Recognized Dealers Art

“We had been mountains…” We had been mountains, and now a canyon cutting to the core of the Earth. Never to collide again. An end but not my end. I still hope you find the love of me...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. David Levy created this vintage silver gelatin photograph in 1995. The image was t...

Highway, California, 2016 by Jo Crowther is a 16" x 20" Archival Inkjet Print from a Limited Edition of 12 in this size. A view of the Californian desert sunset is viewed through th...

The project aims to highlight the potential of the line, which, when repeated, is capable of creating complex images. The patience, focus, and perseverance dedicated to constructing ...

A Finely Drawn 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model with Outstretched Arms by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptio...

Lido (Venice) Etching on chine collee, 1880 Part of the artist's "Venice Set" Signed upper right in plate :Otto H Bacher" (see photo) Signed with the estate stamp, Lugt 2002 recto lower right beneath image. (see photo) Created October 20, 1880 Reference: Andrew Venice No. 29 Provenance: Estate of the Artist Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams, an artist from Springfield, Massachusetts, who had just recently arrived upon the Cleveland art scene. Soon the two artists were rooming together. Adams was instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of the Fine Arts, to the board of which Adams had Bacher appointed. Also during this time, Bacher began to learn the process of etching from local etcher and landscape painter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with Cincinnati artist Frank Duveneck, the prime American exponent of the Munich School. In 1879, Bacher made a trip to Florence with Duveneck as one of the celebrated "Duveneck Boys." Early the following year, the group proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time an avid printmaker, Bacher had his etching press sent from Muni ch, and it was in his Venice studio that he taught Duveneck the rudiments of etching. Soon Bacher, Duveneck, and other members of the Duveneck circle were experimenting in printmaking. Among the group's contributions were some of the first American examples of monotypes, which they called "Bachertypes" because they were printed using Bacher's press. It was also in Venice that Bacher met the venerable American expatriate artist, James McNeill Whistler. On learning of Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to Bacher's studio, and he eventually took his own room in the Casa Jankovitz. Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques. From Whistler, Bacher learned tone and line graduation; from Bacher, Whistler learned his etching techniques, including better ways of using the acid bath which produced less tedious and more efficient work. Bacher visited Whistler occasionally in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of his operations, and he produced a number of important etchings of Italian subjects. Bacher sent several of these works to America in 1881 to be included in the Society of American artists exhibition that year, and had a similar group of works shown at the Royal Society of Painter-Etchers' first exhibition at the Hanover Gallery in London. Following the exhibition, Bacher, along with several other of the American contributors, was elected a Fellow of the Society. Bacher collected twelve of his etchings of Venetian subjects and sold them in bound volumes through his New York dealer, Frederick Keppel. Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with exotic items and objets-d'art he had collected on his travels, and began to hold art classes as a means to supplement his income. He soon joined with Joseph De Camp in forming a summer sketch class in Richfield, Ohio. Bacher and De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period, Bacher increasingly painted in oil, and he began to produce sun-dappled canvases in an impressionistic mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris before heading to Venice, where he spent the remainder of the year. In January 1886, Bacher returned to Paris and enrolled at the Académie Julian, and also entered the atelier of Emile-Auguste Carolus-Duran. The life of the student seems never to have suited Bacher, as he stayed in Paris only through June, before departing again for Venice. For the next six months he, Robert Blum, and Charles Ulrich...

A Fine, 1930s Modern Academic Anatomical Figure Study Drawing of a Seated Male Nude Model (Torso) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exe...

Watercolor on paper laid on board: An exceptional watercolor in terms of quality and presentation. During this earlier period of Day's career he exhibited extensively and was inspir...

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...

A lovely 1930s watercolor on paper of a summer nocturne moonrise by famed Chicago Modern artist Francis Chapin. A captivating dune landscape completed while Chapin was an instructor...

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...

In this new series of wall plaques, titled "Behind Closed Doors," the artist reimagines original images from a book titled In Praise of the Backside. The book's collection features w...

