Recognized Dealers Art

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

The ghostly figures of a man and horse are set against the epic backdrop of a forested landscape and atmospheric blue sky. Peter Hoffer's paintings evoke nostalgia for classical, rom...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

From The Jon Gould Collection of Andy Warhol Photographs Photograph of an unknown male model, possibly in Paris, 1980 This work is not signed by the artist, however, each photo is...

The artist looks for a path between tangled branches. Reconfiguring a personal archive of diverse Colombian landscapes, experimenting with a variety of printing materials to reconstr...

This lithograph comes from an edition of 120 and it is signed and numbered. Guiramand’s works all have one element in common: the artist’s extraordinary sensitivity and ability to a...

This large outdoor abstract sculpture by Jeremy Guy is hand-forged from stainless steel and finished in a glossy black. The striking elegant curves of Guy’s contemporary sculptures g...

Untitled 06, 2016 Mixed media on metal sheet (Signed on reverse) 31 1/2 H × 70 9/10 W × 39 2/5 D in 80 H × 180 W × 100 D cm Zsolt Berszán’s work speaks of repulsion and fascination and at the same time speaks about shapes that lie on the border between hallucination and obsession wherein the identity and order were disrupted. Themes such as the double and the metamorphosis, otherwise put, themes of atrophied characters are all representations of the abject. Berszán’s creation is located at the fine border between the representation of identity and its dissolution thusly aiming to represent the non-symbolized. The dynamic separation and the transitional object...

Benton Spruance, 'From the Sea' also 'From the Sea — Pieta', lithograph, editions 30, 35, 1943. A superb, richly inked impression, on off-white wove paper; the full sheet, with decke...

Peintre et Modele Etching and aquatint on Rives wove paper, 1966 Signature stamp lower right (see photo) Annotated in pencil lower left: "epreuve avant acierage" (see photo) One of t...

PAUL LANDACRE (1893 – 1963) DECORATION (Design for Green Mansions) 1932-3 (Wien 125), Wood engraving. RARE. Only four titled and signed impressions, ...

Galerie Maeght Murales et Peintures Color lithograph poster, 1961 Unsigned as issued Large edition Published by Maeght Editeur Imprimeur Reference #13 from J. Corredor-Matheos, "Miro's Posters', 1980 Condition: Framed Colors fresh Image/sheet size: 25 x 19 inches Frame size: 34 x 27...

Autumn Landscape Oil on relined canvas, c. 1915 Signed lower right corner: "Royal H. Milleson" Condition: Excellent Canvas size: 14 1/2 x 20 3/8 inches Frame size: 19-1/4 x 25-1/4 x 2-1/2 inches Clearly among the artist's finest paintings! Provenance: Private Collection, Greencastle, Indiana Ray H. French Collection (1919-2000) Martha A. French Trust Royal Hill Milleson...

Mexican School, 18th Century Virgin of Guadalupe Oil on canvas 24 1/2 x 17 3/4 inches (62.2 x 45.1 cm) 39 x 30 5/8 inches framed Provenance: Private Collection, Suinaga family, Mexi...

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: ...

"This indoor figurative pop art table top sculpture is made from resin. Playful, colourful and imaginative, Viktor Mitic’s latest series of unique sculptures appear to merge pop art...

Printed by Petersburg Press for their exhibition of David Hockney prints and drawings at the 1981 Chicago Art Fair, this beautiful poster reproduces Hockney’s drawing Celia Wearing Checked Sleeves, 1973...

The elegant abstract sculptures of Stefan Duerst are characterized by clean, flowing lines and minimal form hand forged from steel. This piece is a single ‘ribbon’—a contemporary tow...

Lithograph on butcher paper. Signed lower middle of plate in blue pen. One of 21 signed, unnumbered lithographs, this impression is in gray/blue ink. In the center of a grey-blue fie...

Louis Oscar Griffith (1875-1956) Noon Time Lull (Charleston, South Carolina) Etching & drypoint, c. 1930 Signed in pencil (see photo) Annotated: "2nd State" (of three?) Image/Plate s...

A Charming 1940s Watercolor of a City in Mexico with Cathedral and Rooftops by Noted Chicago Artist, Rudolph T. Pen. A well executed early work by Pen, completed during the artist's...

SADAO WATANABE (Japanese 1913-1996) GIRLS WITH LOTS OF QUAILS, 1965 鶉と少女 Hand colored stencil print on momigami textured paper. Signed and numbered in white. Edition 50, Image 17 x 2...

This offset lithograph in colors on wove paper 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 ...

Nicola Magrin was born in Milan in 1978. In 2004 he graduated from the Accademia di Belle Arti di Brera in Milan with a thesis on Miquel Barceló. In 2008 he was selected for a three...

