Continental US - Contemporary Art

Portrait by very well known listed French artist Sylvain Vigny. The colors are slightly dark yet the fascinating way Vigny paints the face of the young boy shows lots of light and in...

Selection of black and white abstract prints. From left to right, they are: 1) Abstract lithograph by Terry Haan, circa 1960s. Pencil s...

Intricate, ethereal and highly textured, the abstract compositions of Japanese mosaic artist Toyoharu Kii reflect a sophisticated approach to the technical art of mosaic making. Clas...

A mixed-media and resin collage by Rex Ray, signed by the artist. USA, 2004.

Sold individually polyester resin; hand-shaped polyurethane foam; digital print swallow tail: 78 h. x 20 x 2.5" each a limited edition of 12 plus 4 proofs Produced by Tim Bessell Surfboards...

Oil, rice paper and gel on canvas, measures: 74" x 74". Titled "Subtracted Word #3", dated 2003.

Represented by Tuleste Factory Large circular wall object features a warm hue transitioning from peach to beige. The shifting saturation levels create subtle changes in the way ligh...

This stunning example of Art Deco-Mid Century American surrealism was painted by Erwin Kummer, a widely-known Chicago painter who exhibited widely in the 1940s at the Art Institute o...

Graphite on tempered masonite, signed and dated (DAVID ROTH 2011) on the back. This piece was exhibited "Salon 2015" NYC. Measures: 48" x 48". Exhibitions of Roth's Graphites: The Gallery Upstairs, Buffalo NY 1967, The Everyman Gallery NYC 1969, Robert Elkon Gallery NYC 1970, Liz O'Brien NYC 2001 and The Moderne Gallery Phila...

1991 original Abstract painting by S. Glass. Constructed of acrylic, concrete and found objects on canvas. Signed S.Glass 1991 on the back and S.Glass on the top (see detail photos)...

Contemporary New York artist Peter Buchman's 'Note to Self' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of many who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. For this specific piece, 'Note to Self,' Peter is fascinated by what he said - she said and all of that back-and-forth cross-communication. Phrases like 'word on the street' and 'news at eleven'—we are all familiar with this kind of language, but how does it make us feel to see it stacked on top of each other? Writing lists, scribbling notes, verbatim, talking to ourselves or our partners... where does it all get us? Everywhere? Nowhere? This communication and street slang intrigues him. Whether he hears it or actually sees the words, the language grabs his attention, and he wants to discuss it again... with you, the viewer. Will you engage? Signed and dated en verso. This is a commissioned piece and will ship directly from the artist's studio. American artist Peter Buchman has BFA in Illustration from The Rhode Island School of Design and did a Sculpture Residency at The School of Visual Arts in New York. Peter's artwork has been exhibited throughout the US since 1981 including the Parrish Art Museum (Southampton, NY), Cooperstown Museum (NY), Delaware Museum of Art, Kidder Smith Gallery (MA) and Vered Gallery (East Hampton, NY). His work is included in the portfolios of collectors including Beth Rudin DeWoody, Nicole Miller, David Yurman and Howard Schultz...

A stylish study of geometric shapes, this graphic pattern by Porter Teleo has a two-panel repeat. It's a striking, mural-like design that's ideal for larg...

Superb acrylic wall hanging by Van Teal. Artist Orlando Acosta captures the 70s & 80s with great subject and movement. 3D affect with raised hood.

Intricate, ethereal and highly textured, the abstract compositions of Japanese mosaic artist Toyoharu Kii reflect a sophisticated approach to the technical art of mosaic making. Clas...

Three wall objects designed as a triptych by the German artist Willi Siber. The upright rectangular individual works are made of MDF with interference varnish and milled into the s...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Fighting for Love by Tracey Emin, circa 1998. Offset lithograph on pale green paper, signed, numbered (29/300), and framed. Measures 11.75 x 8.25 inches. Originally purchased from Wh...

Kenny Nguyen creates what he calls “deconstructed paintings”, large, bold works that are comprised of hundreds of silk strips, which he cuts, paints, and meticulously applies onto ca...

Original Modern Contemporary acrylic painting in antique frame by Shannon Weir. Signed in bottom right. This beautiful original art was made in 2022, but ...

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

Contemporary New York artist Peter Buchman's "How to Disappear" white neon offers customizable settings: blink fast, blink slow, or remain static—the choice is yours. Every few years...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #54 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

This is a massive piece of modern art that makes a huge statement. Measuring in at 8ft 2in, it’s a beast, the equivalent of a mural. Add a huge pop of color to your space today.

Unique oil paint and wax on paper by James Nares ( British, b. 1953 ). Untitled. circa 2008. Archivally framed in a 12-karat white gold frame.

Gigantic California freeway sign from 1986. Two piece sign spanning 8.5 feet long and 6 feet tall. Cats eye reflectors throughout. Retired sign from California highway system. State Route 78 is a California State highway that runs the entire width of the state from Oceanside to Blythe. Green metal sign depicting Oceanside as North and Escondido to the East. Massive statement piece. Great piece of California and transportation ephemera. Stamped 'Property of the State of California...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #62 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Vivid color and intricate design are the focal points of this aquatint colored etching print numbered 2 of 4. Signed I.P.I.

