Florida - Art

PABLO PICASSO (1881-1973) Profil de taureau (A. R. 317) Terre de faïence plaque, painted and partially glazed, 1956, from the edition of 450, with the Empreinte Originale de Picass...

Jacob Pins: 1917-2005. Was a German born Israeli woodcut artist and art collector. He has had auction results over $3000 for a print. This powerful scarce example...

Arena Tres, by Ricky Cohete From the series "Acto Uno" Archival Pigment print Medium size: 24 in H x 36 in W. Edition of 10 + 1AP Unframed 2020 Black and White Photograph All price...

HIDDEN PEAR, color etching, signed in pencil, numbered 7/50, Jerusalem Print workshop blind stamp, image 7 ½ x 5 ½”, sheet 15 x 10 ¼”. Samuel Bak (born 12 August 1933) is a Polish- American painter and writer who survived the Holocaust and immigrated to Israel in 1948. Since 1993, he has lived in the United States. Samuel Bak was born in Wilno, Poland, Bak was recognized from an early age as having an artistic talent. He describes his family as secular, but proud of their Jewish identity. By 1939 when Bak was six years old, the war began and Wilno was transferred from Poland to Lithuania. When Wilno was occupied by the Germans on June 24, 1941, Bak and his family were forced to move into the ghetto. At the age of nine, he held his first exhibition inside the Ghetto. Bak and his mother sought refuge in a Benedictine convent where a Catholic nun named Maria Mikulska tried to help them. After returning to the ghetto, they were deported to a forced labour camp, but took shelter again in the convent where they remained in hiding until the end of the war. By the end of the war, Samuel and his mother were the only members of his extensive family to survive. His father, Jonas, was shot by the Germans in July 1944, only a few days before Samuel's own liberation. As Bak described the situation, "when in 1944 the Soviets liberated us, we were two among two hundred of Vilna's survivors--from a community that had counted 70 or 80 thousand." Bak and his mother as pre-war Polish citizens were allowed to leave Soviet-occupied Wilno and travel to central Poland, at first settling briefly in Lodz. They soon left Poland and traveled into the American occupied zone of Germany. From 1945 to 1948, he and his mother lived in Displaced Persons camps in Germany. He spent most of this period at the Landsberg am Lech DP camp in Germany. It was there he painted a self-portrait shortly before repudiating his Bar Mitzvah ceremony. Bak also studied painting in Munich during this period, and painted "A Mother and Son", 1947, which evokes some of his dark memories of the Holocaust and escape from Soviet-occupied Poland. In 1948, Bak and his mother immigrated to Israel. In 1952, he studied art at the Bezalel Academy of Arts and Design in Jerusalem. After serving in the Israel Defense Forces, he continued his studies in Paris (from 1956 at the École nationale supérieure des Beaux-Arts) and spent various periods of time in Rome, Paris, Switzerland and Israel before settling permanently in the United States. In 2001, Bak returned to Vilnius for the first time and has since visited his hometown several times. Samuel Bak is a conceptual artist with elements of post-modernism as he employs different styles and visual vernaculars, i.e. surrealism (Salvador Dali, Rene Magritte), analytical cubism (Picasso), pop art (Andy Warhol, Roy Lichtenstein) and quotations from the old masters. The artist never paints direct scenes of mass death. Instead, he employs allegory, metaphor and certain artistic devices such as substitution: toys instead of the murdered children who played with them, books, instead of the people who read them. Further devices are quotations of iconographical prototypes, i.e. Michelangelo's "Creation of Adam" on the Sistine Ceiling or Albrecht Dürer's famous engraving entitled "Melencholia" . In the late 1980s Bak opened up about his paintings, stating they convey “a sense of a world that was shattered.” He turns these prototypes into ironical statements. Irony in the art of Samuel Bak does not mean parody or derision, but rather disenchantment, and the attempt to achieve distance from pain. Recurring symbols are: the Warsaw Ghetto Child, Crematorium Chimneys or vast backgrounds of Renaissance landscape that symbolize the indifference of the outside world. These form a disturbing contrast with the broken and damaged images in the foreground. Samuel Bak's paintings cause discomfort, they are a warning against complacency, a bulwark against collective amnesia with reference to all acts of barbarism, worldwide and throughout the ages, through his personal experience of genocide. In Bak's piece entitled Trains Bak creates a vast grey landscape with large mounts creating the structure of a train. Massive taper candles burn in the distance further down the train tracks, surrounding an eruption. The smoke from the candles and volcano pour into a sky of dark ominous clouds that lurk over the landscape. Here Bak has created a whole new meaning for “trains.” Many of Bak’s pieces incorporate aspects of Jewish culture and the holocaust with a dark and creative twist, such as Shema Israel...

