Recognized Dealers Art

B.J.O. NORDFELDT (Swedish/American 1878 – 1955) (WINDMILL AND WORKERS). c.1900. Color pastel on colored paper, unsigned. 22 ¼ x 15”. Sheet: 24 ½ x 18 ¼”. In 1900 Nordfeldt studied ...

In Love is in the Air, Ruiz addresses the politically charged issue of fumigating poppy fields with a deeply human and spiritual tone. This series contrasts the striking beauty of p...

Lucky Luciano, 1950s by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. Lucky Luciano is a Limited Edition Estate Stamped Digital...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis...

A mask of steel aircraft cable is framed by a halo of unwound ends. Patinated in dark rust, the wall sculpture by Dale Dunning has a moody, weathered appearance. Merriam-Webster dictionary defines Nimbus as: "an indication (such as a circle) of radiant light or glory about the head of a drawn or sculptured divinity, saint, or sovereign" Dale Dunning holds a Master of Fine Arts Degree from Cranbrook Academy of Art in Bloomfield Hills...

A Compelling, Post War Modern Chicago Subway Scene by 20th Century Urban Realist Artist, Milan Kouba (American, b. 1947). Oil on canvas, dating from 1976. Signed lower right. Sign...

A Moody, Captivating 1920s Modern Paris Nocturne Scene of Notre Dame Cathedral by Notable Florida WPA Era Artist, George Snow Hill. Oil on panel, dating circa 1928. Artwork size: ...

Collecting Seashells Oil on canvas, 12 1/4 x 16 1/4 inches (31.1 x 41.3 cm) Framed dimensions: 17 3/4 x 21 5/8 inches Signed lower left: W.E. Norton Born in 1843 to a family of Bost...

A Handsome 1940s Portrait of a Seated Man by Chicago Modern Artist, Harold Haydon (Am. 1909-1994). A wonderfully executed line drawing dating from 1946 with great character; looks ...

This blue glass wall sculpture is by John Paul Robinson. This graceful composition in hand-blown glass captures the beauty of light as it travels through the medium. Often inspired ...

Fish, Janet (American, 1938-2025) TULIPS AND TEACUPS. Lithograph in colors, 1982. Edition of 43. Signed, dated and numbered 31/43 in pencil. Printed at Tamarind Institute and publish...

Untitled II, by Luis Caballero Lithography Size: 15 in H x 10.7 in W Edition 8/75 Signed in the lower right corner. Numbered in the lower left corner. Great condition with flaws. ...

ABRAHAM ORTELIUS (1527 - 1598) AMERICAE SIVE NOVI ORBIS, NOVA DESCRIPTIO, 1587 (1603) (Van Den Broecke 11, Burden 64; Schwartz & Ehrenberg 69) Engraving. A very good, well printed...

Maki's work is influenced by early Modernist Abstraction, while her combination of materials and technique make the pieces uniquely her own. This work, in subtle shades of white, gra...

Shahn, Ben. IMMIGRANT FAMILY. Serigraph, 1941. Prescott 2. Edition size unknown; Prescott knew of only 3. This copy unsigned. 11 1/2 x 18 inches (image), 19 1/4 x 25 1/4 (sheet), framed to 23 x 28 1/4 inches. This was only the second print made by Shahn, and the first serigraph, a medium in which he continued to use for his prints throughout his career. Provenance: Kennedy Galleries, with its label, George Krevsky Gallery...

Inspired by the heavens, Canadian artist Viktor Mitic has created another captivating contemporary stainless-steel sculpture finished in 24 kt. gold. One of Mitic’s Constellation ser...

For Jose Ignacio Suarez an abyss of time and space distances him from those who were the first inhabitants of the Brazilian coasts and of this vast American continent. His initial la...

This outdoor abstract figurative steel sculpture is by Robert Clarke-Ellis. The engaging, theatrical and colourful work of Robert Clarke-Ellis has found an audience in both Canada a...