Finely painted in gouache by J. Collazzi, who did a series of landscapes and fantasy paintings in the 1930s, this scene of two classical figures restraining a horse is classic Art De...

A wonderful cast ceramic wall plaque of a mythical Celtic beast, by Jim Meredith Studios, late 20th century. The plaque, imitating ancient carved stone...

Dimensions- H: 18 3/4in W: 14 1/2in Frame - H: 20 1/2 in W: 16 1/2 in D: 3/4in This Georges Rouault (French, 1871–1958) framed etching, "Christ and the Children," will bring a sense of sophistication to your home! French expressionist and religious painter, Georges Rouault was the son of a cabinetmaker. Trained as a maker of stained-glass windows (1885-90) before studying at the School of Fine Arts in Paris where he was encouraged to develop his talent (1891-98). In 1895, he began to concentrate on Biblical themes...

Anna Belle (2008) Emulsion and oil on screen 7 x 9 ft Hand-carved frame with integrated lightbox + remote Meet Anna Belle. She’s got the kind of stare that follows you across a ro...

One of our most favorite finds to date, this striking portrait painting will make a lively accent to any art collector. Painted on board, the subject of the painting sits confidently in a chair. She wears a gray suit and hat, and has long blonde hair. The entire piece is on a bright pink background. (Is it just us, or does this piece remind you of the blonde version of Carmen Sandiego...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Califo...

Contemporary New York artist Peter Buchman's 'Now Showing' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of those who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. 'Now Showing' draws inspiration from Film Noir, a genre that held a profound influence on Peter's film and cinematic journey. The strident and punctual dialogue always fascinated him, along with the black and white director's perspectives. As an artist who spent hours drawing and sketching in pencil, the dramatic black and white hardened scenes just gripped him. He wanted smoke and spit and to rough something up. He wanted to emulate those textures, those scenes, that gut reaction with danger but in a poetic sense. The work reflects someone who is under interrogation, spilling their guts out, or just spilling the beans. It's a collection of phrases Peter unearthed or scratched out from movies or vintage pulp...

White on white paper cuts collage. White wood frame. Artist Nurit Amdur creates paper cuts and collages revolving around the journey of transition and turning something into “ someth...

Lovely pair of vintage 1970s pencil signed, limited edition arboreal prints. Arboreal because they’re all about trees… and leaves. This listing is for two pieces of art, one price. T...

White on white paper cuts collage. Square white wood frame. Artist Nurit Amdur creates paper cuts and collages revolving around the journey of transition and turning something into “...

Paul Garland (American, b. 1943), an abstract composition, pencil signed and dated 1983. The work is very colorful with wonderful movement and expression. It has been expertly framed...

Contemporary American ceramic artist Richard Hirsch's encaustic "Paintings of Nothing Series" #14, #16, #22 and #23 are made of ceramic raw materials, dry pigment and wax. Hirsch app...

Circa 1999, Acrylic on "Canvas on board", by Suk Shuglie, Pennsylvania. Colorful and bright, this wooded scene leavens the moodiness of late Winter with th...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

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

A leader of the cross-cultural Craft resurgence, Japan-based artist Toyoharu Kii creates his intricate mosaics with handcut Italian marble and smalti, Venetian glass made by the same Italian family for over 400 years. Using traditional Italian techniques, Kii’s art is nonetheless modern. It is monochromatic, abstract, and highly textured and highlights the involved and technical art...

"Mexican Sun," an oil on canvas by artist Kathi Robinson Frank is an abstract composition in sunny golds, whites and blacks inspired by the earth and brill...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...

A bright and bold modern piece, this painting is a striking example of artist Clair Seglem's love for color. A pair of mannequins seemingly come to life w...

A beautiful large scale work of art by Laddie John Dill. Work is composed of cement, glass, wood and pigment applied to canvas. Signed and dated verso. From the artist's website: La...

Oil painting on canvas by Chicago artist, William Stebbins. The painting features bright blues and purple tones alongside warm yellow and orange tones. Signed by the artist. Dimensi...

Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architecture before transferring to the University of Houston in pursuit of painting. He eventually graduated from the Colorado Institute of Art in 1960 and was later inducted into their Hall of Fame in 2005. After graduating, Briggs returned to Houston and began working as a graphic designer and associate art director at KTRK-TV, Channel 13...

Contemporary New York artist Peter Buchman's Heroine White Neon is a provocative piece that blinks 3 different words randomly: Heroine - Hero - Heroin. The concept for this piece cam...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...

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...

Distressed vintage embossed School sign. Reads "SCHOOL" in bold black lettering embossed on a bright yellow background with a black border. Great piece of ...

The ecstasy of Saint Teresa. An original painting by Lynn Curlee, after a statue by Bernini Mr Curlee is a fine artist, and author illustrator of many award winning books for older ...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #75 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

Abstract charcoal drawing by Miriam Kubach, American, circa 1960s. It is executed on paper and has been professionally framed under UV resistant glass in a clean lined black lacquer ...

Humboldt County Line freeway sign from Northern California. Made in 1965. Great piece of Marijuana history as well as transportation Americana. 7 feet wid...

Michael Michaeledes was a self-taught painter raised in Egypt and Greece, studied art and architecture in Europe. His art is held in museums, foundations and private collections arou...