Pop Shop VI, set of 4 screen prints in colors on wove paper. Each hand signed and dated on verso by the executor, Julia Gruen. Each hand numbered 146/200 on verso (there are also 2...

This painting depicts a classic Parisian street scene, likely from a historical or romanticized perspective. The architecture, with its mansard roofs and ornate windows, is iconic of...

Robert Motherwell, American, 1915-1991 St. Michel III 1979 Lithograph and Screenprint On handmade paper Hand signed in white pencil and numbered 71/99. Dimensions: Sight 40 3/4 x 32 ...

Untitled, 1996 by Celso Castro Pencil on archival paper Image size: 39 H in. x 48 in. W Sheet size: 43 H in. x 59 in. W Unframed ____________ Undefined by medium, Celso Castro’s w...

Here for your consideration is a very well executed watercolor on archival paper of a rushing stream in a sunlit forest. Strong, vibrant colors. Double sided with a seascape on a roc...

A stylized cat named Babette is depicted licking her paw. It is rendered in black and white, which bears the influence of Asian art in its simplicity of line, use of wash, and bleedi...

Screenprint in colours, 2009, on Arches wove paper. Hand signed and numbered 069/299 in brown crayon. Published by Pictures on Walls, London, with the artist's blindstamp. Certific...

Fernando Botero Torero, 1989 Colored markers on paper 12 x 8 1/2 in Provenance: Allegrini Piero, Brescia. Galleria Panantu Casa de'Aste. Arte Moderna e Contemporanea. August 5 - Sep...

Framed 29 X 23 Image 18 X 24 The sweetness that characterizes the work of Mexican painter Jose Maria de Servin (1917-83) is a melancholy and placid one. While he worked in the most modern of styles, he adapted it to an anecdotal folk-art approach distinctly his own. When he was an infant, de Servin's family moved with him to Guadalajara. A city of history and culture, Guadalajara had a thriving artistic community with strong connections to Europe. His brothers Antonio and Miguel became artists as well, and in later years they worked collaboratively. As a teenager, de Servin studied at one of Mexico's Schools of Open-Air Painting, free art-teaching institutions sponsored by the government. Later de Servin became a pupil of the painter Chucho Reyes, known for his improvisational watercolor variations on traditional Mexican themes. This interest in imagery particular to Mexico would be of great significance to de Servin. De Servin also studied under the more traditional painter Jose Vizcarra. In the early 1930s de Servin joined the Pintores Jovenes de Jalisco, or Young Painters of Jalisco. An influence of critical importance to de Servin was Pablo Picasso. One of the originators of Cubism, the Spanish painter soon departed from its quasi-scientific and optical basis to create lively and humorous geometrical abstractions. It was this Cubism, personal and decorative, that de Servin adopted. His earliest Cubist works mimic Picasso, while during the second stage of his career, his works become smooth and polished, with an emphasis on gentle surface textures. After these cautious years, however, a rough boldness enters along with dominating colors of earth and sand. Modernists like de Servin were interested in exploring what they considered primitive artmaking styles. The adoption of a native manner and native themes is in keeping with Modernist tenets, as is the use of nontraditional materials. De Servin's portraits of peasants, large-eyed and simply rendered, recall children's drawings. The rough burlap ground contrasts with the playful imagery and delicate range of color. The figures, all children or child-like adults, are all curves and simple shapes arranged harmoniously. De Servin's cubism is free from grotesquerie as it celebrates the simplicity of its subjects. De Servin worked with the social-realist Jose Orozco on several large mural commissions in Guadalajara, including one at the Legislative Palace. While their styles were dissimilar, both made use of Mexican imagery to glorify the common people. A sought-after muralist in his own right, de Servin brought the rich colors and endearing characters of his panels to his larger-scale work. For 15 years, de Servin taught summer art classes at the University of Arizona. His career was marked by many one-man shows, both in North America and Europe. In recent years, his striking style has attracted increased notice from critics and the public. His style is a unique conglomerate of tradition, history, legends, heroes, old customs and folklore. It is a self-standing style, recognizable, cheerful, whimsical and a happy creation. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard...

