Palm Beach - Art

"Tarot Cards" unframed collage on fine art paper by artist Melanie Boone. Melanie Boone collaged into lower right recto. Titled "Tarot Cards" verso. Coll...

Born in Tallahasee Fl, William started his artistic career as a color consultant for his family's Design and Painting company that took on constant projects of custom painted interio...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

Post Dogmatist Painting on Panel, signed verso Art is 8 x 10 with frame approximately 9.5 x 11.5 ready to hang Cecil Touchon Born 1956 Austin, Texas is a contemporary American colla...

Letter From Vienna Artist signed, dated, paper sheet 30x22.5 Krystyna Smiechowska was born in 1935 Krakow -2014 Paris France. Printmaker Krystyna Smiechowska draws her inspiration f...

Artist: Slonem, Hunt Title: Daisy Series: Floral Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14.5" x 12.5" Signature: Signed by Artist on ...

Pallas Athene, no. 9 from the third installment of Das Werk Gustav Klimts The Klimt-led Vienna Secession which rebelled against the Academic State-run e...

Patrick Tagoe-Turkson is a Ghanaian contemporary artist known for upcycled tapestries of discarded flip flops. His bold colors and intricate patterns are visually reminiscent of trad...

This evocative railway poster by Charles Halle, working under the name Alo, presents a romantic vision of the Norman countryside. Towering rock formations rise above a winding stream...

Bust Of A Young Woman Bronze sculpture signed by the artist inside the cast and dated 1988, 1st cast in London. Kevin Berlin is an international arti...

Stanley Boxer devoted nearly five decades to the development of an expressive, abstract practice, encompassing drawing, sculpture, and printmaking. “In the manufacture of my art, I u...

Standout dramatic hand blown glass sculpture having a floral bouquet of exotic flowers and leaves presented in an alluring cobalt blue glass vase. Signed "R + O Glass 97" on the bottom.

Limited edition cast elephant that captures the essence of these noble animals. This composition edition is presented on a classical wood base signed Louis Paul Jonas and numbered 14...

Eclosion Rose Series Kozo Inoue (1937- ) was born in Osaka, Japan & currently resides in France. Kozo is well know artist for his beautiful, museum quality prints, he uses silk screens...

Still Life with ham, oil on canvas signed a wonderful example of the artist's work, from the Collection of Bass Museum Of Art. Canvas size 16 3/4 x 22 1/5 framed 23 x 29. Edmund Pick...

Pair of Mid-Century male and female pheasants composed of handcrafted silvered metal, featuring hinged wings and removable heads. Presented on custom ebonized stands.

FRESH AIR. A medley of soft pastel brushstrokes brings an expansive feeling to interiors. :: Painting :: Abstract Expressionism :: This piece comes with an official certificate of au...

Christina Major was born in Concord, New Hampshire in 1982. She has lived all over the world including Hawaii, France, New York and more currently Florida. Christina has achieved her...

Children And Balloons Artist signed lower right. Bernardino Toppi was born in 1936 in Rome is a French painter of Italian origin. Sharing his time bet...

Woman with cigarette​, oil painting. Francois Batet was born in 1923 in Barcelona, Spain. He studied painting at the School of San Jordi (Beaux-Arts) and also at Tarrega Academy. When he lived in Madrid he studied masters like Goya and Valasquez. He then moved to Paris and studied famous French impressionistic painters. He has lived and worked in France since 1950. Batet's classic School of Paris style recalls the spirit of Paris in the 1920s and 1930's. In addition to being a master printmaker, he has illustrated over 100 books...

Girl With Green Hair Omaggio a Picasso (Tribute to Picasso) Murano glass sculpture 15.5" H x 12" W x 5" D This work is accompanied by a certificate of authenticity signed by the art...

Charming mid century acrylic painting on canvas of a leopard with fauna and flora, executed in an enchanting naive style. Signed Paradis 82 and presented in a wood frame.

Yury was born in Belarus. Graduated from the Belarusian State Academy of the Arts. Upon graduation He began a career in the illustration and graphic design field, painting in his spa...

Portrait of a Military General Fine 19th C European, Neo -Classical half-length portrait of a Military General, a handsome man wearing military regali...

This vibrant vintage poster advertises Escargots Ménetrel, proudly declaring them “Exquisite! Exquisite!” (Exquis! Exquis!). The bold design features a large scarlet leaf upon which ...

