Florida - Art

Artist: George Rodrigue Title: Midnight Surprise Year: 2000 Dimensions: 20in. by 16in. Edition: from the rare limited edition of 150 Medium: Original serigraph on paper Condition: Ex...

Edition 37/99

Artist/Designer: Man Ray (American, 1890-1976); Simon Gavina (Italian, 1922–2007) Marking(s); notes: no marking(s) apparent Country of origin; materials: Italy; screenprint on mirror...

Yuri Larin (1936-2014). Landscape, 1986. Watercolor on paper, 16.5 x 18 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower ...

PABLO PICASSO (1881-1973) Picador (A. R. 160) Terre de faïence plate, 1952, from the edition of 500, incised 'Edition Picasso', partially glazed and painted, with the Edition Pica...

Jack Balas Grid Study, Appaloosa Oil and Enamel on Board Inscribed verso, dated 1997-99 and hand signed l.l. Sight: 24 x 48 in. (61 x 121.9 cm.), Frame: 26 x 50 x 2 in. (65.4 x 127 ...

Artist: Jack Graves III (American, 1988-) Title: "Forest Exit" Series: Abstract *Signed by Graves lower left. It is also signed, dated, and titled on verso Year: 2021 Medium: Original Acrylic Painting on Canvas Canvas size: 36" x 36" Condition: The stretched canvas was custom built by the artist himself. In mint condition Biography: Jack Graves III is an American artist, born in 1988 in Jacksonville, Florida. He grew up surrounded by inspiration having an art dealer as a father, John Graves Jr., who founded 'The Collector's Exchange' in St. Augustine, FL in 1978, (today Graves International Art...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

Luis Serrano Martínez (Spain, 1900-1970) 'Grutesco de tribaldos', 2001 silkscreen on canvas 9.9 x 32.7 in. (25 x 83 cm.) Edition of 75 ID: SER130...

ARTIST: Salvador Dali TITLE: La Quete du Graal Viviane et Lancelot di Lac MEDIUM: Etching EDITION NUMBER: XV/XXV SIGNED: Hand Signed by Salvador Dali PUBLISHER: Pamela Verlog ...

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

Robert Indiana LOVE Red, 2009 Aluminum 3,5 x 3 x 1,5 in Robert Indiana was an American Pop artist whose work drew inspiration from signs, billboards, and commercial logos. He is b...

The work explores an aspect of being exalted to the highest, destined to fall to the lowest by the judgment of ego. "Estrada-Duran combines realism and surrealism in his work, the a...

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

Chris Ritter (1906-1976). Abstract Composition ca. 1960. Watercolor on rag paper, sheet measures 17.5 x 22 inches. Sheet is loose and unmounted. Unframed. Estate stamps500 on v...

Here for your consideration is a beautiful vintage Austin sculpture John Cutrone 1987 "Waiting in the Wings" ballet slippers. Signed " Austin Prod Inc 19...

Artist: Leonor Fini Title: Visage (June Fille II) Year: 1973 Medium: Lithograph in colors Edition: EA Signed and numbered E.A (Artist proof) in pencil Size: 21.5 x 18.25 Condition: ...

Harbour Scene II

Impressive oil on canvas painting, worked with brush and palette knife of the iconic Pont Neuf bridge in Paris. Done in a post modern by the French artist, Dominique Simon, who used...

Title: "Nocturne" Artist:Erte Type: Serigraph Image Dimensions: 26 x 20 Framed: 42x32.5 inches Year Produced: 1985 Edition: 258/300 Condition: Excellent The Russian born Romain de T...

Tulp by Ricky Cohete From the Viva series Small size: 20 in H x 30 in W. Edition of 13 + 1AP Unframed Exploring color in the darkness, inspired by the Italian and Dutch renaissance....

Passage, 2022 by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on Awagami paper Image size: 35.03 in. H x 25.59 in. W Unique Unframed ____________________________ O...

Welcome to the wonderfully delightful mind of Ludwig Bemelmans. With a few quick lines, Bemelmans captures the essence of a subject. In this work, the artist portrays a distinguished...

Hand signed, dated and numbered lithograph on paper. From the edition of 300. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will be ...

The "Caravansary at Shiraz," is accompanied by the book "From The Black Sea Through Persia and India" by Weeks. In his book, on page 115, Weeks provides an insightful explanation abo...

