Florida - Art

ARTIST: Salvador Dali TITLE: La Tauromachie Individuelle MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Pierre Argillet EDITION NUMBER: XXV/C MEASUREMENTS: 25.5" x 20" YEAR: ...

After Gustav Klimt, Max Eisler #5, Mohnwiese; multi-color collotype after 1907 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 c...

In "Wild Blooming Lavender" Ducet reconsiders impressionist landscape paintings through a contemporary and gestual lens. Natural elements are translated into simplified forms and ene...

A bold, graphic painting on canvas by listed New York artist Margarita Gibbons (1906-1976). Hand signed lower right Oil painting on canvas. Abstract geometrical composition in blue, red, and black colors. Titled 'Dual Principle'. Gibbons studied at the Art Students League of New York and Pratt Institute of Art. Exhibitions included National Association of Women Artists and Society of Independent Artists. Margarita Gibbons (1906-1976) was a painter from New York City. Gibbons originally performed as a ballerina for the Metropolitan Opera House Corps de Ballet, as a dancer, before pursuing a career as a fine artist. (She was there with Martha Graham). Margarita studied with Bolm and Fokine and performed in the 1924 music box revue for Irving Berlin. Her close friends were dancers Ruth Page and Helen Tamiris Becker. She studied at the Art Students League, Pratt institute and later in Paris and Amsterdam. Her work has been shown in a number of galleries and museums including the Argent gallery, the Brooklyn Museum, and the Whitney Museum of American Art. Gibbons first husband was Ecuadorian painter Camilo Egas (friends with Jose Clemente Orozco, Willem De Kooning, Pablo Picasso and Oswaldo Guayasamin) whom she brought to the United States. They lived in Greenwich Village, New York City. In the 1940s and 1950s, his work moved away from Indigenismo and social realism toward Surrealism, neo-Cubism, and eventually Abstract expressionism. Her second husband was American illustrator and painter Arthur Getz...

Joan Miro (1893-1983) - Toute nuit désormais (Every Night from Now On) Lithograph from 1967. The edition of 99/100 on Arches paper with full margins. Dimensions of sheet: 31.1 x 2...

Jay Weaver (?-1960). Is This Necessary?, 1952. Oil on canvas measuring 12 x 16 inches. Framed measurement: 18 x 22 inches. Signed by artist lower right. 1952 Salmagundi label af...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

James Brooks (1906-1992). Plantlike, c.1945. Oil on canvas measures 18 x 24 inches; 24 x 30 inches in a painted wood frame of the period. Signed "J. David Brooks" lower right, Signed...

Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday r...

ARTIST: Salvador Dali TITLE: After 50 Years of Surrealism The Laurels of Happiness MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Transworld Art, NY EDITION NUMBER: F 84/195 M...

work contains elements that pay homage to the technique and skillful touches of the old masters, mixed with abstract expressionism and color field painting of contemporary names. :: ...

Oleg Sohanievich (Soviet Ukrainian, American 1935-2017) Steel Stress Sculpture #3, 1982, Hand signed and dated Oleg Sohanievich '82 Dimensions: 17" h., 23" w., 16" d. Very heavy Th...

Baron Robert Heinrich Freiherr von Doblhoff (1880 Vienna - 1960 ibid.) Woman with Red Hair Ink and watercolor on paper, image measures 6.25 x 7.25 inc...

Joan Miro (Spain, 1893-1983) 'Joan Miró. Fotoscop', 1974 lithograph on paper 12.9 x 20.5 in. (32.7 x 52 cm.). The size of the stamp paper has been slightly modified. Its original dim...

This is an original antique 19th-century large oil painting on canvas painting depicting a portrait of a Lady in a long black dress, standing near a bright red curtain. The painting...

MAURICE POZZETTO-French Primitive-Original Signed Oil-Corniche Harbor Marseille Maurice Pozzetto (1911-?) 20th Century French Primitive artist best known for paintings Original ...

Charming pair of Italianate wood panels hand painted with bayscapes and sailboats over a cartouche on a classic putty grey background.

Jan de Ruth (Czech/American, 1922-1991) Still Life of Flowers Oil on canvas, Hand signed lower right Verso bears gallery label from Harbor Gallery, Cold Spring Harbor, N.Y. Dimensi...

