North American Contemporary Art

Pair of Josef Albers lithographs from formulation and articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These two works are fro...

Limited edition lithograph print entitled "Bag One" by artist and member of The Beatles, John Lennon, circa 1988. The image depicts two figures embracing, representative of Lennon an...

Group of Three WPA Era Paintings, American, circa 1930s-1950s. From left to right, they are: 1) Brick mason oil painting, American, circa 1930s. It ...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #62 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics...

Donna Balsan. "Unmade Bed With Red Lamp". Dry (sec) Sennelier Pastel on Heavy Kraft Paper. Measures: 48 1/4” wide x 248 3/4” high. Framed. Donna McLeod Balsan. Donna was trained at NYU Tisch School of Arts in 1980. She worked in the textile industry in NYC. Then married French Independent Film Producer, Humbert Balsan and moved to France where she lived for the next 25 years. She was trained at Institut Superior de Peinture Decoratif/ Paris, specializing in Trompe l’oeil, faux marbre/bois, patinas and murals. She worked on decorative painting projects all-over France, US and Europe in hotels, chateaux, private homes and apartments and film sets. She moved to Aix en Provence in 1995 where she was deeply influenced by fauve landscapes...

Contemporary New York artist Peter Buchman's "Just another thing hanging over your head." is made of enamel, house paint, pla...

The works of Ethan Murrow are beloved by many for his detailed realist/surrealist techniques and their sense of humor. Artist : Ethan Murrow, b. 1975 Titl...

Josef Albers, Formulations - Articulations I & II Edition 974/ 1000 1972 screen-print on paper Embossed with Josef Albers initials, portfolio and folder number. This work is publi...

1979 Abstract lithograph painting by American listed artist Robert Natkin (1930-2010). Pencil signed, numbered 61/75 and dated 1979. Newly framed with black lacquer frame, floated o...

Introducing "Le Havre", a limited edition, signed and numbered print that captures the renowned landscape of Le Havre bathed in the fiery hues of sunset. This geometric abstract, ali...

Stunning metal sign of a school girl letting you know the speed limit in the school zone. 48" tall. Double sided. Great coloring, with grey, light blues an...

Great original drawing by Robert Loughlin on cardboard. Image of 'the Brute' with cigarette facing to the right. Signed RL on the back. Water stain on bottom right. Over 20 original ...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

This opulent still life by artist Helen Oh gets its richness from a deep teal blue background as well as the soft pearl coloring of the nautilus shell. Painted on a wine crate panel...

This is a modern abstract oil painting on canvas by Kay Hillman. The piece most likely dates to the late 70’s or early 80’s. The artist is American and passed away in 1996. It is sig...

A rare Keith Haring/ New York City Pop Shop original "Safe Sex" clip-on condom carrying holder/case (The metal clip allowed you to hook it onto your belt). Haring, the renowned Amer...

Contemporary Art Afternoon May 16, 2007 Sotheby's. Published by Sotheby's, NY, 2007. 1st Ed softcover auction catalogue. The Rockefeller name worked its magic at Sotheby’s sale of contemporary art, where a mysterious bearded collector in a skybox outbid five other contenders for Rothko’s “White Center (Yellow, Pink and Lavender on Rose).” The $72.8 million he paid, far above the painting’s $40 million estimate, set records for both the artist and for any contemporary work at auction. Sotheby’s declined to say who the buyer was or where he was from. But the seller was David Rockefeller, the retired banker and chairman emeritus of the Museum of Modern Art, who had decided to cash in on the market and invest the money in other philanthropic endeavors. Seasoned auction goers noticed that last night rubles appeared for the first time on the salesroom’s currency board, along with dollars, euros, pounds and Swiss...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Original artwork. The art and design continuum of form and space. Hand torn / sculpted canvas, black gesso, thin wood frame.

Humboldt County Line freeway sign from Northern California. Made in 1965. Great piece of Marijuana history as well as transportation Americana. 7 feet wid...

Art glass organic sculpture, contemporary work of art by an American artist, who studied with some of the most esteemed glass Masters in Murano. The idea of setting free imagination and creativity is magically embodied through the medium of blown glass in the representation of soaring sparrows, flowing out freely on the wall, in textured colors, teal blue, white with copper gold sparkling metallic inclusions. This sculpture as a whole comprises 7 birds in the sequence...

