William T Williams

Vintage American Modern Abstract Signed Original Screen Print

1970

Pierre Carrilero Fucked by the System, 2015 Screenprint on fabric in situ with steel bar construction 140 x 260 cm

Eggermont, Marjan (Contemporary Dutch Canadian), Ghost Island 2006, mixed media patina and silkscreen painting on steel, 20 x 20 inches Hand signed, titled and dated on wood bar ve...

Eggermont, Marjan (Contemporary Dutch Canadian), Big Seeds 2006, mixed media, patina and silkscreen painting on steel, 20 x 20 inches Hand signed, titled and dated on wood bar vers...

Artist/ School: Jill Jackson (British, contemporary) Title: Bold Landscape Painting Medium: oil on artist paper, unframed Painting : 16.5 x 11.5 inches Provenance: all the pain...

This work is part from the Inner Landscapes series in which the landscape is not just depicted, but lived. It becomes like a person — feeling, remembering, changing. Each scene refle...

Abstract landscape with colored plots in a dominant green. The landscape evolves in modulations with blurred contours, to suggest volumes more than to draw a precise pattern. The pal...

"Shoreline", Modern Coastal Landscape Eucalyptus Trees, Sunset Coastal Landscape Watercolor by Kipp Stewart (American, b. 1928), late 20th century. This vivid scene uses a soft and dreamy polychromatic palette of golden rod yellow, subdued purple, and dark green. Acrylic on natural edge paper. Signed in the lower right, "Stewart". Tag on verso with title ("Shoreline"), artist's name, size, and materials. Presented in a light wood frame, mounted on a white background. Image size: 12.75"H x 17.5"W. Paper size: 23"H x 30"W. Framed size: 30.5"H x 38"W x 1.25"D. Kipp Stewart (American, b. 1928) is an artist, architect, and designer from Pennsylvania. Known to furniture obsessives for the Declaration series he codesigned for North Carolina’s Drexel Furniture, Stewart is most commonly associated with mid-century design movements of his adopted home state of California. There, in 1972, Stewart designed the Ventana Big Sur, a luxury resort near Montecito for which he oversaw architecture, planning, furniture and interior design across 160 acres of land. By the time Stewart spearheaded the Ventana, he was already well versed in furniture design. After briefly serving in the U.S. Navy as a teenager, Stewart enrolled at the Chouinard Art Institute (present-day Cal Arts) in Los Angeles. By the time he graduated, he was steeped in the world of modern seating design, experimenting with new chair models that bridged form and function. Charles and Ray Eames were important influences on his early work, which included a chrome-framed lounge chair whose reclined shape bears a striking resemblance to the Eames iconic lounge. In the late 1950s, Stewart partnered with another West Coast furniture designer, Stewart MacDougall, on a line of modern furniture for Drexel. (The pair were also producing case pieces and more for Glenn of California.) Drexel soon unveiled Stewart and McDougall’s Declaration line, which was constructed entirely of natural walnut and featured the choice of white porcelain or brass drawer pulls and cabinet door handles...

The Mid-Century mindset As expected, 65 years ago.. people looked at art/painting a little differently. Back then, many artists were concerned with depicting simple and beautiful t...

The recent paintings of Atlanta artist David Kidd continue an evolving series of images inspired by and based upon natural forms, specifically the shadows cast by trees and other veg...

Out of many come one. A huge back mountain is formed out of scores of gas spewing smokestacks. The foreboding back mass fills most of the pictorial area. As one gets closer to the canvas, the complexity of the mass if revealed in low on contrast as we see the diverse variety of the stacks with accompanying petrochemical architecture. Above the stacks, plums of air pollutants like sulfur dioxide and nitrogen oxides rise gracefully into the atmosphere. The artist focuses less on the by-product of the stacks and more on his giant pollution machine that he has so astutely rendered. The work is mostly monochromatic but the artist has indicted a red tonality of a sunset/sunrise that offsets the charcoal blacks and grays. ______________________________________________ Submitted by Tamarind Institute Ian Davis...