Woman Laying On The Beach. Artist signed lower left corner. Claude Grosperrin is a French painter and lithographer born on November 26, 1936, at Charenton-le-Pont ( Val-de-Marne ) and died on July 16, 1977, in Paris. Claude Grosperrin is in 1956 the student of Maurice Brianchon at the National School of Fine Arts in Paris, then attended the School of Applied Arts Duperré. The price of the Casa de Velázquez that he won in 1961 earned him a trip to Madrid from 1961 to 1962. Exhibitions: Galerie Saluden, Brest , 1962. Galerie André Weil, Paris, June 1970. Gemäldegalerie-Abels, Cologne, 1970. Claude Grosperrin - Paintings, Van der Straeten Gallery, New York, November-December 1970. Claude Grosperrin - Normandy paddocks, equestrian scenes, landscapes and seascapes, Eric Galleries, 57th Street, New York, October 1974. Updated Exhibitions: Charpentier Gallery, Durand-Ruel Gallery, Berthe Weill Gallery. Maurice Faustino-Lafetat , Jef Friboulet , Claude Grosperrin, Frederic Menguy , Théâtre du Tertre , Paris, April 1957. Biennial of Paris, 1959, 1961 ( The Dahlias, 1961, oil on canvas, 130 × 195 cm). The horse in art , Wildenstein Gallery , London , 1960. Ten years of acquisitions of the Museum of Modern and Contemporary Art , former customs of Strasbourg , March-April 1970. Fall Salon, 1960. Undated entries: Salon of the National Society of Fine Arts, Salon des Independants (Paris), Salon Jeu de Paume ( Versailles ). Contemporary French Impressionist Painters (Claude Grosperrin, Bernardino Toppi...

Gregory Sumida (American, b.1948) 'Pick-Up Crossing' Oil paint on masonite board. Hand signed lower right 1976 Depicting a rural landscape and buildings, in a linen-lined pickled w...

Drawn in 1914 by Picasso, this fine piece of work is a recognizable mark of his unique style. "VISAGE D'HOMME VERS LA GAUCHE", 1914 is pencil on paper, created in Avignon. Claude Pic...

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...

Touching the skin of the past is an extraordinary collection of Roman Statues captured with the ICM technique in order to make the marble skin like a truly human body. 'Touching the ...

Archival Color Pigment Print 1- Stream of Men 2- Ignited 3- Conception Overall size: 20 H in x 108 W in Individual size: 20 H in x 36 W in Edition of 13 + 2AP Unframed In the series “ The Alignment” which is materialized from video footage shot with two ballet dancers underwater...

Alfredo Sosabravo (Cuba, 1930) 'La amiga de los animales', 2001 silkscreen on canvas 37.1 x 28.8 in. (94 x 73 cm.) Edition of 75 ID: SOS1289-006 Unframed __________________ ____________________ Alfredo Sosabravo  Born: 1930, Sagua la Grande, Matanzas, Cuba.  Studies: Between 1955-1957 he studied at the Elementary School of Applied Plastic Arts attached to the Academy of Fine Arts San Alejandro, in Havana, Cuba.  Experience: Member of the Association of Cuban Recorders and teaches several drawing and engraving courses at the National School of Art Instructors. In 1965 he entered the Graphic Experimental Workshop of Havana. In 1993 he teaches a mural ceramic course at the Faculty of Fine Arts of the University of Tenerife in the Canary Islands, working in turn at the Giuseppe Mazzotti Museum House 1903 in Albissola Mare, Italy.  Exhibitions: It is included in the 1959 annual Salon, Palace of Fine Arts, Havana. He made the first personal exhibition of importance in 1967 with oil-collages and ceramics in the Havana gallery. In 1973 he placed on the mezzanine floor of the Habana Libre Hotel a mural composed of 555 pieces of ceramics started since 1971. In 1997 he presented Sosabravo, The Guardian of the Small, in the Art Gallery, Madrid, Spain. In 2001 he exhibited graphic and painting works in El Comune de Orvieto Italia, in the Sala Conca de la Laguna, Tenerife and at the Feria de la Estampa in Madrid. In Cuba, he built the 10 m2 mural called Carnaval de la Habana for the Residencial América real estate. In 2002, Galería Cernuda Arte, Coral Gables, Florida, shows his works at the Art Miami Fair. In the United Kingdom he exhibited Murano glass oil paintings and sculptures. The Biennale di Ceramica nell'Arte Contemporary of Albissola Mare, Savona, invited him to participate with works that he would carry out in the San Giorgio da Poggi workshop. In 2003 his work was part of the Important Cuban Artworks...

Embossed lithograph with foil stamping on paper. Hand signed and numbered by the artist. From the edition of 300. Artwork is in excellent condition. Certificate of authenticity in...

