1950s Art

Signed lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Cen...

Medium: original lithograph. Printed in 1956 for the second volume (1956-57) of the very rare Documenti d'Arte d'Oggi, published in Milan by Groupe Espace. Size: 12 1/2 x 8 1/2 inche...

Charmion von Wiegand Pillar of Zen #124, 1959 Gouache on paper painting Hand signed, titled and dated on the front Unique Provenance: Andre Zarre Gallery, with label verso (Estate of renowned gallerist Andre Zarre, ne Andre Sowulewski) Measurements: Framed 26.5 inches vertical by 25.5 horizontal by 2 inches Artwork: 21 inches vertical by 22 inches horizontal Mid century modern, geometric, spiritual abstraction, mystical The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld Gallery since 1998. From March 3 to August 13, 2023, Charmion Von Wiegand was the subject of an acclaimed retrospective at the Kunstmuseum Basel, and she has received major attention in the price, including a June, 2023 ArtNews feature entitled, "Who Was Charmion von Wiegand and Why Is She Important?". Her work was also featured in a solo presentation by Rosenfeld Gallery at the New York Art Show held at the Park Avenue Armory, which also received critical acclaim. Artists Biography - courtesy of Michael Rosenfeld Gallery: Known for her vibrant, geometric paintings that originate a deeply personal language of spiritual enlightenment expressed through a constructivist mode of abstraction, Charmion von Wiegand (1896–1983) was born in Chicago but spent much of her childhood traveling. The daughter of a journalist for Hearst, von Wiegand eventually settled in New York in 1915 to attend Barnard College and Columbia University, where she took classes at the School of Journalism while nurturing a growing interest in art history. In 1925, von Wiegand realized that she wanted to be an artist and set up a studio in Greenwich Village, teaching herself how to paint while pursuing a career as a journalist. In 1929, she secured a position in Moscow as a foreign correspondent for Hearst, the only woman at the desk at the time. In 1932, von Wiegand returned to New York and married Russian émigré Joseph Freeman, who co-founded and edited the leftist journal New Masses. Von Wiegand began writing art criticism for New Masses as well as for other publications, including New Theatre, ARTnews, and Arts Magazine. When the Abstract American Artists (AAA) held their inaugural exhibition, von Wiegand reviewed it. An early champion of abstract art, von Wiegand became close friends with AAA founder Carl Holty. In 1941, Holty introduced von Wiegand to Piet Mondrian, who would have a profound impact on her art. Fascinated by Mondrian’s artistic philosophy, von Wiegand played a key role in the introduction of his work to American audiences, translating many of the Dutch artist’s writings into English and assisting in the composition of his influential article “Toward the True Vision of Reality” (1941). Through her friendship with Mondrian, von Wiegand re-kindled her interest in Theosophy (a religion established in the late 19th century that combines aspects of Hinduism, Buddhism, occultism, and esotericism) and embarked on an extended study of neoplasticism. In her artwork, she incorporated Mondrian’s iconic grid but rejected the constraints of pure neoplasticism and embraced a wide range of influences including surrealism and German expressionism. In 1942, von Wiegand became a member of the AAA, exhibiting regularly with the group and eventually serving as its president from 1951 to 1953. In the late 1940s, sculptor and fellow AAA member Ibram Lassaw gave her a translation of The Secret of the Golden Flower: A Chinese Book of Life, which inspired von Wiegand to immerse herself in a study of Buddhist art. She began incorporating Buddhist motifs such as stupas and mandalas into her paintings, and her spiritual practice steadily intensified throughout the 1950s. In 1953, her husband gifted her a copy of the Taoist I Ching Book of Changes, a guide for divining meaning from randomly derived numbers arranged in a hexagram—a form the artist readily incorporated into her painting. Von Wiegand’s study of Theosophy also intensified over these years, bolstered by her increased access to the religion’s primary sources composed by the religion’s founders and their successors at the New York Theosophical Society’s library. Von Wiegand’s search for the sacred and transcendent ultimately led her to Tibetan Buddhism and, in 1967, von Wiegand met Khyongla Rato Rinpoche, a Gelugpa monk who had recently arrived in New York, who would mentor her spiritual study in the tradition of Mahayana Buddhism until her death. Her travels in the 1960s and 1970s took her to Tibet and India, where she had an audience with the Dalai Lama, who was living in exile in Dharamsala. Many works from these decades incorporate symbols and schematics drawn from Theosophical prismatic color charts, Chinese astrology and tantric yoga. In 1978, she was the subject of a PBS documentary titled The Circle of Charmion von Wiegand, which was scored by Philip Glass. In 1980, von Wiegand was elected to the American Academy of Arts and Letters and in 1982, the Bass Museum of Art in Miami Beach (FL) organized her first retrospective exhibition. She died the following year in New York, bequeathing her estate to Khyongla Rato and the Tibet Center of New York. In 1998, Michael Rosenfeld Gallery