William Wind McKim, 'Bighorn', lithograph, 1940, edition c. 25. Signed and titled in pencil. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (2 to 4...

Abstract artist Milly Ristvedt uses colour as a language to express her thoughts and emotions. When the master colourist created this painting, she was reminded of tumultuous world events including concerns around climate change. The title refers to those thoughts. Clean, vertical ‘bands’ in bright orange, yellow, lime green, and black appear to express hope. A single, narrow horizontal...

Sterner, Albert (American. 1863-1946). PORTRAIT OF HAROLD STERNER. Charcoal and pastel on paper, not dated, but 1912, as the subject is stated to be aged 17. Signed, lower right. 16 1/2 x 11 1/4 inches, framed to 26 1/8 x 20 1/8 inches. In very good condition. Albert Sterner was born in England, and studied in Paris. He worked as a magazine illustrator, but is best known for his paintings and prints. Harold Sterner (American, 1895-1976). Architect, painter; New York, N.Y. Born 1895, died 1976...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

The process of creating a painting leaves a series of created elements and randomly they become the starting point for the next piece. It is a process of adding and removing; always ...

These beautiful and colorful lithographic posters were hand reproduced by the Mourlot Studio's Master Printer Henri Deschamps in 1969. They are not to be mistaken with later cheap di...

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

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

‘Thinking’ is a medium size vertical expressionist figurative oil on canvas painting created by Vietnamese artist La Ba Quan in 2011. Featuring a palette made of grey, soft blue, green and pink, the painting brings to mind the fascinating aura of a Chaim Soutine. This expressionist painting is dominated by the tortuous lines of the man’s silhouette...

This painting of a single bunny represents Hunt Slonem's most widely recognizeable motif, set within a beautiful antique frame hand picked by Hunt himself. Hunt Slonem's artistic tr...

Medium: Oil on Canvas Signature: Signed Lower Left Styles for Men: The House of Kuppenheimer, Spring and Summer 1914, cover illustration. This piece was published as the cover illu...

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

Giacomo Montegazza, 1983 - Italian Lakes Photograph Italian Garden Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "G...

16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Ice Bar Lech, 1960" is a beautiful Limited Edition Estate Stamped Digital C-Type print from 20t...

Ohara Koson, 'Pair of Mallard Ducks', color woodblock, c. 1920s. Signed 'Koson' in black ink with the artist’s red seal beneath, lower right. A superb, skillfully-inked impression, w...

Chalk Streams 11, 2023 - Contemporary Biodiversity Nature Photography by Ellie Davies Chalk Streams 11 is a stunning Digital C-Type Print on Fuji Maxima Matte paper. This size print...

Almo wonders about his identity, the countries he has lived in, his daily routine and how he creates himself. An outsider who has made the world his home, skin, and citizenship, and ...

Stars 5, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 5 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

Oil on board Board size: 24 x 20 Framed size: 30.5 x 26.75 inches Signed lower left

Woodland Interior Oil on canvas 21 7/8 x 14 3/4 inches (55.6 x 37.5 cm) Framed dimensions: 32 7/8 x 26 inches Signed lower left: Wm. T. Richards Provenance The artist; James Bayard ...

This intriguing colourful contemporary painting so impressively large in scale and architectural in form is by Canada’s Yvonne Lammerich. Recognized both nationally and international...

Zupan combines images from old masters, alchemical prints, contemporary artists, and bits from magazines and newspapers to create overlapping, intersecting worlds of transparencies a...

Incipit, 2004 Acrylic on canvas (Signed on reverse) 78 7/10 H × 78 7/10 W in 200 H × 200 W cm Signed The painting "Incipit" is part of a larger series of works entitled " Minotaur"...

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...

The 'Miami Skin Series' it’s not a traditional collection of photos about the architecture of Miami and Miami Beach. It’s rather a quick journey between its own skin from the Art Dec...