Antonio Nicolo Gasparo Jacobsen’s The Screw-Steamer Westernland captures the imposing presence and engineering prowess of this late 19th-century steamship. The vessel is depicted in motion, cutting through the waters with its towering masts and powerful steam funnel in full display. Jacobsen’s meticulous attention to detail brings the Westernland to life, from the carefully rendered hull and rigging to the soft ripples in the water reflecting the ship’s passage. The backdrop, a moody yet luminous sky, adds to the sense of movement and grandeur, emphasizing the ship’s role in the rapidly evolving maritime industry of the time. Jacobsen, renowned for his precise and historically significant ship portraits, played a vital role in documenting the era’s most important vessels. His work on The Screw-Steamer Westernland exemplifies his ability to blend artistic finesse with technical accuracy, making his paintings invaluable both as historical records and as masterful works of art. His contributions to maritime painting ensured that the ships of his time would be immortalized with the same grandeur they once commanded on the open seas. Provenance: Reference: Antonio Jacobsen - The Checklist: Paintings and Sketches by Antonio N.G. Jacobsen (1850-1921) by Harold S. Sniffen (N.Y. and Newport News...

This is new old stock vintage Jewelry from the legendary Acme Studio collection, which created many revolutionary jewelry items. It was handmade in the 1980s using the intricate cloisonné process, an ancient technique for decorating metal; hence any imperfections within the colors are to be expected and inherent which makes it unique and one-of-a-kind. This piece is worn around the neck, like a bolo tie. The Memphis Designers...

Carl Georg Wallin (Sweden 1893-1978) Carl Wallin was born into a sea faring family in a small fishing village on the Southernmost tip of Swe...

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.

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

Hand numbered 198/200, signed and dated on the recto in the lower right margin. Provenance: Martin Lawrence Gallery, Los Angeles, 1993 and Private coll...

This large oil on canvas painting by Adam Springfield depicts the Battle of Ptolemais which took place in 1191. It is signed lower left and dated 1877. The verso of the painting contains the title of the painting. It has it's original period gold leaf frame and measures 44 x 63.75 inches. The siege of Ptolemais is unique in the history of the Crusades since the Frankish besiegers were themselves besieged, by Saladin's troops. It was not captured until July 1191 when the forces of the Third Crusade, led by King Richard I of England and King Philip II of France, came to King Guy's aid. Acre then served as the de facto capital of the remnant Kingdom of Jerusalem...

Mathias Goeritz (German Mexican, 1915-1990) Bronze sculpture Signed and numbered Dimensions: (approximate) Height: 10 inches, Width: 4 inches, Depth: 2 inches. This is a cast bronz...

Original nocturnal oil on canvas landscape by the Italian contemporary artist Luca Caimmi. Signed in pencil lower left Caimmi”. Condition is excellent. The painting is framed in a...

Up for sale is the original antique 17th/18th-century oil painting on canvas depicting a contemplative scene featuring a man sitting indoors. He is dressed in period clothing, includ...

Artist: Erhard Ratdolt (German, 1442-1528) Title: "Vol. 6, page 10-11", "Vol. 6, page 6-7", and "Vol. 6, 28-29" Portfolio: Breviarium Pataviense Year: 1490 (First edition) Medium: Set of Three Original Incunabula Leaves on watermarked laid paper Limited edition: Unknown Printer: Erhard Ratdolt, Ausburg, Germany Publisher: Friedrich von Öttingen and Christoph von Schachner, Passau, Germany Reference: Hain No. 3875; Bod-Inc No. B-542; GW No. 5426; Weale/Bohatta No. 335; Schreiber No. 3615 Sheet size (each): approx. 12.5" x 8.88" Condition: "Vol. 6, page 10-11", "Vol. 6, page 6-7", and "Vol. 6, 28-29" all have scattered wormholes, staining, foxing, and soiling about their sheets. The latter two have remnants of tape at their edges. "Vol. 6, 28-29" has heavier staining to its sheet and edge wear about. Have been professionally stored away for decades. They are all otherwise strong impressions in overall fair condition with strong colors Extremely rare Notes: Comes from Ratdolt's six volume "Breviarium Pataviense", (1490) (First edition), which consists of 378 pages of Gothic texts in Latin with red rubricated initials, psalms, readings, hymns, and woodcut engraved illustrations. Printed in Augsburg by Erhard Ratdolt on May 12, 1490. There was a subsequent printing on November 27, 1490. Both "Vol. 6, page 10-11" and "Vol. 6, 28-29" have a bow and arrow watermark in the center of their sheets. Some information and old prices inscribed in pencil to their sheets. Breviary is a liturgical book in the Roman Catholic Church that contains the daily service for the divine office, the official prayer of the church consisting of psalms, readings, and hymns that are recited at stated hours of the day. Biography: Erhard Ratdolt (1442–1528) was an early German printer from Augsburg. He was active as a printer in Venice from 1476 to 1486, and afterwards in Augsburg. From 1475 to 1478 he was in partnership with two other German printers. The first book the partnership produced was the Calendarium (1476), written and previously published by Regiomontanus, which offered one of the earliest examples of a modern title page. Other noteworthy publications are the "Historia Romana of Appianus" (1477), and the first edition of "Euclid's Elements" (1482), where he solved the problem of printing geometric diagrams, the "Poeticon astronomicon", also from 1482, "Haly Abenragel" (1485), and "Alchabitius" (1503). Ratdolt is also famous for having produced the first known printer's type specimen...

