mourlot plate #260. Custom framed in a wooden black frame, with black color bevel and fabric matting. It is in excellent condition. About the artist: Joan Miró Ferra was born April 20, 1893, in Barcelona Spain, the son of a goldsmith and watchmaker. At the age of 14, he went to business school in Barcelona and also attended La Lonja's Escuela Superior de Artes Industriales in the same city. Upon completing three years of art studies, and under pressure from his parents, he took a position as an accounting clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Galí's Escola d'Art in Barcelona from 1912 to 1915. Miró's work before 1920 showed the latest artistic influences, including the bright colors of the Fauves* and the geometric forms of Cubism*. It was in Paris through the 1920s-1930s where, under the influence of Surrealist* poets and writers, Miró evolved his mature style. His latest works drew on the Surrealist principles of memory, fantasy, and the irrational to create visual art. Miró's works were also shaped by the flat, two-dimensionality of his native Catalan folk art, Spanish Romanesque...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the fleeting surfaces and monochromatic nature of oceanic water and dramatic cloudscapes ...

This artwork titled "Children Flying Kites" 1963, is an oil painting on hardboard by noted Haitian artist Bourmont Byron, 1920-2004. It is signed and dated at the lower right corner ...

Artist: Frederick Richard Chisnall (British/American, 1887-1965) Title: Desert Scene Near Palm Springs, CA Year: Circa 1950 Medium: Oil on canvas board bo...

This artwork "Western Scene" c.1960, is an oil painting on canvas by noted Western artist Charles Damrow, 1916-1989. It is signed at the lower left corne...

A bold, intensely color-saturated painting from Stephen Henriques, who is influenced by Bonnard and Vuillard, and the western landscape and its light. When referring to his oil on ab...

This mid-1970s photograph, captured by society photographer Slim Aarons, features guests enjoying cocktails at the pool bar of the Tres Vidas private members club in Acapulco, Mexico...

This early 1960s photograph, captured by society photographer Slim Aarons, features the Bahamas Speed Week in Nassau. This is an estate-stamped and hand-numbered edition of 150 with...

Much about this late 19th-century painting remains a mystery, including the name of the artist who only left their identity in a single-letter monogram. But the work's moody embrace ...

This late-1980s photograph, captured by society photographer Slim Aarons, features guests at Vane Ivanovic's villa in Cap de Formentor, Majorca, Spain. This is an estate-stamped and...