became the sole representative of her estate and has presented her work in four solo and multiple group exhibitions. Recent notable exhibitions that have included her work are The Third Mind: American Artists Contemplate Asia (Solomon R. Guggenheim Museum, New York, NY, 2009) and Constructive Spirit: Abstract Art in South and North America (Newark Museum, NJ, 2010). In March 2023, the Kunstmuseum Basel (Switzerland) opened the first comprehensive museum retrospective of von Wiegand’s work in Europe. Von Wiegand’s work is represented in numerous museum collections including the Addison Gallery of American Art, Phillips Academy (Andover, MA); Albright-Knox Art Gallery (Buffalo, NY); Arithmeum, University of Bonn (Germany); Birmingham Museum of Art (Alabama); Blanton Museum of Art, The University of Texas at Austin; Brooklyn Museum (NY); Carnegie Museum of Art (Pittsburgh, PA); The Cleveland Museum of Art (OH); Indianapolis Museum of Art (IN); Fondazione Marguerite Arp (Locarno, Switzerland); Museum of Fine Arts, Boston (Massachusetts); The Metropolitan Museum of Art (New York, NY); The Museum of Modern Art (New York, NY); Newark Museum of Art (New Jersey); Seattle Art Museum (WA); Smithsonian American Art Museum (Washington, DC); Walker Art Center (Minneapolis, MN); Weatherspoon Art Museum, The University of North Carolina at Greensboro; Wellin Museum of Art at Hamilton College (Clinton, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery (New Haven, CT). More about gallerist Andre Zarre A tribute in the New Criterion: Dispatch August 11, 2020 Andre Zarre, 1942–2020 by Dana Gordon On the late New York gallery pioneer. Art should never be aggressively explained; art should be felt. —Andre Zarre, 1977 Often, in the starlit New York cultural mecca, a longtime important figure fades away through the penumbra and dies without notice. Such was the fate of Andre Zarre, the contemporary art dealer, who passed away a few weeks ago. Andy, as he wanted friends to call him, opened his eponymous gallery in 1974 just off Madison Avenue on Sixty-ninth Street. He soon moved it to the omphalos of the art world in that era, 41 East Fifty-seventh Street, the Fuller Building. Over the years he moved to SoHo and then to Chelsea, as fashion and real estate prices pushed the art souk hither and thither. To understand his importance, all you need do is take a look at a list of artists who had solo shows at the Andre Zarre Gallery. This includes such names, from an early generation, as Sonia Delaunay, Nassos Daphnis, Sari Dienes, and Perle Fine. Among a subsequent generation are Pat Lipsky, Jay Milder, Thornton Willis, and Kes Zapkus.1 And this list does not include the many knowns and unknowns who were in his lively group shows. Zarre had a real “eye” and was a champion of abstract art from the moment he founded his gallery—even among the gathering storms of conceptual and political art, which he eschewed. He showed a good deal of figurative art as well. His galleries were always spacious and unpretentious, oriented simply to show the art. In the words of Dee Shapiro, who showed with the Zarre gallery many times, “He had a photographic memory and knew a lot about art and was always interested in the artist’s life.” Reliable biographical information on Zarre is scarce, but he said of his background that he was born in Poland in 1942 and that his parents were a diplomat and a socialite. He left home for the United States at the age of fifteen. During his decades as an art dealer in New York, Zarre did not appear to accumulate wealth, though he acquired a collection and lived on Park Avenue. “He was not personally aggressive in that way. People had to come to him,” Dee Shapiro said. He was honest in his financial dealings with artists, which not all art dealers are. For a long time while running the gallery he had a second job as a supervisor in an airline office and he kept little to no additional staff in the gallery. He supported a brother who remained in Poland. Among artists, Zarre was known to be quite ornery. After my show at his gallery in 1997, I refused to enter it for seventeen years. Then I ran into him in Chelsea and he offered me another show, an opportunity I gladly accepted, but he remained just as disagreeable. He showed the work of many women, probably more than any other gallery, save those devoted to showing only women. Collectors, curators, and writers found him mostly friendly. As Peter Reginato put it, Zarre was a “strange guy but I liked him. I think he was a dealer who was more interested in the art than in making money, but somehow he lasted forty-plus years.” Zarre is not known to have kept extensive or extant records of his gallery’s long history, though these may emerge in time. Scouring the Internet, one may compile a partial list of more than eighty artists who had solo shows at the Andre Zarre Gallery:Nancy Azara, Ellen Banks, Mary Barnes, Tony Bechara, Juan Bernal, Stephanie Bernheim, Randy Bloom, Elena Borstein, Michael Boyd, Fritz Bultman, Ed Buonagurio, Yoan Capote, Sonia Delaunay, Nassos Daphnis, Cathy Diamond, Sari Dienes, Joseph Dolinsky, Beata Drozd, Ronnie Elliot, William Fares, Perle Fine, Lynne Frehm, Ben Georgia, Mikel Glass, Dana Gordon, Juanita Guccione, Fred Gutzeit, Don Hazlitt, Amy Hill, Clinton Hill, Monroe Hodder, Budd Hopkins, Arlan Huang, Richard Hunt, Rhia Hurt, Buffie Johnson, Alexander Kaletski, Robert Kaupelis...

