San Francisco - Art

Artist: Harold Altman (American, 1924-2003) Title: Four Walking Figures Year: c.1980 Medium: Original color lithograph Edition: Inscribed "Artist Proof" in pencil Paper: Arches ...

Alejandro Rubio Two Palms, 2023 Oil on canvas 40 x 30 inches This one-of-a-kind oil painting on canvas is stretched across wooden stretcher bars.

Jamini Roy: 1887-1972. Extremely well listed and important Indian artist. He has auction prices over $573,000 which was just last month. His works are considered National Treasures a...

This artwork titled "The Coast Near San Diego" 1949, is an oil painting on board by noted California artist Jean Martin (Eugenia Victoria Weir Martin) 1906-1986. It is signed at the lower right corner by the artist. The artwork (board) size is 16 x 20 inches, framed size is 24.35 x 28.35 inches. Framed in original wooden brown frame, with fabric liner. it is in excellent condition. About the artist: Eugenia "Jean" Victoria Weir Martin 1906-1986 San Diego, California Landscapes, Seascapes artist Eugenia Victoria Weir Martin was a painter and art instructor in Southern California. She was born in Tennessee on March 7, 1906. "Jean", as she was called, was brought to La Jolla, California as a small child by her parents, and remained in that area the rest of her life. Her Father was a businessman in the early stages of the development of La Jolla. He operated a General Store in the early village. They resided in "Windemere", which is now the home of the La Jolla Historical Society. At the age of 10 she studied art with a Mrs. Fletcher, an artist in residence at the 1916 California Exposition in Balboa Park. She also studied at the San Diego Academy of Fine Arts. Early in her career she also studied with Maurice Braun, Alfred Mitchell, Edward Langley...

This artwork titled "Porte Saint Denis, Paris" c.1935 in an oil painting on canvas by noted French artist Francois Gerome, born 1895 (The year of his death...

Artist: Harold Altman (American, 1924-2003) Title: Sunday, Central Park Year: c. 1985 Medium: Color lithograph Edition: Numbered 56/285 in pencil Paper: Wove Image size: 17.5...

large scape photograph of mesmerizing water and cloudscape SEASCAPE IX by Frank Schott 58 x 58 inches ( 147 x 147cm ) edition of 7 signed 48 x 48 inches ( 122 x 122cm ) edition of...

Artist: Nicola Simbari – Italian (1927-2012) Title: Marco Year: 1978 Medium: Screen Print Image size: 28.5 x 31.75 inches. Sheet size: 35 x 37.5 inches. Signature: Signed lower ri...

This artwork "Untitled" is a color off set lithograph by acclaimed Iranian artist Mahmoud Farshchian, born 1930. It is hand signed and numbered 23/3...

This artwork titled "Hecatombe de Toros" 1971, is an original color lithograph on Arches paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It is hand signed and numb...

Pair of fabulous vintage Chinese reverse paintings on glass. Most likely made for export in mid 20th century. Very fine detail and ...

Paula Valenzuela Botanical Experiment #4, 2025 Watercolor and alcohol inks on paper 12 x 9 inches This one-of-a-kind work on paper comes unframed and ships in a tube. External, visi...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

large-scale original art photography from a series of dramatic cloud atlas and abstract sky scapes observations above the Pacific Ocean. CLOUD STUDY V by Frank Schott 40 x 32 inch...

This artwork titled "Starburst" 2007,is an original colors woodcut on thin rice paper paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled, dated and inscri...

This lithograph is immediately identifiable as the work of Lester Johnson (1919-2010) . The print is titled “Frontal Street Scene.” It was published in 1970 by Collector’s Press. Th...

Hand printed by artist. Signed in pencil lower right Signed, titled, dated on verso. Edition 15

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

Artist: Kiyoshi Saito – Japanese – (1907-1997) Title: Boy from Aizu Year: circa 1950s Medium: Woodblock Image size: 15 x 10 inches. Sheet size: 16.5x 11 inches. Signature: Signed, ...

Hendrik-Dirk Kruseman van Elten Original Painting 19th C. Oil on wood panel. Dimensions 17.5" wide x 9.5" high. The frame measures 23.25" wide x 16" high. Signed lower left. Good ...

