Phoenix

Joseph Hirsch (1910-1981) Philadelphia/New York artist - Pencil signed lithograph Title: The Toast. Signed lower right and numbered lower left 79 of 100. The tondo work is 11 1/2 inc...

Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. His canvases barely contain the landscape painted...

Excellent ceramic designed by well-known Wiener Werkstätte artist Gudrun Baudisch. Executed by the Wiener Werkstätte, circa 1920s. Pinch top vase with cityscape design. The ceramic...

Wooden Sculpture in black featuring a central hand within a framework and containing metal coins by Spanish artist Antoni Abad. Abad's works have been exhibited in major museums and...

Set of 3 organic modern burlwood basket vessels by artist Christian Burchard. Largest basket measures 7" H x 5.5" diameter, medium basket is 4.75" H x ...

ACRYLIC ON CANVAS b. 1978 I explore the temporality of representation through abstraction by constructing new systems and modes in which the material of painting converges with the v...

encaustic and oil on panel, framed Focusing on painting as a space of exploration, Raphaëlle Goethals has worked with wax, resin, and pigments as her signature medium for over twent...

Beautiful oil on canvas by Arizona/Utah/California artist John Burton (b. 1966). The painting is in excellent condition and bears a lovely gold frame. The work measures 36 x 24 inch...

Blue Rain Glaze on White, Dutch Series (28.5 x 21.5 x 2.5 inches, each) Publication, Jun Kaneko, Dutch Series Between Light and Shadow, page 48 b. 1942, Nagoya, Japan Jun Kaneko’s ...

Acrylic on paper by well known Hopi-Tewa artist Dan Namingha (b. 1950). The work is a wonderful example of Namingha’s iconic style. It was created 1991 and is signed “Namingha” lowe...

Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. His canvases barely contain the landscape painted...

Beautiful signed and numbered abstract serigraph by Japanese artist Norio Azuma. Artist: Norio Azuma, Japanese (1928 - 2004) Title: 40th Anniversary...

Taos Artist Howard Cook original woodcut print, 1927. Title: “Hopi House.” Duffy #47. Signed in pencil lower right. Image size: 8"h x 8"w. Paper size: 10 x 8 3/4. Mat size: 20 x 16....

Beautiful blue tall cylindrical pinched vase with Blenko acid etched signature. Measures 12 ½ inches tall. The angular top measures 6 3/4" x 5 5/8" wide....

ACRYLIC ON CANVAS b. 1978 I explore the temporality of representation through abstraction by constructing new systems and modes in which the material of painting converges with the v...

Vintage fused glass, circa 1960s. By Michael (1908-1999) and Frances (1912-2004) Higgins. Decorated with a trees and stems motif with gold detail. Etched signature is seen on the ...

Original etching with drypoint in mint condition by well-known New York artist and printmaker Martin Lewis (1881-1962). The print is signed in pencil lower right. The title is: “Sha...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

Beautiful vintage copper pin created in Mexico By ex-patriate artist Ken Beldin 1940s and 1950s. Measures: 3.5" H x 1.75" W Signed on the back: Beldin & Mexico. In excellent vint...

Topping out at nearly 8' tall this monumental work by California sculptor Bruce Gray is truly incredible in person! It is executed in patinated iron railroad nails and looks great fr...

Joseph Hirsch (American, 1910-1981) original lithograph, pencil signed. Title: Coffee. Edition size: 250. Catalog raisonne reference: Cole 38. Image size: 13"H x 10"W. Published by A...

charcoal on paper, mounted to foam core and wood Mark Pomilio’s work focuses on the research of fractals, cloning, and single cell manipulation. His mathematics-based drawings serve...

ACRYLIC ON CANVAS b. 1978 I explore the temporality of representation through abstraction by constructing new systems and modes in which the material of painting converges with the ...

acrylic on canvas b.1978 Chris Trueman is a Los Angeles-based artist. He graduated from the San Francisco Art Institute in 2003, earning BFA degrees in Painting and Digital Media. H...

acrylic on canvas b. 1978 Chris Trueman is a Los Angeles-based artist. He graduated from the San Francisco Art Institute in 2003, earning BFA degrees in Painting and Digital Media. ...

oil on panel b. 1985, Phoenix, AZ Jake Fischer, born and raised in Phoenix, Arizona, graduated with a Master of Fine Art from Arizona State University in Drawing and Painting. While at ASU, he was awarded accolades including the Benjamin Wong Fee Scholarship, Eirene Peggy Lamb Scholarship, and the Gerry Grout Award. Fischer then attended the Art Students League of New York's residency program where he received the Ruth Katzman Scholarship. In 2016, Fischer had his first solo exhibition in New York, Between Light, at Island Weiss Gallery and has since notably participated in Into the Night: Contemporary Art and Nocturne Tradition at the Tucson Museum of Art. Interpermeate at Bentley Gallery...

Georges Schreiber (1904-1977) oil on canvas circus scene with Trapeze Artist. Measures 36"h x 24"w. Frame measures 41 1/4" H x 29" W. Signed and dated lower left Schreiber '48. Also ...

silver deposit and acrylic on canvas b. 1961 The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with ...

Philip Reisman (1904-1992) Oil on Board, 1948. This wonderful New York image is titled “Delancey Street” on the verso. The work is signed by the artist “P. Reisman” lower right and...

Beautiful oil on board by noted Ugandan painter Jak Moses Katarikawe, (b. 1940) Untitled. Subject: Hut and Animals with Moon. In excellent condition, framed. The painting measures: 2...

ACRYLIC ON YUPO ON SINTRA with white frame b. 1978 I explore the temporality of representation through abstraction by constructing new systems and modes in which the material of pai...

