Recognized Dealers Art

Robert Rauschenberg's "Untitled" (1985) dates from the early years of the Rauschenberg Overseas Culture Interchange, the decade-long touring project he conceived and largely self-fun...

To great effect, Mel Davis uses colour, shape and patterns to convey emotion in this abstract composition. The palette is dramatic—rich tones of blues, green, orange and burgundy. ...

Victorian Arrangement, 1864 Oil on canvas 27 x 20 inches (68.6 x 50.8 cm) Framed dimensions: 32 x 24 3/4 inches Signed and dated lower right: G.H. Hall / 1864 Provenance Private col...

A Bit of New England Oil on canvas,, 1908 Signed lower left corner: L. O. Griffith Condition: Excellent Canvas size: 26 x 38 inches Frame size: 33 3/8 x 45 1/4 inches Note: origi...

Three rings of stainless steel, polished to a high sheen on the interior and matte black on the exterior, intersect at dynamic angles in this elegant sculpture by Philippe Pallafray....

This large-scale contemporary painting by Milly Ristvedt explores colour in abstract form. A masterful, award-winning colourist, Milly Ristvedt’s elegant abstract paintings hang on...

Jesse F. Reed, 'Church at Chichicastenango', color etching and aquatint, 1963. Signed and titled in pencil. Signed and dated in the plate, lower right. A fine, richly-inked impression, with fresh colors, on cream wove paper; the full sheet with margins (1 3/8 to 2 1/2 inches), in excellent condition. Chichicastenango, also known as Santo Tomás Chichicastenango, is a town in the El Quiché department of Guatemala, located in a mountainous region about 140 km northwest of Guatemala City. Chichicastenango is a K'iche' Maya cultural center, with the great majority of the municipality's population indigenous Mayan K'iche. The church depicted is the 400-year-old church Iglesia de Santo Tomás. Built atop a Pre-Columbian temple platform, the steps which remain venerated today, originally led to a temple of the pre-Hispanic Maya civilization. K'iche' Maya priests still use the church for their rituals, burning incense and candles. Each of the 18 stairs that lead up to the church stands for one month of the Maya calendar year. ABOUT THE ARTIST Jesse Floyd Reed (1920-2011) studied art in New York City at the Grand Central School of Art and the Art Students’ League. He held degrees in History and English and completed special advance studies in Asian, African, and Latin American art, history and culture. At the time of his retirement, he was a Professor of the Arts Emeritus at Davis & Elkins College, a position he held for over forty-nine years. A nationally recognized artist since 1947, Professor Reed’s art has been shown in hundreds of museums, libraries, colleges, and universities, including the Boston Museum, National Museum, The Library of Congress, Brooklyn Museum, and Seattle Museum. In his native West Virginia, he is represented in the permanent collections of the Huntington Museum and the Charleston Museum at Sunrise. The recipient of many national and regional awards, Reed was a member of the Salmagundi Club in NY, the Boston Printmakers, the Print Club of Albany, and was a founding member of the West Virginia Water...

A wonderful 1941 Urban Realist watercolor of Chicago's Old Town neighborhood that features an old car, titled "Wells & Eugenie" by Albert Rudin. Image size: 11 1/2" x 15 1/2". Fra...

Artist: Marino Marini Medium: Lithograph, 1955 Dimension: 29.25 x 21 in

This sculpture weighs approximately 80 pounds it sits vertically without a base. This item can be purchased on commission basis, please allow 8 - 12 weeks before shipping. Smooth s...

Artist: Jean-Marie Fonteneau Medium: Original Lithographic Poster, 1974 Dimensions: 27 x 18 in, 69 x 46 cm Velin Poster Paper - Perfect Condition A+ This poster was created to p...

This lithographic poster was designed after a gouache by Raoul Dufy, "Le Grand Concert" 1948, for the second Festival of Painting and Sculpture in 1957 in the town of Vichy, France, which was sponsored by the Lions Club...