Provenance: Fernandez Jimenez, Spain; part a family collection for over 80 years. Prints transported to the New World for use in missionary work and religious instruction often serv...

Doves in various shades of blue and white create perched lines atop a small black repetitive figure resembling the face of a spider monkey, known throughout Slonem’s oeuvre as "Guard...

“Le Chapeau Épinglé (The Pinned Hat) 1E Planche” is a lithograph on paper by Pierre-Auguste Renoir. The work exists in two plates (the 1ère and 2ème Planche) which is a deliberate ...

The process of creating a painting leaves behind a series of elements that become the starting point for a new piece. A mark, a line, color and shape become elements of a new paintin...

This contemporary mixed media composition was influenced by cubism. Early in her career, Shireen Kamran’s enigmatic artwork was influenced by famed abstract artists, De Kooning an...

Untitled, from the series "Approaching Whiteness" 2011 C-print Sheet 101.6 x 101.6 cm (40 x 40 in.) Edition of 6; Ed. 1/6 Print only Kawauchi, currently one of the most famed contem...

A Striking 1940s Art Deco-Era, Mid-Century Modern Figure Study of a Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A wonderfully executed figure st...

This bold contemporary composition by Yvonne Lammerich is an intriguing exploration of colour and form. Origami-like folded shapes inter-connected by fine lines dance across this col...

A Distinguished 1940s Art Deco-Era, Mid-Century Modern Figure Study of a Seated Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A striking, wonderful...

A sparrow perches at the center of a swath of pale pink, around which wraps hand-written lines from Ron Padgett’s poem “Ode to Clemens Laurrell”: “So I lean back against the willows ...

An invitation to "Andy Warhol: A Print Retrospective 1963-1981" held at the Leo Castelli Gallery in New York City, printed with the iconic image of Marilyn Monroe. Published by Caste...

Ira Moskowitz, 'Preparing the Sand Painting', lithograph, 1946, edition 30, Czestochowski 205. Signed and titled in pencil. Signed and dated in the stone...

Edition of 25 Signed, titled, negative date, print date and numbered. Sepia toned gelatin silver print Michael Kenna's black and white photographs are powerful and alluring. His ima...

After Joshua Reynolds Girl leaning on a pedestal Oil on canvas Canvas Size - 26 x 33 in Framed Size - 39 x 32 in Sir Joshua Reynolds was the leading portrait painter of 18th-century...

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 ...

Pentti Sammallahti Panauti, Nepal (Boy and Girl with Basket) 1994 Gelatin Silver print

- ART themed Bookscape - Printed large enough to pass as an actual library, these images point to the gradual loss of paper books. This composition of ART themed books includes Piet ...

Hunt Slonem Oil Painting "Hombre Heart" Orange Double Bunny A pair of rabbits gestured in red and orange on a matching Diamond Dust background in a vintage frame. Unframed: 14 x 14 ...

Signed by Artist Lower Left The present work was published on the cover of the September 4th, 1948 edition of The Saturday Evening Post. An accompanying “Keeping Posted” article about Norman Rockwell’s process behind the painting was printed on page 10 inside the issue. (Image above) The Post described, “Boston baseball fans saw a strange spectacle at Braves’ Field early this summer. As the stands filled, two respectable-looking men stood on the field staring at the spectators. Every now and then they would point to someone, run up into the stands and invite the man or woman to sit in a box above the dugout. Then the thinner of the two would contort his face into an expression of wild delight or disgust and invite the spectator to do the same, while a photographer made pictures. The explanation is on our cover. The two suspicious characters were Kenneth Stuart, the Post’s art editor and the artist, Normal Rockwell. For a detailed description of how Boston...

This contemporary abstract colourful oil painting is by Milly Ristvedt. Glorious colour dominates the canvas in this expressive painting by one of Canada’s finest contemporary artis...

Andy Warhol Unique Polaroid Photograph of Heart-shaped Candy Box of Chocolates, Banal Objects Becoming Pop Art, Food as Love!

John Mearns (fl.1860-1880) Three Hunting Dogs Oil on canvas Painting size 10 x 12 in Framed size 15 1/2 x 17 1/2 in John Mearns was a nineteenth-century British animal painter activ...

The “Iconic” series was presented as part of the exhibition “Walk of Inspiration” showed in Stockholm in 2016. These vibrant unique color images are an homage to the “kitsch pop surr...

George Elbert Burr, 'Old Cedars – New Mexico', etching, 1920, edition 40, Seeber 218. Signed and annotated '(c) George Elbert Burr Del. et Imp.' in pencil. ...

In this series the artist found that the rocks were so round that they looked like prehistoric holes, each one telling a story and reflecting a bit of her soul. Mauricio Velez's pho...