Woman reading after Henri Matisse by Claire Ragueneau Impressionist seated woman reading a book after Henri Matisse by San Francisco artist Claire Ragueneau (American, 1901-1971). Cl...

Original Serigraphy The original poster for this exhibition was created by American artist Ellsworth Kelly, one of the leading protagonists of abstract art at the time. Kelly was re...

Pool At Lake Tahoe 1959 by Slim Aarons Slim Aarons Limited Estate Edition Bathers by a pool on the shore of Lake Tahoe, California, 1959. unframed c type print printed 2023 20 x ...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. A graphite study of a young woman shown nude and seated in an armchair. Winner of...

I See I don't See it is an Linocut Print realized by Mino Maccari in 1951. Very Good condition. No Signature. Mino Maccari (1898-1989) was an Italian writer, painter, engraver and...

This exquisite lithograph after Henri Matisse (1869–1954), titled Decoupage (Decoupage), from the album XXe Siecle, Nouvelle serie N°4 (double) Janvier 1954, originates from the 1954 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1954. Decoupage reflects Matisses late career mastery of distilled form, harmonious contour, and poetic abstraction. Executed as a lithograph on velin paper, this work measures 12.5 x 9.75 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris Artwork Details: Artist: After Henri Matisse (1869–1954) Title: Decoupage (Decoupage) Medium: Lithograph on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1954 Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Nouvelle serie N°4 (double) Janvier 1954, published by Societe Internationale dArt XXe Siecle, Paris; printed by Mourlot Freres, Paris, 1954 About the Publication: Gualtieri di San Lazzaros XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs, linocuts, and pochoirs printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, Atelier Lacouriere, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1954 issue, Nouvelle serie N°4 (double), stands among the journals landmark mid century editions. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design. About the Artist: Henri Matisse (1869–1954) was a French painter, sculptor, draughtsman, and printmaker whose revolutionary vision redefined modern art through his daring use of color, line, and form. Celebrated as one of the greatest artists of the 20th century, Matisse led the Fauvist movement and devoted his life to the pursuit of balance, beauty, and emotional expression in visual art. His early works burst with vibrant hues and liberated brushwork, while his later cut out compositions achieved a poetic simplicity that transformed the relationship between color and space. Deeply influenced by the work of Paul Cezanne, Vincent van Gogh, and Georges Seurat, as well as by the rhythmic patterns of Islamic art, Byzantine mosaics, and Japanese prints, Matisse forged a new visual language that celebrated joy, movement, and serenity. He was part of an extraordinary generation of artists who shaped the evolution of modernism, maintaining lifelong dialogue and friendly rivalry with contemporaries such as Pablo Picasso, Georges Braque, Marc Chagall, Andre Derain, Albert Marquet, and Raoul Dufy peers who, like him, sought to expand the expressive potential of color and composition. Matisses influence extended across generations, inspiring modern and contemporary masters including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom drew upon his fearless experimentation and refined visual harmony. His paintings, sculptures, and works on paper are held in the most prestigious museums in the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Hermitage Museum, where his art continues to symbolize the essence of creativity and human emotion. The highest price ever paid for a Henri Matisse artwork is approximately 80.8 million USD, achieved in 2018 at Christies New York for Odalisque couchee aux magnolias (1923). Henri Matisse Decoupage...