Orange, 2020 Color Archival Pigment print Size 60" x 40" Ed of 6 + 2AP Unframed Exploring color in the darkness, inspired by the Italian and Dutch renaissance. He brings hints of th...

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

Lithograph on on Arches wove paper from Men in the Cities portfolio. Hand signed and numbered by Robert Longo. Published by Wolfryd-Selway Fine Art, New York, with their blindstamp....

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...

Victor Manuel: 1897-1969. Well listed Cuban artist who has auction results as high as $319,000. He as an early member of the "Vanguardia" movement of ar...

Monotype Monoprint Hand signed and numbered 1/1 Lake landscape Sheet: 37.5" X 27" Image: 29.5" X 19.75" Susan Hall lives and works in Point Reyes Station, California, a town in the heart of the Point Reyes National Seashore. This pristine wilderness area is dominated by a mosaic of bays and ocean, rolling grass lands and forests. It is inhabited by a diversity of wildlife, including over 450 species of birds, mountains lions, deer, bobcats, foxes, and elk. Ms. Hall who is a native of this area returned after spending twenty years in New York City. In her book, “Painting Point Reyes”, Hall says, “Point Reyes is the center of my painting life. Point Reyes has been my life and when I haven’t lived here, it has been an underground stream that spoke to me in dreams and visions.” While living and painting in New York City, Ms. Hall exhibited her work widely in museums and galleries. Among them are the Whitney Museum of Art; San Francisco Museum of Art; Nancy Hoffman Gallery, Trabia MacAfee Gallery, Phyllis Kind Gallery, Chicago; Ovsey Gallery, Los Angeles. In addition, her work has been featured in group exhibitions throughout the United States and abroad, including in 2020 Bud Shark's Ink: The California Crew at BMoCA, Boulder Museum of Contemporary Art Colorado USA representing the panoply of aesthetics, cultural backgrounds, viewpoints, and talent held within the bounty of art “made in California.” This remarkable grouping of artists, Brad Brown, Enrique Chagoya, Roy De Forest, Amy Ellingson, Susan Hall, Don Ed Hardy, Mildred Howard, Robert Hudson, Hung Liu, Kara Maria, Rex Ray, Alison Saar, Italo Scanga, and William T. Wiley. Women to the Fore, Hudson River Museum Yonkers 2021 A group of women artists working in oil painting and drawing, lithograph prints and photograph, collage and sculpture. Many icons of feminist art history. Judy Chicago, Judy Giera, Marisol, and Shanequa Benitez, Ann McCoy, Anna Walinska, Audrey Flack, Barbara Morgan, Berenice Abbott, Bessie Potter Vonnoh, Georgia O'Keeffe, Hannelore Baron, Harriet, Judy Chicago, Louise Nevelson, Marisol, Mary Frank, Nancy Graves, Susan Hall, Yvonne Thomas...

Beautiful cubist portrait of a woman by unknown Russian artist. Oil on canvas measures 17 x 25 inches. Signed and dated lower right. Label fragments affixed on verso.

Sculpture by the Spanish artist AMANCIO GONZALEZ 7 COPIES Fantastic piece of art representing Spanish sculpture Amancio González is a sculptor from Leon and an internationally celebr...

Lithograph in colors on Arches paper hand signed and numbered by the artist. Mourlot 976. Sheet size 28.70 x 21.10 inches. Image size 37.25 x 24.25 inches. Frame size 53.25 x 39.25 ...

Vintage stylized figural sculpture by J James Akston (1898-1983 Poland/New York/Florida) Crafted of cast bronze with a rich dark brown patina. A sports figure, depicting a snow skii...