Super cool Los Angeles freeway sign. Made in the late 1990s. This sign welcomed you as you entered the county of Los Angeles. Reflective letters an...

MOTEL SUITCASE SERIES 6034 by JORGE FICK Born in 1932 and passing in 2004 in the vibrant artistic community of Santa Fe, New Mexico, this artist was a prominent figure in the world of high color abstraction. His unique approach to abstract expressionism was deeply influenced by the teachings and mentorship of renowned artists Franz Kline, Jack Tworkov, Phillip Guston, and Joseph Fiore...

Sven Lukin: Silkscreen #1 Released by Pace Gallery in NY 1969 Limited Edition

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Surreal table scape by Virginia Todd Wylie (1918-1999) Showed in local and NYC art galleries and museums - Parrish Art, Guild Hall, Art Institute Chicago...

Vintage "Gibson Girl" lithograph by Charles Dana Gibson, circa 1940s. The print is presented in grey wood frame with black mat and measures 17" x 22.5" (image is 11" x 16.5). An i...

Group of Eight Abstract Photolithographs on Vellum by Cy Twombly, from the limited edition "Gaeta" portfolio produced by Hine Editions, San Francisco, CA, circa 1987. They have been ...

Isabel Brinck Abstract Oil Painting on Canvas Title "There's people on the moon" Offered for sale is a monumental oil on canvas painting by Chilean-American artist Isabel Brinck (b....

Litho is a contemporary design project rooted in the ancestral essence of chukum, a natural finish from Yucatán that blends the bark of the Havardia albicans tree with limestone. Bor...

This mid century decorative glass wall art is hand cut and made by hand by skillful artisans in Brooklyn, and framed in natural solid oak. Resistant to fading and aging. Limited e...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

This organic wall decoration piece is made up of leaf and seed impressions joined together to form a large mural. Its rustic style is obtained using pigments such enamels and earths....

Abstract screen-print, by Josef Albers, from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. This work is fro...

Selection of Mid-Century jazz themed paintings, American, circa 1930s-1970s. From left to right, they are: 1) New Orleans jazz watercolor by Leo Meirsdorff...

Discover Lynnea’s new Architectural Abstract series, where Agnes Martin–inspired shapes float gracefully across textured canvas boards. Each piece is thoughtfully layered with soulfu...

It is a geometric, simple and contemporary piece with a lot of personality. It will add a playful and colorful touch to your kids room. You can hang the piece on a wall or place it ...

Pamela Melvin's "Restful Reverie" This captivating oil painting by Pamela Melvin, titled "Restful Reverie," is a stunning blend of color, texture, and evocative imagery. The subject...

