Florida - Paintings

Portrait surrounded by graffiti. :: Painting :: Realism :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: S...

Midnight Sea

Swimming at Smith Cove

The misunderstood

Barbara Shermund (1899-1978). Society Satirical Cartoon, ca. 1940s. Gouache on heavy illustration paper, image measures 17 x 14 inches; 23 x 20 inches in matting. Signed lower left. Very good condition but matting panel should be replaced. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral...

Miami

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Mallorca, ca.1930. Watercolor and pencil on paper measures 14.5 x 19 inches. Signed lower margin. J...

A New Dawn

Genre: Modern Subject: Other Medium: Oil Surface: Canvas Country: United States Dimensions: 44" x 27" x 3/4" Dimensions w/Frame: 52" x 35" Born (Stella) Molly Friedman to Carlaman a...

Bright abstract multi colored painting

Fantasy landscape naive art oil painting, signed, S. Smith, left side of painting.

Flying Seas

Nothing and everything

Time travel No 2

Red Sea

Sunset at Rum Point

Belly Anatomy

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. The WPA commissioned Carton to paint major murals at the Helen Fleischer Vocational School for Girls in Philadelphia, the Officers’ Club at Camp Meade Army Base in Maryland, and in the city of Hidalgo, Mexico. Throughout the 1940s, Carton exhibited and won prizes for his semi-abstract Expressionist and Surrealist paintings. He socialized with and was inspired by Émile Gauguin and Fernand Leger. During World War II, Carton was a naval structural designer and draftsman at the Cramps Shipbuilding Corporation in Camden, New Jersey. Here, he created non-objective sculpture with metal. After the war, Carton co-founded a fabric design plant in Philadelphia. He produced hand-printed fabrics for interiors and fashion that were featured in Harper’s Bazaar, Vogue and Women’s Wear Daily. Original fabric designs were commissioned by notable clients including Lord & Taylor, Gimbels, and Nina Ricci. Some of these designs are at the Metropolitan Museum of Art. Carton traded his partnership in the fabric design company in 1949 to focus full-time on painting. Carton had his first solo exhibition in 1949 at the Philadelphia Art Alliance. This show was followed closely by solo exhibitions at the Laurel Gallery (New York City) and Dubin Gallery (Philadelphia). At this time, his exhibited work was Abstract impressionism. In addition to painting, he taught classes at the Philadelphia Museum of Art and was the Founder and first President of the Philadelphia chapter of Artist’s Equity Association. The Philadelphia Museum of Art and the organization of the National Museums of France commissioned Carton to travel to Europe, mainly France, in 1950 for a color photography study of continental masterpieces. He was granted access to study the restoration of the Mona Lisa and was one of the very few to be given permission to remove the painting from its frame. During his three year stay in Paris, he had solo exhibits at La Sorbonne and Gallery Rene Breteau and was in 15 group shows in Paris salons including Les Sur Independants, Salon d’Automne, and Realities Nouvelles. He also exhibited at the Musee d’Art Juif where he won the Prix d’Art. The Cercle Paul Valery twice sponsored Carton to present lectures at the Sorbonne. He conducted seminars at the Louvre for the Cercle Esthetique Internationale and taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. Among his Paris artist colleagues were Chana Orloff, Earl Kerkam, Sam Francis, Claire Falkenstein, Lawrence...

Underwater painting a new fast growing direction in contemporary art. Artwork was crated underwater at the depth of 15.3 meters, underwater painting session 55 minutes. It is intuitive painting, based on feelings and emotions in the particular moment underwater. By influence of underwater environment, feeling of no gravity, colorful impression, another reality - It feels different, brain works different, time is running in different way, it is new dimension. What is special about underwater painting - color perception different to reality because color rays do not penetrate the water column. On the surface it is always surprise. There is certificate of underwater painting is included with information about the depth and time of underwater painting session. Style: underwater impressionism Technique: palette knife art, impasto painting Ocean Art, Fish painting, Coral Reef Painting, Marine life Art, Sea Life Painting

Marty Greenbaum (1934-2020) ''Brooklyn Local in Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

Artist: Jack Graves III (American, 1988-) Title: "Get Off My Land" Series: Statement *Signed by Graves lower left. It is also signed, dated, and titled on verso Year: 2023 Medium: Or...