Synthetic polymer drawing on paper. Unsigned. Warhol Foundation stamp on verso. Sheet size 31.5 x 23.5 inches. Custom framed as pictured. Artwork is in excellent condition. Cert...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Sea Fan. This one is hand signed and dated verso. Seasons explores the seasons of Man, Woman, Child, Civilization, Nature and Technology. First digital artwork purchased by the Metropolitan Museum. Date: 1980-1981 Medium: vintage color photocopy print. “I worked at The Metropolitan Museum in 1981, when they acquired [Lesley’s] SEASONS portfolio. We knew we wanted it, even though we didn’t have a category for it.” David Kiehl, Curator of Prints and Special Collections The Whitney Museum of American Art, New York City. Lesley Schiff (born 1951) is an American fine artist. Schiff studied painting at the Art Institute Chicago before developing her signature practice using color laser printers to create images. Her work is included in the collections of the Whitney Museum of American Art, the Mead Art Museum and the Metropolitan Museum of Art and other major museums, corporate and private collections globally. Lesley Schiff revolutionized the photocopier from being an office tool to just another instrument in the artist's arsenal. Rather than addressing the tool in her work, Schiff instead uses the photocopier like a paintbrush to realize her vision. Once a painter, Schiff says: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct." Painting with light, Schiff's body of work outlines a cycle of life: man, woman, child, civilization, nature, technology. More recent works challenge the viewer to understand the concept of eye-levels and perspectives, reinventing the way we see. Schiff's work was the Metropolitan Museum of Art's first digital acquisition, and most recently, was featured at the Whitney Museum of American Art in "Experiments in Electrostatics". She uses a color laser printer “like a paintbrush” to create her art. She has said about her work and her tool: “I never intended to stop painting. I just decided to start painting with a modern tool. Working with the color laser printer keeps you in your culture. It's like America. Plugged in. Electronic. Direct—but no matter how hi-tech my tools become, I’m a painter, but instead of painting with oils, I paint with light. The Whitney Museum will show Lesley Schiff's pioneering SEASONS portfolio in its entirety. Many prominent collections acquired SEASONS as their first digital artwork. She participated in the Punk Art show in the 1970's. Her work kind of relates to Fluxus and Dada. Leslie Schiff moved from Chicago to New York in the early 1970s. Much of her art involves collage and the Xerox photocopy machine. Her images are rooted in her personal psyche and have an intuitive meaning that is not always easily understood. In exhibitions, Xerox sheets are combined and displayed decoratively on the wall. Schiff has also created books; and made video and sound tapes. She was included in the seminal New York/New Wave 1981 exhibition show at MoMA PS1 along with Jean-Michel Basquiat, William S.Burroughs, David Byrne, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Robert Mapplethorpe, Kenny Scharf, Steven Sprouse, Andy Warhol and Lawrence Weiner. She did a “visual biography,” comprised of portraits of Bob Dylan—depicted at different ages, from his 20s to his 60s—illustrations of his lyrics, and images of iconic objects like his sunglasses and harmonica. Schiff collaborated with Matthew Carter...

By reducing his subjects to their most essential visual components, Alex Katz engages in a reductive process that foregrounds the raw immediacy of his forms while simultaneously reve...

ANDY WARHOL (1928-1987) Coca-Cola glass bottle, metal bottle stopper and spray paint. Signed with initials by the artist in black ink ‘A. W.’ Executed in 1967.

Set of Four Antique Marine engravings plates hand colored. Each measure 18x21x1 framed. Benard Direxit is a French 19Th Century artist, engraver. Benar...

Damien Hirst Cannizaro H4-4 Diasec-mounted Giclée print on aluminium panel 920 x 1260 MM Edition size: 75 + 5 AP signed and numbered from an edition of 75 verso, published by HENI Editions; sheet: 92 x 126cm Damien Hirst first came to public attention in London in 1988 when he conceived and curated "Freeze," an exhibition in a disused warehouse that showed his work and that of his friends and fellow students at Goldsmiths College. In the nearly quarter of a century since that pivotal show (which would come to define the Young British Artists), Hirst has become one of the most influential artists of his generation. His groundbreaking works include The Physical Impossibility of Death in the Mind of Someone Living (1991), a shark in formaldehyde; Mother and Child Divided (1993) a four-part sculpture of a bisected cow and calf; and For the Love of God (2007), a human skull studded with 8,601 diamonds. In addition to his installations and sculptures, Hirst’s Spot paintings...

