Ohio - Mixed Media

Layered torn paper collage

Fire Island Behavior-Will It Spread to the Mainland? Collage and oil paint on luan board, n.d., c. 1970's Signed in ink lower center edge (see photo) Signed with the estate stamp ver...

Contemporary Painting, Black Painting, Mixed Media Art-Tethered Ash A B O U T T H I S P I E C E : “Tethered Ash” is a piece of graffiti art by Addison Jones featuring her unique t...

Original Wall Art Painting, Abstract Paintings, Letter Art-On All Counts II A B O U T T H I S P I E C E : “On All Counts II” is a piece of letter art that is featured on unique hand...

Torn Layered Papers Collage

Edward Winter (American, 1908-1976) Helen of Troy, 1938 Enamel Signed and dated lower right 43 x 18 inches 44.5 x 19.5 inches, framed Exhibited: Cleveland Museum of Art, May Show 19...

Handmade Paper Art For Sale, Abstract Art, Letter Art-On All Counts I A B O U T T H I S P I E C E : “On All Counts I” is a piece of letter art that is featured on unique handmade ...

Untitled Mixed media on paper mounted on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 8 5/8 x 10 1/4 inches Support Sheet size: 11 1/4 x 12 3/4 inches Provenance: Estate of the Artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Taos Series Mixed media on handmade paper Signed and dated by the artist lower right Archival framing with Conversation Glass Frame size: 29 3/4 x 34 inches Image size: 19 1/2 x 19 1/2 inches Provenance: Peter Marciniak, New Hampshire Distinguished Midwest Private Collection Regarding the artist: Select Exhibition: 1991 Franz Bader Gallery, Washington, D.C. (solo) 1980 Guggenheim Museum, New York, NY 1974 Bertha Schaefer Gallery; New York, NY (solo) 1972 Childe Hassam Purchase Show, National Institute of the Arts and Letters 1971 "The Turkish Bath of Ingres,” Louvre Museum, Paris, France 1971 Guest Artist, Tamarind Institute; Albuquerque, NM 1970 “American Drawings of the Sixties,” New School Art Center; New York, NY 1966 Dorsky Gallery, New York, NY (solo) 1962 Dwan Gallery...

"Golden path of victory", Gold Paintings, 2024" "Golden path of victory” is a piece of letter art inspired by a vision she had of walking on a golden path. Addison Jones artwork fea...

Allen Ladd as Shane Colored and metallic paper collage. c. 1960's Signed in ink lower right; Signed in pencil on reverse; (see photo) Titled in pencil upper left recto (see photo) C...

Untitled (Abstract Animal) Collage with watercolor, 1981 Signed and dated lower right (see photo) Condition: excellent Image size: 8 1/4 x 11 1/4 inches Frame size: 16 1/4 x 19 1/2 ...

Clarence Holbrook Carter (American, 1904-2000) Up the Avenue, 1979 Acrylic and collage on paper Signed and dated lower right 15 x 11 inches A surrealist mid-century figural abstract...

Clarence Holbrook Carter (American, 1904-2000) Rockefeller Center, 1962 Acrylic and sand on scintilla Signed and dated lower left 25 x 20 inches Clarence Holbrook Carter achieved a ...

Untitled Printed paper collage elements on cardboard, 1960 Signed in pencil lower right Condition: Excellent Board size: 13 3/8 x 15 1/2 inches Provenance: Estate of the Artist ...

Untitled Mixed media with collage elements on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 7 x 6 1/2 inches Support sheet size: 10 1/2 x 8 3/8 inches Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Viva, Warhol and Ultra Violet Collage on board, 1973 Signed with estate stamp on reverse (see photo) The original photograph used in this collage depicts Viva (Susan Hoffman, born 19...

Miles Davis Plays Cool Jazz Collage, c. 1970 Unsigned Titled by the artist lower left margin (see photo) Provenance: Acquired directly from the artist by his friend and patron Joseph...

