USA - Art

Early modern black and white sketch by iconic Houston based artist David Adickes. Pulled from a collection of previously undiscovered sketchbooks, this work serves as a peak behind t...

"Shepherd with Montbèliarde Calf"  Julius Paul Junghanns (1876 - 1958)  Oil on canvas 23 7/8 x 30 (35 x 41 frame) inches Signed l.l and dated "34" and signed on the verso Private Ita...

Leo, 2018, collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.

Chuck Close Untitled Daguerreotypes, 2001 Two (2) pigmented digital output iris prints from daguerroeotype printed in a single sheet of wove paper 22 × 29 1/4 inches Signed in pencil, dated and numbered on the front from the edition of 100 Unframed The present work is a pencil signed and numbered daguerreotype that is part of the 2001 “Doctors of the World” series. Close has said “I’m not interested in daguerreotypes because it’s an antiquarian process, I like them because from my point of view, photography never got any better than it was in 1840… Photographs are often so big now that twenty or thirty people can view one at the same time, but a daguerreotype is the most intimate image made with a camera, because it is small and only one person can look at it.” Printer: Universal Limited Art Editions, East Islip, New York / ULAE & Brand X Editions Publisher: Doctors of the World / Art of this Century, NY Literature: "The Art of Healing" which catalogues the works from the portfolio. Chuck Close Prints...

This is a contemporary black and white photograph of American Wild Mustangs. "They represent the ultimate expression of American freedom" - Wild Horses 40x60 Edition of 10 Signed an...

This glazed porcelain vase by Jon Puzzuoli features a burnt umber and white body and a wide neck finished with 18K gold luster. The artist's stamp is located at the base of the sculp...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

Remnants of our consumer culture keep finding their way into my work. Our visual lives are cluttered with packages, clothing and furnishings that come at us in a swirl of color and p...

A wonderfully detailed interior genre oil painting by Flemish artist Louis Tielemans (1826-1856). Tielemans was born in Anvers, and became known for his active genre scenes, emulatin...

Elizabeth Catlett (1915-2012) BRONX COMMUNITY COLLEGE THE CITY UNIVERSITY OF NEW YORK Specially commissioned art poster designed in 1992 by Elizabeth Catlett, printed in 4-color of...

Medium: original soft ground etching. Catalogue reference: Delteil 12. Executed in 1906, this lovely impression on cream laid paper is from the rare 1906 first edition of "Histoire d...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

CHILDE HASSAM (1859 – 1935) OLD CHINATOWN - SAN FRANCISCO 1904 (Cortissoz 95 i/iii?) Etching, 5 ¼ “ x 5”. Signed and dated in the plate and with his cypher in pencil. An early state before additional work as in the example at Cornell University. Very Scarce print. On old ledger paper. Sheet 9 5/8” x 7”. Pre San Francisco earthquake. Based on a rare photograph by Arnold Genthe...

Jean Sariano, Algerian/American (1943 - ) - Working Proof, Year: 1979, Medium: Intaglio Etching and Aquatint, signed and numbered in pencil, Edition: 300, Image Size: 18.5 x 16.5 i...

"Chrysalis" Nude Photography 36" x 24" in Ed. 1/7 by Aaron Mcpolin Archival Giclee Print & Museum Framed NOT framed. Ships in a tube. OTHER SIZES AVAILABLE: Edition of 15: 24 x...

Although best known for his portraits, Katz has depicted landscapes both inside the studio and out of doors since the beginning of his career. This print of a boat on the water feat...

Artist: Roberto Matta, Chilean (1911 - 2002) Title: Porol-Vua Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 97/100 Image Size: 20 x 28.5 inches Size: 22 x 29....

Rare 1940s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of MIKE CARVER, Mr. Michigan 1948. Photograph is 8 x 10 inches. Douglas Ju...

Nicely painted early American impressionist seacape painting by Elmer Ellsworth Garnsey (1862 - 1946). Oil on board. Framed. Signed verso. Image s...

Marc Chagall in His Studio, France, 1984 by Jean-Michel Voge is a 23.4" x 16.5" archival pigment print edition 2/5 printed by the artist on Japanese Awagami handmade paper -- signed ...