Beginnings I, 2014 Fine Art vinyl paint on primed canvas gallery wrap. Frank Monaco American artist born in 1944. Studied and worked with Marilyn Stiles of The Art Institute of Chicago/ Art History Painting, Museum Restoration and Preservation, 1972 – 1976 New York University Fine Arts Studies, 1977 – 1978 Licensed Art School, Hollywood, FL, St Augustine, FL Faculty member of South Florida Institute Co-Founder “Artist Foundation”, Hollywood, Florida Exhibition: Boca Raton Museum Guild, FL Museum of Art and History, Palm Beach County, FL Solo Exhibition: 2012 “Pieces” 233 West King Gallery, St. Augustine, Florida 2005 “Caught Up in Colors”, Opening Reception, Frank Monaco Studio, Flagler Healthcare Foundation Benefit, St. Augustine, Florida 2004 Sanmar Gallery, St. Augustine, Florida 2001 Art & Culture Center, Hollywood, Florida 1997 Art & Cullture Center, Hollywood, Florida 1992 Artist Foundation of Broward, Fifteen Years, 1977 – 1992 1991 Lane Gallery, Key West, Florida 1991 Gallery Des Artistes, West Palm Beach, FL 1991 Philip Janes, Art Exclusive Gallery, Connecticut, One Artist, Two Shows 1990 Philip Matheson Janes Museum Exhibition, Fisher Gallery, Avon, CT 1990 Ballet Passions of Light, Collaboration with Karen Whitley Three Women in Dance, Torrington, Connecticut 1989 Boca Raton Museum, Florida Artist Series #9 1987 Steiner Gallery, Bal Harbour, Florida 1987 Matthew Scott Gallery, Miami 1986 Broward Community College Gallery, Davie Campus, Florida 1985 Walker Gallery Chicago, Illinois 1982 Hollywood Art and Culture Centr, Hollywood, Florida 1981 Medici – Berenson Gallery, Bay Harbour Island, Florida 1980 Carol Hooberman Gallery, Michigan 1976 Kottler Gallery, New Your, New York Group Exhibits 1992 Boca Raton Museum – All Florida Exhibition 1990 Making Waves Exhibition, Hollywood Art & Culture Center, Florida 1989 Hartford Council for the Arts Award – Excellence in Painting Purchase Simsbury Library 1987 World Bank Award for Watercolor – New York City Exhibition 1986 Visual Arts Center, InterAmerican Relations New York City 1985 21st Century Gallery...

Anglo Indian carved mahogany cat with ebonized stripes and a curious expression, featuring a secret compartment on the bottom.

Beautiful limited edition giclée print on fine art paper of a watercolor portrait of Billie Holiday by African-American artist Richard Yarde. Hand-number...

Color lithograph on Arches, 1970. Signed and numbered 37/75 in pencil (there was also a deluxe edition of 25 in Roman numerals on Japon). Published by Edicions Polígrafa, Barcelona.

Charming antique oil painting on canvas of a dog in repose with a bell on his collar, executed in a slightly naive style and presented in a wood frame. Illegibly signed in the bottom...

Plate #8 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kli...

Pablo Picasso A.R. 520 Fluffy-Haired Woman 1964 13” x 10” Edition of 100 Red earthenware clay, printed with engobe pad Ramie 520 is a Madoura ceramic that one rarely sees come on the market. The photo you see here is the actual piece that you will receive. Most sellers online post using stock photos that don’t necessarily match exactly to the piece you receive. This particular piece is pristine: there are no nicks, bruises or scratches of any kind. Be careful when buying from others – the pieces sometimes have nicks or scratches. The Certificate of Authenticity comes with this piece. We have sold over 3300 pieces with all positive reviews. The "Fluffy-Haired Woman" (Tête de femme, Cheveux bouclés) is a ceramic plate designed by Pablo Picasso and produced at the Madoura Pottery studio. This piece is part of Picasso's extensive work in ceramics during the mid-20th century, where he explored new forms of artistic expression beyond his renowned paintings and sculptures. Here are some key details about this particular piece: Title: Tête de femme, Cheveux bouclés (Fluffy-Haired Woman) Date: 1969 Edition: Ramie 520 Medium: Ceramic plate Dimensions: Approximately 26 cm (10.2 inches) in diameter Edition Size: Limited edition, often part of a numbered series The Madoura Pottery studio in Vallauris, France, where this piece was produced, was a significant place for Picasso's ceramic work. He collaborated closely with the owners, Suzanne and Georges Ramié, to create a wide range of ceramics, including plates, vases, and pitchers, all featuring his distinctive artistic style. The "Fluffy-Haired Woman" plate is a representation of Picasso's playful and innovative approach to ceramics, combining his mastery of line and form with the unique qualities of the ceramic medium. Collectors and art enthusiasts highly value these pieces for their artistic significance and the insight they provide into Picasso's creative process. We are located in the USA. When you buy from a foreign seller on 1stdibs, you have to consider the problems of getting the piece through Customs. There are often delays and considerable fees to pay in order to import the item. When purchasing from us, we ship the same day and you receive it via FedEx the next day, no problems or hassles. When you purchase from an auction house, you pay a buyer’s premium of anywhere from 23% to 28% over the “hammer price”. So when you “win” an auction for $20,000, the actual price paid is more like $25,000. By contrast, when purchasing from us, the price agreed to is the price paid by the buyer, no hidden fees. When you purchase from an auction house, you pay the packing and shipping fees, which are usually exorbitant. By contrast, when purchasing from us, the price includes packing and shipping. When you purchase from an auction house, the sale is final. If you receive the piece and are not 100% satisfied with it, there is nothing you can do about it. You are stuck with it. By contrast, when purchasing from us, the buyer can determine if they want to keep it. If not, the buyer returns to piece to us for full refund, and we pay the shipping both ways! The prices of Picasso Madoura Ceramics have been on fire lately (no pun intended). The major auction houses – Sotheby’s, Christie’s and Phillips – have now been regularly holding Picasso Madoura Ceramic auctions...

