Fairfield County - Art

Collection: Silent Space Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. The phys...

This original abstracted landscape statement oil painting by artist Bri Custer features a blue palette with vibrant yellow and green accents throughout. The artist applies thick, loo...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 8.86 x 5.71 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

These paintings and drawings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. Emily Berger brushes, wipes, rubs, and scrapes...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 10.24 x 6.69 inches Inscription: Signed in th...

Artist: Ian Hornak (1944-2002) Title: Domain of Asmodeus Year: 1985 Medium: Acrylic on double layered Masonite Size: 31 x 37 inches Condition: Good Provenance: Estate of Ian Hornak, ...

Medium: Lithograph on vélin du Marais paper Year: 1957 Paper Size: 14.5 x 11 inches Catalogue raisonné reference: Cramer, illustration 84 Inscription: Inscription: Unsigned and unnum...

Primarily an experimenter, Goldberg’s work is a collection of variations on the theme of water in movement, through drawings, paintings and sculptures She works primarily in resins ...

Medium: Lithograph and stencil on vélin paper Year: 1954 Paper Size: 13.5 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Femmes de Lau...

Materials: printed florist paper, woven Winqvist applies the ideal of functionalism by simplifying the forms as much as possible, while avoiding unnecessary decoration. She has expl...

Medium: Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper Year: 1948 Paper Size: 12.5 x 9.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

Schwartz received a degree in fine art from the Victorian College of the Arts in Melbourne, Australia, and later studied sculpture at Columbia University. Her work has been shown in...

Cecilia studied Social Studies and Literature at Universidad Catolica del Peru, Drawing with Cristina Galvez, and Watercolors with Juan Pastorelli. She then worked with Leslie Lee, p...

Artist: Andre Gisson (1921-2003) Title: Young Girl in Summer Year: circa 1973 Medium: Oil on Canvas Size: 9 x 12 inches Condition: Excellent Inscription: Signed, recto ANDRE GISSON ...

Series: Deep Blue C Print Mounted on Dibond Perspex Face Edition of 8 plus 2 artist's proofs Blue is linked with eternity, the beyond, the supernatural beauty and often associated w...

Graphite on clayboard panel

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Medium: Lithograph on vélin d’Arches paper Year: 1959 Paper Size: 10.25 X 16.5 inches Catalogue raisonné reference: Cramer, illustration 101 Inscription: Inscription: Unsigned and u...

This abstract painting by Roger Mudre is made with acrylic paint over mica powder and metal leaf on cradled birch panel. It features a large circle shape at the center of the composi...

A large format book (15.25 x 11.25 inches), following the trend among leading Parisian couture houses who had been producing elaborately designed luxury catalogs since Paul Poiret’s ...

signed lower right American, 1925-2017 Born in New Bedford, Massachusetts, Kenneth Davies became a noted still-life painter and long-time art teacher, living in Madison, Connecticu...

Pink Flowers On Table, from the Flower collection, Acrylic Paint on Canvas, I bring my sensibility as a sculptor into these recent paintings. Thick textured impasto surfaces combine...

Untitled Flower # 86 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

Series: Infinite Flowers Fine Art Print mounted on dibond perspex face in white tray frame Available sizes and editions: 32" x 32", Edition of 12 42" x 42", Edition of 8 Isabelle v...

David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...

Available sizes: 18” x 24.29” , Edition of 8, Pigment Print 28” x 37.78” , Edition of 8, Pigment Print 38” x 51.28”, Edition of 6 Silver Gelatin 48” x 64.77”, Edition of 6 Silver Gel...

Series: The Ocean C Print Mounted on Dibond Perspex Face Available sizes and editions: 40" x 62", Edition of 6 + 2 AP Ancient and primal, the Ocean, our mother of mothers. The ori...

Jacquard weaving is at once simple and complex. The language used to set up weave structures is straightforward and binary: the warp is either up or down. With the Jacquard loom, h...

Untitled Flower # 12 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

Barrett's Flight is a super mid-size sculpture that can sit on a table, console or coffee table. It can also be a feature piece on a pedestal. As its title conveys it brings a sens...

Medium: Lithograph on vélin d’Arches paper Year: 1959 Paper Size: 10.25 X 16.5 inches Catalogue raisonné reference: Cramer, illustration 101 Inscription: Inscription: Unsigned and u...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 9.5 x 12.25 inches; image size: 7.87 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Title: Salt Flat 01, Kalgoorlie–Boulder, Western Australia All available sizes & editions for each size of this photograph: 21” x 26” Edition of 7 + 2 Artist Proofs 32” x 40" Edition...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Archer Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 58" x 10" x 14" "I am an artist, a sculptor ...

Series: Abstract Oil Enamel Paint on Canvas I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice that ...

Untitled Flower # 69 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...

Born in London in 1936, Tony Magar studied at the Royal Albert School of Speech and Literature. The artist traveled extensively for five years through Africa, China, and India. Magar...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper and features a cool, muted palette and light texture. The painting itself is 13" x 22" and measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower left-hand corner of the painting and is framed in a black frame with an acid-free mat. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Series: Deep Blue C Print Mounted on Dibond Perspex Face Edition of 8 plus 2 artist's proofs Blue is linked with eternity, the beyond, the supernatural beauty and often associated w...

This small abstract collage painting by Deborah T. Colter is made with mixed media on panel. It features found paper and paint, with subtle text elements, texture, geometric shapes, ...

This glazed porcelain vessel by Jon Puzzuoli features blue, cream and white palette. The crystalline glaze applied over the ceramic creates small, organic, crystal-like elements in t...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 10.24 x 7.48 inches Inscription: Signed in th...

Series: Infinite Flowers Fine Art Print mounted on dibond perspex face in white tray frame Available sizes and editions: 32" x 32", Edition of 12 42" x 42", Edition of 8 Isabelle v...

Available Sizes: 8 x 10 in $600.00 Open Edition 11 x 14 in $1,000.00 Edition of 50 16 x 20 in $3,000.00 Edition of 50 20 x 24 in $4,000.00 Edition of 50 30 x 40 in $6,000.00 Ed...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.625 x 7.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From t...

Medium: Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper Year: 1948 Paper Size: 12.5 x 9.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

Represented by George Billis Gallery, NY & LA -- From Russ Havard's artist statement, "The process of endless building and reconfiguring transcends the mere physical and encompasses ...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate...

Artist: Peter Max (1937) Title: Heart Series III Year: 1998 Edition: 300/300, plus proofs Medium: Lithograph on Coventry Smooth paper Size: 5 x 4 inches Condition: Excellent Inscript...

Since this item will be shipped directly from the publisher, the seller can only provide specific edition information to buyers at the actual point of sale. Please message the seller...

Medium: Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper Year: 1948 Paper Size: 12.5 x 9.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

The Paths series was born out of a trip I took one summer to LA. The trip itself was more of an escape from my life in New York. At the time I was at a crossroads. Having just gone t...

PROVENCAL Series: “In [this] series I was exploring the classical influences of the impressionist masters, to build on their ideas to move them forward, yet being true to the many ap...

Thomas Easley’s mastery of the female form is evident in this reclining nude. Painted with smooth and precise strokes of the palette knife in tonal shades of blue, the image initiall...

This original painting by Teodora Guererra features a pink and white palette with abstracted floral shapes throughout to the edges of the composition. The artist applies thick layers...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 9.5 x 12.25 inches; image size: 7.08 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...