Black girl in origami dress with rooster II, by Efren Isaza Measures: 40 H × 68 W Frame size: 44 H × 72 W × 1 D in Archival pigment print on canvas intervened by the artist with pai...

Pinchas Burstein, known as Maryan Lithograph (after the drawing). 1960 Dimensions: 12 3/8 x 9 3/8 inches (315 x 240mm). Gold or bronze ink on black paper Signed in the plate, not b...

Set of 4 Paintings, 2024 by Rosario Briones From the Impermanence series Inks on paper. 1. Impermanence Series n2 2. Impermanence Series n3 3. Impermanence Series n5 4. Impermanence ...

Original gouache painting on paper. Hand signed lower front by Yaacov Agam. Image size 20.25 x 18.5 inches. Sheet size 29 x 22.2 inches. Frame size approx 33 x 31 inches. Cert...

Fredric Karoly (1898-1987). Etude, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Liquid Life N1, 2024 by Rosario Briones From the series “Liquid Life” Mixed technique (inks and acrylic paint) on 118gr Ahlstrom absorbent paper. Dimensions: 106 Height x 106 Width c...

Margaret Layton (20th century). Greenwich Village shops (pair). Oil on board, each measures 6 x 13 inches; 10 x 17 inches framed. Each is signed lower left. No damage or conservation...

OPAC The Organization of Photorealist Artists and Collectors presents Seltzer, a signed and numbered giclee on canvas by famed photorealist Mark Schiff. This piece is 28" x 34". The ...

Up for sale is an original Large antique oil painting on canvas depicting a genre scene - winter canal scene - figures on the shore. Signed in the lower-right corner by artist G. Bi...

The Art of Currency: The Sculptural Mastery of Kim Seungwoo In the vibrant art scene of South Korea, one artist stands out for his innovative approach to sculpture: Kim Seungwoo. With a profound appreciation for both traditional craftsmanship and contemporary themes, Kim has carved a unique niche for himself by transforming real Korean coins...

Lithographon BFK Rives paper , 1955 Limited edition of 125 copies Numbered as: epreuve d'essai ( a proof before the final print run ) Sheet size: 65.5 x 50.5 cm Publisher : L'oeuvre ...

"Silence", pencil and ultramarine tempera on paper, inspired by Matisse. Part of Nude in Interior series. Large drawing. Shipped rolled in a tube. Size 39x27.5in /100x70cm Free shi...

Luis Miguel Valdes (Cuba, 1949) 'Torso I', 2006 woodcut on paper Guarro Biblos 250g. 18.6 x 11.1 in. (47 x 28 cm.) Edition of 20 Unframed ID: 1G200613 Hand-signed by author _________...