Perfect for your hockey enthusiast! A 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 inches. 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...

Léopold Survage, 'Le Cheval' (The Horse), color etching, edition 60, 1953. Signed and numbered '46/60' in pencil. Initialed in the plate, lower right. A superb, richly-inked impressi...

Bay Area Expressionist Standing Nude Standing nude woman by Honora Berg (American, 1897-1985). Bold depiction of a nude woman with dark hair. The model is rendered in dark greys, w...

This exquisite lithograph after Henri Matisse (1869–1954), titled La Tristesse du Roi (The Sorrow of the King), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, origin...

Stunning mid century landscape of Carmel, California titled "Sea Rocks" by Homer Francis Levinson (American, 1894-1975), circa 1940's. Impasto brushwork adds extra depth and interest...

Medium: original lithograph. This lithograph was printed in 1956 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 85-86, 1956. Published by A...

This 1958 original exhibition poster, designed by Max Ernst for the Salon de Mai, features "La Forêt à l’Aube" (The Forest at Dawn)—a striking example of his surrealist and abstract ...

Medium: original lithograph. Printed in 1955 and published in Milan by Groupe Espace for the very rare Documenti d'Arte d'Oggi. Size: 12 1/2 x 8 1/2 inches (318 x 219 mm). Signed in ...

This photograph from 1972 captures a stylish, vibrant scene featuring two people on a small airplane. A young woman, wearing a pink floral dress and sunglasses, lounges gracefully on...

Vintage modernist landscape painting. Oil on canvas, circa 1957. Signed "Olga" verso. Displayed in a modern frame. Image size, 36"L x 26"H.

Swan Dive (1956) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) 1st March 1956. A man swan diving from the high diving boar...

Signer upper right, 'Craemer' for Kurt Craemer (German, 1912-1961) and dated 1954. Born in Saarbrucken, Craemer first attended the Academy of Cologne where he worked under Friedrich...

A vibrant 1950s Modern watercolor of a standing male bather in red orange tones by notable French artist Andre Delfau. Painted in the south of France along the Cote d' azure (...

Rare vintage limited edition Stone Lithograph printed at Mourlot in Paris. this is from a signed and numbered portfolio but the individual shee...

Original river rapids landscape by the Venezuelan artist, Tomas L. Golding. Oil on canvas laid down on board. Signed lower left by the artist Circa 1955. Condi...

Medium: original lithograph. This lithograph was printed in 1956 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

This exquisite lithograph by Antoine Pevsner (1886–1962), titled Tete de femme (Head of a Woman), from the album XXe siecle, Nouvelle serie, XXIe Annee, No. 12, Mai-Juin 1959, origin...

This exquisite lithograph after Henri Matisse (1869–1954), titled Autoportrait au maillot raye (Self-Portrait in a Striped Shirt), from the album Portraits par Henri Matisse (Portrai...

Norman Parkinson 'Audrey Hepburn, Vogue' 1952 Silver gelatin print 20 x 24 inches Estate stamped and numbered on verso “The camera can be the most deadly weapon since the assassi...