A stylish, colorful 1950s Mid-century Modern abstract geometric textile design (depicting a polychrome patterned design of banded ovals in red, blue and green tones) by famed French ...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

This piece is available on a commission basis. Please allow 8 - 12 weeks before shipping. Smooth surfaced, engineered white marble flecked almost imperceptibly with grey and black, ...

Published in 1990 by Rosenthal, Germany, Roy Lichtenstein’s, Water Lilies is an exquisite glazed porcelain charger, brilliantly colored, accompanied by signed certification. Stamp si...

A lively 1950s Mid-Century Modern New York City Social Realist street scene, "Demolition of the Old Convent on Madison Ave." by notable Artist, Henry Ives Cobb, Jr, (1883-1974). Ar...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer ...

Frank Samuel Eastman (1878-1964) Self Portrait Oil on canvas Canvas - 34 1/2 x 26 1/2 in Framed - 40 x 32 in Provenance: by descent from the artist Frank Eastman...

Original stone lithograph with hand-coloring from "The Quadrupeds of North America. Octavo Edition" by John James Audubon. Plate LXI. Phil...

Interior with a red shawl conveys a quite different mood and feeling: one of calm, and suspension of time. Here the suggestion is that the woman is waiting ...

'Butterfly & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 5 1/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

The location of this early oil pastel drawing was identified by other pieces from the same drawing book. The oil pastel was a new invention - just on the market in 1921 and it appea...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

This surreal etching portrait of Dorian Gray by Jim Dine in blue ink features the literary protagonist dressed in a white suit. His face is obscured by a mass of hair, tangles of whi...

This contemporary pair of ceramic wall plates is by Bruce Cochrane. The striking clay artwork of this Canadian artist has garnered him international attention, including several nom...

Ana Maria Pacheco portrays the fear and feelings of the displacement of refugees cowering beneath helicopters overhead. The title of the work refers ...

Study of an Italian Town with Women in a Doorway Graphite on cream wove paper, c. 1960 Signed by the artist in pencil lower right (see photo) A master of "Magic Realism," French was ...

This large contemporary clear acrylic sculpture of a piano was inspired by the artist’s love of music. This beautiful and magical piece of modern art is the unique vision of an award-winning author and music lover. Years ago, Ruth Kassinger noticed how sunlight streaming through her living room windows bounced off white walls, through a glass coffee table, and splashed rainbows around the room. When her eyes drifted to the black baby grand piano in the room, she had an epiphany. The idea for a full-scale, transparent piano sculpture filled with colors was born. To create the piano, she worked with a talented team of acrylic glass artisans who created the piano’s body and its keyboard. Using laser technology, thousands of holes were drilled both by computer and by hand to ensure that all of the threads are perfectly parallel. Then, using small acrylic boxes as models, Kassinger spent a year testing various threads to determine spacing and color combinations until they expressed her vision of music. “It takes me months to thread a piano. I use embroidery needles that I manipulate with long-handled surgical forceps. The highly polished, clear acrylic form allows light to flow through the sculpture, illuminating the thousands of multi-hued nylon and French silk threads. The threads change color as you move around the piano and, thanks to an optical phenomenon called moiré, they appear to move as if being played.” Kassinger is best known for her books about science, history, and gardening. As a science writer, she has studied and written about the concepts of transparency and color. As a music lover, Kassinger’s personal experience of listening to music is heightened by a form of synaesthesia where she actually sees colors when she hears music. And, having grown up in a family of craftsmen (her parents had a custom furniture business and she later designed several pieces for her own home), she has the skills to undertake her first sculptural piece: a ‘glass’ piano...

Clustered and sensuous oblong forms in translucent red glass have a smooth polished surface like the fruit that surrounds pomegranate seeds. A single seed sits next to the cluster. T...

Engineered black granite is sculpted by Jeremy Guy into an elegant swirling abstraction inspired by the flocking behaviour of starlings. Called a murmuration, this phenomenal aerial ...