Trees in the Field Mixed meia on masonite panel, 1967 Signed on the right edge oif the image (see photo) One from a series of similar examples, all with caligraphic trees and figures surrounding the composition. Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Condition: Excellent Image size: 12 5/8 x 10 inches Board size: 20 x 16 inches Frame size: 21 x 17 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans, Joseph Delaney, J. Brooks Dendy, III, James Denmark, Reginald Gammon, Moses Paul Groves, Lester Gunter, Byron Hall, William Charles Henderson, II, Leon Hicks, Nigel L. Jackson, Kenneth Vrook Johnson, Cliff Joseph, Philip Martin, Kenneth Matthews, Richard Mayhew, Dindga McCannon, Alexander S. McMath, Ademola Olugebefola, William Payne, James Phillips, Kenneth Radcliffe, Junius Redwood, Enid Richardson, Gregory Ridley, Jr., Haywood (Bill) Rivers, Donald J. Robertson, Philippe G. Smith, Ann Tanksley, Bob Thompson, Russell Thompson, Robert Threadgill, Lloyd Toone, Bennie White, Timothy Wilkins, Walter H. Williams, Ed Wilson, Frank W. Wimberley, Hale Woodruff. Sq. 8vo, stapled tan wraps, lettered in brown, illus. of wire sculpture by James Denmark.. BOSTON (MA). Museum of the National Center of Afro-American Artists. Afro-American Artists: New York and Boston. May 19-June 23, 1970. 92 pp. exhib. cat, 67 b&w illus. of work by 69 artists, exhib. checklist. Intro. by Edmund B. Gaither. Important early exhibition. Includes Emma Amos, Benny Andrews, Ellsworth Ausby, Malcolm Bailey, Ellen Banks, Romare Bearden, Robert Blackburn, Betty Blayton, Ronald Boutte, Lynn Bowers, Frank Bowling, Marvin Brown, Calvin Burnett, Dana C. Chandler, John Chandler, Barbara Chase-Riboud, Ed Clark, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Henry DeLeon, Stanley Pinckney, James Denmark, Reginald Gammon, Felrath Hines, Alvin C. Hollingsworth, Bill Howell, Zell Ingram, Gerald Jackson, Daniel L. Johnson, Milton Johnson, Ben Jones, Lois Mailou Jones, Tonnie O. Jones, Cliff Joseph, Harriet Kennedy, Hughie Lee-Smith, Norman Lewis, Tom Lloyd, Al Loving, Richard Mayhew, Edward McCluney, Jr., Algernon Miller, Joe Overstreet, Louise Parks, Stanley Pinckney, Jerry Pinkney, John W. Rhoden, Bill Rivers, Mahler Ryder, Raymond Saunders, Thomas Sills, Al Smith, Vincent D. Smith, Richard Stroud, Alma Thomas, Bob Thompson, Lovett Thompson, Russ Thompson, Lloyd Toone, Luther Vann, Paul Waters...

Medium: Lithograph Edition Size: 100 Image Size: 25.6 × 20 inches Nahum Zenil’s Otro Sueño (“Another Dream”) merges autobiography, myth, and desire into a powerful symbolic composit...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel, which he chose for its popularity. When illustrating the princ...

Claude Renoir, la Tete Baisee (Claude Renoir, Head Lowered) Lithograph, 1904 Edition 1,000, this one of 950 on wove paper with the stamp signature (there were also 50 impressions pri...

Reginald Marsh, 'Erie R.R. Locos Watering (Locomotives Watering)', etching, 1934, edition 100 (Whitney, 1969), Sasowsky 155. Unsigned as published; numbered '68/100' in pencil. A su...

Edition of 30 circus ballerina

Medium: linocut Year: 2023 Image Size: 18 x 24 inches Edition Size: 10 Undocumented immigrants scaling the wall to enter the United States, against a backdrop of butterflies flying ...

This contemporary abstract acrylic painting on paper is by Milly Ristvedt. Few artists ever attain the kind of notoriety and accolades that Milly Ristvedt has rightly achieved. Sin...

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...

The frontispiece for Hockney’s Six Fairy Tales from the Brothers Grimm portfolio and book features Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to ...

A Fine, Stylish 1930s Modern Figure Study Drawing of a Standing Male Nude Model by Famed Chicago Artist Francis Chapin (Am. 1899-1965). A wonderful, early example of Chapin's figura...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illuminated manuscripts The Virgi...

This unique contemporary outdoor sculpture inspired by nature is interactive. Oeno Gallery is proud to host the North American debut of this extraordinary interactive sculpture, “wh...

Warm and Sunny is an offset lithograph by Takashi Murakami from 2011. The image size is 27 x 27 inches and the framed size is 39 x 39 inches. Framed in a contemporary, silver-tone fr...