'On the Path', pastel and ink on art paper, by Suzanne Tourte (circa 1950s). Executed with a lively palette of colour, this is a surprisingly sophisticated modern work of art which belies its rather naive style. Flowered fields, green grassy patches, a curved path and blue skies all figure in this engaging landscape with two figures. Newly framed and glazed in anti-reflective glass, this work is in good overall condition. Signed: 'S X Tourte' in the lower right hand. Please enjoy the many photos accompanying the listing. Upon request, a video may be provided. About the Artist: Suzanne Tourte (1904-1979) was a French painter, engraver, medalist, fresco artist, lithographer and illustrator. She was also an excellent vocalist. She studied at the school of Beaux-Arts in Reims while continuing her musical studies at the Conservatoire de la Ville. She chose painting as a profession and returned to Paris to continue her studies. She was friends with artists Yves Brayer and Robert Humblot...

Nice poster of Alexis Kow for the 24h of Le Mans. Alexis Kow said Kow is a French designer, poster artist, illustrator and model maker, born September 17, 1901 in Moscow. As early as...

Medium: original lithograph. This lithograph is from the rare 1952 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1952 Spr...

French expressionist artist, 1955 signed oil painting on canvas, framed dated 55' framed: 22 x 29 inches canvas: 15 x 22 inches provenance: private collection, France condition: ove...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features Lilian Hanson sunbathing by a pool at the Bürgenstock Resort Lake Lucerne in Canton Nidwald...

This exquisite zincograph by Henri Michaux (1899–1984), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXe Annee, N°10 (double) Mars 1958, originates from t...

Brando (1950) Silver Gelatin Fibre Print (Photo by Pictorial Press / Alamy Archives) Marlon Brando, 1950 in costume for his infamous role as Stanley in Elia Kazan’s classic A Str...

A small, vibrant 1950s Mid-Century Modern mountain landscape painting depicting Aspen, Colorado by famed Chicago artist Harold Haydon. Titled "View NW fr...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Femme au cep de vigne (Woman with Vine Branch), from the album Les Lithographies de Renoir (The Lithographs ...

Cover of The Saturday Evening Post Magazine, February 6, 1960 Caption: "The Cover: Artist John Clymer takes you to the summit of Washington state's Snoqualimie Pass, where they seem to have had a few snow flurries lately. Up there the moist westerly winds bump against sky-reaching peaks of the Cascade Range, with the result that the winds spill their contents before whistling dryly on down across the eastern slopes. Thus residents of places like Seattle living in a relatively balmy clime beside the Pacific's mild Japan current, can drive in an hour or two up to where skiing material is sometimes twenty feet thick if it's an inch. Indeed, when seasons overlap, a downlander might conceivably pick a rose and go skiing with it in his buttonhole. All of which, thanks to highway crews who blow off the blizzards, is a very felicitous geographic arrangement." John Ford Clymer's success as an artist can be traced to his boyhood in the Kittitas Valley located in the central regions of Washington state. It was there that he developed an enthusiasm for the world around him and an abiding respect for historical accuracy. Over the years John Clymer received numerous awards and honors including the revered Prix de West in 1976, from the national Academy of Western Art. Other great achievements included both gold and silver metals for his oils and charcoal drawings from the Cowboy Artists of America, "Western Artist of the Year" from the National Wildlife Art Collectors Society, and both John and Doris were honored at the Ellensburg National Art Show and Auction for their contributions to western heritage. John's highest honor came in 1988 when he was awarded the prestigious Rungius Medal from the Wildlife of American West Art...

Medium: original lithograph. This lithograph was printed in 1958 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Etching, 1958 Handsigned by the artist in pencil and numbered 24/75 Publisher : Maeght (Paris) Printer : Crommelynck et Dutrou (Paris) Catalog : [Vallier n°121 p. 179] 63.50 cm. x 57...

This exquisite lithograph by Henri Michaux (1899–1984), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie N°7 (double) Juin 1956, originates from the 1956 editi...