This colorful abstract acrylic painting is by Canadian artist Milly Ristvedt. Inspired by modernist mentors, in the 1970s Milly Ristvedt used simple formats on raw canvas to displa...

Watermark: Schellenkappe (Foolscap) Similar to Churchill no. 340

Paul Newman - Black and White Silver Gelatin Print Photograph American Actor American actor Paul Newman is photographed at a dinner with a cigarette just brought to his lips. It is ...

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...

Henri Matisse Patitcha 1947 Aquatint on BFK Rives paper, Edition of 25 Paper size: 55.5 x 38 cms (22 x 15 ins) Image size: 34.9 x 27.6 cm (13 3/4 x 10 7/8 ins) HM15405 Selected Coll...

Artist: Le Corbusier Medium: Lithograph, 1960 Dimensions: 17.25 x 22.5 in, 43.8 x 57.2 cm

Luca Artioli has always been fascinated by Roman Statues. As a child, he wandered through the Imperial Forum creating dialogues between them. For young Luca the statues were alive. T...

The project is a series of ink drawings on different surfaces, depicting the solstices and equinoxes of the year through the overlapping of shadows at various times of the day. These...

This abstract, floral, still-life oil painting was created by Jennifer Hornyak. Highly regarded as one of Canada’s finest contemporary artists, Jennifer Hornyak has been painting fo...

Denied Warhol Flowers, (Violet/Purple) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" in...

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

This colorful abstract painting was created by the Canadian artist David Sorensen. One of Canada’s finest contemporary artists, David Sorensen actually began his art career as a sculptor, a natural path from his education as an architect. When he began painting, Sorensen was fascinated by the interaction of light with its environment and was drawn to the work of color field painters as early as the 1950s. In his own work, he embraced abstraction as a form and in this series the concept of a central square from which lines of varying widths—both vertical and horizontal emanate. The color palette is bold and rich—cranberry red, deep blue, sienna, brown, and white. The brushstrokes are expressive and lend a natural movement to the painting. Sorensen admired and was influenced by the work of American abstract expressionists Jackson Pollock and Franz Kline. Auver is in France; famous as a place where Vincent Van Gogh...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Striking in colour and form, this contemporary composition is by Yvonne Lammerich. The Canadian artist has garnered an international reputation for her inspired exploration of abstra...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

Two goudou antelopes « Two friends » by Rembrandt BUGATTI (1884-1916) Group in bronze with a nuanced brownish black patina Signed on the base "R.Bugatti" A lost wax cast by "A.A. Hé...

"Night's Rest" from the series "The Times of the Day" Original lithograph Signed "Mucha" and dated "99" for 1899, at the lower part of the plate. There is no hand-written signature ...

Listing includes framing with UV Plexi ($900 value), free shipping, and a 14-day return policy. Seydou Keïta Untitled Portrait, 1952 - 1955 (00089-MA.K...

Throughout his artistic career, Castro has exalted the figure and genitality of the Latin American man, putting into tension the limits imposed by the sex/gender system that are part of an unquestionable patriarchal and phallocentric order. The majority of those portrayed are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos about corporality and male sexuality, his work has been censored on numerous occasions due to public accusations of immorality and pornography. Celso Castro’s work is a bare-bulb erotic photo...

The series "Venus Nostalgia" is a collection of sculptures inspired by the famous Venus de Milo, an emblematic work in the history of art that has had a great impact on Castello's wo...

This large, abstract image celebrates the 13th Annual Community Holiday Festival, 1983 at Lincoln Center. It is signed and numbered by the artist from the edition of 144 (plus 18 APs) and was printed at Fine Creations, NY. This print comes directly from the publisher, Lincoln Center Editions...

A Serene, Picturesque 1950s American Scene Country Landscape Painting of a Wisconsin Farm in Late Autumn by Famed Chicago Modern Artist, Francis Chapin (Am. 1899-1965). A small gem ...