Music in the window 2018 Artist signed, acrylic, pigment on artist board framed. This painting by Alexander and Natalia Gore husband and wife both born in St. Petersburg Russia in 19...

American, b. 1958 Designated a living master by the Art Renewal Center and widely regarded as a leader of the American landscape school, Joseph McGurl is one of the most important realist painters today. McGurl works almost exclusively with oil paint, capturing marine and landscape scenes in his native New England as well as other areas of the Eastern US. Along with his childhood as a muralist’s son, McGurl’s days as a sailor and his studies under Robert Cormier...

Another Place Series: Sometime, somewhere in a remote place where everything makes sense, when planets align and time stays still. :: Painting :: Abstract :: This piece comes with an...

Dressed in traditional clothing, a handsome Chinese man is depicted as he sits resolutely with one hand on his leg and the other holding a baton. Female Artist Joyce Ballantyne...

Transporting oil painting on canvas of a tropical scene in Sarasota Florida painted on a hot afternoon with two figures and a house in an impressionist p...

Regina Mundlak was born in a village near Lomza (NE Poland), into a poor Jewish family. In 1901 she went to Berlin to find work, together with her mother and sister, a highly talented violinist. Her extraordinary talent rapidly brought her to the attention of the Jewish artistic milieu. Her work so impressed Max Liebermann (1847–1935) that he decided to finance her education. However, even with his help, she had difficulty in making a living. Efraim Moses Lilien (1874–1925), who did not conceal his fascination with her talent, tried to help by publishing an open letter in Ost und West in 1902, appealing for support for her, but because of financial problems she finally had to give up her studies and return to her homeland. At the age of fifteen she was already very skilled in drawing. At first she primarily created realistic portrait studies. The works she published in 1902 showed her rare power of observation. Her pen-and-ink drawings were also greatly admired. As her subjects she most often chose characteristic Jewish types from Eastern Europe. She exhibited her works in Warsaw at the (Society for Promotion of Fine Arts) in 1902 and in 1903 and at the Aleksander Krywult Salon in 1903. In 1906, once again in Berlin, she exhibited her works at the Cassirer Salon. A review of this exhibition by Hermann Struck appeared in Ost und West. Like Lilien before him, he too wrote about her “phenomenal talent.” On the occasion of her exhibition, some of her drawings were reproduced in Ost und West. The development of her creative abilities in the years between Lilien’s letter and Struck’s review is noticeable. Drawings published in 1901 were portraits; compared to later works they evidence a skilful but still somewhat uncertain hand. The works created a few years later were characterized by a stronger and surer line. These works are also more developed: while the subject of her works remained the same, she now extended her interest in portraiture to the shape of the entire human body, presenting the figures in more elaborate environments. Looking at the reproductions, one might conclude that she was interested in nothing but Jewish life in the Diaspora. There is a propensity to show the faces of older people...

Ya'acov Kaszemacher, well-known artist and photographer whose unique images of Hassidic festivities are fascinating to view, and offer one an opportunity to peek into the community...

Momen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himse...

Momen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himse...

In this painting, Nussbaum portrays a Rabbi walking towards the synagogue in a sketch-like manner without focusing on any specific details. The vibrant colors used in this painting s...

