Recognized Dealers Art

Primo Tempo 7 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. A Baroque style landscape appears between a break in the canop...

Traces of lived experiences appear in On Hansen's works, exploring the possibilities of formal abstraction and seeking an organic experience between space and time through painting a...

THOMAS HART BENTON (1889-1975) INSTRUCTION 1940 (Fath 41) Lithograph, signed edition of 250 as published by Associated American Artists. 10 ¼” x 12 ¼”. Full margins, deckle edges....

An accomplished sculptor, draftsman, and designer of the 20th century, William Hodd McElcheran (1927 - 1999) worked in architectural design and produced a body of figurative works in...

Like flowers in a garden, Susan Rankin’s beautiful glass columns appear to sway in the breeze. An avid gardener, Rankin has created a series of outdoor sculptures inspired by the for...

Canadian sculptor Viktor Mitic looked to the stars for inspiration in creating this striking contemporary sculpture. The elegant and ethereal abstract form of Cygnus A is intended ...

This surrealist painting by Toni Hamel features a Group of Seven piece and focuses on the theme of climate change. In this imaginative painting, Toni Hamel sends a powerful message ...

“Electric Chair (F&S II.81)” is a screenprint on paper by American Pop artist, Andy Warhol. The work is part of Warhol's "Death and Disaster" series, notable for addressing depiction...

One of the best-known Brandywine Valley realist painters today, Peter Sculthorpe conveys the stillness of a winter evening in a rural landscape in The Breath of Winter, 2025. Having ...

Fabric artist Chung-Im King’s series of felt tapestries called “Mutation” consist of striking geometrical shapes that mimic designs found in nature. The artist has cut pure white fel...

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...

Skate, New York, 2013 by Franck Bohbot is a 30" x 40" C-Type Matte print from a Limited Edition of 5. As part of Franck Bohbot's nightlife series on New York's iconic Coney Island,...

Peruvian, Cuzco School, 18th Century Saint Teresa of Ávila Oil on canvas 32 ⅝ x 33 inches (82.9 x 83.8) Provenance: Private Collection, Asunción, Paraguay, for at least the last 80...

Rey, Margaret and H.A. CURIOUS GEORGE GOES TO THE HOSPITAL. Houghton Mifflin, Boston, 1966. 1st Printing stated. INSCRIBED in ink on the front free endpaper "To Edith Bell from the R...

This proof is one of just a few printed in this color combination: the edition of 110 is printed with an orange background, while this copy is a muted yellow with the central, scribb...

This three-part work spanning 10 feet was printed from the plates of Francesco Clemente’s mythological landscape Untitled A on the occasion of the 1986 MoMA, New York show of Clement...

Created in 1971, this cast polyester resin cube exemplifies Peter Alexander's pioneering use of industrial materials to investigate light, color, and perception. A leading figure of ...

Qui ne se grime pas? (Who does not wear a mask?) Aquatint, roulette, drypoint, acid bite, and scorper, 1923 Signed in the plate loweer left (see photo) Dated in pencil Series: Miser...

A large, striking, finely drawn 1930s Cubist Modern WPA Era mural study ink drawing of a rural farm scene (Batchelder Farm, Stillwater, MN) by notable Chicago Institute of Design art...

Artist Marlene Hilton Moore continues to explore the theme of listening with the creation of more beautiful ‘singing bowls.’ Like ancient vessels they are intended to be objects of m...

A Fabulous, Surrealist 1946 Mid-Century Modern Abstract Portrait of a Young Man by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Titled "Introspective Stare", the drawing is ...

MAX BECKMANN (1884 – 1950) THE BEGGARS (DIE BETTLER, 1922) (Glaser 195; Hofmaier 219B) Lithograph, Plate 7 from 11-part print portfolio "Berliner Reise" (Trip to Berlin) Edition ...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 383. Philadelphia, J.T. Bowen, ca. 1839-44.

John Tobias Young (1786-1828) An Italianate landscape with a messenger & his horse on a wooded path, a lake & ancient ruins beyond Signed & dated “J. Young 1821” lower centre Oil on ...

Hunt Slonem, outdoor sculpture, stainless steel and enamel resin Size and colors custom

Vivid, deep blue and abstract…this compelling acrylic and mixed media piece by Ivo Stoyanov illustrates his masterful use of expressive form, colour and texture. The Canadian artist ...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed later by Cole Weston from the original negative now housed and retired at the Center for Creative Photography in Tuscon, Arizona. From the Estate of Cole Weston through inheritance with the Weston Gallery...

Study of Ruth, c. 1925 Charcoal and sepia ink on paper 22 1/4 x 27 3/4 inches (56.5 x 70.5 cm) Signed upper center: Lillian Westcott Hale Lilian Westcott Hale...

"Abstract Rhythms" invites us to explore the visual universe of the artist Juan Carlos Amador, who, through his unique perspective, translates the pulsations of space and the invisi...

Terri Del Signore is a Canadian ceramic artist and teacher who has been creating sculptural and illustrative artwork for more than a decade. The joyful sculpture, Skyward Whisper is...