Untitled Mixed media with collage elements on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 7 1/16 x 6 inches Support sheet size: 10 9/16 x 8 3/8 inches Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Untitled Collage made of foil, golf leaf and marbled book papers, c. 2004 Unsigned, from the Estate of the artist. Image size: 8 5/8 x 10 inches Sheet size: 14 x 17 inches Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the High School of Music and Art in 1952 and Amherst College in 1956. After a brief stint as a graphic designer in publishing, Marks became a private art dealer and opened his gallery Peter Marks Works of Art, Inc. in 1960. During this time he specialized in the sale of Southeast Asian and Islamic antiquities and made many contributions to the field both as a dealer and an advocate of his profession. Above all, Marks was motivated by a strong desire to find great art and make it available to large audiences. After retiring from art dealing in 2002, Marks transformed his Manhattan gallery space into a studio where he drew prolifically and painted large non-objective canvasses. This time in his studio was a happy one for Marks, who viewed this period of his life not as retirement, but rather fulfillment, a fact that is confirmed by passionate artistic output in the years leading up to his passing in 2010. In 2012, Thomas French...

Jazz Singer Mixed media 3 dimensional collage sculpture, 1975 Although dated 1975, this work may well have been done in the 1980s. Longstreet dated his works for the period they represented, not necessarily the date of actual execution. Dimensions: 41 x 18 1/4 x 1 1/4 inches Signed on the reverse (see photo) Artist's address sticker on reverse (see photo) Provenance: Acquired from the artist by his friend and patron, Joseph M. Erdelac, Cleveland Stephen Longstreet (1907-2002) At the website, the artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

Layered torn paper collage

Deep rich colors on paper cut out and melded to a dry brush mix background. :: Mixed Media :: Abstract :: This piece comes with an official certificate of authenticity signed by the ...

Calm colors grey and pinks invoke thoughts of a distant city skyline. :: Mixed Media :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist...

This is an original work by world famous artist Hunt Slonem.

Machine sewn fabric collage

Machine sewn fabric collage (framed in whitewash pine)

Machine sewn fabric collage

Machine sewn fabric collage on linen

Machine sewn fabric collage on linen

Layered torn paper collage

Layered torn paper collage

unsigned Provenance: Estate of the Artist Note: Dr. Marianne Berardi has pointed out that the house depicted is in fact Forest Hill, the Cleveland home of John D. Rockefelle...

Great Buffalo Medicine Man Mixed media collage Signed in pencil lower right Title on reverse Sheet size: 47 x 34 inches Condition: Tear in paper along right edge Color fresh ...

Torn Layered Papers Collage

Clarence Holbrook Carter (American, 1904-2000) Eye of the Desert, 1965 Collage, graphite and gouache on paper Signed and dated lower right 16 x 12 inches 25 x 21 inches, framed A mid-century figural abstract painting. Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Layered torn paper collage

"Tethered Ash", Contemporary Art Painting, 2022 Tethered Ash is a contemporary art graffiti painting by Addison Jones featuring her unique text previously featured in her portrait a...

Untitled (Seascape at night) Tissue paper collage on Fabriano wove paper, 1964 Signed in ink lower left Annotated 42 in pencil on verso Condition: Excellent Image/Sheet size: 10 x 13 7/8 inches Part of a suite of collages created during the artist's sabatical leave from teaching, spent in Florence, Italy, studying at the Accademia D'Arte Firenze in 1963-1964. Ray H. French: The Evolution of an Artistic Innovator Printmaker, painter, and sculptor Ray H. French was born in Terre Haute, Indiana on May 16, 1919. Terre Haute was a cultural wasteland before the opening of the Sheldon Swope Art Museum in 1942. Thus, with a father as a coal miner and carpenter, art remained a luxury for Ray. Nevertheless, local art teachers Mabel Mikel Williams and Nola E. Williams helped to foster his creativity and unshakable drive to create things of beauty. After high school, Ray attended the John Herron School of Art in Indianapolis. His studies there were interrupted by the outbreak of World War II, during which he developed surveillance photographs for the Army Air Force. After the war, Ray transferred to the University of Iowa on the G.I. Bill, where he received both his BFA and MFA degrees. The University of Iowa during the 1940s was a cultural mecca with many major art historians and artists. While in Iowa, Ray played an important role in this culture by becoming a founding member of the Iowa Print Group under Mauricio Lasansky. Following his graduation in 1948, Ray experienced firsthand the rapid rise in creative printmaking in America. By 1949, he had exhibited at The Brooklyn Museum, the Walker Art Center, and MOMA New York. Ray’s early style of printmaking is characterized by pure line engraving on copper plates, a technique suited perfectly to his study of the beauty of animals. This charming and whimsical subject ran counter to the concurrent trends of Lasansky’s horrors of war and Hayter’s non-objectivity, but was equally effective in capturing the public’s attention. Walruses was purchased by the Victoria and Albert Museum, exhibited at MOMA New York and received the Arthur D. Allen Memorial Purchase Prize for its “skillful and economic use of line.” Shortly thereafter, Ray’s treatment of animals developed further into larger format mixed intaglio prints utilizing hard ground, soft ground, etching, and engraving, as exemplified in The Swan. By the late 1950s, Ray’s style evolved into organic non-objectivity, in which he incorporated personal autobiographical vignettes and symbolism. His work during this time was further characterized by a departure from the traditional squared compositional format to his cutting and rounding of the plate to accentuate organic shapes. Ray’s 1959 Enchantment remains particularly illustrative of his use of etching and soft ground intaglio. Enchantment was successfully exhibited at the Brooklyn Museum of Art for the 12th National Print Exhibition of The American Federation of the Arts and received the Pennell Purchase Prize from the Library of Congress in 1960. In the 1960s, Ray also started to focus on blind embossing, which he had first experimented with at the University of Iowa. He was extremely prolific and successful with this medium, selling hundreds of prints in small editions of 10 through the Associated American Artist Gallery in New York. In 1966, Ray built upon his mastery of embossing and began developing a shadow box presentation called a graphic construction that combined color, blind embossing, and multi-layered cutouts to revel intaglio compositions. Noted curator William Lieberman purchased Ray’s masterpiece graphic construction, Moon Rays...

