Hudson

Karen Gibbings Place, 2007 Monoprint, chalk on paper, mounted on wood Measures: 19 x 17 in 48.26 × 43.18 cm Signed by artist on verso. Karen Gi...

Made in China, this table is most likely rosewood but has been polychromed and limed in the early 20th century constructed in traditional Chinese joinery fashion the table would have...

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that in...

This unusual garniture was made in France and is marked correspondingly by the pottery company Alexander Bigot. Created from hand shaped terracotta which has been glazed then hand painted in gold and polychrome colors. The painting is done in the Egyptian taste and features acanthus leaves, scarabs, papyrus leaves and armed soldiers which are shown in a left and right posture making this a true set. The decoration is done and signed by Pinon Heuze...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 7. If the exhibition piece is sold or the customer orders a different print size, the photograph is produ...

Robin Rice Gallery from New York and Bridgehampton comes to Beacon, NY. This year, as part of the Beacon Open Studios 10th Anniversary event, Robin Rice Gallery is proud to present a...

Beautiful pair of armchairs by Mastercraft. Manufactured manufactured in Spain in the 1970s. This pair does need to be rebuilt and reaupulstered. Is excellen...

Based in the New Haven, CT area, Barbara Marks creates sumptuous, multicolored paintings. Her canvases are small in scale, compared to the mid-century abstractionist traditions they ...

Acrylic on canvas Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ab...

Vintage 1950's Mid-Century Modern Michael Taylor for Baker wooden stool with gently curved woven cane seat. Minimalist legs and base. Good vintage condition.

Signed "Nell Blaine" upper left in pencil. Signed, titled, dated verso on sheet. Signed, titled, dated verso on backing panel. The artist. Exhibited at Fischbach Gallery, NYC, in 1994 (Gallery label verso, and wall label affixed verso). Purchased by private collectors c.1994. By descent. Tibor de Nagy Gallery, NYC (the artist's estate representative), exhibited 2020 (label verso). Exhibited at Fischbach Gallery, NYC, in 1994 (Gallery label verso, and wall label affixed verso). Tibor de Nagy Gallery, NYC (the artist's estate representative), exhibited 2020 (label verso). From her November 15, 1996 NYT obituary: Nell Blaine, a widely respected New York landscape painter and watercolorist, died yesterday at Mount Sinai Hospital. She was 74 and had homes in Manhattan and Gloucester, Mass. Ms. Blaine, who had been hospitalized since July, had been confined to a wheelchair since 1959, when she contracted polio. Ms. Blaine was born in Richmond, Va., in 1922, and first studied at the Richmond School of Art, now part of Virginia Commonwealth University. She moved to New York in 1942 to study painting with Hans Hofmann and later studied etching and engraving at Atelier 17 with Stanley William Hayter. During her first years in New York, her work, which had previously been tightly realist, turned abstract, inspired by Mondrian, Leger and Jean Helion. At one time she was the youngest member of the American Abstract Artists. She was also a founding member of the Jane Street Gallery, one of Manhattan's earliest artists' cooperatives, and had her first solo show there in 1945. Just as Ms. Blaine was becoming known as a promising abstract painter, and gaining the admiration of such critics as Clement Greenberg, she started to shift back to representation. Inspired in part by a trip with Larry Rivers in 1950 to Paris, where she was especially impressed by the work of Vuillard and Bonnard, she immersed herself in the tradition of 19th-century European painting. From the mid-1950's, she cultivated an increasingly painterly and colorful style, usually working directly from nature, or still life, with particular emphasis on the forms and hues of flowers. Her work retained a sense of all-over structure and pulsating energy that she nonetheless credited to abstract art. ''It all goes back to Mondrian,'' she would say. In the 1950's, Ms. Blaine was prominent among a circle of New York artists and poets that included John Ashbery, Frank O'Hara, Kenneth Koch, Mr. Rivers, Jane Freilicher, Leland Bell, Louisa Matthiasdottir, Robert De Niro Sr. and Rudy Burckhardt. She had her first solo show of representational work at the Tibor de Nagy Gallery in 1953 and was represented by the Poindexter Gallery until it closed in 1978, and, in recent years, by the Fischbach Gallery. During the 1950's she supported herself as a commercial artist, designing brochures for art galleries. In 1955, she designed the original logo, column heads and layout for The Village Voice. In 1957, Ms. Blaine was featured in Life magazine as one of five leading young female artists in America. In 1959, after several months of traveling and painting in Greece, she contracted severe bulbar polio on the island of Mykonos. ''To Nell Blaine,'' an exhibition organized at Poindexter to raise money for her hospital bills, included the work of 79 artists, including Saul Steinberg, Robert Motherwell, Elaine and Willem de Kooning, Philip Guston, Mr. Rivers, Ms. Freilicher and Robert Rauschenberg. After eight months in a New York hospital, including five months in an iron lung...