DOEL REED (1894 - 1958) HARVESTERS, c. 1954 Aquatint in sepia. Signed and numbered in pencil, Image 11 1/2 x 17 ¾". Sheet with deckle edges 13 ¾ x19 3/8”. In good condition save ...

In Cup, Sean Caulfield transforms a familiar vessel into an enigmatic and symbolic form. Rendered with the rich tonal depth characteristic of mezzotint,...

A pretty, mixed floral bouquet fills the canvas with joyful colour in this still-life painting by Pat Service. The Canadian artist explored the traditional art form in the 1990’s but...

A heart-shaped symbol in bright red and white crowns a stack of sculptural pieces in this playful abstract work created by Viktor Mitic. Swift was inspired from photos and sketching'...

Cosmos 20 by Karine Laval is a Limited Edition Chromogenic Print Cosmos 20 is available in this size of 16" x 20" from a Limited Edition of 9 prints Cosmos represents a new chapte...

Otto Kuhler, 'The Furnace', drypoint, edition 26, 1924, Kennedy 5. Signed and annotated 'Drypoint. Ltd Ed. Del. et imp.' in pencil. Titled in pencil, in the bottom center sheet edge....

Layered petals of white glass frit are composed within a black lacquer frame by artist Cheryl Wilson Smith. Wilson Smith's work is created by forming minute glass particles, known as...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) FRUIT FOR SALE c.1928 Color block print. Signed “The Gearharts” and titled. This is an original block print from “Let’s Play”, an...

This contemporary abstract acrylic painting is by Carol Sutton. A flurry of colourful gestural brushstrokes dances across the canvas in this engaging acrylic painting by artist Caro...

Composition Woodcut, c. 1935, printed 1966 Signed in the block lower left (see photo) This is the first printing of this image. Created in 1935, it was never printed during Kandinsky's lifetime. It is a POSTHUMOUS printing. Published by Gualtieri di San Lazzaro, Éditions XXe Siècle, Paris Issued in XXe Siècle, nouvelle série, no. 27, December 1966, Centenaire de Kandinsky Unsigned and unnumbered, as issued Edition commonly reported as approximately 2,000 Condition: Excellent Image size: 9 1/8 x 10 15/16 inches Reference: Roethel 24b Created in 1935 but apparently left unprinted during Kandinsky’s lifetime, Composition was first issued posthumously in December 1966 in the Kandinsky centenary number of the Parisian art review XXe Siècle. The woodcut was printed from Kandinsky’s original block rather than reproduced photographically. It is therefore properly described as an original, posthumously printed woodcut—not as a reproductive print “after” Kandinsky. Contemporary documentation identifies the composition as having been cut by the artist in 1935 and first published by Éditions XXe Siècle in 1966. Publication details and dimensions The print belongs to Kandinsky’s final period, begun after the closing of the Bauhaus and his move from Germany to Neuilly-sur-Seine, near Paris, in 1933. Its vocabulary differs markedly from the romantic landscapes, horsemen and apocalyptic subjects of his early Munich woodcuts. The forms are now self-contained and biomorphic: circles, hooks, floating linear elements and irregular organic silhouettes coexist within an open field. Although nonrepresentational, they suggest minute organisms, astronomical bodies or signs belonging to an invented visual language. The black-and-white medium gives the image unusual clarity. Solid forms function like sustained musical tones, while thin lines, dots and isolated marks provide accents and intervals. Areas of untouched paper are equally active, allowing the components to float without conventional gravity or horizon. Kandinsky organizes these elements through visual tension rather than perspective: large and small, dense and open, curved and angular forms establish a rhythmic equilibrium across the sheet. The woodcut process was fundamental to Kandinsky’s development. Its demand for simplification encouraged him to reduce images to essential contrasts of shape, line and ground. Nearly two-thirds of his approximately two hundred prints were made between 1900 and 1911, and his increasingly abstract woodcuts for Klänge played a decisive role in his movement away from representation. MoMA’s Kandinsky printmaking overview In this late composition, Kandinsky returned to the medium with the more refined geometry and organic imagery of his Paris years. The circumstances of the 1966 publication are integral to the work’s history. XXe Siècle, directed by the Italian-born critic and publisher Gualtieri di San Lazzaro, regularly included original prints by major modern artists. Issue no. 27, entitled Centenaire de Kandinsky, commemorated the hundredth anniversary of Kandinsky’s birth. It contained two original Kandinsky woodcuts...