Otto Kuhler (1894-1976), original etching, 1928. Title: “Monsters and Midgets.” From the “Iron Horse in the Making” portfolio. Signed lower right. Image measures 9.38"h x 12.94"w. T...

Robert Whitton one off aluminium chair, circa late 1980s. This architectural example has been newly powder coated in a bright turquoise.

turned jarrah wood Anthony Bryant began woodturning in 1973 after discovering an old 19th Century treadle lathe in his father's workshop. He was immedia...

Robert Kelly’s painted collages are anchored in a step-by-step process of formal puzzle composition and informed by decades of expert surface crafting. Having grown fond of the pared...

Pillin is known for her whimsical designs and a re-occurring motifs of women, birds, horses and flowers. Decorated ceramic footed bowl by Polia Pillin (1909-1992). Signed on the bottom: Pillin. Perfect condition, no chips, cracks or repairs. Measures: 2.75" H x 7.38" D. Polia Pillin was a painter and ceramist. Born in Poland, 1909, she immigrated to Chicago in 1924. She studied there at the AIC and Jewish Peoples...

Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. His canvases barely contain the landscape painted...

Rare, 1940-1950 Narumi Victory Rose teapot. The teapot is about 20" in diameter and can hold up to 40 Oz of liquid. It has no cracks or chips.

Benjamin Eisenstat (1915-2001) Oil on board, 1981 Measures: 10 1/4" H x 14" W, frame 14 1/2" H x 18 1/2" W. “New York City” in excellent condition. Signed lower right and also on the...

b. 1975, Bellaire, OH Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color field...

Beautiful contemplative image by Polish New York artist Hyman Katz (1899-1970). The etching measures 9 5/8 x 11 3/4. It rests in a 16 x 20 inch museum mat and is unframed. The work i...

oil and wax on canvas Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended t...

acrylic on canvas b.1978 Chris Trueman is a Los Angeles-based artist. He graduated from the San Francisco Art Institute in 2003, earning BFA degrees in Painting and Digital Media. ...

pastel and micron pen on paper, framed b. 1979, Poole, Dorset, UK In this new series of work, I explore the intersection of minimalist architecture, design, and the raw beauty of ma...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

pastel on raw canvas b. 1979, Poole, Dorset, UK In this new series of work, I explore the intersection of minimalist architecture, design, and the raw beauty of materials. Drawing i...

Striking and graphic RAAK designed sconces in white and matte aluminum. Price listed is for a pair of sconces. There are two pairs available.

silver deposit and acrylic on canvas b. 1961 The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with ...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

SIGNATURE AND YEAR ON VERSO b. 1942, Elgin, OK Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. ...

charcoal and pearl paint on paper 25 x 24 x 1.5 inches framed In the fields of sculpture and drawing, George Thiewes creates sharp, angular work with a focus on the interaction of ...

Pair of Studio Made Chrysler Building Arm Chairs in Maple by Artist Steven Kokinis.

Original lithograph in excellent condition by Louis Lozowick (1892-1973). Pencil signed lower right. Edition size lower left. No. 24 in the Raisonne by Janet Flint. Edition of 20. Th...

Brutalist pair of wrought iron and copper floor lamps. These unusual examples have hand forged iron frames with tiered iron bases. The tubing that wraps the structure is patinated co...

sumi ink and oil stick on Korean paper (72 x 61.5 x 1.5 inches, framed) b. 1942, Nagoya, Japan Jun Kaneko’s most recognized sculptural form is the boldly glazed, monumental dango (...

Original pencil signed etching by Ukraine/Pennsylvania artist Louis Lozowick (1892-1973). The print, created 1929, measures 8 3/4 x 15 inches and is unframed. It is in excellent cond...

A really great painting by American artist Robert Philipp (1895-1981), Oil on canvas, circa 1950s . Image measures: 20" H x 24" W. Frame measures: 31" H x 35" W. Signed lower right....

Solid walnut and mosaic table lamp, circa late 1950s. This came from an estate with Allen Ditson and Lee Porzio items and we are researching to see if it is one of their items. Price...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of inflation." It is the pragmatic that draws Thomas. Asked about his influences he asserts that his primary influences do not come from the realm of art but rather from everyday living. “I don’t eat, sleep, and breathe art,” he comments. His discovery of metal-working arose in a similar, practical way. Thomas had been sculpting with stone and asked someone to show him how to forge his own chisel. This was the start of his exploration of forging techniques and after a time he gave up working with stone to work with metal. One of the key aspects of blacksmithing that intrigued Thomas was fact that it isn’t instantly gratifying, and it poses questions that aren’t easily solved. He interned with Tom Joyce...

acrylic on brushed aluminum b. 1950, Teaneck, New Jersey One of the most powerful tools an artist possesses is an ability to bridge the gap between what is considered real and what is illusion. This ability to alter or enhance reality is the very crux of what an artist is all about, and their success at attaining this is usually the defining element as to their stature in the field, as either an abstract or realist painter. Occasionally a painter is able to combine these two distinct disciplines and create an art form, which holds a viewer’s attention by balancing the paradox of the flat painted surface with the illusion of depth and space. "As a painter, it is important for me to address the concerns of painting what has been done-and what can I add to this. My work on aluminum is an attempt to use the qualities of refracted light, and have these qualities interact with the painting. The completed image is produced both by refracted light, created by the use of various wire brushes and paint airbrushed in transparent layers. Within this process about half of the image is produced by refracted light alone, simulating paint, and about half by paint." For over twenty years, David Kessler followed a Photo-Realist tradition, often depicting the Arizona desert landscape...