Acrylic on canvas

Acrylic, Flashe and collage on canvas Barbara Strasen manipulates memories by finding the malleable moments of perception. In the “S” series, a figure appears in each painting. Yet...

Price for UNFRAMED item The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will be held on Wednesday, June 27th from 6 – 8 PM, and the show will be on view until September 23rd, 2018 Rice has brought together the works of 55 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black & white, expertly hung to fit together like pieces of a puzzle. “This is my favorite exhibition even though it takes months to curate and a week to install,” says Rice. “I love the moment when a viewer is first drawn to an image. Sometimes in’s indefinable; a moment when the viewer not only shares but reconnects to an experience remembered.” Each year, the Summertime Salon matures and Rice’s annual masterpiece is revealed to showcase an exhibition stronger than the year before. Rice has a close relationship with the works of her photographers, and strategically curates the show to best exemplify the artists’ strengths, remaining cohesively linked by Rice’s aesthetic. This year’s invitational image, Hoop and Ball by Nenad Samuilo Amodaj is from a series of one hundred photographs. Rice chose three photographs from Amodaj’s series to create a triptych on the back wall of her gallery for this exhibition. The invitational image is of a standing semi-nude woman in profile wearing a hoop skirt. Her entire head rests inside of a large white plaster ball that she holds above her. He explained: “I wanted to explore the abstract architectural properties of the hoop skirt, a clothing item with curious geometric form that appears both in nature and in the world of artifice.” Before photographing the model he created numerous figure drawings that helped solidify his vision for the series. Male nude...

This unusual teak child's planters chair comes from the home shared by Michael and Eleanora Kennedy and their children in the Hampton's named Kilkare. Published in a number of articl...

Louis XVI style high back fauteuil with carved wood frame and textural woven putty color upholstery. Seat height - 16.5". Arm height - 26".

Monotype 44 x 30.5 inches unframed 47 x 34 inches framed

I'm interested in the physicality of the painting process, and how this physical process connects me to the messy processes of paint application and decision-making. I'm interested i...

Acrylic and oil pastel on canvas

John Dolan’s photographs revel in the extraordinary that lies beneath everyday, fleeting occurrences. And in this eloquent collection of twenty images shot in ravishing color and bla...

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that in...

A very clean line and sexy custom-made, brushed steel, industrial design dressing mirror. One of a kind.  

Listing is for UNFRAMED print. Inquire within for framing. Edition of 10. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. “Peabrook is my Neverland,” Heal states, in reference to J.M. Barrie’s Peter Pan. “It is a fictional place often described as a metaphor for eternal childhood.” Heal hopes that, with just a visit to the gallery and a little imagination, you, too, can see Peabrook. Her use of the large format, now-extinct Polaroid film for her black and white photographs, and the warm soft colors found in many of the other pieces of the collection, contribute to the sense of antiquity and fantasy surrounding Peabrook. The whimsical subject matter, including mythical creatures and extensive taxidermy, complete the “magical” representation of Heal’s home that she strove to depict. The simply framed 4” x 5”, 5” x 7” and 8” x 10” photographs sit within large mattes, in keeping with the classical quality of her images. “I really wanted to work in film again, and this project seemed the right one to do it with,” says Heal, who lists Sarah Moon and André Kertesz as artistic inspirations. The dark and mysterious invitational image, “Willow”, depicts a portrait of a hooded woman, her downward gaze partially obstructed by the soft branches of a fern from the surrounding garden. The earth-toned image contains the unpredictable streaked effect of developed instant film. In another image, entitled “Sitting Room...