Genre: Classic Subject: Portrait Medium: Oil Surface: Canvas Country: United States Dimensions: 21.25" x 18.25" Dimensions w/Frame: 28.75" x 25.75" Bacia Gordon (1904-1977) came to the United States from Poland and studied at the Art Institute of Chicago. She traveled widely the United States, Mexico, Europe, and Israel. She was a member of, and has exhibited with Artists Equity, Jewish Arts Club, the Renaissance Society of the University of Chicago, The Chicago Art Institute, and in Migdal Ashkalon, Israel. She was also a member of the Chicago Society of Artists. Her work is represented in many private collections in New York, Los Angeles, Detroit, Cleveland, St. Paul, Rockford, Milwaukee, and Chicago. Mrs. Gordon spent much time in Israel in the 1950s and 1960s, and most of the works in this web site reflect her stay there. The New York art critic, Alfred Werner, has said: “I find Mrs. Gordon’s freedom of paint aesthetically rewarding. She blends the reporter’s task of objectively recording appearance with the poet’s privilege of imprinting subjective reaction upon exterior reality... Here is the talent that often omits details, to let the spectator fill in, that prefers an allegorical hint to a straight tale, and that translates the strangeness of Maabaroth and Kibbutzim into terms of universally acceptable humanity” An Israeli critic has written of Mrs. Gordon : “The Jewish Daughter, born in Lithuania and reared in the United States, was stirred by the miracle of the Ingathering of the Exiles. The men, women and children she pictures thrill and pulsate with life because of her warm and loving brush.” "My first encounter with Israel in 1955 was inspiring and productive. It was a birds-eye view of the land and the people – the kibbutz, the village, the settlement, the Maabora, the Huleh project, Lachish at its inception, dedicated Israelis, new immigrants and the military of all ranks. I lived among people of many lands sketching and painting. I felt a great urgency to record and interpret. Working at an accelerated pace – line and color merged as I endeavored to express the universal qualities in these people. It was a tremendously stimulating experience and resulted in rechanneling my creative energy. I sketched and I wandered. I sketched in the Uval Gad where pipes are made to carry water to the Negev. I wandered among the bewildered white-robed bearded men of Morocco in Lachish… and among the older Yemenite settlements in Migdal Ashkalon. In Tiberias I saw people dressed in all garbs, the orthodox mantles of the polish ghetto and the oriental robes...

Michel-Henry was born in Langres in 1928 and has shown strong passion for drawing since his childhood. Michel-Henry is acknowledged as an important painter in French contemporary art. From 1952 his work has periodically been singled out for France's highest prizes and awards. The French Government, the City of Paris , the Museum of Valence , Bogota and the Museum of Alencon are among the distinguished institutions who have acquired his work for their permanent collections. Born in Langres in 1928 the aspiring artist attended the Ecole Nationale Superieure des Beaux-Arts in Paris. He later studied with Narbonne , Georg, Chapelain-Midy and Legueult. In 1957 he became a member of the House of Descartes in Amsterdam and the following year was named member of the Casa Velazquez in Madrid , honors which are exceptional for a young painter. He is a member of the Salon d'Automne as well as a member of its jury, he also exhibits in the Salon de la Société Nationale des Beaux-Arts, the Salon Comparisons, and the Salon Terres Latines. In 1976 he shared in the honor of presenting the Salon d'Automne exhibition in Japan . Michel-Henry blends delicate tones and strong and fascinating accents into his compositions of flower still life, landscapes and marines. An avid interest in nature is the predominant quality of his luminous works. As a French artist whose works are known internationally, Michel-Henry over a period of twenty eight years has earned the status of a goodwill ambassador in a universal world of cultural exchanges. For his dedication and unselfish contributions to art and artists from all lands he was honored by his country by being awarded the prestigious - la Croix de Chevalier de la Légion d'Honneur - on January 1, 1981 by the French Minister of Culture Mr. Jean Philippe Lecat. Michel Henry exhibited at prestigious galleries in Paris (Avenue Matignon) and New York (Madison Avenue) alongside such artists as Pablo Picasso, Fernand Leger, Armand Guillaumin, Maurice Utrillo and Claude Venard. He is part of School of Paris artists that included Marcel Cosson, Jean Jansem, Leni-Dael, Raoul Dufy, Claude Salomon, Michel Kouliche...

