Bay Area - Art

Bronze - Order Only original edition of 9. jd Hansen crafts works with exceptional detail, utilizing texture and language in a unique way to create ephemeral and intricate bronzes. ...

Largely self-taught, Linda Ridd Herzog’s paintings boast unbelievably detailed animals and objects in fantastical, surreal scenes. Growing up in Utah, Herzog found herself so inspir...

This artwork titled "Les Petit Rats, Ballerinas VI" c.1980 is an original color lithograph on Japan paper by noted Bolivian artist Graciela Rodo Boulanger, b.1935. It is hand signed and numbered XLII/C in pencil by the artist. The image size is 22.75 x 18 inches, sheet size is 30 x 22.15 inches. About the artist:   Born in La Paz, Bolivia in 1935, Graciela Rodo Boulanger was raised in an artistic environment. Her mother, a concert pianist, and her father, a businessman and art connoisseur, nurtured her talents. She studied the piano and at age 11 enrolled in the School of Fine Arts. At 17 she went to Vienna to study both art and music, and at 22 shetravelled to Argentina for the stimulating artistic environment of Buenos Aires. Continuing to study both piano and painting...

This attractive and interesting map of Bermuda by Henricus Hondius in 1633 is entitled "Mappa Aestivarum Insularum, Alias Barmudas". It is based on a ...

At its height in 1950s Haiti, the Naïve art movement drew upon scenes from daily life such as this rural landscape that somehow manages to make backbreaking farm labor upbeat. The vi...

This is an original 19th century duotone lithograph entitled "Ruins of Kom Ombo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in London by...

Alfonsas Dargis:1909-1996. Listed artist who was born in Lithuania and emigrated to the Rochchester N.Y. area in 1951. He has auction results up to ? $1700 but has sold for much high...

C. 20th Century European Countryside Scene / Oil on Canvas Board ( NO visible Signature )

Gertrude Barrer: 1921-1992. Well listed American artist with auction records over $9500. She studied a the Arts Student League in the 1940s. More recently art historians have said s...

William DeKoornbolt "Wonton Malice" Original Mixed Media Abstract Painting c.1981 Fine mixed media abstract painting by noted artist William DeKoo...

Lynette Cook, 'To Be a Hawk', 30 x 24, Acrylic on canvas. One of the artist's new 'To Be' paintings that is a recognition of our urban spaces coexisting with nature. Diving deeper, ...

The label on the back has faded with time, but it appears to read “His Great Grandmother’s Portrait presented to George Michael Beauridge on his 18th birthday by his Aunt (?) July 10...

Abstract expressionist Ann Shogren depicts vivid landscapes and paints tapestries of colors that have simultaneously calming and rejuvenating effects on her audiences. Having lived i...

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 ...

This framed hand-colored engraving entitled "February Bouquet" is from 'The Twelve Months of Flowers' by Henry Furber, published in London in 1730 by Robert Sayer and John King. Each of the twelve hand-colored engravings in the book were produced from paintings by Pieter Casteels (1684-1749) and engraved by Henry Fletcher (1710-1753). The book featured twelve detailed engravings of seasonal plants in bloom in the form of a bouquet. More than 400 different species of flowering plants were included with each plant numbered and accompanied by a list of the corresponding species names. Thirty-five species of flowers are depicted in this engraving in a bouquet sitting in an ornate attractive bowl. A few of the flowers lie loose on a table. The flower species are listed in a table in the lower portion of the plate, along with the month that these flowers are in bloom. This colorful print is presented in a gold-colored wood frame with a cream-colored double mat with a heather green inner mat. The frame measures 23.5" High, 19" wide and 1.63" deep. There are a few small frame abrasions, but the print is in very good condition. Robert Furber...

large format photograph of glossy cherry red vintage private airplane on airport runway tarmac Red Jet by Frank Schott 48 x 74 inches (122 x 188cm...

This artwork "Christ, from La Passion" 1939, is a wood engraving by French artist Georges Rouault, 1871-1958. (Block engraved by Georges Aubert) It is signed in the block as issue. ...

This artwork titled "Starburst" 2007,is an original colors woodcut on thin rice paper paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled, dated and inscri...

This is an original 19th century hand-colored lithograph entitled "Convent of St. Catherine Mount Sinai Looking Towards the Plain of the Encampment" by David Roberts, from his Egypt ...

This is an original 19th century duotone lithograph entitled "Interior of the Temple of Aboo Simbel" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, pu...

This artwork titled "Figure Rouge avec Portrait de Quevedo" from the suite, Visions De Quevedo, 1975. is an original engraving with pochoir hand coloring on Richard de Bas paper, by ...

