20th Century Mixed Media

"Searching" unframed collage on fine art paper by artist Melanie Boone. Melanie Boone collaged center recto. Signed Melanie Boone ©, dated 1996 and title...

wood clothespins, wire

Miles Davis Plays Cool Jazz Collage, c. 1970 Unsigned Titled by the artist lower left margin (see photo) Provenance: Acquired directly from the artist by his friend and patron Joseph...

The subject of Castel’s early paintings were scenes of Sephardic Jews in the Holy Land. In 1947, Castel helped to found the "New Horizons".In the 1950s Moshe's Castel artwork work was inspired by ancient relief paintings depicting predecessors of the Jewish people...

Art: 16 x 48 x 2 5/8 inches Mixed media construction, signed on reverse Artist Tom Shelton creates very innovative constructions and paintings dealing with animals in their natural habitat. He graduated with a B.S. in Botany from the University of Cincinnati in 1964 and spent three semesters at the University of Michigan majoring in Forestry from 1964-1965. In 1972 Shelton completed the graduate art program at the Eastern Michigan University in which he received a M.F.A. in painting. Shelton’s artworks are included in the collection of the Smithsonian Institute, Washington, D.C., The Chase Manhattan...

Mixed media collage of hand drawn maps and photographs titled "Hog Bayou Ritual" by Roy Fridge. Artist Biography: A native of Beeville, Fridge was an only child who made his own toys. After serving in the U.S. Navy, he graduated from Baylor University in Waco with a degree in filmmaking. In the 1960s, he and his best friends, sculptors Jim Love and Dave McManaway, became known as the "unholy trio" of Texas contemporary art. In 1963, Fridge left a career in television advertising and "ran away to the beach." He settled in the sleepy town of Port Aransas...

Wood mixed media work glued onto a white background. Purple, teal and red color tones. Artist signature in the bottom right corner. Artist Biography: Charles Pebworth is known for ...

Magnificent abstract work on paper by Swiss artist Albert Chubac measuring 63 x 79 x 3 cm

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 5.5 x 4 and 5 x 4 Frame Size: 17.5 x 9.75 Medium: Batik Unsigned from her Estate "The Girls" Biography Margaret Putnam (19...

"Vichy" unframed collage on fine art paper by artist Melanie Boone. Melanie Boone collaged lower right recto. Signed Melanie Boone ©, dated 1997 and titled "Vichy" verso. Collage ima...

Purple toned abstract collage featuring a variety of everyday objects such as a car, an ice cream cone, a fork, a glass of water, and a camera. Signed,...

Colorful mixed media piece by Christine Alfery (from Flambeau, Wisconsin) that incorporates hues of purple, red, black, and swatches of gold leaf. Th...

20th Century French School, Prison Cell, Scene Mixed Media Collage, marked in pencil "Faust /1er acte" lower right, black frame. Image: 8.75" H x 11" W; frame: 11.5" H x 14.75" W x ...

This vibrant, vintage 1980s original painting by acclaimed Colorado Springs artist Mary Chenoweth is a captivating example of semi-abstract nature art. Featuring three stylized trees...

Alighiero Boetti (Turin 1940 - Rome 1994), Untitled (Time) (1985) Mixed media on paper 70 x 50 cm signed in the bottom center, also at the bottom is an openwork inscription I vedent...

David Hare Cronus Asleep in the Cave, 1991 Acrylic on paper on board 26 X 34 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

David Hare Cronus View from the Cave, 1971 Graphite, Ink wash, Paper Collage on Paper on Board 25 x 33 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Modern abstract expressionist style etching is done on a metal sheet. The sheet is attached to a wood backing for easy hanging. The work is not framed. Artist Biography: Dick Wray,...

Translated title: "Enrico's journey" Collage, ink on canvas and paper.

A striking fusion of organic form and geometric abstraction, this wall sculpture by Texas artist Stuart Mathews captures the rugged beauty of a mountainous landscape through a distin...

The cop admires the car while the viewer admires the drawing of the car. The enduring legacy of Ben Denison may not be that he was an early cartoonist for Playboy, but for his style...

With his unmistakable version of contemporary Surrealism, Marcel Dzama is one of the most internationally successful Canadian artists. Born in Winnipeg in 1974, Dzama had an intern...

Domenick Capobianco (American, b. 1928), Abstract Composition, Mixed Media Collage, mounted on flat painted grid, marked "Studio Domenick Capobianco" verso. 17" H x 16.25" W x 0.75"...