Momen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himse...

Larry Price (1940-1989). Plaza del Toros, ca. 1961. 33 x 37.5 inches. Provenance: Estate of Larry Price. COA available from Estate by request. Larry Price, A...

Momen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himse...

Driving over this incredible bridge is a thrill the first couple times you do it because at one particular point it is so steep it looks like you are going to drive right off into th...

Color Derivatives #149, 2016 by Natasha Zupan From the series Color Derivatives Oil, fabric, medium, on canvas Size: 9.5 in. H x 7.5 in. W x 3 in D. Canvas on a stretcher Unique ___...

This powerful and graphically composed image of a black man with white angel wings was painted in a realist style by African American artist ...

Genre: Other Subject: People Medium: Oil Surface: Canvas Country: United Kingdom Dimensions: 48" x 36" x 3/4" Dimensions w/Frame: 48 3/4" x 37" Barry Leighton...

Hector Garrido is an American book cover illustrator. He illustrated numerous science fiction, horror and adventure book covers, including all the covers for the Baroness series of pulp novels, and covers for the Destroyer series. He also illustrated romance and gothic novels, and Nancy Drew and Hardy...

Joseph Kardonne (1911-1985). Brattleboro, VT., 1969. Watercolor on paper, sheet measures 18 x 22 inches. Measures 22.5 x 26.5 inches in custom float fr...

Joseph Kardonne (1911-1985). Ocean Beach, Fire Island, NY, 1946. Ink on paper, measuring 9 x 12 inches. Signed, dated and titled lower right. Unframed ...

Myriam Bat-Yosef Surrealist abstract painting in colorful abstract shapes and shades in the style of Joan Miro Hand signed and dated Tel Aviv, 1957. frame measures 10 X 5.5 sheet measures 2.5 X 7 inches The envelope of the Peter Buch poster is just for provenance and is not included in this sale. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31 , 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Myriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol, Toyen, Alice Rahon...

Oil on canvas 8 x 12 in Rebeca Mendoza plays with simultaneity, superimposition, and ambiguity in her work as she goes through the stages of oil painting. The artist sets out to ent...

This is another painting in my Concrete Composition series and continues my work in Contemporary Geometric Hard Edge Minimalism. Consisting of color blocks of blues, bright green, ma...

omen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himsel...

They reveal themselves over time & Disappeared where it's hard to disappear, Diptych by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on canvas. Overall size: 48 in. ...

Blue Wave is acrylic on heavy watercolor paper mounted to a birch panel. It is a very expressive painting with large strokes and marks and drips of color. The sides of the panel are ...

Joseph Kardonne (1911-1985). Tuileries Gardens. 1965. Watercolor on paper, sheet measures 7.5 x 8 inches glued down to a sheet measuring 8.5 x 11 inches. Signed, dated and titled lower center. Excellent condition. Unframed. Born in Newark, New Jersey in 1911, Joe Kardonne...

Memory original engraving pianting. "Formed with his father, one of the most eminent Catalan teachers in the study of Art and growing up in a family where art and music were a vital, necessary and everyday element, Montserrat Gudiol...

Joseph Kardonne (1911-1985). Construction Scene, 1935. Gouache on cardboard, panel measures 9 x 11 inches; 19 x 21 inches framed. Signed, dated lower c...