The single letter "Q", from the alphabet, illustrated by a quail. All letters are available, and the full set of 27 etchings in folio box is available for $3200. Animals, real and im...

This contemporary ceramic wall art was created by Heather Allen Hietala. The finely crafted wood-fired ceramics of Heather Allen Hietala are designed to tell a compelling story. Usi...

Untitled (Young woman seen from the back) Sanguine crayon, charcola and watercolor on paper, c. 1910 Signed with the estate stamp, Lugt 5169 lower left corner Provenance: Estate of ...

Untitled (Amish Farm) Watercolor, c. 1940 Signed by the artist lower right: Wm C Grauer (see photo) A masterpiece Modernist American watercolor. Condition: Excellent Sheet/Image size...

'Fish & 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 3 3/4 x 2 1/2 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 13 x 10 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...

This offset lithograph in colors from the Project for Central Park, New York City, was created in 2003. One of 300 prints hand-signed by the artist in pencil, from the unnumbered edi...

"Unzip The Earth GEO" is a playful, outdoor sculptural installation consisting of a steel zipper handle and concrete brick teeth that give the illusion...

WREN'S CITY (Wuerth. 504) by Joseph Pennell (1857-1926) . Mezzotint, 1909, signed and inscribed imp. in pencil, edition of approximately 75. Fine rich impression and condition, trimm...

John White Alexander's graceful depictions of beautiful women earned him critical acclaim both in Europe and America. However, his career did not get off to an easy start—Alexander b...

Ribera is an abstract drypoint and aquatint by Christian Bozon, dominated by a dense field of saturated blue framed by rough, irregular edges of ochre and pale cream. The composition...

Jones is a Denver native and continues to live near there at the foot of her beloved Rocky Mountains, where the light that she loves is bright and clear, and the seasons, which influ...

Andre Masson (1896-1987) Le Labyrinth (Composisiton pour XXe Siecle Panorama 69) Color lithograph on wove paper. 1969 Unsigned (as issued) From: XXe Siecle, Volume 32, 1969 Published...

This tall, blue, green, abstract, totem, bronze, outdoor sculpture was created by Viktor Mitic, a Canadian sculptor known for his inspired work. Intricately designed abstract shapes ...

Seated Ballet and Standing Ballet, 2010 by Efren Isaza Archival pigment print mounted on aluminum, intervened by the artist Overall size: 65 in. H x 96 in. W Individual size: 65 in. ...

Denied Warhol Flowers, (White) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 5 x 5" inches 2008 ...

This image is #17 of an edition of 35 Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed the black hills t...

Hunt Slonem "Delight" Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 8 x 6 inches Framed: 12.5 x 10.5 inches *Painting is...

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century are evident in the palette of greens and grays, with additional touches of violet, eggplant and ochre. The suite of...

A Spectacular, Large 1960s Mid-Century Modern Abstract Studio Still Life Painting by Notable Chicago Artist, Rudolph Pen. A painting of dy...

Ralph Cahoon Jr.'s whimsical paintings are not only lighthearted and charming, they are also the hallmark of his creativity and imagination. His playful approach to painting and info...

"Searching" unframed collage on fine art paper by artist Melanie Boone. Melanie Boone collaged center recto. Signed Melanie Boone ©, dated 1996 and title...

'Fern Forest II' is an Archival Inkjet Print by photographer Morgan Silk. It is available in this size of 17" x 24" in a limited edition of 25. 'Fern Forest II' is the second prin...

Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday r...

“The Kermesse of Saint George (A Village Festival)” is an oil on canvas painting by David Teniers the Younger (or David Teniers II) as opposed to his father, David Teniers the Elder....

From space, error is projected onto the focal point, error for man. From within, we modify the language of the elements to compose a reuse of the ordinary and bring it into play in a...

'Bird & 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 1/4 x 3 1/4 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...

This watercolour still life Monoprint of a bowl with eggs is by Pat Service. Pat Service is considered one of Canada’s finest contemporary artists. During her decades-long career, ...

HENRI JOSEPH HARPIGNIES(1819–1916) Landscape at Twilight Oil painting on canvasImage Size: 24.6”x 20.6”Signed in oil, lower left Verso: Gallery label reading “The Lenz Gallery –Mi...