Pastel, colored pencil with collage elements Unsigned Condition: Repaired tear in the area of the moon, only visible from verso Pin holes in the corners and in the ...

D. Tongen "Rust and Black" 1980s 18.5"x 13" Soft pastel and pencil on paper Initialed in pencil lower right

D. Tongen Mint, Orange, Yellow, Black 1980s 11.75"x10.5" Soft pastel and pencil on paper Signed in pencil lower right

Oil paint transferred onto a Masonite board. Mainly yellow tones with decorative foliage. Framed in a white frame with a white matte. Artist Biography: Melanie Millar isa painter living and working in Houston, Texas. She has exhibited her work in one-person shows, group-shows and juried competitions nationally. Her work is in private and corporate collections, as well as in the collection of the Museum of Fine Art, Houston. She grew up in New Jersey but later moved to Houston, Texas. Her undergraduate degree is from the University of Texas. In 1999, she completed an MFA in painting and drawing at the University of North Texas, Denton Texas...

"Mercury" unframed collage on fine art paper by artist Melanie Boone. Signed Melanie Boone ©, dated 1994 and titled "Mercury" verso. Collage features zod...

Friedel Dzubas (1915-1994) was a Berlin-born, American abstract painter and a key artist associated with both the New York School and the Color Field movement. Dzubas studied art i...

Benny Andrews was an African-American artist, activist and educator. Born in Plainview, Georgia, Andrews earned a BFA in painting from the School of the Art Institute of Chicago in 1...

Vintage Paper and Adhesive collage by Wayne Timm. (Mat opening) or Image measures 11 3/4 x 12.5 in. In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, ...

By Kelly Fearing 7.25 x 10.5 inches June 8, 1961

Al Hirschfeld (1903-2003) "Beat the Band" 22 x 26 1/2 inches ink on board published in The New York Times, October 11, 1942 The unframed work comes directly from the Al Hirschfeld F...

nylon and stainless steel

Chantal Carbonatto Untitled, from the Album International 2 Portfolio, 1977 Batik on paper Signed and numbered 1/50 by the artist on the front 27 1/2 × 19 3/4 inches Unframed This is...

Signed in image lower left; Label verso #196 From Lenz's House of Farnam "First Day" Cover Series Painter, illustrator and commercial artist Norbert Lenz was born in Norwalk, Ohio...

Pat Adams Extended Alike, 1969 Gouache on Paper Mounted to Canvas (Zabriskie Gallery 25th Anniversary & Contemporary Arts Center, Ohio Exhibition Labels) Signed 'Pat Adams 12.69' upper left front In vintage period frame This unique, hand signed gouache on paper, mounted to canvas by renowned artist and longtime member of the Bennington College art department and National Academician Pat Adams, bears labels verso from the following exhibitions: 'Pat Adams Paintings', The Contemporary Arts Center, Cincinnati Ohio, Dec. 7-Jan. 20th. Adams at Zabriskie '(25th Anniversary Exhibition) Zabriskie Gallery, New York, NY, Dec. 5, 1978-Jan. 6, 1979, Cat. no. 41 and' Zabriskie Gallery, New York, Jan. 6-Jan 24, 1970 Measurements: Framed: 19 1/2" H x 13 1/4" W Artwork: 18" H x 11 1/2" W; Excellent condition, held in a vintage frame PAT ADAMS BIOGRAPHY: Pat Adams Biography: Pat Adams (American, b. 1928) was raised in Stockton, California, and began painting at the age of ten. She studied painting at UC Berkeley from 1945–49, where she first encountered the ideas of Hans Hofmann as she studied under his former students—Worth Ryder and Margaret Peterson O’Hagan, who had arranged for Hofmann’s migration to the States in 1932, among them. During her summers at Berkeley she pursued programs at the California College of Arts and Crafts (1945), the College of the Pacific (1946), and the Art Institute of Chicago (1948). In 1950, following her graduation from Berkeley the previous year, she attended a summer session at Brooklyn Museum Art School, remaining in the city after its completion. She received her first solo exhibition in 1954 at the Korman Gallery—later to be renamed the Zabriskie Gallery, which would continue to represent her through 2018. Her work was greatly motivated by her international travel during the 1950s: in Italy in 1951, after her first husband, painter and printmaker Vincent Longo was awarded a Fulbright scholarship, and in France in 1956, after she received her own Fulbright scholarship. In the fall of 1964 she was invited by professor Paul Feeley to teach at Bennington college, where she joined the social circle of the famous “Green Mountain Boys,” including Kenneth Noland and Jules Olitski. In 1972 she married fellow Bennington professor R. Arnold Ricks, and they set off with her two sons on a four month journey through Egypt, Iran, Turkey, and all of Europe, which impacted her work significantly. She continued teaching at Bennington through 1993. Her lengthy career has also included many teaching appointments at Yale, as both a visiting professor and artist, as well as the Rhode Island School of Design, among numerous other institutions across the country. She has received notable awards from the National Endowment for the Arts, the Academy of Arts and Letters, the National Academy of Design, and the College Art Association. In 1995 she was awarded the Vermont Governor’s Award for Excellence in the Arts. Her work has been the subject of over fifty solo exhibitions. She lives in Bennington, Vermont. -Courtesy of Alexandre Gallery

