Recognized Dealers Art

RINKO KAWAUCHI (*1972, Japan) Untitled, from the series 'Illuminance' 2011 C–type print Sheet 103 x 103 cm (40 1/2 x 40 1/2 in.) Edition of 6; Ed. no. 3/6 framed Reminiscent of Japa...

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalt...

A Finely Drawn 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, ea...

Signed lower right: Emile A. Gruppe Emile Gruppe once said, “If you want exacting details in a painting, then you might as well look at a photograph. I make an impression on a canva...

The exquisite still life can be paired with another still life with apples (symbolizing spring and autumn) also published on 1stdibs. Gianluca Corona expresses the values of the mo...

Boris Lovet-Lorski, Untitled (Portrait of an African Woman), lithograph, edition 250, 1929. Signed and numbered 13 in pencil. Number 13 of Volume 2, a series of 10 lithographs publis...

Abstract print in earth tones from a series inspired by ground cover and vegetation. Signed, titled and numbered in pencil, this is #2 of 4. Charles Eckart was born in Oakland, Cal...

The project is based in the contrast of the two images, the air waybill and the postage stamp, from different times but similar in their function. The artist seeks to enlighten the c...

Andrew Kent David Bowie, Tour, 1976, printed 2016 Signed, titled, dated, & numbered in ink on recto Archival Chromogenic Print Paper 16 x 20 inches; Image 12 x 18 inches, framed ...

The majestic Moose is just one of many iconic Canadian images to which contemporary artist Charles Pachter has devoted many pieces to. Rendered in a neutral palette this framed litho...

Listing includes free shipping for unframed prints and a 14 day return policy. Joan Didion by Julian Wasser 20 x 16 inch gelatin silver print Edition 3 of 15 Signed on verso by Julian Wasser *Please inquire for international shipments. Quotes will be provided at cost via FedEx. Description - Julian Wasser started his career in photography in the Washington DC bureau of the Associated Press where he met and accompanied the famous news photographer Weegee – who would become a lasting influence on him. In the mid-60s Wasser moved to Los Angeles as a contract photographer for TIME, LIFE, and FORTUNE magazines and becoming internationally known as the go to guy for getting candid but memorably composed photographs. (His iconic images of Jack Nicholson and Anjelica Huston; Marcel Duchamp and Eve Babitz; and a young Jodie Foster are already classics.) In 1968 TIME Magazine assigned Wasser to go to the home of the young writer Joan Didion whose book Slouching Towards Bethlehem was becoming a literary sensation. “I’d read her fiction,” said Wasser. “and she didn’t miss a thing. She was such a heavyweight person.” Wasser shot Didion at her rented house on Franklin Avenue in Hollywood, where she lived with her husband, the writer John Gregory Dunne, and their daughter, Quintana Roo. “It was a nice, cozy house,” Wasser remembers. “And she was a very easy person to talk to...

This monumental, contemporary, abstract, stainless steel sculpture was created by American sculptor Mike Hansel. Hansel has collaborated on public installations of outdoor sculptures...

Getting Ready for the Revolution - Learning How to Ride in the Subway Litho crayons on illustrator’s board, c. 1932 Signed: Adolf Dehn (VED) lower right corner (signed by Virginia Dehn, the artist’s widow) Tilted along the upper edge of the recto in pencil by the artist Verso inscriptions: “VF 3168.D” in a circle, also annotated in red pencil “32” in a circle and “699 Provenance: Mary Ryan Gallery, exhibition entitled Adolf Dehn Lithographs, 1927-1940, Nov. 16 to Dec. 12, 1982. The original exhibition notice us affixed to the backing board of the frame Note: A drawing intended or used in the publication Vanity Fair, for whom Dehn worked in the mid 1920’s to the 1930’s. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Signed lower right: John Whorf Provenance Private collection Sand Dunes, Cape Cod amply demonstrates John Whorf’s expert handling of the watercolor medium. The fluidity of his styl...

Hero as a Riddle (1963) depicts a smiling head printed in gold, silver, and black. The shapes and lines composing the figure’s face are architectural and geometric: the eyes are comp...

"Group of Carnations" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, co...

'Birds & 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 s...

The paintings resists framing in concepts, it overflows the contours and borders of rationality. It is through the presence of color, combined with an abstraction at times with expre...

Medium: etching and aquatint Edition of 120 Year: 2023 Image Size: 4 x 5 inches Signed, titled and numbered by the artist. The view west from Cypress Island off the coast of Washin...

Lyon has been called "San Francisco's Brassaï," and has also been compared to Cartier-Bresson, Atget, and Andre Kertesz, but with a San Francisco twist. The lifelong San Francisco Native happily admits his debt to those icons.

