Recognized Dealers Art

"The work explores the interconnection between organic nature and circuits, reflecting the relationships between human beings. On the canvas, organic shapes are displayed that evoke ...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

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...

An angled shape in canary yellow floats on a ground of dove grey and black in this mixed media abstract composition. Stoyanov's paintings have a fresco-like quality, the taut surface...

Maurice Pasternak has created a surreal landscape that includes several spirit-like creatures seeming to wander in an unknown terrain. He moves images around on the paper to create a...

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...

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...

Any serious collector will wan to bring home this wonderful serigraph for your collection! A fabulous Mid-Century Modern 1950s serigraph of Chicago's Wrigley Building in its origina...

This is one of a series of colourful abstract expression paintings by Milly Ristvedt. For more than six decades, Milly Ristvedt has explored the power of colour as a visual language...

Villa del Balbianello, June 1983 by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Villa del Balbianello, June 1983' is a Limited...

In a time of profound environmental change, Kevin Sloan’s images depict rare beauty intertwined with puzzlement. Part art, part artifice, his painstaking vignettes of animals posed i...

Mont St. Michel is a lithograph on paper with an image size of 3 x 3 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray frame...

This contemporary monumental outdoor metal sculpture is by Jean-Pierre Morin. This work is available on commission. Each work is individually hand-forged, so variations in colour, s...

This contemporary abstract mixed media composition is red in colour. The enigmatic and lyrical artwork of Shireen Kamran is rooted in her own spiritual journey and her rich Pakistan...

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 ...

A spectacular wave breaking under a stormy sky . Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Signed and numbered f...

'Tattoo Parlour, New Orleans' is a black and white archival inkjet print by Morgan Silk. It is available in this size of 18" x 18" in a limited edition of 10. Taken during a road ...

"Old Swede's Church in Winter" is an American Regional city scene in Philadelphia, Pennsylvania by American Impressionist painter Albert Van Nesse Greene...

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...

What began as a pretext to exercise MIguel Wynograd's gaze, little by little became a meditation on different intertwined temporalities. The superposition of very ancient times with ...

The act of painting becomes a form of meditation. Marino explains that the time and process of creating work are at the core of what the painting wants to mean, declaring: that is ho...

Signed and editioned on front of print. Edition of 10. Made by Robert Weingarten in the artist, Jackson Pollock's studio.

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Conca dei Marini - Amalfi Coast Italian Coastline Cove Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Conca dei Mar...

Medium: lift-ground etching and engraving Edition: 15 Year: 1961 Plate: zinc 9 x 15 inches (22.9 x 38.1 cm) Paper: Murillo, 16 x 21 inches (40.6 x 53.3 cm) Signed, titled and number...

Düsseldorf (German Cities), 1970 24 x 33.8 in. / 61 x 86 cm Screen print in one color on offset lithograph, black on white card. “for Paul” written in pencil lower middle. Signed and...

Haring, Keith. KEITH HARING INTO '84. SHAFRAZI GALLERY POSTER. Offset lithograph in colors, 1984, Sheet 35 1/8 x 23 1/8 inches; 892 x 587 mm. Framed to 39 x 28 inches. The poster, us...

20 x 24 in. Edition of 30 Printed on FujiFlex Crystal Archive Supergloss Paper. Signed on print verso by Steve McCurry, and inscribed with image, serial and edition number. A signed...

A steel pine cone cut lengthwise or segmented exposing its stem of clustered steel rods is secured to a flat stone base by sculptor Floyd Elzinga. The steel scales and stem of this l...