Vintage Keith Haring Record Cover Art: Set of 4: 1982 & 1987. Haring illustrations appear on front and back of each of the 4 record covers, as well as 2 inserts (see last 2 images). ...

WILLIAM WALCOT (1874-1943) The Temple Signed and dated l.r.: W Walcot 1919 Oil on paper over an etched base Framed 45 by 57 cm., 17 ¾ by 22 ½ in. (frame size 62 by 74 cm., 24 ½ b...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black paper Signed lower right Framed by Bark BIO rene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept. She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together. In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet...

Once dubbed “the Grandfather of L.A. Modernism,” the Chicago-born Emerson Seville Woelffer was active as an innovative painter, collagist, and educator throughout his long and prolif...

Janine Antoni, Touched By The Artist 1996 Signed and numbered Cut and printed paper (Edition of 50) 12 x 9 inches

With pastel, watercolour and gouache. Signed. Presented in a gilt frame and double card mount. Title inscribed to label verso. On paper.

With watercolour, gouache and pastel. Signed to the lower right, presented in a light wooden frame and wash line mount. Label with title verso.

Mixed media Paper size: 14 x 21 inches Framed size: 28.25 x 35 inches Signed lower right

From the visual collaborative series between Bernie Taupin CBE and Terry O'Neill CBE, titled 'Two Sides of the 60s; Limited Edition of 199 Hand Signed by Bernie Taupin

Violet Composition is a contemporary artwork realized by Genny Puccini in 1977. Mixed media. Hand-signed and dated by the artist G. Puccini '77. Very good conditions.

So evocative of the 1960s, all primary colors, positive energy and bold statements. A skilled artist who mysteriously only signs their name "Larson." Plus the provocative brown eye p...

Untitled Large Seascape Mixed Media Ink and gouache wash on paper laid on board about 1970s, Artist signed lower right corner. Lim Ha Shan, was born in Seoul, Korea in 1945. The na...

Window Opus 4 by Michel Bezman portrays a young girl looking out the window with her doll and her brother in the background. This is taken from a Parisian street scene from his days living in Paris. Notice the fine detail in the collage especially in the cutouts. Window Opus 4 makes us wonder what the sister and brother...

"Sempiternity" unframed collage on fine art paper by artist Melanie Boone. Signed Melanie Boone ©, dated 1999 and titled "Sempiternity" verso. Melanie Bo...

Among the Stones by Leo E. Osborne Abstract Nature Wall Relief, best suited for interior placement Carved Canada Goose and Rocks - Unique Carved Mixed...

Jacquard woven silk, silver leaf

Magnetism II, 1991 Accumulation of acrylic paint, brushes, and broken cello on canvas on board. An acrylic box is included over the piece for protection 55 x 42 x 7 in

"BE 10" unframed sheet music collage by artist Melanie Boone. "Melanie Boone" is collaged in lower right corner recto. Titled "BE10" on back.

Paper and Adhesive collage by Wayne Timm. Image or mat opening measures 11 x 13 in. In the 1960's, Wayne Timm rubbed elbows with the likes of Warhol, Lichtenstein, Rauchenburg and ...

David Hare Cronus Asleep in the Cave, 1971 Acrylic, ink wash, graphite, paper collage on paper on board 26 x 35 inches “Freedom is what we want,” David Hare boldly stated in 1965, b...

Christian Eckart, an internationally acclaimed artist born in Calgary, Alberta in 1959, became an American citizen in 1995. After establishing his career in New York City between 198...

From the visual collaborative series between Bernie Taupin CBE and Terry O'Neill CBE, titled 'Two Sides of the 60s; Limited Edition of 50 Hand Signed by Bernie Taupin

When the Artist was young she heard someone say, A Bird Flew Out of A Cage it became a Title in A Series about her feelings and wanting to fly and reach all of her potential and at t...