Henri Matisse (1869-1954) - Femmes et Singes Lithograph from 1958. Dimensions of work: 52.5 x 35.5 cm. Publisher: Tériade, Paris. Each copy of this Lithograph was originally publ...

Artist: Bill Sullivan Title: Flowers Medium: Serigraph Signed: Hand Signed Edition: Edition of 200 Measurements: 22" x 30" Condition: Excellent. This piece has been stored in a ...

Genre: Contemporary Subject: Abstract Medium: Oil Surface: Canvas Country: Italy Dimensions: 19 3/4" x 15 1/2" x 3/4" Dimensions w/Frame: 26" x 22" Giordano Falzoni (Italian, 1925-...

ED BAYNARD (American, 1940-2016) Flowers, Flowers in a Vase, Etching. 1979/1980, Hand signed, dated l.r., Hand numbered from small edition 12/24, Dimensions: 23 by 19 in. Framed 25 by 21 in Born in Washington, D.C. in 1940. Raised in Washington, D.C. and newly graduated from high school, he flew to Europe living off and on in Paris and London. During this time, he designed costumes for Jimi Hendrix, worked as a graphic designer for the Beatles as well as Elizabeth Taylor and Richard Burton. Returning to New York, he dedicated his life to art after a surprise success with his first show in 1971 at the Willard Gallery in NYC. Ed's images are Zen-like in their simplicity and grace rendered in a flat, graphic style that recalls Japanese Ukiyo-e prints. His watercolors are luminous, like the rest of his representations regardless of the medium. The Japanese inspired ukiyo-e style woodblock prints and lithograph works he created at Tyler Graphics in 1980 contain a 20th century "floating world" sensibility. Ed's wish was to bring harmony, color, and a meditative stillness to this chaotic planet. He did so in a gentle and powerful way, always as an expression of his deep gratitude for the love and beauty, friendship, and concerns he held dearest. His first solo exhibition was in 1971 at New York's legendary Willard Gallery on the recommendation of Agnes Martin. Baynard went on to have exhibitions at galleries including Betty Parsons Gallery, New York (1973); Marian Goodman Gallery, New York (1977); John Berggruen Gallery, San Francisco (1980); and Barbara Gladstone Gallery, New York (1980/81).. Baynard manages to retain a simplicity of form inspired by a love of Japanese Woodblock prints. His new works reflect the same poetry of his earlier paintings, retaining his stylized compositions with their Zen like minimalism and Oriental calm, along with a new sense of rhythm and movement. Baynard uses familiar themes such as flowers, plants, pots, and vases, incorporating them into his delicate watercolor still lifes, thus creating stunning visual feasts. He was included in the 1972 Landscape exhibition at MoMA NY alone with other luminaries James Boynton, Christo, Jan Dibbets, Minnie Evans...

Artist: Lloyd Martin Title: Large Alloy Size: 92 x 130” Year: 2013 American artist Lloyd Martin, known internationally for his rhythmically constructed abstract painting, continues ...

Hunt Slonem, outdoor sculpture, stainless steel and enamel resin Size and colors custom

Masatoyo "Kuki" Kishi (1924-2017) Untitled. 1995. Cast Stone, 19.75 x 19.75 x 3 inches. Depth of base measures 3 inches and gracefully tapers to 0.25 inch at top. Carved signatu...

Katabexine is a superb early advertising poster by Leonetto Cappiello, created during the formative years of his career, when he was already beginning to transform the visual languag...

Artist: Slonem, Hunt Title: Hutch Scotch Date: 2025 Medium: Oil on wood Unframed Dimensions: 30" x 25" Framed Dimensions: 33" x 28" Signature: Signed Edition: Unique Hunt Sl...

Dejame - original abstract acrylic canvas painting. framed , Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in t...

Olja Ivanjicki "Florence or Hell of l'Inconnue De La Seine" original oil circa 1965 Original oil on board. Dimensions 26" wide x 42" high. The frame m...

The photographic work of Raphael Macek offers profound meditation on the timeless bond between humans and horses. With exceptional sensitivity, Macek captures the equine form as both...

This dynamic Italian version of the Végétaline poster by Leonetto Cappiello presents one of the artist’s most imaginative and enduring advertising images. The surreal composition is ...

Original artwork by Spanish artist Rafael Ruz. Acrylic in perfect condition. While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the sam...