"New England Sunrise," 1910 by Hudson River School painter Lockwood DeForest (American, 1850-1932) is oil on artists card-stock and measures 9.75 x 14 inches. The work is signed by DeForest and dated Sept. 17, 1910 at lower left. The work is framed in an elegant, period appropriate frame, and ready to hang. Lockwood de Forest was born in New York in 1850 to a prominent family. He grew up in Greenwich Village and on Long Island at the family summer estate in Cold Spring Harbor. As was customary for a cultivated family in the Gilded Age, the de Forests made frequent trips abroad. Excursions to the great museums, which were prominent on the de Forests agenda, deepened the young Lockwood's familiarity with European painting and sculpture. Though he had begun drawing and painting somewhat earlier, it was during a visit to Rome in 1868 that nineteen-year-old de Forest first began to study art seriously, taking painting lessons from the Italian landscapist Hermann David Salomon Corrodi (1844–1905). More importantly, on the same trip, Lockwood met one of America’s most celebrated painters, (and his maternal great- uncle by marriage) Frederic Edwin Church (1826–1900), who quickly became his mentor. DeForest accompanied Church on sketching trips around Italy and continued this practice when they both returned to America in 1869. Early on in his career, de Forest made a habit of recording the date and often the place of his oil sketches, as to create a visual diary of his travels. Lockwood’s profession as a landscape painter can be primarily attributed to Frederic E. Church and his belief in the young artist’s talent. De Forest often visited Church in the Hudson River community of Catskill where, in addition to sketching trips and afternoons of painting, he assisted with the architectural drawings and planning of Olana. In 1872, de Forest took a studio at the Tenth Street Studio Building in New York. During these formative years de Forest counted among his friend’s artists such as Sanford Robinson Gifford (1823–80), George Henry Yewell (1830–1923), John Frederick Kensett (1816–72), Jervis McEntee (1828–91), and Walter Launt Palmer (1854–1932). Over the next decade de Forest experienced success as a painter. He exhibited for the first time at the National Academy of Design in 1872, and made two more painting trips abroad, in 1875–76 and 1877–78, traveling to the major continental capitals but also the Middle East and North Africa. His trip to the Middle East and the library at Church’s home, Olana, established his interest in design during his mid-twenties. From about 1878 to 1902, landscape painting was overshadowed by his activities and preoccupation with East Indian architecture and décor, a style that became quite fashionable in late nineteenth century America. From 1879-1883, de Forest founded Associated Artists along with Louis Comfort Tiffany, Candace Wheeler...

This distinctive wall sculpture by master ceramicist Steven Heinemann was inspired by the natural world. Hive’s organic form is enhanced by its creamy white palette. Heinemann sanded...

A Charming 1930s Modern Cubist Architectural Study Drawing, Building Facade by Notable American Modern Artist, Carl Robert Holty (1900-1973). Graphite on paper, dating from 1936. A...

The Vera Stretz Murder Trial Lithograph, 1936 Signed in pencil lower right (see photo) Initialed W.S. in the image lower right (see photo) Dated in the image lower right (see photo) ...

Perfect for your hockey enthusiast! A colorful, dynamic 1950s pastel on paper drawing of a hockey game by famed Chicago Modern artist, Francis Chapin. Image size: 9 x 12 inches. Matted size: 14 x 18. 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 and 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...

ALBERT WATSON (*1942, Scotland) Kate Moss Veil (color), 1993 Special Carbon Series on lithographic paper image 76 x 56 cm (29 7/8 x 22 in.) Edition of 7, plus 2 AP; Ed. no. 3/7 Prin...

Potthast, Edward H. GIRL WADING. Colored pencil drawing on paper, not dated. Signed recto, lower right "E. Potthast," lower right, and inscribed "Holiday Greetings" and signed "Edw. ...

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...

TECHNICAL INFORMATION Victor Vasarely Tri-Vega 1975 Silkscreen on Arches paper 33 1/4 x 30 1/8 in. Edition of 250 Pencil signed & numbered Accompanied with COA by Gregg Sh...

A Striking, 1940s Modern Surrealist Abstract Drawing, "Counterweights" by Notable New York Avant Garde Artist, Hannah Harari (Am. 1912-2000). Graphite on paper, dating from 1948. ...

In this series the artist represent the force of white that invades with its free forms, strongly over the structure of black. White is the absolute color, the purest, the most perfe...

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

Medium: Intaglio and Chine Colle Year: 2023 Image Size: 10.5 x 7 inches Edition of 15 Signed, titled and numbered by the artist. A young woman contemplating small plants and animals...

The Big Closed Gate, 2019 Oil on canvas 51 3/16 H x 39 3/8 W in. 130 H x 100 W The artwork was part of the solo show ONIRIX. ONIRIX is a project about how we remember and interpre...