Arms, John Taylor (American, 1887-1953). DOWNTOWN, NEW YORK. F.108. Etching and Aquatint, 1921. Edition of 75. Numbered 19/75 and signed and dated 1921, all in pencil. 8 3/8 x 4 7/8 inches, 214 x 125 mm (plate) plus margins. Framed to 16 1/4 x 12 1/2 inches with the label of The Old Print Shop...

Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that gave rise to the idea of ​​the purely abstract Zen garden that inspired this series Francisco Larios’ works are done by...

Donald Vogel was inspired by gardens throughout his painting career. Before moving to Dallas, as a student at the Art Institute of Chicago in the late 1930's, Vogel's studio was a block away from Chicago's Lincoln Park...

A colorful, blustery painting of sailing off the coast of Martha's Vineyard by famed Chicago Modern artist, Francis Chapin. Painted in the early 1950s, the painting depicts a vibran...

George Rogers, 'Sculpturegraph' (Black, Gray, and Silver), color sculpturegraph, edition 40, 1984. Signed, dated, titled, and numbered '25/40' in pencil. A superb, richly-inked, pain...

The blurring of time and space captured in time-lapse photography while the photographer is in motion has resulted in patterns and colours that here resemble a long coastal breaking ...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Arms, John Taylor (American 1887-1953). SHADOWS OF VENICE - IL PONTE DI RIALTO, VENEZIA. Etching, 1930. Edition of 140 + 14 Artist's Proofs. 10 x 12 inches (Plate), 11 3/8 x 157/8 in...

A striking example of Fernando Botero's iconic style, "Woman with a Stole" captures the Colombian master’s signature exploration of volume, form, and sensuality. Executed in 1972, th...

This illustration was created for the Hills Brothers Coffee company in 1929 and was used on promotional products as well as coffee cans in the years thereafter. Literature: Laur...

A collaborative project, artist Javid Jah and fabricator Alex Akbari of Qube Inc. re-designed this series from a recent public art exhibition in downtown Toronto, which was exhibited in collaboration with Roger Mooking and Wyandot artist Catherine Tammaro. The dynamic geometric form of the three pieces—Terra, Aqua and Aero (the elements of earth, water and air) is inspired by the ideas of cosmology (the study of the universe) and sacred ancestral principles. Forged from steel, light shines through the intricately detailed pattern of perforations on the surface. Each individual sculpture can also be used as a wood burning or gas fire pit...

Konishi Hirosada, 'Kurofune' (Kabuki scene), color woodblock print, Kamigata chūban triptych, 1851. Signed in black ink in each panel. A fine impression with fresh colors, on Japanes...

Listing includes free shipping, and a 14 day return policy. The artwork will ship from London. Immaculate Conception, Villa De'este (2015) 24 ...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Black and white print from limited edition of 50. Paper size: 16" x 20" Print size: 12" x 16" Pete Townsend is a striking portrait, on fibre paper, from iconic 20th Century photogr...

The uniquely magical kinetic sculptures of American artist Lyman Whitaker translate an unseen force of nature-the wind into a visible, graceful and mesmerizing dance. As a master in...

Eye of the Storm is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 231/275 (there were also 100 Roman and 20 AP)....

A color photograph showing a young woman in boots with a pack of Marlboro