The contemporary work on paper is both art and photography, highlighting color fields. Tell Me A Story I, 2025 by Roberta Fineberg (RF) is 16 x 16in on Hahnemuhle paper, an origina...

Alexandra Manukyan’s “Crimson Murmurs” (2024) is an original oil painting executed on linen mounted to aluminum gallery wrap, measuring 30 x 24 inches (32 x 26 inches framed). This e...

Helen Frankenthaler A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned & Unnumbered) Limited Edition - though exact number produced unknown 37 × 25 inches Unframed This was printed in the artists lifetime - making it more collectible - on the occasion of the exhibition, "Helen Frankenthaler: A Paintings Retrospective from February to April, 1990 at the Los Angeles County Museum of Art (LACMA) Print is published by Editions Limited Galleries, San Francisco for Los Angeles County Museum of Art (LACMA), LA, CA The work depicted is Helen Frankenthaler, The Bay, 1963, acrylic on canvas, Detroit Institute of Arts, Michigan (Incidentally, this beautiful work is featured on the cover of the book Water and Art' by David Clarke.) Accompanied by gallery issued Certificate of Guarantee “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

BIG OLIVES, LITTLE OLIVES is a hand drawn, pencil signed limited edition lithograph by the well known and loved British artist and humorist, Beryl Cook(1926-2008). Printed in 1986 using hand lithography techniques on archival Arches paper, 100% acid free. BIG OLIVES, LITTLE OLIVES presents a humorous piano bar scene depicting a lively group of night club patrons enjoying their cocktails as they enthusiastically sing along with the debonair piano player giving the viewer a true feeling of merriment in this quintessential Beryl Cook image. BIG OLIVES, LITTLE OLIVES is a warm, colorful interior scene printed in shades of golden brown, black, red, blue, lavender, purple, green, orange, pink, peach, gray, and beige. BIG OLIVES, LITTLE OLIVES is one of Beryl Cook's most loved images - the edition is SOLD OUT, this is a rare unsigned printers proof aside from the numbered edition from the master printers private collection, stamped legend on verso with provenance information. Print size - 27 x 27 inches, UNSIGNED Printers Proof, unframed, excellent condition Edition size - 300 plus proofs Year published - 1990, printed at JK Fine Art Editions Co. NYC Beryl Cook's unique artistic humor documented familiar social situations...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a deep purple lavender background with thick use of...

Lady Daphne Cameron (Mrs George Cameron) on a tiger skin rug in the trophy room at socialite Laddie Sanford's home in Palm Beach, Florida, 1959. Slim Aarons Beauty and the Beast 19...

André Masson, French (1896 -1987) - Amours légendaires, Year: 1959, Medium: Etching, signed and numbered in pencil, Edition: 7/30, Image Size: 11.75 x 9.75 inches, Frame Size: 2...

Zaida del Rio (Cuba, 1954) 'Hojas' (Portrait of a woman #3), 2016 A/P (Artist Proof) Digital print on paper 11.1 x 8.3 in. (28 x 21 cm.) Hand signed in pencil. Unframed Ref: DER-203 ...

Screen print on Lenox museum board. Hand signed lower front by Andy Warhol. Hand numbered 3/60 lower front (there were also 10 AP's, 3 PP's and 15 TP's). Each print is unique. Pu...

A hyper-realistic glass sculptor, Dylan's playful creations deceive the eye with their lifelike appearance. Whether mimicking water balloons or plastic bags filled with water housing...

Farm Lane In Spring oil/canvas 12 x 16 unframed, 17.5 x 21.5 framed An plein air oil painting on canvas that showcases the beautiful light of an early spring day with a view of a flo...

This is an Peter Max mixed media “new moon” acrylic on paper . Measures 47x44. Condition is good some minor frame wear. No coa but has registration code on the back from park west.