This artwork "Landscape with Mountain" c.1990, is an original monoprint with embossing and collage on thick Wove paper by noted American artist Ruth Leaf, 1923-2015. It is unsigned ...

Hand printed silver gelatin photograph on mat paper. Loose print.

Artist: Salvador Dali (Spanish surrealist, 1904-1989) Title: L'Hirondelle Year: 1973 Medium: Color lithograph Edition: Numbered XLVI/CCL in pencil Paper: Arches watermarked Image size: 18.5 x 25 inches paper size: 19 x 25.5 inches Signature: Hand signed in pencil by the artist Publisher: Martin Lawrence and Jacques Carpentier...

large scale photograph morphing into a mesmerizing abstract tapestry, a highly detailed aerial photograph, on closer observation morphing into an abstract pictorial tapestry of deser...

Romare Bearden: 1911-1998. Very important and well listed African American artist with auction records over $770,000. He has an auction high over $31,000 for a single print. This imp...

This artwork titled "Tuscan Roof" 2009, is an oil painting on panel by American artist Annamarie (Anna) Nelson. It is signed at the lower right corner by the artist, also signed, tit...

This artwork titled "Persimmons" 1980, is a colors woodcut on wove paper by noted Korean artist Bong Kyu Ahn, b.1938. It is hand signed, dated, titled, and numbered 10/90 in pencil b...

Artist: Etienne Ret (French, 1900-1996) Title: La pianiste (Epuise) Year : Circa 1970 Medium: Color etching with aquatint Image (plate mark) size: 19...

Arturo Rivera La jineta (The Jockey) Serigraph 33.46 x 29.52 in Edition 96 of 100 Serigraph by Mexican artist Arturo Rivera. Edition 96 of 100. Certificate of authenticity included....

This artwork "Untitled, Two Birds" 1991, is an original woodcut monoprint on artisanal hand made paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed and dated in r...

A superb expression of a triumphant free spirit, and the balancing act required to maintain it, this watercolor was created by a woman who embodied female independence—especially rem...

Marfa ( Texas ) by Frank Schott country road view in West Texas, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 46 x 72 i...

This artwork "Flowers" .1996 is a large original color lithograph on Wove paper by noted American artist Gary Bukovnik, born 1947. It is hand signed, dated and numbered 13/200 in whi...

Original large format still life photograph from Linda Rosewall's botany study series "Flora Italiana", an intensely beautiful body of works exploring the botanical splendor of Italian flowers in the natural world with highly detailed captures. Flora Italiana ( Papavero Bianco ) delicate white poppy flower petals 64 x 48 inches (162 x 122cm) signed edition of 7 40 x 30 inches (102 x 76cm) signed edition of 25 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ___________________ About the artist Linda Rosewall’s artistic path was cemented during her childhood. She was inspired by her farther, an accomplished musician and composer who raised his six children as a performing family act. The experience of traveling the United States and Canada in a small airplane piloted by her father provided the opportunity for Linda to capture these moments on her small Kodak Instamatic Camera. At the age of 18, she enrolled at Columbia College of Fine Arts Chicago. During her studies, Linda apprenticed under photographer Norman Bilisko and later worked with Dennis Manarchy...

17th Century Old Master Drawing Old master drawing with figure and putti Housed in a handsome contemporary wooden frame Drawing dimensions 4...