Through his exploration of bodily movement, with modern and ballet dancers, and with particular attention to the male physique, the artist has focused on the curves and lines of thei...

Signed and titled in pencil. Inscribed "192/285." Edition 285.

Arthur Spooner (1873-1962) A mare and foal shading under the trees Signed lower right Oil on canvas board Painting size - 14 1/8 x 18 1/2 in Framed size - Arthur Spooner (1873–1962...

Hunt Slonem Oil Painting "3 Across" Black and White Bunnies Three rabbits gestured in black on a white background in a vintage frame Unframed: 4.75 x 11.25 inches Framed: 5.5 x 12 i...

Barbara Latham, 'Bear Family', wood engraving, edition not stated, 1937. Signed in the block, lower left. Dated in the block, lower right. A fine, richly-inked impression, on cream w...

This striking black-and-white photograph captures Carmen in NY enveloped in a flowing, white gown, creating a graceful, sculptural form. Her head is elegantly tilted to the side, fra...

Stephen Elmer (1715-1796) Two partridges in a mountainous landscape Oil on canvas Painting size 15 x 18 in Framed size 17 1/2 x 21 1/2 in Stephen Elmer (1715–1796) was one of the le...

This figurative oil painting of a white horse is by Daniel Hughes. The masterful work of Daniel Hughes is highly regarded internationally. Known for his exceptionally detailed, real...

Is a project that debates through the photographic image, the importance that humans have assigned to ourselves, and proposes a reconciliation with the reality of our own insignifica...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the collections of the Los Angeles County Museum of Art, and Scripps College. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine 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 Intervals series explores the expansion of color as both a physical and emotional phenomenon. Water, as an indeterminate agent, displaces and transforms pigment on the surface, ...

This offset lithograph in colors in three panels was created in 2002 and is from the unsigned edition of unknown size measuring
 
25 x 20 ½  in. (63.5 x 52 cm.) each and 25 x 62 in. ...

Eduardo Rezende’s 2024 series Lavori in Corso revisits one of the artist’s most enduring themes: the urban and architectural landscape — this time focused on construction sites, scaf...

This modern bronze sculpture was inspired by music and made by David Chamberlain. As graceful as a dancer’s form, this contemporary bronze sculpture in a striking deep turquoise patina is by David Chamberlain. Created from one luminous piece the lustre accentuates the spiralling form and reflects light. Chamberlain’s sculptures...

This large contemporary abstract painting by Milly Ristvedt is one of her colourful ribbons series. In the late 1960s, Canadian artist Milly Ristvedt had fallen in love with using r...

Striking in form, colour and texture, this is one of a new series of clay vessels created by American ceramicist Heather Allen Hietala. The boat-shaped vessel symbolizes life’s journ...

Medium: Etching and aquatint Year: 2016 Image Size: 15.5 x 8.25 inches Edition of 15, signed and titled by the artist McCleary was born in Santa Monica, California. He graduated fro...

Primo Tempo 2 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. In this misty forest landscape by Rosa Basurto, a tree that ha...

Jeremy Guy’s series of elegant contemporary sculptures, called Mobius, are created from rich black granite. Smooth-surfaced and subtly flecked with copper and white, the form—a Möbiu...

Anonymous, Japanese Kimono Fabric Design, color woodcut, c. 1930. A superb impression, with fresh colors, fine graduations, and metallic gold motifs, on ...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Image size 8 5/8 x 14 1/16 inches (219 x 357 mm); sheet size 11 1/16 x 15 1/2 inches (281 x 393 mm). Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

Signed and dated lower right: Burlin 1914 Oil on board 8 x 10 inches (20.3 x 25.4 cm) Framed dimensions 14 1/2 x 16 1/2 inches Provenance Private collection Born in New York City, Paul Berlin...

George Denholm Armour (1864-1949) Out Duck Shooting Oil on panel Painting size 10 x 14 in Framed size 15 x 19 in George Denholm Armour (1864–1949) was one of Scotland's most accompl...

Signed "P. Bisiaux" at lower right The overall dimensions, including the frame, are 29 x 34 7/8 inches

This unique contemporary ceramic vessel is by Bruce Cochrane. The striking clay artwork of this Canadian artist has garnered him international attention including several nomination...

A black and white cat play with a mouse, from Le Chat Noir Gillotage chromotype, 1898 Signed in the image lower right (see photo) An impression of this image is in the collection of ...

AMERICAN REVOLUTION THE ABLE DOCTOR IN AMERICA SWALLOWING THE BITTER DRAUGHT, 1774 (LC Cresswell 664). Engraving and etching. Originally from "The London Magazine", April 1774. Pl...

Point Lobos, California Oil on artist's board, c. 1925 Signed lower right: Wm J Edmundson (see photo) Condition: Very good condition Frame: Period McBeth Gallery style frame (see pho...

A Unique, 1960s Mid-Century Modern, European City View Watercolor by Noted Chicago Artist, Rudolph T. Pen. Artwork is formatted in a trapezoid shape, an innovative compositional dev...