‘Snowy Field with Aspens’ oil painting by American Realist artist Peter Loftus, who is known for captivating breathtaking color-rich nature scenes through shadow and light in his oil on canvas paintings that reflect western environments. Loftus is known for his meticulous realist oil paintings that feature ocean-scenes, babbling brooks, mountain ranges and their vistas, as well as figures and people. 'Snowy Field with Aspens' is beautifully and skillfully painted. An awe inspiring scene that is a pleasure to gaze upon. 42 x 62 inches. Artist signed, titled and dated Verso. Peter Loftus was born in 1948, in Washington DC. He received a BFA in painting from the Maryland Institute College of Art, in 1971. In 1974, Loftus earned an MFA from the University of Pennsylvania. Drawn by the glorious California light, Loftus moved to Santa Cruz in 1975. He has lived and painted there ever since. Loftus taught at both University of California at Santa Cruz and Cabrillo Community College between 1975, through the present (at UCSC). He taught Beginning, Intermediate and Advanced Drawing, and Painting, in both oil and aqueous media. During that time, he also sustained a rigorous exhibition schedule, showing regularly on the East and West coasts; in New York at Fischbach Gallery, and San Francisco at William Sawyer Gallery and later Hackett-Freedman Gallery. In addition, Loftus has participated in a number of group exhibitions. These include: American Realism: 20th Century Drawings and Watercolors (and accompanying book), San Francisco Museum of Modern Art, New Horizons in American Realism: Flint Institute of Arts, Flint, MI. Loftus is also included in several publications, including: "The Artist as Native: Reinventing Regionalism" by Alan Gussow...

This artwork titled "Lunik Home" 1971, is an original stone cut on thin handmade paper by noted Inuit artist Pitseolak Ashoona, 1904-1983. It is hand signed, dated, titled, numbered 10/50 and inscribed Dorset in pencil by the artist. With the artist blind stamp at the lower right corner. The artwork (image) size is 15 x 17.5 inches, framed size is 25 x 29 inches. Custom framed in original light brown wood frame, with of-white color matting. It is in excellent condition, the frame have some very small minor restoration, barely visible. About the artist: Pitseolak was born to Timungiak and Oootochie on Nottingham Island in the Northwest Territories now Nunavut. Her name means "sea pigeon" in Inuktitut. She grew up in the traditional life of her people, with food dependent on hunting and gathering. Her culture relied on angakuit. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island.[3] They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. After her husband died at the age of 40 from a viral sickness, Pitseolak raised four of the children, Kumwartok, Qaqaq, Kiawak or Kiugak, and daughter Napachie Pootoogook, herself. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern `Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. Pitseolak died on May 28, 1983, in Cape Dorset now Kinngait. She was survived by a large family of artists, including: Pitseolak Ashoona was one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist, who worked out solutions to artistic problems through what Lalonde described as "a self directed-program of repetitious drawing". Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print...

Stardust by Frank Schott 40 x 40 inches / 102cm x 102cm signed edition of 25 48 x 48 inches / 122cm x 122cm signed edition of 7 archival quality fine art pigment print limited a...

This original graphic art lithographic poster entitled "Chez Panisse Restaurant and Cafe" was created by David Lance Goines in 1989 in his Berkeley studio...

This artwork titled "Poker Night at the Club" c.1990 is an original color lithograph on paper by noted French artist Guy Buffet, b.1943. It is hand signed and numbered 240/350 in pen...

Bronze sculpture, op/ed Giuseppe Palumbo's bronze sculptures are textural, warm, spirited works that capture the essence of each being he portrays. His anthropomorphic artworks delv...

GOLDEN GATE by Frank Schott an epic scale photograph of iconic Golden Gate Bridge and San Francisco skyline in Northern California's atmospheric morning light 58 x 110 inches ( 147 ...

Francis Bacon (British, 1909-1992) Three Studies for Self Portrait, c. 1981 Lithograph in colors on Arches wove paper Edition 81/150 with Arabic numbering. There were also 25 H.C. (...

'Talavera Composition 1' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and ...

This exquisite pitcher, Pablo Picasso Grey Engraved Pitcher, 1954, boasts simple, linear decoration and cool color contrasts between grey, white, and black. Opening their mouths in w...

