Recognized Dealers Art

Etching, aquatint and drypoint in colours, 1987, on Magnani paper, signed and dated in pencil, numbered from the edition of 71 (there were also 8 artist’s proofs), published by 2RC E...

Snowmass Village - Apres Ski Lunch Picnic at Snowmass in Aspen Colorado by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Snowmas...

Attributed to William Marlow (1740-1813) A coastal landscape near Terracina, Italy Oil on canvas Canvas size - 14 1/2 x 20 1/2 in Framed size - 20 x 26 in This atmospheric coastal s...

In this early photographic series, Dubravka Lazić turns her lens toward a subject rarely treated with such a quiet dignity: domestic cats. Shot in 2005, these portraits mimic the fo...

This bookscape is a compilation of books about Judiasm and was inspired by the artist's love for Israel.

Frida with Granizo by Nickolas Muray is a black and white portrait of Mexican painter Frida Kahlo with her pet fawn, Granizo. Frida crouches down to place her hand on the small deer ...

Created by the artist in 2024, Face to the Sun II is an archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper. Hand-signed, dated, and numbered in pencil from th...

This delightful, colorful painting of a floral still life illustrates Pat Service’s superb use of color, pattern, texture and form. In the 1990’s, the Canadian artist highly regard...

This indoor tabletop sculpture of a bear is carved from red Travertine stone. When Canadian sculptor Doug Robinson first works with a chunk of stone, he...

"Baal (M-1128)" is an abstract Post War oil on canvas painting by Hans Hofmann in 1947. The artwork is 59 3/8 x 47 1/4 inches and with the frame is 68 x 56 x 3 1/8 inches, weighing l...

Rémy Duval, 'Tugboat, River Seine, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the shee...

Mezzotint on Lana paper Signed and numbered in pencil Image Size: 4.63 x 3.5 inches Edition : 90 copies in mint condition Laurent Schkolnyk is internationally recognized as a maste...

A vibrant, 1960s Mid-Century Modern painting, "Vermont Landscape, Spruce Tree and Shoreline" by notable Chicago artist Harold Haydon. Painted near the artist's longtime summer studi...

Edition 37/99

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Archivally matted to museum standards, unframed. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Gaia 6 by Jaume Llorens Bach Gaia 6 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory This size in a Limited Edition of 10 + 2 Artist's Pr...

Jeff Koons (*1955, USA) Dom Pérignon Balloon Venus, 2013 Lacquered polyurethane resin, champagne bottle and original box 49 x 50 x 36 cm (19 1/4 x 19 3/4 x 14 1/8 in.) Edition of 650...

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...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

Peter Plagens (b. 1941) received his B.F.A. from the University of Southern California and his M.F.A. from Syracuse University. He is well known for his abstract, formalist paintings...

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Saks Fashion Show - High Society Fashion Show in New York Hotel Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Sak...

"This contemporary abstract painting by Paul Fournier captures the tropical colours of the Caribbean. For more than six decades, the brilliant, colourful artwork of Paul Fournier ha...

This colourful abstract expressionist painting is by the award-winning artist Milly Ristvedt. The view of a triangular-shaped rock from her waterside studio inspired the colour and ...

TallerOr Screen print printed on "card board" (cream poster board), 1968 Signed and numbered in pencil Edition: 150 (54/150), plus 11 for the Vasarely Fou...

Paul Jacoulet, 'Une Histoire très Drôle, Mongols', color woodblock print, 1949. A fine impression, with fresh colors, on the artist's handmade, personally watermarked Japan paper, in...

This abstract oil painting of flowers is by Jennifer Hornyak. The beautiful artwork of Canadian artist Jennifer Hornyak has long been inspired by the rich colours found in the still...

Oil on board Board size: 16 x 20 inches Framed size: 22 x 26 inches Signed lower left

Benton, Thomas Hart (American, 1889-1975 SLOW TRAIN THROUGH ARKANSAS. Fath . Lithograph, 1941. Edition of 250 published by Associated American Artists (A.A.A.). 9 7/8 x 12 inches (im...

A captivating, 1930s portrait painting of a young woman by famed Chicago artist, Francis Chapin (Am. 1899-1965). A sensitive, skilled portrait of a young female model, most likely h...

This portrait of a Jockey is a nod to Pop-art and an avant-garde approach to abstract painting and exploration in the 1960's. A great painting for a contemporary setting or a family ...

Drawing on paper is his basic work tool, some are sketches of his surviving works, others are sketches of moments he documents. Undefined by medium, Celso Castro’s works each carry...

Richard Serra (1939 - 2024) was one of the most important artists of the 20th and 21st centuries. Serra experimented with sculpture, printmaking and video in pursuit of his investiga...

Brigitte LUSTENBERGER (*1969, Switzerland) Unless it does not have to end, 2020 From the series 'An Apparition Of Memory' C-print 100 x 100 cm (39 3/8 x 39 3/8 in.) Edition of 5, pl...

Oil on canvas Canvas size: 28.75 x 23.75 inches Framed size: 37 x 32 inches Signed lower right

This oil landscape painting of fall leaves is by Ciba Karisik. The rich tapestry of colour and form found on a forest floor is captured in this faithful portrayal of fall leaves. Ka...

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...