The Lapis III Irene Rice Pereira, American (1902-1971) 1954 Watercolor and Ink on Paper, signed, dated and titled Size: 12 x 15 in. (30.48 x 38.1 cm) Frame Size: 14 x 17 inches

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

James Childs (1945-2020) 2012 Signed and dated, l.l. Graphite and charcoal on paper 24 x 19 inches Contact gallery for price.

Pigment Print All available sizes & editions for each size of this photograph: 21” x 26" Edition of 7 32” x 40" Edition of 7 44” x 55” Edition of 10 59” x 73.5” Edition of 5 While ...

Sagittarius, 2018, digital collage print, surreal figurative, astrology, astrological sign, metallic gold edge, on glossy heavy card stock with pink art deco design on reverse.

360 Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2024 Style: Classic Art Title: Peacock Size: 12 x 16 inch, ...

Antique American impressionist beach seascape oil painting. Oil on canvas board. Framed. Measuring 11 by 14 inches overall and 9 by 12 painting alone.

Waddell's paintings are a combination of rough marks, thick paint, transparent elegant strokes, and, on a few occasions a slow, hard line scratched into the canvas. You can feel the ...

A hyper-realistic glass sculptor, Dylan's playful creations deceive the eye with their lifelike appearance. Whether mimicking water balloons or plastic bags filled with water housing...

"Superficie 324" is a 1988 screen print (serigraph) of a 1959 painting by Capogrossi. This is one of his famous "comb" or "fork" works that he perfected in the 1950s and continued to create for the remainder of his life. The blocks of primary red and yellow colors give a bright, joyful feel and contrast to the strong bold black that was Capogrossi's consistent color for the "combs". With no allegorical, psychological, or symbolic meanings, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi's signs determined the construction of the pictorial surface. This piece is identified along one side: Giuseppe Capogrossi By SIAE 1988 Silvio Zamorani Editor Via Saccarelli, 9 10144 Torino Italy Tel. (39)(11) 4730554 Progetto Grafico (Graphic Project): Studio Walter Benjamin. Serigrafia (Screen Print): BISI Torino. Capogrossi was born in Rome. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artists and acquaintances Fausto Pirandello, Corrado Cagli and Emanuele Cavalli...

This delightful winter landscape painting portrays a quaint rural village scene set along a frozen river or pond, likely in the 19th century. The composition is centered around a gro...

Contemporary modernist American portrait oil painting. Oil on canvas. Signed. Measuring 20 by 40 inches.

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

The „Camel Print" represents a peaceful picture of an animal in the desert. Size: 34 x 24 inch Material: Coventry Rag 320gsm paper Medium: 6 colour silkscreen Edition of: 100 Signa...

Paper Size: 59.75 x 30.5 inches ( 151.765 x 77.47 cm ) Image Size: 59.75 x 30.5 inches ( 151.765 x 77.47 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Paris: Mourlot Press, 1964. Lithograph in colors on Velin d’Arches paper, 6 3/4 x 10 inches (170 x 253 mm), full margins. Published by Fernand Mourlot and Jean Adhemar, 1964. In ver...

Blackmon's images offer a fantastic and surreal commentary on contemporary American family life while referencing a 19th Century Flemish painting – they are intricate tableaux, combi...

Lustrous blues and golds abound in this original and highly unique contemporary oil and resin painting on canvas from acclaimed American abstract artist Erin Parish, Parish's tradema...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

Medium: pochoir (after the mixed media collage). Printed in Paris at the Daniel Jacomet atelier and published in 1960 by the Berggruen Gallery. Image size: 6 x 3 3/4 inches (153 x 96...

A stunning jewel and pertinent example of Berthelsen's charming Still Life scenes. Here we find a white rose and two crimson flowers in a white vase set on top of a wooden glossy tab...

Tranquility - 2019, 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid, not mounted. Signed on the back and with certificate. Artist in...

The Rolling Stones "Mick Feeding Goat" - Outtake from the famous photo shoot of The Rolling Stones for their Beggars Banquet album at Sarum Chase mansion, ...

Gregory Block's (US based) "Over and Under" is an original, handmade abstract painting in pink, green, yellow and blue. About the Artist: Gregory was born in Kansas City, Missouri,...

Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address. The ...