ARTIST: Salvador Dali TITLE: Conquest of Cosmos The Last Comer of The Last Planet MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: EA MEASUREMENTS: 27.5" x 39.5" YEAR: 1974...

Still Life With Cups and Saucers Artist signed, canvas 24hx48w, beautiful custom made silver-gold frame. Mr. Miagkov was born in Ukraine in 1936 and had formal training from the Odes...

Lithograph in colors on Arches paper. Hand signed lower right by Marc Chagall. Hand numbered 53/75 lower left. Paper size: 40.06 x 28.12 inches. Image size: 35.12 x 25.12 inches....

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

ARTIST: Salvador Dali TITLE: 8 Mortal Sins Suite Anger Avarice Dalinean Envy Gluttony Lust Pride Sloth MEDIUM: 8 Etchings SIGNED: Each piece is Hand Signed PUBLISHER: Jean Schne...

Issued by the United States Dept. of Information during the Second World War, this poster serves as a rallying cry for all Americans to serve their country as well as they can. It cl...

Gordon Ham (20th century) New England Winter, ca. 1940. Oil on unstretched canvas panel, 14 x 17 inches. Measuring 17 x 20 inches framed. Signed lower right. Vertical cracking ...

Frames that capture the transformation from everyday life into another reality. Images that explore how the future will look. The proposal comes from the contemporary but goes beyond...

Mane-Katz (1894-1962) Original Lithograph published by Andre Sauret, Monte Carlo, 1966, printed in France, by Mourlot. The ouvrage sheet is not included. this is from a limited editi...

Arístides Esteban (ARES) Hernández Guerrero (Cuba, 1963) 'The Rolling Stone (verde)', 2016 silkscreen on paper 27.6 x 19.7 in. (70 x 49.8 cm.) Edition of 50 ID: ARE-204 Hand-signed ...

Saint Mark's Basilica Venice Oil Painting Signed, lower left dated, titled verso. Romanesque Bizantine Basilica. canvas 35"x45" framed 46.5 x56.5. Frank LeB...

Artist: Sijan, Marc Title: Security Guard Date: 2024 Medium: Polyresin with oil paint and mixed media Signature: Signed lower leg Edition: Unique ...

Xavier Corberó Olivella (1935 – 2017) Estructuras Continual Bronze sculpture. Comprised of four elements, independant, 1 spheric. 5 X 8 X 7 inches approximately. The pieces are kinetic and moveable so dimensions are a bit variable. This is accompanied by a hand signed and dated photo certificate of the piece. A silver gelatin photograph. The photo is badly torn. Xavier Corberó i Olivella (1935 – 2017) was a prominent Catalan artist, best known for monumental public sculpture and his palatial house complex in Esplugues de Llobregat near Barcelona. He has been described as "widely considered the most important Catalan artist since Antonio Gaudí," as "one of Spain’s most celebrated sculptors" and as having "perhaps influenced Barcelona more than any artist since Gaudí." Corberó's grandfather Pere Corberó i Casals (1875-1959) was an entrepreneur and artist whose works included the bronze memorial on the birthplace of Enrique Granados, also in Lleida. He was a cofounder of Barcelona's association for the promotion of decorative arts, a precursor to the Design Museum, now known as the Foment de les Arts i el Disseny. The Corberó foundry produced sculptures by prominent Catalan sculptors of the time such as Pablo Gargallo, Josep Viladomat and Frederic Marès. It was also an industrial and commercial business that sold bronze doors, chandeliers, fountains, and other decorative items, with a showroom in downtown Barcelona at Rambla de Catalunya 105, in a building designed by Arnau Calvet i Peyronill, and a workshop nearby at Carrer Aribau 103. Pere's son and Corberó's father, Xavier Corberó i Trepat (1901-1981), also worked in the family bronze...

Interior Landscapes - Abstract Acrylic on canvas Painting Original work by the Spanish painter Rafael RUZ. Acrylic on canvas . Perfect condition. While contemplating the painting o...