This artwork titled "Along the Shore, Staten Island, New York" 1937, is an oil painting on canvas board by Italian/American artist Xavier Barile, 1891-1981. It is signed and dated at the lower right corner by the artist. Also signed, dated, and titled on the back. The canvas board size is 12 x 16 inches, framed size is 16.25 x 20.25 inches. Framed in a wooden gold frame, with gold bevel and fabric liner. It is in excellent condition, especially considering the age. About the artist: Xavier J Barile was a Social Realist painter, teacher, lecturer, graphic artist, and writer. He was born March 18, 1891, in Tufo, Italy. His love of beauty manifested itself at a very early age. During his early teens, he used to design monograms for the young girls of his home town, Tufo, Italy, to embroider on their most precious possession, their hope chest and trousseau. In 1907, his mother brought him, his two younger brothers and two sisters to New York, to join their father who had been in New York for several years, preparing the way. He quickly learned English and spent some time helping his father, who was earning a living for the family as a tailor. Having learned English well, Barile then enrolled in the Evening Art Classes at Cooper Union Institute in New York. In due course he enrolled in the Art Students League, New York City. Here he came under the influence of John Sloan, Reginald Marsh and Victor Perard as teachers and George Luks, Robert Henri and Everett Shinn of "the Eight" as friends and colleagues. In 1939 John Sloan dedicated his book, Gist of Art as follows, "To my old friend, first monitor of my first class at the Art Students League 1914." This friendship and mutual regard lasted until Sloan's death in 1951. Of course, it was only natural that Barile should be a part of the "Ashcan School," painting the New York Scene. During this time that he was on his own he worked with all mediums - oil, watercolor, pastel, casein, charcoal, etc. - and he did some fine work with monotypes. It was during these years, the 20's and 30's, that he began to exhibit in such places as the Whitney Studio Club (forerunner of the Whitney Museum of American Art), The Kit Kat Club, The Anderson Gallery, The Cincinnati Museum, The New Mexico Museum, National Society of Painters in Casein, The Salmagundi Club and many other exhibits throughout the United States. He is currently represented in The National Collection of Fine Arts (NCFA) Smithsonian Institution, Washington, D.C. In the mid 30's, like many another struggling artist, XJB worked on the WPA Art Project. One of the murals he worked on is in the U.S. Customs House, Bowling Green, N.Y.C. In this project he collaborated with Reginald Marsh who was the supervisor of this phase of the work. The years until 1939 were spent working in all parts of the United States and in conducting his own classes for aspiring artists. In 1939, on the recommendation of John Sloan, he became the founder, first teacher and Chairman of The Department of Fine Arts, Pueblo Junior College, Pueblo Colorado...

oil on canvas signed on the back

Original large format photographic print from Mona Kuhn's series Kings Road, ephemeral observations of interiors, vignettes and details captured at Rudolph Schindler's iconic LA home. In Kings Road (2022) Mona Kuhn lyrically reconsiders the realms of time and space within the midcentury architectural elements of the iconic Schindler House in Los Angeles. Built by Austrian architect Rudolph M. Schindler in 1922, the house was both a social and design experiment and an avant-garde hub for intellectuals and artists in the 1920s and ’30s. The body of work this individual photo is from incorporates chromogenic color prints, reflecting vignettes and materials of the building's emotional architecture, juxtaposition with unique solarized gelatin silver prints capturing traces of an ethereal human presence. The exhibition Kings Road has been shown in Santa Barbara, Paris, Göttingen an Lianzhou. Read more about Mona Kuhn in a recent Introspective Magazine feature - see 1stDibs page footer below Pulse (2022) Kings Road: A Rudolph Schindler House 60" x 45" / 152cm x 114cm / edition of 3 40" x 30" / 102cm x 76cm /edition of 12 limited edition photograph printed under artist supervision + accompanied by signed artist certificate: artist signature label (8x10") signed/editioned/dated/titled by the artist + stamped for authenticity label is placed centered on verso of 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. 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 & Succulents in 2018. In 2021, Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road (2022) with Steidl accompanies a multi-dimensional museum traveling exhibition shown in Europe and the US. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, 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, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles. __________________ Solo Exhibitions 2025 Mona Kuhn: Y Tu Desnudo será Un Gran Poema, Museum of Contemporary Art, Malaga, Spain Mona Kuhn: Kings Road, Lianzhou Museum of Photography, China 2024 Mona Kuhn: The Schindler House, A Love Affair, Galerie XII...

Almost a folk painting in its naiveté and awe of the abundance on display. It’s a direct reminder of another era when such fruits, imported from warmer, faraway climates were an uni...