The simple rendering of environmental shapes are distinct and lend a textile quality to the scene, for which Zorach was known. The complimentary colors of purple and yellow accented ...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper a reproduction lithograph after the drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

Exhibition: Sotheby's, Milan :’’Contemporary Curated” . Dec.17 2020, Lot # 39. Provenance: Galleria Pater, Milan. Galleria Annunciata, Milan. Private Collection, Milan C.O.A by Pierre Vasarely, Vasarely Foundation. Victor Vasarely was a French-Hungarian artist credited as the grandfather and leader of the Op Art movement. Utilizing geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. Born Győző Vásárhelyi on April 9, 1906 in Pécs, Hungary, he briefly studied medicine, but after two years he dedicated himself to learn academic painting. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard paintings...

Charles Evans (1907-1992) Mediterranean Costal Town, 1932. Gouache and watercolor on paper. Sheet measures 8.5 x 10 inches; mounted in frame measuring 8.5 x 10 inches. Signed and dated lower left. Charles Evans was a modernist known for his abstract style of painting. He studied at New York's Art Students League and Parsons School of Design, and later in Paris with Fernand Lger at the Acadmie Moderne. In 1930, Evans and his wife spent a year living in what was Paul Cezanne's studio in Aix-en-Provence, France. The following year, Evans purchased the old silk mill in New Hope and became involved in the area's modernist movement, joining the Independents in 1932. By 1935, he began to work collaboratively with Louis Stone, whom he had met in 1929 while studying with Hans Hofman in Saint Tropez, and with Charles F. Ramsey, teaching art classes and working on the Cooperative Painting Project. Every week, the three were joined by the abstract painter, Lee Gatch, in discussions at Ledger's Inn in Lambertville. In 1948 Evans co-founded the New Hope Gazette with Walter M. Teller. The same year he created set designs for St. John Terrell's Lambertville Music Circus. He also designed sets for the Bucks County Playhouse and Philadelphia's Playhouse in the Park. He later served as Set Designer for the Fred Miller...

Julian Stanczak Blue Op Art Screen Print screenprint Pencil signed (lower right) edition numbered 20/165, measures 28" x 28". Black frame under Plexiglas. Julian Stanczak American/Polish, 1928-2017. Julian Stanczak 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 Suprematism...

Man against wall one by Ricky Cohete From Motion series Sepia Archival Pigment print Size 36" x 24" Ed of 10 + 1AP Unframed Throughout his exploration of the movement of the body, ...

Original mixed media drawing with watercolor on paper. Hand signed by Peter Max. Frame size approx 17 x 21 inches. Artwork size 11 x 15 inches. Artwork is in excellent condition....

Carol Jablonsky (1939-1992) Acrylic on canvas painting with collage titled verso "Letter in a Bottle" 17 X 17 framed 10.5 X 10.5 sight The image is whimsical and rather mysterious,...

PABLO PICASSO (1881-1973) Pichet à glace (A. R. 143) Terre de faïence pitcher, painted in colors and partially glazed, 1952, numbered 12/50 and insc...

Artist: Jack Graves III (American, 1988-) Title: "Tyler Durden (Brad Pitt)" Series: Icon *Signed by Graves lower left. It is also signed, dated, and titled on verso Year: 2025 Medium...

Victor Vasarely “Zebra” 1977 Porcelain Rosenthal Ed. 2761 of 3000 14 x 12 in

Contemporary male nude done with artists quality charcoal chalks on acid free drawing paper. :: Drawing :: Contemporary :: This piece comes wi...

Rocco Monticolo (b. 1931). Untitled, 2022. Found antique object, wood, paint. Signed on reverse of face. Monticolo was born in Italy in 1931 and came to America in 1946. He joined ...

Woodblock engraving on paper from the Divine Comedy series. Sheet size 13 x 10 inches. Frame size approx 18 x 15 inches. Edition 4,765 in French, 3,000 in Italian, 300 in German. ...