Aaron Fink (American, b. 1955) Hand signed and dated 1986, verso. The large canvas size measures approx: 72" x 66". This painting is part of the artist's "Images of Gambling" series, amongst his best figural work. Aaron Fink was born in Boston in 1955. He received his MFA from Yale University and his BFA from the Maryland Institute College of Art. His work has been exhibited widely throughout the U.S., Europe and Japan and Australia, and is included in the collections of the Museum of Modern Art, NY, the Art Institute of Chicago, the Museum of Fine Arts, Boston and the Walker Art Center, Minneapolis, among many others. He lives and works in the Boston area. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. Figurative abstract expressionist art. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers, who remained a strong supporter of his work until his death in 1999. Fink’s work is represented in the collections of the Art Institute of Chicago, the Hara Museum, Tokyo, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the National Gallery of Art, Washington, DC, among many others. Fink currently divides his time between Boston and Rockport, Massachusetts. He was included in the show The Expressive Voice: Selections from the Permanent Collection at the Danforth Museum of Art. An exhibition of Boston Expressionism, a school that embraced a distinctive blend of visionary painting, dark humor, religious mysticism, and social commentary. Historical roots of this movement can be traced to European Symbolism and German Expressionism, but artists living and working in the Boston area from the 1930’s through the 1950’s, were particularly inspired by Chaim Soutine and Max Beckmann. Artists included; Aaron Fink, Bernard Chaet, David Aronson, Ernst Ludwig Kirchner, Hyman Bloom, Jack Levine, Jackson Pollock, Jason Berger, Karl Zerbe, Lawrence Kupferman, Michael Mazur, Sigmund Abeles and Willem de Kooning. He was included in the show 40 Years of Printmaking: From the Center Street Studio Archives, along other great figural artists Gabor Peterdi, John Walker, Lester Johnson and Nell Blaine. S E L E C T E D C O L L E C T I O N S Art Institute of Chicago Bank of America Boston Public Library Bouwfonds Nederlandse Gemeenten, The Netherlands Brooklyn Museum of Art Castelli Collection, New York Chase Manhattan Bank Chemical Bank Choate Rosemary Hall, Wallingford, CT Citizens Bank, Boston Coopers & Lybrand Danforth Museum, Framingham, MA Danish House of Parliament Davis Museum, Wellesley College, Wellesley, MA DeCordova Museum and Sculpture Park Lincoln, MA Farnsworth Museum, Maine Fidelity Investments, Boston Fogg Museum of Art, Harvard University, Cambridge, MA Fuller Museum of Art, Brockton, MA G.E. Corporation Goldman Sachs & Company IBM, New York Indianapolis Museum of Art Library of Congress Massachusetts Institute of Technology, Cambridge, MA Metropolitan Museum of Art, New York Museum of Contemporary Art, Chicago Museum of Fine Arts, Boston Museum of Modern Art, New York National Gallery of Art, Washington, DC New York Public Library Philadelphia Museum of Art Portland Museum of Art, Portland, Maine United States Department of State University of Massachusetts, Amherst Awards Residency, Anderson Ranch, Snowmass, CO, 1998, 1996 National Endowment for the Arts, 1987, 1982 Artist Fellowship, Massachusetts Council on the Arts and Humanities, 1984 American Academy in Rome, Prix de Rome – Alternate in Painting, 1979 Yale University, Ford Foundation Special Project Grant, Fall 1979 Skowhegan Scholarship Award, conferred by the Maryland Institute College of Art, Spring 1976 SELECTED GROUP EXHIBITIONS Contemporary Responses to Modernism: A New England Perspective, University of Southern Maine Color and Line: Expressive Tradition in Boston, Endicott College, Beverly, MA, Beautiful Decay, Danforth Art Museum, Framingham, MA MICA Then and Now, Ethan Cohen Gallery, Beacon, NY Bon Appetit, Concord Art Association Celebrating Ten Years, Galerie D’Avignon, Montreal, Canada New England Impressions: Exploring the Woodcut, Concord Art, Concord, MA Go Figure: The Figure in Contemporary Art – A Response to Art History, Painting in Boston: 1950-2000, DeCordova Museum and Sculpture Park, Lincoln, MA Working Sources: The Painter and the Photographic Image, Alpha Gallery, Boston, MA The Unique Print: Six Innovative Approaches to the Monotype, Starr Gallery, Newton, MA Selections from Atelier Mourlot, Hankyu Department Store, Tokyo, Japan Yale Collects Yale, Yale University Art Gallery, New Haven, CT, 1993 70’s and 80’s: Printmaking Now, Museum of Fine Arts, Boston, MA, 1986-1987 Skowhegan Alumni, Leo Castelli Gallery, New York, and Portland Museum of Art, Portland, Maine, Public and Private: American Prints Today, Brooklyn Museum, Brooklyn, NY Contemporary Miami Collectors, Metropolitan Museum, Coral Gables, FL, 1984 The American Artist as Printmaker, Brooklyn Museum, Brooklyn, NY, 1983-84 Jon Abbott, Aaron Fink, Tom Lieber, Chris Wool...

Artist/Designer; Manufacturer: Rotraut Klein-Moquay (German, b. 1938) Marking(s); notes: ed. 1/8; 2003 Materials: painted aluminum Dimensions (H, W, D): 64.25"oah; sculpture: 21.5"h,...

Introducing the captivating enamel pin featuring artist Sandra Chevrier's masterpiece, 'La cage et le Coeur de la Bête' (The Cage and The Heart of The Beast) painting. This intricate...