This artwork, "Children in a boat" 1976 in a color off set lithograph by renown Chinese/American artist Wai Ming A.K.A Lo Hing Kwok, b.1938. It is hand signed and inscribed A.P (Artist Proof) in pencil by the artist. The image size is 21.5 x 28.75 inches, sheet size is 32.5 x 39.5 inches. Custom framed in wood dark brown rustic frame and beige matting. It is in excellent condition About the artist: Wai Ming, was born in Canton, South China on November 11, 1938, the son of a school master with nine children. Extremely poor as a child, he was raised in Hong Kong enduring many hardships amidst a chaotic environment of war and refugee settlements. Wai Ming's love for art flourished and he developed his drawing techniques without any art education, just painting what he saw. In the 1960s, Ming found representation in Hong Kong and also took the unusual step of opening his own gallery to display his work in. His primary interest being to capture images of life in fishing villages, or 'fish-folk', who have retained traditional Chinese culture, his work was at home with the sensibilities of many art buyers in Hong Kong. Crossing the ocean in his mid-30s, Wai Ming arrived in San Francisco from Hong Kong in 1974. There, he experienced initial resistance from galleries and the official art world for a variety of reasons, but was ultimately embraced by dealer Jack Swanson...

'Yaroi' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. It features painterly brushstroke formations in glass called trails. These trail...

Composition in Yellow By a French American Frédéric Choisel. He inspired by the cities of France, New York and the Bay Area and creates elegant abstractions that tell a story of urba...

This artwork titled "On the Road to Palm Spring" c.1970is an oil painting on canvas by California artist Mabel Vinson Cage, 1891-1995. It is signed at the lower right corner by the a...

The graceful arcs of this botanical painting call to mind Chinese ink brush paintings or Japanese textiles. The silhouette is that of a money tree, a plant traditionally believed to ...

observation of a Mediterranean beach scene in Nice, France, on a hazy summer day Nizza by Frank Schott 48 x 75.5 inches (122 x 192cm) signed edition of 7 44 x 69 inches (122 x 17...

Wild West I by Frank Schott from a series of photographic observances around Monument Valley 27 x 40 inches / 68cm x 102cm signed edition of 25 48 x 71 inches / 122cm x 180cm sign...

This is an original 19th century duotone lithograph entitled "Minaret of the Mosque El Rhamree" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publish...

Isca Greenfield-Sanders The Wildwood Etchings (set of 3) Direct to plate photogravure and aquatint. Edition 35

Extra large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle pai...

Hand printed by artist. Dry mounted on board. Taken with Rolleiflex on film. Other sizes available.

This artwork titled "Point Cabrillo Light Station, Mendocino" c.2000 is an oil painting on canvas by American artist Hope Stevenson, 1939-2015. It is signed at the lower left corner by the artist. The canvas size is 12 x 16 inches, framed size is 18.85 x 21.85 inches. framed in a wooden plein air style gold frame. it is in excellent condition. About the artist: Hope was born July 22, 1939, in San Juan, Puerto Rico. Her family moved to Palo Alto, California, during World War II, where her father worked at Moffett Field and later for Borg Warner...

It’s the hopeful, intelligent expression that grabs you. Especially in a boy framed by the evidence of abject poverty. How long can he endure? The artist, Roy Little, was described a...

This is an original 19th century duotone lithograph entitled "Minaret of the Principal Mosque in Siout, Upper Egypt" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This lithograph depicts an imposing minaret in the background, a large mosque on the left and both sitting and standing groups of Egyptian men in conversation in the foreground. Roberts thought this minaret was the most beautiful he had encountered and was a prime example of the architecture of modern Egypt. It has four balconies with enriched balustrades supported by brackets and corbels...

This is an original 19th century duotone lithograph entitled "Mosque of Ayed Bey, in the Desert of Suez" by David Roberts, from his Egypt and Nubia volumes of the large folio edition...

This original limited edition graphic art lithographic poster entitled "Carousel Animals" was created by David Lance Goines in 1984 in his Berkeley ...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

Saul Steinberg (1914-1999, American) Postcard Style Watercolor Landscape Painting Cover of The New Yorker, September, 1971 Signed and Dated 1970 Inscribed "For Barbara" Unfra...

large format photograph of sun reflections on a coral reef water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the...

Light reflections of glistening sunlight on turquoise aquamarine water surface, large format photograph of sun reflecting on a summer pool, an homage to the iconic pool reflections p...

large format photograph of sun reflections on pool water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic ...

Jason Schoener (1919-1997) "Boothbay Harbor" Original Watercolor c.1950s Fine vintage watercolor by listed artist Jason Schoener. Dimensions 21.5" x 1...

On the face of it, this artwork shows a building's facade with a balustraded balcony and arched loggias. But there’s another dimension, one to be found in the geometric window rhythm...

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 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...