Three color photographs railroad train cars are presented in a 10"x 96" installation. Each of the six 10"x30" photographs is signed on the reverse and is a limited edition of 10, mou...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

printed fabric, thread, sequins and ink ARTIST STATEMENT: ICONS I work on an intimate scale, creating delicate, hand-stitched images of imposing, dazzling, iconic women. They are ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 15. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced...

1950s Gilbert Rohde shelving unit with black interior and clean lines. Shelf unit height can be adjusted.

Listing is for UNFRAMED print. Inquire within for framing. Edition of 40. If the exhibition piece is sold or the customer orders a different print size, the photograph is produce...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 40. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

A pair of grain painted 19th century wooden pedestals. The pedestals are painted on one side with bows and gathered fruit while on the oth...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 22. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Layered paint colors in acrylic on canvas make up this abstraction. The ladder like form anchors the composition. Colors are revealed under the largely white painting, showing hints...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover...

Acrylic and oil pastel on canvas

Listing is for UNFRAMED print. Edition 2 of 20. CURRENT EXHIBITION - runs through September 4th, 2016. Any framed photographs purchased during the show will be available after September 4th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: Since the early ‘90s, gallerist Robin Rice and designer Antony Todd...

30.5 x 30.5 inches framed 15" x 15" edition of 10, unframed, $1,800 30" x 30" edition of 10, unframed $3,450 Please allow at least 2 weeks for the photograph to be printed and shi...

Acrylic on canvas This suite of artworks expands upon Dixon’s unwavering commitment to the possibilities and power of abstraction. Eighteen features recent paintings inspired by his...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover what is not apparent on the surface. My photographs are as much about me as what I am seeing: In Southern California, 2010 is a perfect example of this process of seeing. When I first noticed this scene, it was a simple mural of a whale on a wall. After looking at it for a while I realized that by eliminating the sky and foreground from the image the whale now had an undulating rhythm and movement. In another image Restaurant Hostess, Palm Beach, FL 2012, I would go to this restaurant every week and sit in the bar behind the reception area. One day, I turned around and saw the back of a woman. Through this process of deductive framing, the image became one of dark shadows rhythmically trickling down her back interwoven with the tattoo of the lizard. David Saxe was born in Montreal, Québec, Canada in 1943 and studied fine art at l’ecole des Beaux Arts in Montreal. He started taking pictures in 1970, after being influenced by the work of Robert Frank, and Henri Cartier Bresson. About 10 years ago, he decided to take a workshop with Constantine Manos...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover...

CURRENT EXHIBITION - runs through September 10th, 2017. Any framed photographs purchased during the show will be available then. If the exhibition piece is sold or the customer order...

Blind Embossing pulled off 3D printed plate based on Artist Photograph Hand pulled by Artist on Etching Press On white BFK Rives Printmaking Paper Edition : Varied Edition (1 of 3) P...

This rare surviving Aesthetic Movement easel comes from the estate of the renowned Sir John Richardson and can be seen in the book published regard...

The 8" x 10" editioned print . The image sits on that paper size estimated at 6" x 9" leaving a white border to mat over when framing. Olympics , Figurative, Sepia tone, athlete

Acrylic on paper 21.5 x 19.75 inches framed

The mid century modern French rattan coffee table, shown here, is from the 1960s.  The rattan checkerboard pattern on the top gives it special appeal—as does the newly replaced inset...

This listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...