Julian Schnabel was born in 1951 in Brooklyn, New York, to a father of Czechoslovakian descent and a mother from New York. After graduating from the University of Houston with a BFA, he began his artistic career in New York City. He was provided an artist’s studio through the Whitney Independent Study Program. He moved to Houston, Texas for a year, where he created his “first adult painting”, composed of oil, wax, and paste shaped on a canvas. This was the beginining of his signature artistic style, using pre-existing and unconventional materials to create his art. His first solo exhibition was at the Contemporary Arts Museum in Houston, Texas, in 1976. He moved back to New York City working as a cook, then spent time travelled in Europe, where he was fascinated by Caravaggio and Fra Angelico; these influences led lead to Schnabel’s creation of ten wax paintings in Milan. After another trip to Europe a few years later, he was inspired to create his now-famous plate paintings. The plate paintings incorporated smashed plates and later glass and porcelain to adhere onto a canvas, painting on top of them and thereby mixing objects with flat surfaces. Schnabel’s paintings often use unconventional materials, like velvet or putty. His work is featured in various US and international museums and galleries in New York City, including Switzerland, London, Los Angeles, Paris, Munich, and more. In 1990, Schnabel directed and wrote his first film, Basquiat, a biopic following the life of friend and fellow artist Jean-Michel Basquiat. He continued to create other films such as The Diving Bell and the Butterfly, At Eternity’s Gate...

Haute color yellow dress Measures: 23.75 x 38 inches Framed 26" x 40" A unique object, this archival pigment photograph print on aluminum has extensive hand-applied paint embellishm...

"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...

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

Sunset Hill - Mykonos is a serigraph on paper with an image size 20 x 36 inches, signed 'McKnight' lower right and numbered lower left. Framed in a contemporary black frame. Numbered...

A captivating, 1940s Modern painting of a seated nude on a garden bench by famed Chicago artist, Francis Chapin (Am. 1899-1965). A sensitive, skilled portrait of a young female mode...

Printed for Galerie Kammer’s 1981 David Hockney exhibition “Drawings and Prints”, this beautiful poster reproduces Hockney’s drawing Celia in a Black Dress and Red Stockings 1973. Fa...

Returning to the Stable. 1920. Drypoint. Appleby 64. 8 3/4 x 12 1/4 (sheet 11 7/16 x 16 1/8). Edition 100. A rich impression printed on cream laid paper wi...

A Colorful, Mid-Century Modern American Scene Country Landscape Painting, "The Farm" by Famed Chicago Artist and Printmaker, Charles Turzak (Am. 1899 - 1986). The painting depicts a vibrant, sunlit depiction of a Midwestern country farm, including a red barn and silo. The painting is oil on canvas, dating from the 1950s. A painting of a great visual appeal- a perfect complement to any collection. Artwork size: 23 x 25 inches, accompanied with the artist's original, hand-painted frame (Framed size: 27 1/2 x 29 1/2 inches). Signed "Turzak", upper right; titled on artist's label on reverse. Provenance: Estate of the artist. Charles Turzak was one of Chicago’s greatest printmakers of the Art Deco-era. Son of a coal miner, Turzak was born in Streeter, IL in 1899. In 1920, Turzak won the first prize a cartoon contest sponsored by the Purina company and he used his prize money to enroll in the Art Institute of Chicago. Best known as a print maker, in the 1920s & 30s, he created woodcuts of many of Chicago’s most notable buildings, including the Merchandise Mart, Palmolive Building and the Old Water Tower, among others. In 1933, he was commissioned to create woodcuts of many of Chicago’s most iconic buildings to illustrate a guidebook called “All About Chicago” by John and Ruth Ashenhurst” that featured the upcoming Century of Progress Exhibition in Chicago. During the 1933 World’s Fair...

Artist: Le Corbusier Medium: Lithograph From "Cortège..." Dimensions: 28 x 40.5 in Arches Paper - Good Condition A This lithograph is from portfolio of six different images ent...

For the artist, producing works in various formats is beneficial. While all of his paintings primarily focus on large-scale interior paintings, which make up the majority of his port...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

A 1954 Surrealist depiction of a Summer symphony by notable Chicago Modern artist Harold Haydon. Executed in the artist's innovative, abstract "Binocular Vision" technique for which...

Clemens Wolf declares himself a champion of sensuality: 'I'm really interested in the process of transforming something trivial into a sensual object."" The guided coincidence plays ...

Half Light 6, 2016 - Autumn Leaves in English Forest Woodland Landscape by Ellie Davies Half Light 6 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, available in this...

" "Crosshatch" is a classic example of my abstract PhotoLuminism technique. When light travels, the human eye cannot see its trails, but the camera can. Capturing images that are int...

This luminous contemporary abstract painting is by Alice Teichert. At the heart of Alice Teichert’s work is an innate understanding of the power of colour and its infinite potential...

125.5 x 135.5 cms (49.41 x 53.35 ins) Edition of 58 Signed in pencil, inscribed 'Bon a tirer'. Published by 2RC Edizioni d'Arte, Rome Printed by Vigna Antoniniana, Rome, with t...

Bierstadt, a key figure of the Hudson River School, created large-scale landscapes of the American West. To capture these subjects, he joined several expeditions into the expanding f...

A Visually Striking, early 1950s Abstract, Surrealist Mid-Century Modern Still Life Painting by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting a colorful interior ...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

The Liquied series is inspired by transformation, the speed with which things change, and the material's ability to adapt to its environment. As Zygmunt Bauman describes, liquid life...