Torn Layered Papers Collage

Joseph Glasco (American, 1925-1996) Untitled 1978-81 Acrylic on canvas collage initialed verso and dated ‘81 48 x 51 inches Joseph Glasco was born in Paul’s Valley, Oklahoma and gre...

Orange Portrait Painting, Mixed Media, Pop Art-Face Break, in Color A B O U T T H I S P I E C E : "Face Break, in Color (Cortney-A2-1)" is Fine Co...

Street Art, Portrait Painting, Color Changing Art-Deep Blue, See? A B O U T T H I S P I E C E : Made from portrait photography turned into modern street art on canvas, "Deep Blue, S...

Untitled (Tuscan Landscape) Tissue paper collage on Fabriano support Signed and dated lower right in ink Provenance: Estate of the artist Martha A. French Trust Created while the art...

Untitled Gold leaf collage with acrylic on canvas, mounted on canvas, c. 2003-4 Unsigned Provenance: Estate of the Artist Peter Marks (1935 -2010) Peter M...

Mary Spain (American, 1934-1983) Man with Feather in His Cap Mixed media Signed lower right, signed and titled verso 11.5 x 7.75 inches 19.25 x 15.25 inches, framed Set in a realm o...

Seascape at Sunset Collage with tissue paper and gold foil on Fabriano paper, 1964 Signed and dated in ink, lower right (see photo) Provenance: Estate of the artist Martha A. French...

Untitled Collage of small oil on canvas fragments, c. 2006 Unsigned Provenance: Estate of the artist Image size: 15 x 9 7/16 inches Sheet size:: 17 x 14 inches Peter Marks (1935 -2...

Title Unreadable " _______ _______ No. 102" Mixed media Signed and dated lower right Manuscript notes on black paper backing Condition: Excellent Image size: 6 1/2 x 12 3/4 inches Bo...

Ragtime Piano Collage, 1969 Signed and dated '69 lower right Address stamp verso Provenance: Acquired from the artist Joseph M. Erdelac, friend and patron of the artist Stephen Longs...

Unsigned Provenance: Estate of the artist Collage of fragments of commercial printing Sheet: 14 x 17" Peter Marks (1935 -2010) Peter Marks was born ...

Layered torn paper collage

Layered torn paper collage mounted on matboard 32 x 26 inches (artwork only)

Layered torn paper collage

Untitled III XII Charcoal, ink and paper collage, 1987 Initialed "R. C." and dated '87 verso in pencil From: Libor II Mono Logo Provenance: Janie C. Lee Master Drawings, New York (partial label) From: Libor II Mono Logo Exhibited: Collages and Drawings by Roberto Caracciolo and Chuck Dugan...

Navajo Thunderbird Silversmith Signed in ink, titled in pencil Dimensions: 42 1/4 x 23 inches Mixed media on paper Provenance: Acquired from the art...

Machine sewn fabric collage

Torn Layered Papers Collage

Torn Layered Papers Collage

Torn Layered Papers Collage