"Valerio Adami (Italy, 1935) 'L´Univers j´aimé', 1979 Original poster from 1979 lithograph on paper 29.2 x 21.1 in. (74 x 53.5 cm.) Unframed Ref: ADA100-203 Valerio Adami Italian p...

Jacob Otto Pins (17 January 1917 – 4 December 2005) was a German-born Israeli woodcut artist and art collector, particularly of Japanese prints and paintings. Jacob Pins was born in Höxter, Germany, the son of Dr Leo Pins, a veterinarian, and his wife Ida Lipper. He immigrated to Palestine in 1936 to study art. His father tried to discourage him from becoming an artist for financial reasons. Pins' younger brother, Rudolph, (1920-2016) moved to the United States in 1934. His father was sent to Buchenwald. In July 1944, both parents died in the Riga ghetto. Pins first lived on a kibbutz, which was disbanded in 1941. He moved to Jerusalem and studied woodcut and linocut under woodcut master and painter Jacob Steinhardt, also a German immigrant, at his small private school. He lived in poverty in a tiny room, subsisting on a meagre diet. He continued his studies at the new Bezalel Academy of Art and Design. Pins was married to Elsa, the subject of a number of his prints. They had no children. Pins bought his first Oriental print in 1945, and acquired a house on Ethiopia Street, opposite the Ethiopian church, where he lived for the rest of his life. He continued collecting until his death and was one of Israel's foremost art collectors. His book on Japanese Pillar Prints, Hashira-e is the definitive work on the subject. Pins died in Jerusalem in December 2005. Pins' artwork was heavily influenced by German expressionism and traditional Japanese wood block printing. From 1956 to 1977, he taught at Israel's leading art schools, most notably Bezalel, where he later became a professor. He was known as a demanding teacher, emphasizing strong technical skills and discipline. In the 1950s, Pins helped to found the Jerusalem Artists' House, a centre for the city's artists to meet and exhibit. Legacy Pins' extensive collection of Japanese woodprints...

Sleeping Nude Large cast handmade paper, artist signed AP 10/20, 1981 62x52x5.5 wood, linen and lucite box frame. Stunning art wall sculpture by Fran...

16 Green Circles from the Eight Variants series, 1970 This work is number 51 from the edition of 165 printed by Hans Mayer, Krefeld, Germany. screenprint 28"x28" Julian Stanczak American/Polish, 1928-2017. explores the visual, psychological, and emotional resonance of color in his Op art paintings, through which he aims to induce a “color meltdown,” as he describes: “I want to fuse many colorants and their gradations into a single color experience.” Influenced by Josef Albers and Russian...

JERUSALEM, Vielle du David, (City of David) Oil painting on canvas Hand signed in Hebrew (Perlman, Pearlman or Perelman. There are numerous artists with this name. we are unsure wh...

Artist: Alexander Calder (1898-1976) Title: "Friendship" (from the Braniff International Airways Flying Colors Collection) Year: 1974-75 Medium: Lithographs on Arches paper Size: 20 ...

Complete book comprising of 20 offset lithographs and cardboard cover, all hand-colored with watercolor. From the edition of unknown size. All 20 sheets bound (as issued). Minor ti...

Julio Larraz “The End of Very Long Day” 2010 Oil on Canvas 20 x 24 in Signed by the artist Certificate of Authenticity by Julio Larraz

Nude woman figure knelling on the pillow. Signed illegibly with initials, dated '64 edition 1/3. Bronze on marble base.

NON TITLE. Original street art painting PAJARES Done in mixed media on canvas and collage. PAJARES, Juan Manuel (Lleida 1957 ) Pajares was introduced to the impact of large-scale can...

Como comiendo mamón. El Nene, 1993 Fom the series Guerreros Unique Photo collage Sheet size: 27.5 in. H x 19.5 in. W Unframed Signed, titled and dated by the artist The root of the...

Additional Information: The paperweight details include a root person and flowers. Provenance: Private Collection, Palm Beach, Florida. “What Walt Whitman did with words, I seek to d...

Artist/Designer: Victor Salmones (Mexican, 1937-1989) Marking(s); notes: signed, marking(s); Artist Proof Country of origin; materials: Mexico; bronze, glass Dimensions: 30″h, 42″dia...