 Now at eighty-eight years old, his nonstop career reaches back to the early 1940s and embracing news, fashion, architecture, advertising, and food. In the golden years of magazines, his picture credits were everywhere from LIFE to VOGUE. He is now combining his extensive picture files for galleries, publishers, and print collectors. c) The Estate of Fred Lyon Courtesy. Peter Fetterman Gallery

In this expressive work by modernist Burton Kramer multi-coloured geometric shapes appear to dance rhythmically across the canvas. A capriccio is a short, lively, free-form piece of ...

Hells Angel on his Hog Pen and ink on paper, 1969 Signed 'Longstreet' lower right (see photo) Titled and dated upper right Condition: excellent Image/Sheet size: 11 x 8 1/2 inches Pr...

In Márquez's work, we observe a new openness to nature and landscape. Although a study of his paintings from the early 1980s to the present would reveal a predilection for undefined ...

estate stamped, numbered, and signed by the Estate Representative Oliver Halsman Rosenberg Archival Pigment Print 16x20 Edition of 50

The more transcendental the representation, the more it tends to evoke it through its prodigies. Such is the case of the Double standard series in the words of the artist "It is a pr...

"Magic Circus" lithograph by Michel Delacroix. Hand-signed MIchel Delacroix. Hand-numbered XX/C. Depicts a circus, complete with elephant and horses, traveling through a French city...

Photographer Michael James O'Brien documented with beautiful and unique images the final part of Matthew Barney's lyric opera cycle about a tragic love story set in romantic Budapest...

HIROSHI SUGIMOTO (*1948, Japan) 267 Arcadia, Milan 1998 Gelatin silver print Image 119,4 x 149,2 cm (47 x 58 5/8 in.) Framed 152,4 x 182,2 x 7,6 cm (60 x 71 5/8 x 2 3/4 in.) Editi...

Edition of 3 Acquired by current owner from Sotheby's Sale in 2021 Other works from this series have been acquired by The Whitney Museum of American Art, MOMA, National Gallery of ...

A Radiant, 1950s Mid-Century Modern Studio Portrait of a Seated Female Nude Model. Painted in a sensuous color palette of wonderfully expressive reds and cool creams, the painting e...

Berthe Etching with drypoint, 1883 Signed in the plate (see photo) This etching was inspired by an 1882/3 pastel which the artist included in his ambitious "Femme a Paris" exhibition at Galerie Sedelmeyer, Paris, in 1885. Reference: Beraldi 65 Wentworth 74, published state Tissot 76 Condition: Excellent Plate/Image size: 14 1/4 x 11 inches Sheet size: 19 1/2 x 15 inches Frame size: 23-1/2 x 20-1/4 inches Donald Morris Gallery, Birmingham, Michigan (Morris had a distinguished collection of Tissot prints...

Donald Grant (1924-2001) Horses in a paddock Signed lower left Oil on canvas Canvas size - 24 x 36 in Donald Currie Grant was born in 1930 in North Shiel...

A Large, Vibrant Mid-Century Modern California Landscape Painting by Listed American Painter, Rudolph Pen. A lush depiction of a verdant green valley and surrounding hilltops, paint...

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...

Frank Waller (American, 1842-1923) House in the Country Oil on canvas, 10 1/2 x 20 1/4 inches FRAMED: 16 x 26 inches (approx.) Signed and dated at lower left: "Frank Waller Study 19...

Striking organic shapes in bright red provide dramatic contrast in this cream felt tapestry by fabric artist Chung-Im Kim. Kim meticulously hand stitches together small pieces of ind...

A charismatic, 1920s charcoal on paper drawing of a dapper young man seated beside a pint glass by famed Chicago artist Francis Chapin. Image size: 12 x 9 inches. Matted size: 18 x 14 inches Estate stamped on reverse. Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington & Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). Chapin’s contemporaries among Chicago’s artists included such luminaries as Ivan Le Lorraine Albright...

William Gottlieb 1917-2006 Ella Fitzgerald with Dizzy Gillespie with Ray Brown & Milt Jackson, 1940s Signed & titled in ink on recto Gelatin silver print 20 ...

This is a great sculpture with real gravitas and elegance. A great conception in terms of the forms and planes. Can be a star piece in a room - stone and surface are very attractive! Active primarily in the mid to late 20th century, Leo De Beer...

Hunt Slonem "John" Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 8 x 6 inches Framed: 10.5 x 8.5 inches *Painting is fra...

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...

A stylish, vintage, 1940s fashion study featuring an elegant design for a woman's formal dress, evening wear. Inscription reads: "Gold rayon and wool Bengaline dress suit for movie ...