ANGEL BOTELLO Raymonde, 1972 Bronze Ed. 13 22,5 x 7 x 10 in

Norman Carton (1908 – 1980) was an American artist and educator known for abstract expressionist art. He was born in the Ukraine region of Imperial Russia and moved to the United States in 1922 where he spent most of his adult life. A classically trained portrait and landscape artist, Carton also worked as a drafter, newspaper illustrator, muralist, theater set designer, photographer, and fabric designer and spent most of his mature life as an art educator. Carton showed in and continues to be shown in many solo and group exhibitions. His work is included in numerous museums and private collections throughout the world. Norman Carton was born in the Dnieper Ukraine territory of the Russian Empire in 1908. Escaping the turbulence of civil war massacres, he settled in Philadelphia in 1922 after years of constant flight. While attending the Pennsylvania Museum School of Industrial Art, Carton worked as a newspaper artist for the Philadelphia Record from 1928 to 1930 in the company of other illustrator/artists who had founded the Ashcan School, the beginnings of modern American art. From 1930 to 1935, he studied at the Pennsylvania Academy of Fine Arts under Henry McCarter, who was a pupil of Toulouse-Lautrec, Puvis de Chavanne, and Thomas Eakins. Arthur Carles, especially with his sense of color, and the architect John Harbison also provided tutelage and inspiration. Following his time at the Pennsylvania Academy of Fine Arts, Carton studied at the Barnes Foundation from 1935 to 1936 where he was influenced by an intellectual climate led by visiting lecturers John Dewey and Bertrand Russell as well as daily access to Albert C. Barnes and his art collection. Carton was awarded the Cresson Traveling Scholarship in 1934 which allowed him to travel through Europe and study in Paris. There he expanded his artistic horizons with influences stemming from Henri Matisse, Pablo Picasso, Chaim Soutine, and Wassily Kandinsky. While at the Pennsylvania Academy of Fine Arts, Carton was also awarded the Toppan Prize for figure painting as well as the Thouron Composition Prize. He received numerous commissions as a portrait artist, social realist, sculptor, and theatrical stage designer as well as academic scholarships. During this time, Carton worked as a scenery designer at Sparks Scenic Studios, a drafter at the Philadelphia Enameling Works, and a fine art lithographer. From 1939 to 1942, the Works Progress Administration (WPA) Federal Art Project employed Carton as a muralist and easel artist. He collaborated with architect George Howe...

Aquatint, etching, and drypoint on Richard de Bas wove paper Signed and numbered 15/50 in pencil Printed by Atelier Crommelynck, Mougins Published...

Salvador Dali (1904-1989) - Holed Fruit from Flordali suite Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. Hand...

One-of-a-kind Realism Original Oil Painting on canvas by Gardani available for you. Hand signed by the Artist front and back, comes with official Gardani Certificate of Authenticity ...

Artist: Ellsworth Kelly Title: Composition (Axsom No. I-D) Year: 1964 Dimensions: 15in. by 11in. Mount Board Size Inches: 20 x 16 inches Mount Board Color: White/Black Print Border...

VICTOR VASARELY – "STRI-ARCT-2" ⚜ Serigraph ⚜ Hand Signed and Numbered ⚜ Edition of 250 (Total 300) ⚜ Conservation Framed GEOMETRIC VIBRATIONS IN COLOR Created in 1975, “Stri-Arct-2...

"1959 Alfa Romeo Giulietta" 2024 Oil on panel 16 in x 20 in Framed in pine floater frame Experience the timeless beauty of the 1959 Alfa Romeo Giuliet...

Elegant antique original oil painting on canvas depicting a romantic pastoral scene inspired by 19th-century European traditions. The composition portrays a young couple resting in a...

ARTIST: Salvador Dali TITLE: Faust Vignettes Faust Lisant MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Editions Argillet, Paris EDITION NUMBER: 24/100 MEASUREMENTS: 15" x 1...

LEONARDO NIERMAN – UNTITLED TAPESTRY ⚜ Wool tapestry ⚜ Signed in the weaving lower right ⚜ Weaver: Gobelinos Riedl ⚜ Features original hanging loops ABSTRACT EXPRESSIONIST TAPESTRY ...

Drawing on paper is his basic work tool, some are sketches of his surviving works, others are sketches of moments he documents. Undefined by medium, Celso Castro’s works each carry...

Don Clausen American (b. 1930) Untitled (1974) Oil on board Hand signed lower left and verso Framed 11.25 X 13.5 sight 9 x 11.25 inches Don Clausen is an American Postwar & Contem...

A signed and dated oil on canvas by British artist Robert Watson (1865–1916), depicting a shepherd tending his flock along a mountain path in the Scottish Highlands. The composition ...