Like his mentor the great American Impressionist William Merritt Chase, Charles Webster Hawthorne was equally admired in his own day as both a talented painter and a highly influential instructor. Hawthorne first studied with Chase at his Shinnecock Summer School of Art, which was specifically dedicated to open-air landscape painting. Not only did Hawthorne quickly absorb all the principles of Chase’s instruction, but he also became determined to found his own school based on the same model. In 1899 Hawthorne discovered the small fishing village of Provincetown on the furthermost tip of Cape Cod, and after purchasing a large house on Miller Hill, he opened the Cape Cod School of Art, which proved to be an immediate success. While Hawthorne’s own approach as a teacher owed much to Chase, he developed a distinctly unique painting style and teaching method that defies easy categorization. He was greatly impressed with the work of Franz Hals, which he was exposed to during his trip to Holland in the summer of 1898. Hawthorne was particularly struck by Hals’ Regentesses of the Old Men’s Almhouse, and from this work he absorbed a deep appreciation for the power of human expression and an economy of technique. Hawthorne applied these lessons to his own realistic portraits of Provincetown fishermen and their families; these works have a somber, almost melancholy quality to them, and they reveal a sense of the vulnerability of the human condition. Stylistically, Hawthorne maintained a life-long commitment to the importance of color. “Beauty in art,” he said, “is the delicious notes of color one against the other.” Of equal importance to him was capturing the effects of light. He told his students: “Everything in painting is a matter of silhouettes. Hold light against shadow, not light against light.” He developed a particular technique of layering glazes and texturing the surface of his paintings, which heightens the relationship between the colors and creates a light effect that seems to emanate from within the painting. These stylistic techniques in combination with his straightforward compositions of one or more figures shown at close range create the hallmarks of Hawthorne’s best paintings. Hawthorne and his wife Ethel’s 1905-1907 trip to Italy did not result in a drastic impact on his artistic style. Nonetheless, it proved to be a transformative and enlightening voyage. The extensive trip was financed by collectors who paid in advance for a painting to be produced abroad. On the trip, Hawthorne explored the work of old masters and was struck particularly by the paintings of Titian, which to Hawthorne, demonstrated the master’s true adoration for the act of painting itself through his handling of paint and color. Where Titian’s paintings...

A vibrant, colorful 1930s winter scene painting of Saugatuck, Michigan by famed Chicago Modern artist, Francis Chapin (Am. 1899-1965). Depicting a view of the historic Old Fish Hous...

This artwork depicts a perfectly synchronized dance across an ocean of empty space, inspired by the "Astronomical" section of the Jet Chocolate Bar Natural History Album (1986 editio...

Signed, titled and dated in pencil on print verso.

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...

Hebe and Jupiter by Albert-Ernest CARRIER-BELLEUSE (1824-1887) A bronze group with nuanced light brown patina signed on the base "Carrier" and dated "1858" Presented on a rounded c...

This joyful, colourful painting is by one of Canada’s finest landscape artists, Pat Service. Here, the avid gardener uses bold colours-royal blue, black and white against a bright r...

At first glance, Mark Bartkiw’s artwork looks like another beautiful photograph. Look again and you’ll see a clever collage of images that creates an almost magical, ethereal landsca...

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

Richard Barrett Davis (1782-1854) Mr Ward on Quicksilver Oil on canvas Canvas Size - 25 x 30 in Provenance with Ackermann & Son, London; where purchased by the present owner. ...

Elegantly curved geometric shapes appear to dance around a central form in this table-top sculpture by Kevin Robb. The American sculptor is known for his exquisite abstract metal sculptures that play with both negative and positive space. The highly polished stainless steel interacts with the environment and reflects shadow and light. Price in USD...

Boy in Mid-Flight by Steve McCurry is listed as a 20 x 24-inch digital c-print, available in an edition of 90. This photograph is printed on FujiFlex Crystal Archive Supergloss Paper...

A classic Canadian symbol—the maple leaf -- appears in stunning detail in this unique new work by sculptor Dale Dunning. He creates inspired metal sculptures using the image of the h...

A color photograph showing a young woman in boots with a pack of Marlboro

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 ...

Milton Avery, 'Little Girl', drypoint, 1936, edition 60, Lunn 11. Signed, dated, and numbered '22/60' in pencil. A superb impression, in warm black ink with delicate overall plate tone, on off-white wove paper, with wide margins (2 5/8 to 4 1/8 inches); hinge stains on the top sheet edge, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 8 3/4 x 4 3/4 inches (222 x 121 mm); sheet size 14 7/8 x 13 1/8 inches (378 x 333 mm). Collections: Cantor Arts Center, National Gallery of Art. ABOUT THE ARTIST "I never have any rules to follow; I follow myself." "I paint not by sight but by faith. Faith gives you sight." —Milton Avery 'His is the poetry of sheer loveliness.' —Mark Rothko in his 1965 eulogy to Avery. Milton Avery (1885-1965) is recognized as one of America's foremost modernist artists, renowned for his uniquely expressive style, evocative use of color, and captivating compositions. Growing up in a working-class family in Altmar, New York, Avery's early life was marked by the struggles and realities of rural New York. Despite lacking formal artistic training, he displayed an innate talent for drawing from an early age. In 1905, his family relocated to Hartford, Connecticut, where he worked various odd jobs while developing his artistic skills through self-study and experimentation. In 1915, he enrolled at the Connecticut League of Art Students, where he received formal instruction and began to refine his distinctive style. In 1918, Avery transferred to the School of the Art Society of Hartford and worked in the evenings so that he could paint during the day. He became a member of the Connecticut Academy of Fine Arts in 1924. That summer in Gloucester, Massachusetts, he met the artist Sally Michael...

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...