A student of the great French academic Bouguereau, Lobrichon has done a moving and entrancing depiction of a young girl mid-gaze. Beautifully painted and done in a circular format t...

In the late nineties, and after traveling to regions as diverse as the Amazon basin and the Chihuahua desert, Ríos began to develop a body of work through which he addressed the mean...

Signed on the front of the print. Printed circa 1927.

Fonfria's work explores human behavior and social rules with a critical eye and humor, touching on personal themes such as dreams, fears, and memories. The images come from old magaz...

Flora 11, 2015 - Summertime Wildflower Meadow Grasses Frozen in Ice Color Print Flora 11 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limi...

David Sorensen’s brightly coloured abstract work is visually arresting, fresh and modern. The venerated Canadian artist was initially inspired by the vivid palette of Mexico where he...

This offering comes as a pair of two original photographs made by Edward Weston. Cats at Doorway is initialed and dated on the front of mount. Cats on Rock is unsigned.

Watercolour & Charcoal on paper Paper size: 12 x 10 inches Framed size: 19 x 16 inches Signed lower left

Original cover for The Saturday Evening Post magazine, published May 14, 1932 Joseph Christian Leyendecker’s Circus Bareback Rider (1932) is a standout example of his work for The S...

This stunning outdoor sculpture by American artist Jason Kimes was inspired by the remarkably complex and beautiful shape of a bird’s nest. Forged from polished stainless steel; each...

" The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with express...

Imprints/I am Yourself is a work of collection; a collection of images augmented by Casey Waterman to create a habitat where paralleled materials, connotations, and ambiguity comment...

"They are at once graceful and contemporary. This is the unique glasswork of John Paul Robinson. Seven arched pieces of translucent aqua blue glass suspended by fine steel cables cri...

Gaia 114 - Black and White Diptych Birds Flying in Formation above Spanish Waves by Jaume Llorens Bach Gaia 114 is a 18cm x 24cm Black and Whi...

DONALD JUDD (1928-1994) Bookshelf 60 2017 Traffic black, RAL 9017 100 x 100 x 50 cm 39.37 x 39.37 x 19.69 inches Inscribed "Donald Judd TM

This contemporary, floral, still-life oil painting is reminiscent of the great Fauvist artists such as Matisse. As a young artist, Jennifer Hornyak appreciated the distinctive colo...

This acrylic abstract painting in bold earth tones is by Otto Rogers. Otto Rogers is a distinguished abstract artist whose original artwork left an indelible mark on the Canadian ar...

Edward Landon, 'Counterpoint', color serigraph, 1942, edition 25, Ryan 45. Signed, titled, and annotated 'Edition 25' in pencil. A fine impression, with fresh colors, on cream, wove paper; the full sheet with margins (7/8 to 2 1/2 inches). A 1 1/2 inch crease across the top left sheet corner, well away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 13 9/16 x 14 5/16 inches (344 x 364 mm); sheet size 14 15/16 x 17 inches (379 x 432 mm). Literature: – 'A Spectrum of Innovation: Color in American Printmaking', David Acton, New York, London, 1990. – 'American Screenprints', Reba and Dave Williams, New York, 1987. – 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008. Impressions of this work are held in the following museum collections: Albright-Knox Art Gallery, National Gallery of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Born in Hartford, Connecticut, Edward Landon dropped out of high school to study art at the Hartford Art School. In 1930 and 1931 he was a student of Jean Charlot at the Art Students League in New York, after which he traveled to Mexico to study privately for a year with Carlos Merida. In 1933 he settled near Springfield, Massachusetts, painted murals in the local trade school, and exhibited with the Springfield Art League. His painting 'Memorial Day' won first prize at the fifteenth annual exhibition of the League at the Springfield Museum of Fine Arts. Landon became an active member of the Artists Union of Western Massachusetts, serving as president from 1934-1938. Landon acquired Anthony Velonis’s instructional pamphlet on the technique of serigraphy in the late 1930s. With colleagues Phillip Hicken, Donald Reichert, and Pauline Stiriss, he began experimenting with screen printing techniques. The artists' groundbreaking work in screen printing as a fine art medium was the subject of the group’s landmark exhibition at the Springfield Museum of Fine Arts in 1940. Landon became one of the founding members of the National Serigraph Society and served as editor of its publication, 'Serigraph Quarterly,' in the late 1940s and as its president in 1952 and 1953. The Norlyst Gallery in Manhattan held a one-person show of his prints in 1945. Awarded a Fulbright Fellowship in 1950, Landon traveled to Norway, where he researched the history of local artistic traditions and produced the book 'Scandinavian Design: Picture and Rune Stones...