This artwork "Untitled, Fantastic Scene" c.1975 is an original color etching with aquatint on wove paper by American surrealist artist Michael Bowen, 1937-2009. It is hand signed in pencil by the artist. The plate mark (image) size is 14.85 x 18 inches, sheet size is 21.5 x 26 inches. It is in excellent condition, has never been framed. About the subject: Nowhere is the intertwining of metaphysical, biographic and social narratives more evident than in the Café Life series painted in the 1980’s. Though the “series” was done in the 80’s, the pieces really revive the spirit of the Beat café scene, which began in the mid-1950’s and which was so instrumental to the particular spiritual and social vibe of the counter culture. And his Café Life observations continue over his artist life with scenes, such as the ones here, from Los Angles, Bolinas, Mexico and Italy. About the artist: Michael Bowen (December 8, 1937 – March 7, 2009) was an American fine artist known as one of the co-founders of the late 20th and 21st century Visionary art movements. His works include paintings on canvas and paper, 92 intaglio etchings based on Jungian psychology, assemblage, bronze sculpture, collage, and handmade art books. An icon of the American Beat Generation and the 1960s counterculture, Bowen is also known for his role in inspiring and organizing the first Human Be-In in San Francisco. Chronicled in books and periodicals reflecting on the turbulent 1960s, Bowen's historical impact on both the literary and visual art worlds is well documented. He remains influential among avant-garde art circles around the world. He started his art career at age 17, when he joined the American installation artist Ed Kienholz in his Los Angeles studio. There he met and joined with other influential Beat Generation artists including Wallace Berman, John Altoon, and Dennis Hopper. Bowen participated in the construction of the Ferus Gallery and Now Gallery created by Ed Kienholz and curated by Walter Hopps. Bowen attended the Chouinard Art Institute for several years during his formative artistic experiences in Los Angeles. In the late 50s and early 60s, Bowen continued his spiritual training and research. He investigated and practiced a variety of occult topics, Eastern philosophies, and mysticism, and his artwork reflected these themes. Bowen is often referred to as a mystic artist. As a lifelong student of the Bhagavad-Gita, Bowen's entire career has emulated the spiritual warrior archetype of Arjuna, fighting for the Bill of Rights of the United States Constitution. Michael Bowen moved to San Francisco in the late 1950s, and along with fellow artist comrades Arthur Monroe...

Beautiful oil painting by Ernest Ange Duez depicting an elegant young lady leaning against a stone wall in a country setting. Oil on canvas Signed lower right Canvas dimensions: 12...

This artwork titled "Red Sadhu, Rajasthan, India" 1998, is a photograph (Cibachrome) by American artist Lisa Kristine, b.1965. It is hand signed, titled and dated in pencil by the ar...

Large scale photograph of reflective golden architectural abstraction In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and distilled formal purity, connecting the interior to the exterior, the visible to the hidden. These reflections cause one to linger, as they merge to create a dynamic equilibrium of tension, spaces and rythms. AD14491 (She Disappeared into Complete Silence) 60" x 45" / 152cm x 114cm edition of 8 + 2AP 40" x 30" / 102cm x 76cm edition of 8 + 2AP limited edition photograph is printed under artist supervision and accompanied by signed artist certificate: artist signature labels are 8x10 in size signed, editioned, dated and titled by the artist, and stamped for authenticity label is then placed centered on verso if the mounted print __________________ About the artist Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity’s longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art. For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn’s photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn’s distinct aesthetic has propelled her as one of the most collectible contemporary art photographers—her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena. Mona Kuhn’s first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Stanley/Barker Editions published Kuhn's Bushes and Succulents (2018) with a debut at Musee Jeu de Paume in Paris in 2019. Thames & Hudson published a career retrospective titled Works. Kuhn's most recent publication Kings Road with Steidl accompanies a multi-dimensional museum exhibition in Germany and the US. Mona Kuhn’s work is in private and public collections worldwide, including The J. Paul Getty Museum, the Los Angeles County Museum of Art, The Hammer Museum, the Perez Art Museum in Miami, the Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris, The Whitechapel Gallery and Royal Academy of Arts in London, Musée de l’Elysée in Switzerland, Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Australian Centre for Photography and Taipei Fine Arts Museum in Taiwan. Mona Kuhn currently lives and works in Los Angeles. __________________ Solo Exhibitions 2024 Mona Kuhn: Between Modernism and Surrealism, Houk Gallery, New York, NY 2023 Mona Kuhn: Kings Road, Galerie XII, Paris, France Mona Kuhn: Kings Road, Kunsthaus-Göttingen, Germany Mona Kuhn: Kings Road, Jackson Fine Art...

William Stephens Shields, Jr., 1925 - 2010 "The Manifestation" 1994 Oil on canvas 48"x36" artist framed Signed lower center William Stephens Shields, Jr., 1925 - 2010 He was born in san Francisco, in 1931, Bill moved to Texas, where he grew up. Moved to New York in 1940 and later joined the Naval Air Corps at the age of 18. He served as an Aviation Cadet in the U.S. Navy from 1943 to 1945. At the end of WWII, Bill returned to Texas. At 21, Bill re-focused his energy and enrolled in the Chicago Academy of Fine Art as an Illustration major. What followed was a whirlwind of success, great friendships and a sense of belonging he had never before experienced. Art was his calling and the art-world could not have been less prepared for the likes of Bill Shields...