Joseph Solman Figure Study, circa 1959-60 Signed with initials lower left Gouache on Racing Form newspaper Sight 9 x 7 inches Provenance Private Collection, Montecito, California Pr...

Spanish artist Juan Bayon Salado (1913-1995).

Scène de tauromachie, Picasso, 1950's, edition, earthenware, terracotta, scene Scène de tauromachie Ed.274/500 pcs 1957 Red earthenware clay, eng...

A mid-century modern oil painting by listed female artist Helen L. Roberts. This painting depicts an interior scene with a vase of beautiful flowers and decorative pitcher. Housed ...

Original Lithograph on Arches wove paper, pencil hand-signed and numbered 32/50, with gold leaf frame. Paper Size: 45.7" x 29.7" Framed Size: 54" x 39" Catalogue raisonné: M.979 Th...

Hawaiian Scenes 1957 A couple aboard a yacht in Hawaii, USA, 1957 by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigment print unframed (framing available ...

Antique American signed abstract expressionist oil painting. Oil on canvas. Signed. Framed. Image size, 41.5L x 31.5H.

Medium: original lithograph. This lithograph was printed in 1955 for the "Improvisations" portfolio, and published by the Artists Equity Association of New York in an edition of 2000...

Medium: original lithograph. This lithograph is from the rare 1950 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1950 Spr...

Medium: original lithograph. This lithograph was printed in 1955 for the "Improvisations" portfolio, and published by the Artists Equity Association of New York in an edition of 2000...

William Fisher (1891 - 1985) William Fisher was born in Brooklyn, NY in 1891. He studied at the Brooklyn Institute of Art and Science and at Pratt Institute. Following service as an ambulance driver in WWI, he remained in Europe after the war and studied painting in Rome, Italy for one year. Upon his return from Rome, to New Jersey, he pursued his painting and began to teach small art classes. In the 1920's Fisher became a successful illustrator. His work appeared in Saturday Evening Post, Mc Calls, Harpers and other popular magazines. He later did pen and ink sketches for the Villager, a weekly Greenwich Village newspaper. Microfilmed pages of the Villager are preserved in New York University's Washington Square Library. His sketches also appeared on the cover of the Gotham Guide, which was sold Fridays at news stands in Manhattan. In partnership with Margaret Kilburn, an artist and crafts person, Fisher opened an art gallery and school at 33 West 8th St in NYC during the 1930s. They also opened a summer art gallery and school in 1949 in Kennebunkport, Maine, which ran for many years, and, after the NY gallery closed (around 1952), they made a full time commitment to living and working in Kennebunkport, Maine. Fisher was the recipient of over 100 awards. His work was widely exhibited in Philadelphia, Pa., Montclair, Trenton, and Newark, NJ, the Currier Gallery in New Hampshire and the Brick Store Museum in Kennebunk, Maine. William Fisher and Margaret Kilburn were familiar and beloved figures in Kennebunkport. They taught generations of local children, and they participated in numerous exhibits with other artists, both in the Kennebunkport area and throughout Maine. Mr Fisher always insisted on marching in the local Memorial Day parade, until he was well in his 90's, because he didn't want to ride in a car provided for older veterans. Many homes in the Kennebunks have his works, including members of the Bush family, and they were purchased by numerous out of state and Canadian summer visitors. There are several examples of his works in the Kennebunkport Town Offices and in local churches. Fisher loved to paint "big" canvases, usually local Maine scenes...

Erich Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photographers, who used a Leica. His images today...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Auguste Rodin, from the album Les Lithographies de Renoir (The Lithographs of Renoir), originates from the 1...

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

This piece is a turned vase by Pablo Picasso, created in 1953. It is made with chamotted red eathenware clay, decoration in pastels using white, green, ye...

Jean Serpieri 1961 - Slim Aarons Estate Stamped Madame Jean Serpieri sits in the ballroom of the Tour La Reine near Athens, wearing a gown that belonged to the wife of Otto, the fir...

A dynamic & colorful, Abstract Expressionist Painting in Reds, Blues & Yellows by Artist Harold Haydon, Dated 1957. Framed in a dark, wood cube frame. Image size: 12" x 16". Fra...

Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spr...