Striking vintage Haitian acrylic painting on board of a jungle scene with animals, trees, flowers and fruit executed in a distinctive naive style, signed Michelet in the lower left a...

Adios Nonino Artist signed lower right corner and reverse canvas 54"x58" Maximo Caminero Born in the Dominican Republic in 1962. Artist, self-taught formation. He made his fir...

This Favor Cycles advertisement from c.1930 is by L. Marthey. The poster features a motorcycle, scooter and bicycle rider following an arrow path. The message of the piece is that no...

19th Century Neoclassical Grand Tour Bronze of a woman holding oil lamp with a bird. European Bronze on a marble base unsigned. H 13-1/2 in. W 5-1/3 in.

A beautifully rendered 19th-century graphite study, this apple branch sketch from the notebook of Virginia Granbery captures the quiet elegance of botanical draftsmanship. The compos...

Edition of 12 + APs

Framed "Flying Colors" lithograph by Alexander Calder. Signed Calder in lower right corner. Edition 11 of 100.

Born in Havana, Cuba, in the late 70s during a well-documented time of religious and political oppression, abstract expressionist artist Mirtha Moreno, immigrated to the United State...

“ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight...

Very powerful, mid century abstract expressionist painting. It is signed Triea and dated 1953. On the reverse it is signed Ruffino Triea and title...

Kerr Eby: 1889-1946. Very well listed Canadian American artist. He is best known as a printmaker for his fabulous etchings. He has auction results over $6300 for a single print. This...

Yury was born in Belarus. Graduated from the Belarusian State Academy of the Arts. Upon graduation He began a career in the illustration and graphic design field, painting in his spa...

In the post-World War ll era, Air France was rapidly expanding its routes for commercial air travel. This expansion was heavily promoted by the effective use of original posters crea...

Rosa Amarilla Three Women Portrait Painting Artist signed front and verso dated and titled. Felix Mas was born in 1935 Barcelona, Spain. He studied art at Sa...

Commissioned by The Ault & Wiborg Co., USA. Color Zincograph on wove paper, 1896. Hand-signed in black crayon. Wittrock C (of C) edition. Reference: Wittrock; P28, vol. 2 pg 810. ...

Eternal Moment Bronze Sculpture With Two Nude Figures Man and woman embracing, indoor or outdoor large bronze sculpture signed V. Salmones edition 6/10, 1979. Included in the Victor Salmones book published in 1991 "A Sense of Human". This large sculpture 76" almost two meters tall 196cm. Victor Salmones (1937-1989) was the most widely known sculptor living and working in Mexico during his lifetime. His sculptures won him universal acclaim and are held in the collections of museums, corporations, cities, universities and private collectors in some 30 countries. During his career, he was highly sought after and increasingly involved in the execution of commissions for major public works around the world. Salmones developed his love and talent for creating sculptures by working with clay in high school. He attended the Instituto de Bellas Artes where he was an apprentice to the Bauhaus master, Hoffman. He was trained to use the exacting, age-old lost wax method of casting and worked principally in bronze. His work explores styles that are both abstract and figurative and the grace and spirit inherent in his work endow his bronzes with a transcendent vitality. The international acceptance of Salmones sculpture...

"Untitled (Cup Man)" screenprint by artist Keith Haring from the "Kinderstern" portfolio published by Edition Domberger to raise money to house families of chi...

Alfred Birdsey: 1912-1996. Well listed artist who was born in England, but spent most of his adult life in Bermuda. He is almost exclusively known for his Bermuda watercolors such as...

Edition 37/99

Provence Landscape With Mountain View Artist signed lower right corner, Oil on canvas, late 1920's, size:23"25x 28"25 framed 30" x 35" GALE TURNBULL wa...

Dennis Wheeler (b1935 - ) is an American artist who enjoyed a successful career doing commercial artwork. His notable projects included creating the covers of Time, Fortune, and Life...

Rene Gruau (1909-2004) is one of the most recognized poster artists of the 21st Century. Gruau was a fashion illustrator whose exaggerated portrayal of fashion design through paintin...

Born in Havana, Cuba, in the late 70s during a well-documented time of religious and political oppression, abstract expressionist artist Mirtha Moreno, immigrated to the United State...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

This World War II poster uses the familiar figure of Uncle Sam to deliver a powerful economic message to American citizens on the home front. In the background, a chart compares the ...

Stunning carved stone bird mounted on Quartz specimen. Carved from orange Calcite and trimmed in Lapis, having tiger eye beaks. This exotic bird is a brilliant decorative combination...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Wayne A. Timm MFA In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, Rauchenburg and many others, in the time he had an Art studio loft in New York City ...