This artwork titled "Tuscany" c.1970is an acrylic painting on hardboard by artist Edward (Ed) Diffenderfer b.1928 It is signed at the lower right corner by the artist. The artwork size is 22.15 x 28.15 inches, framed size is 26.5 x 32.5 inches. Custom framed in a gold frame. It is in excellent condition. About the artist: Ed Diffenderfer was born in 1928 in Stockton, California. Education: Berkeley Schools, California College Of Arts And Crafts. Experience: Instructor Of Illustration, Freelance Illustrator And Painter. Memberships, Collections, Awards: Society Of Illustrators (San Francisco) Bohemian Club; New York, San Francisco, Los Angeles and Chicago Art Shows, The Pentagon, Library Of Congress, Smithsonian Institution and Air Force Academy...

There was a time, before photography, before airplanes, a time when multi-masted wooden ships carried wonderous things to ports throughout Northern Europe. Then, a faithful rendering...

This artwork titled "Listen" 1998 is an original color lithograph on paper by noted American artist David Hollowell, b.1951. It is hand signed and num...

This still life painting composed of oil on canvas is by well-known contemporary realist Langdon Quin (1948- ). The painting was done in 1984. It measures...

This artwork titled "Left Bank Cafe, Paris" 1987 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered H.C 166/175 in pencil by the artist. The image size is 26 x 38 inches, sheet size is 32.25 x 44 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

Richard Anuszkiewicz: 1930-2020. Very important and well listed American artist. He has auction results as high as $250,000. He was the leader of what would be called OP Art short fo...

Untitled (Crimson) 40 x 40 inches / 102cm 102cm signed edition of 25 58 x 58 inches / 147cm x 147cm signed edition of 7 archival quality fine art pigment print limited art edit...

World Of Chaos, Original Painting in Acrylic on Canvas, 2021 Artist Commentary: This piece highlights the relationship between nature and humans. Keywords: light, day, abstract, wa...

large scale abstraction of floral water clouds in a liquid landscape FLORA I by Christian Stoll 25 x 40 inches (64 x 102cm) signed edition of 25 48 x 76 inches (122 x 193cm) sign...

This artwork titled "HAnnukah" from the suite "The Seven Festivals" 1981, is an original colors serigraph on Arches paper by noted Israeli artist David Sharir,b. 1938. It is hand sig...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Hemisphere' Hemisp...

observation of a Mediterranean beach scene in Nice, France, on a hazy summer day Nizza by Frank Schott 25.5 x 40 inches (65 x 102cm) edition of 25 signed 48 x 75.5 inches (122 x ...

This artwork titled "Yosemite" 1952, is an oil painting on board by noted California artist Jean Martin (Eugenia Victoria Weir Martin) 1906-1986. It is signed at the lower right corner by the artist. The artwork (board) size is 16 x 20 inches, framed size is 24.25 x 28.25 inches. Framed in original wooden gold with grey patina frame, with fabric liner. It is in excellent condition. About the artist: Eugenia "Jean" Victoria Weir Martin 1906-1986 San Diego, California Landscapes, Seascapes artist Eugenia Victoria Weir Martin was a painter and art instructor in Southern California. She was born in Tennessee on March 7, 1906. "Jean", as she was called, was brought to La Jolla, California as a small child by her parents, and remained in that area the rest of her life. Her Father was a businessman in the early stages of the development of La Jolla. He operated a General Store in the early village. They resided in "Windemere", which is now the home of the La Jolla Historical Society. At the age of 10 she studied art with a Mrs. Fletcher, an artist in residence at the 1916 California Exposition in Balboa Park. She also studied at the San Diego Academy of Fine Arts. Early in her career she also studied with Maurice Braun, Alfred Mitchell, Edward Langley...

This artwork titled "Wien Opernring" 1921, is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed by the estate in pencil at the lower center. The plate mar...

This artwork titled "Vanity" 1980 is an original sepia etching by American artist Louis Russomanno, b.1946. It is hand signed, titled and numbered 113/185 in pencil by the artist. Th...