Beautiful rosewood coffee table with spectacular original finish. Legs have a curved details similar to the Janus collection but different and unique. Exceptional craftsmanship, beau...

This listing is for the unframed photograph. The Robin Rice Gallery proudly announces SUMMERTIME Salon 2019, an annual photography exhibit featuring gallery artists as well as a fe...

Gouache and graphite on handmade paper. 18 x 12 inches unframed, 23.25 x 17.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover what is not apparent on the surface. My photographs are as much about me as what I am seeing: In Southern California, 2010 is a perfect example of this process of seeing. When I first noticed this scene, it was a simple mural of a whale on a wall. After looking at it for a while I realized that by eliminating the sky and foreground from the image the whale now had an undulating rhythm and movement. In another image Restaurant Hostess, Palm Beach, FL 2012, I would go to this restaurant every week and sit in the bar behind the reception area. One day, I turned around and saw the back of a woman. Through this process of deductive framing, the image became one of dark shadows rhythmically trickling down her back interwoven with the tattoo of the lizard. David Saxe was born in Montreal, Québec, Canada in 1943 and studied fine art at l’ecole des Beaux Arts in Montreal. He started taking pictures in 1970, after being influenced by the work of Robert Frank, and Henri Cartier Bresson. About 10 years ago, he decided to take a workshop with Constantine Manos...

Oil Monotype Chine Collé on white BFK Rives Printmaking Paper Hand pulled By Artist on Etching Press 13 x 25 inches framed This piece is featured in Bruckner’s 2024 solo exhibition ...

Richard Artschwager Blip Printed by Brooke Alexander in Cooperation with Leo Castelli. Single fold announcement card announcing the publication of five multiples and a sculpture-con...

These photographs are Dye Sublimation Prints. Framing options available. "Surfing Color" presents photographs that are abstract creations born from realism. Kocharian emphasizes the ambient color in the tradition of minimalism, observing the beauty and mystery of light, shadows, tone, and moods. The environments within the photographs are transformed into ones of symbolism, challenging the viewer to question the images. As a result, a tension is created, like an energy trapped in a frame attempting to escape. Kocharian, who is also a filmmaker, brings a cinematic eye to his photography, as we experience images that reflect simplicity through his focus on light, color, and the documentation of ordinary life. In “Going Home,” Los Angeles a pool-like shadow on the foreground alters the nature and surrounding of the image as light breaches from the center of the bike during sunset. “Blue Highway”, Nevada leads the viewer into the deep blue of early dawn and draws them into a new beginning. His influences in these photographs include artists such as Mark Rothko and photographer William Eggleston, as Kocharian uses color, texture, geometry, and shapes to tell a story that evokes contemplation and introspection. Born in Armenia, Haik Kocharian was introduced to the world of art in his early childhood by his parents, who were theater and film actors. He began his studies at the Armenian Theater Academy and continued his education in film at Brooklyn College, where he also studied photography. Kocharian resides in New York City. In 2015, Kocharian released his first feature film, "Please be Normal," starring Oscar-nominated actor Sam Waterston. The film was nominated for a Critic’s Pick in the New York Times and won awards at two film festivals. Kocharian is actively involved in charity work and, as a photographer, he has collaborated with many non-profit organizations in the U.S. and abroad such as Village Health Partnership in Ethiopia and Meaningful World, a UN-affiliated NGO in Burundi, Kenya, and Rwanda. He has exhibited his works within galleries in New York such as Galerie Mourlot, Robin Rice Gallery, 92 Y Tribeca, and James Cohan Gallery...

A monumental European bronze chandelier (possibly French) with 6 electrified scroll arms supporting candleholders capped with paper shades. Features Classic period design elements ...

19th C. Artist model joint stool

Acrylic on canvas Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ab...

This pair of Chinese provincial elm stands, circa 1890-1900. Probably at one time completely covered in lacquer the wood has been exposed in areas creating an interesting contrast of...

Acrylic and oil pastel on canvas