This confidently executed drawing is a study related to Maratta’s painting La Vergine appare a S.Stanislao Kotska 1687 in the second chapel to the right, in the church of S. Andrea a...

Summer Gold and Corn, 2021 acrylic on cardboard 119 H x 79 W cm 46 27/32 H x 31 7/64 W cm The series of painted cardboards by Alexandru Rădvan is about our moments of 'respiro' abo...

Beautiful chaos—The new sculptural series by Shayne Dark is named after the powerful image of a maelstrom—a whirlpool in a sea or river. Hand forged from round aluminum rods and pain...

This contemporary colourful abstract painting was created by Milly Ristvedt. The ‘fugitive properties of colour’ as Milly Ristvedt likes to refer to them have provided her with life...

A Striking, Colorful Post-War Studio Portrait of a Seated Young Male Model by Notable Chicago Modern Artist, Walter Burt Adams (Am. 1903-1990). The painting a is well executed, inti...

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Literature and Exhibition: Back cover illustration of the catalog of the artist’s prints, 'Helen Hyde', Smithsonian Institution Press, 1990; 'The International Block Print Renaissance, Then And Now, Block Prints In Wichita, Kansas, A Centennial Celebration — 1922-2022', Barbara J. Thompson, Wichita Art Museum, 2022 (back cover). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

In 2023, Charles Lutz unveiled a series of new stainless steel sculptures based on Ruba Rombic glassware at Frank Lloyd Wright's Fallingwater, as part of his installation titled Mod...

BC artist Pat Service has always had a special fondness for the allure of the ‘open road.’ Over the years many road trips across the mountains to the prairies in Saskatchewan have pr...

Le Chapeau Epingle or La fille de Berthe Morisot et sa Cousine (1e planche) Etching with drypoint, 1904 Signed in the plate (see photo) This is the first etched version of "Pinning the Hat" Depicts Julie Manet and her cousin Jeanne. Exceptional impression printed with burr and selective inking with plate tone. Very rare. Published in 1910 in the first edition of Druet, "Manet annd the French Impressionists" A lifetime impression, printed prior to 1912. The etching comes with the original Herman Wunderlich & Co. (Kennedy Galleries label), which dates this impression to 1912 when Wunderlich changes names to Kennedy Galleries. Very rare image in an early lifetime impression. Printed with plate tone With pencil inscription stating first printing in French (see photo) Condition: very good No issue as seen from the front Soft horizontal creases visible from reverse Provenance: Kennedy Galleries, NY Reference: Stella 4, prior to Druet edition Delteil 4, published state Pierre-Auguste Renoir was a famous French painter whose paintings are some of the most popular, well-recognized, and frequently reproduced images in the history of art. His work presents a vision of a forgotten world, full of sparkling color and light. He once said: “Why shouldn’t art be pretty? There are enough unpleasant things in the world.” Born at Limoges on February 25, 1841, Renoir died at Cagnes-sur-Mer on December 17, 1919. When he was 13, Renoir entered a Paris porcelain painter’s workshop as an apprentice and developed a fine brush technique and facility with color. At 21, he attended courses at the École des Beaux-Arts and subsequently at Glyre’s. He made friends with Cezanne, Pissarro, Sisley, Monet, Bazille, and Diaz. In 1873, the artists Durand Ruel, Caillebotte, and Duret took an interest in his work. Renoir was involved in “The Society of Painters, Engravers and Sculptors,” which was founded in 1874, and witnessed the birth of Impressionism. From there, Renoir was immersed and able to spend time with his fellow artists of the day. He did not take up original printmaking until he was 50 years old, first with two small soft-ground etchings after his painting, “The Rustic Ball,” followed by an etching of Venus for the frontispiece of Mallarme’s Pages. Most of his engravings were done after his own pictures. In 1892, he did his first lithograph – a portrait of his son Pierre. In 1894, he met Ambroise Vollard, who played an important part in the production of Renoir’s and Cezanne’s lithographs...

Edition of 50 71 x 76 cm (28 x 30 ins) RSE023

This abstract painting is by Charles Robb, son of the famous Canadian artist Jack Bush. Charles Robb’s lyrical, expressive paintings are highly regarded by critics and collectors worldwide. Like his internationally celebrated father, abstract artist, Jack Bush, he was a consummate colourist who painted under the name, Charles Robb. Robb’s distinctive rhythmic style also reflected another lifelong passion—music—for he was a professional jazz drummer who liked to listen to music as he painted. He typically began each painting by building up layers of paint and vibrant markings, creating a richly textured surface with visible depth. His colour palette often featured intriguing choices and unusual colour combinations. Robb’s paintings...