Artist: Francis Swaine (English, 1725-1782) Title: "Dutch Fishing Vessels in Storm" *No signature found Circa: 1770 Medium: Original Oil Painting on wood panel Framing: Framed in a Louis XV style gold moulding Framed size: 10.63" x 12.63" Panel size (irregular margins): 6" x 7.75" Condition: One small restored spot upper left. Cosmetic wear to frame. In otherwise very good condition Notes: Provenance: private collection - London, England; acquired from art dealer Ernest Alden, London, England retaining his original gallery label on verso. Metal plaque inscribed "F. Swaine 1740-1782", (active dates), attached to frame bottom center. Ernest William Alden (1866-1947) was recorded in successive censuses, in 1881 as a picture mounter (card maker), age 14, living at 9 Bloomsbury St, with several other members of his family also given as picture mounters, including his father, James; in 1891 as a picture frame mounter with his father and family at 208 Shaftesbury Avenue; in 1901 as a photographer and picture dealer at 39 King’s Road, Chelsea; and in 1911 again at 39 King’s Road but the census form is damaged. His listing in trade directories, initially as picture mount cutter, changed to picture framemaker from 1904, soon after he set up in the King’s Road. He advertised his large stock of second-hand swept and other frames, claiming to have been established in 1893 (The Year’s Art 1913). Alden died in Chelsea in 1947, leaving effects worth £5,011, with probate granted to his widow Lily Alden and to Marjorie Frances Alden. Two of his younger brothers, Henry Cyril Alden (1871-1939) and James Preston Alden (1876-1960), were also active as picture framemakers. - National Portrait Gallery, London, England. Biography: Francis Swaine (1725–1782) was a British marine painter. He was born in 1725, and christened on 7 October of that year at St Dunstan's, Stepney, London. His parents were named Francis Swaine and Ann Joel. In 1735 the elder Francis Swaine, the marine painter's father, applied in writing to the Commissioners of His Majesty's Navy for employment as a Navy Messenger, in succession to Mr William Wyatt. He mentions that he had served "upwards of twenty eight years" in the Navy, and that his father had died Purser of the Royal Katherine. He mentions also that he had carried out "little labours in drawing", and that he at that time had five small children. The first-born of these children was the Francis Swaine who became the marine painter. The elder Swaine was duly employed as a Navy Messenger. He served for 20 years and died on 10 October 1755, aged 64. Swaine is said to have been influenced by the style of Van de Velde. There is no clear evidence of this alleged influence. The suggestion that Swaine may have been a pupil of Charles Brooking...

Larry Price (1940-1989). Pegasus, ca. 1961. 49 x 23 inches; 50 x 24 inches framed. Provenance: Estate of Larry Price. COA available from Estate by request. Surface exhibits long cracking and paint shrinkage consistent with age. Paint surface is stable with no flaking or loss. No conservation. Larry Price, American 1940-1989 Craryville, NY Exhibitions 1985 -1989 Group exhibitions at the Albany Institute of History and Art, Harmonius Beaker Center, Albany, NY. 1987 Albany Institute of History and Art, solo exhibition. Harmonius Beaker Center, Albany, NY. 1984 ‘The First Underground Show,’ Group exhibition curated by painter Thornton Willis, 456 Broome Street, New York City, NY. 1970 Bronx Community College, Solo exhibition, Bronx, New York, City, NY 1968 National Commercial Bank, Solo exhibition, Albany, NY. 1964 -1965 Various group exhibitions, New York City, NY. 1957-1959 Studied painting with brother Melville Price at Fleischer Art Memorial, Philadelphia, PA; Painting classes at The Art Student’s League with Bernard Klonis, New York City, NY 1969 - 1989 Self employed as conservator of gilded objects...

Steve McQueen, nicknamed the "King of Cool", was an American top box-office actor during the 1960s and 1970s. His most popular films include The Cincinnati Kid...

Seascape Contemporary Oil Painting Artist signed, silver wood frame. Joan Segrelles was born in Barcelona, Spain in 1960. He studied at the Bellas Artes School in his home town wher...

. Ruz. black. grey. golden acrylic canvas painting Original artwork by Spanish artist Rafael Ruz. Acrylic on canvas in perfect condition. While contemplating the painting of Ruz, w...

Here for your consideration is an early original oil on canvas painting of boats on Sebago Lake in Maine by the American artist, Thomas Elston Thorne. Signed lower right and dated 19...