A handsome and sophisticated mixed media on canvas by American artist John Rigsby. Found in a original state of preservation. His works are few and far between. The following biography was submitted by John David Rigsby, Jr., son of the artist. The author is Lisa Rigsby Peterson, daughter of the artist, and owner of the copyright of the biography. John David Rigsby was born on October 10, 1934, the seventh child of an Alabama Depression-era sharecropper's son. He and his family moved frequently, from one one-room structure to another, often with no running water, no plumbing, no heat but the stove. His father was killed in a car accident when Rigsby was just 9 years old. Life for the remaining eight family members proved tumultuous and difficult -- food wasn't plentiful, nor money. The family moved from place to place, following work -- Rigsby attended 30 different schools before graduating from high school. Despite living in poverty, Rigsby demonstrated academic and artistic aptitude at a young age. Two oil paintings on covers ripped off of old books that he painted when he was eight years old show the promise of an imaginative and gifted eye. Rigsby was drafted by the U.S. Army in 1953. As he later wrote, "When basic training at Fort Jackson, South Carolina, was over, I was told to go out and find a job. Jasper Johns was painting visual aids for the 28th Regimental Headquarters. He suggested the Band Training Unit." Rigsby played the clarinet in that unit, and after 2 years of service, he enrolled at the University of Alabama on the G.I. Bill to study art. After just two years, he left school and followed his mentor (and one of the greatest and longest-lasting influences on his art), Japanese artist and U of A art instructor Tatsu Heima, to New York City. Heima introduced him to Isamu Noguchi and suggested that Rigsby work as Noguchi's assistant. Instead, Rigsby chose a job as a guard at the Metropolitan Museum of Art, since "the notion of seeing all of that art appealed more to me than the boring task of studio assistant." The opportunity was a rich one for Rigsby. He had a chance to study the masters, and cited Rembrandt with his simplicity and elegance as another of the most important influences on his work. In the years between 1957 and 1963, when Rigsby eventually earned his BFA in sculpture, the artist traveled back and forth between New York and Tuscaloosa, alternating study with forays into the fertile New York art scene. Rigsby exhibited some of his early sculpture work in 1958 at a small New York gallery, which was also exhibiting the work of Willem and Elaine de Kooning and Theodore Stamos. Shortly thereafter, searching for an educational venue closer to New York City, Rigsby visited New Haven, Connecticut, and spent an afternoon speaking with Josef Albers at Yale. Albers agreed to accept Rigsby into the Yale program on the condition that he take freshman drawing all over again. A brilliant opportunity, but, in Rigsby's words, "When it was time to register, I was hitchhiking back to Alabama, looking for food and shelter." Rigsby had his first one-man show at the University of Alabama in 1959. A visiting critic from New York, J.F. Goosen, reviewed the show and wrote "here is a talent which produces art because that is the thing for a gifted person to do. In his effortless ease of conception and execution, he has already achieved a goal that eludes many artists for a lifetime." Finally, in 1963, Rigsby received his degree in sculpture, dissolved a short-lived marriage, visited his family, packed up his car and headed permanently for New York. That year, his work was included in a group show at the Delgado Museum in New Orleans - which led to a one-man exhibit at the Delgado in 1964. During 1964, Rigsby took drawing classes at Columbia University, and worked at the General Post Office at night. He met his future wife, Linda Palmieri, and married. In 1965, his daughter Lisa was born, followed in 1966 by the birth of his son, John David Jr. In 1966, Rigsby had a successful one-man show at the Pietrantonio Gallery in New York. Shortly thereafter, he and the family moved to Tunis, Tunisia at the suggestion of a colleague, who urged him to "come paint by the light of Klee." Rigsby worked for the United States Information Agency as a teacher, and he spent the next year and a half painting over ninety paintings inspired by the smells, light, and Phoenician and Roman art surrounding him. He also executed a number of character and landscape drawings, capturing the Tunisian way of life. During his time in Tunisia, Rigsby's work was shown there in two major exhibits. Upon the family's return to the U.S. in 1968, Rigsby once again exhibited at the Pietrantonio Gallery. Later that year, Rigsby enrolled in Southern Connecticut State College's Urban Studies program, earning a master's degree in 1970. During his time at SCSU, Rigsby worked as the city of Bridgeport's Curator of Exhibits, driving a mobile art gallery from schools to neighborhood fairs and housing projects. After completing his degree, Rigsby had an exhibit at the Telfair Museum in Savannah, Georgia. This exhibit caught the attention of a member of the search committee looking to hire an artist for a newly-developed program in neighboring South Carolina. In 1970, Rigsby was selected as the first Artist-in-Residence in the state of South Carolina for the National Endowment for the Arts Artists in Schools program. His work with the newly-integrated students at Beaufort (SC) High School over the term of his residency precluded substantial work on his own art. He did, however, set up a studio in downtown Beaufort, and was able to create a modest number of paintings, which were included in exhibits at the Columbia Museum in South Carolina in 1971 and Yale University in 1973. At the end of his residency in 1974, Rigsby was named the National Visual Arts Coordinator of the Artists in Schools program for the NEA, a post he held for two years. In this position, Rigsby traveled the country, reviewing grant applications, meeting with state leaders in government, education and the arts to promote program concepts and explore local opportunities. The message he repeated over and over again echoed that of one of the other major influences on Rigsby as an artist - Ruth Asawa Lanier, whose words taught him that all of the work that the artist does is the artist's work, not simply the paintings he creates. In his capacity as National Coordinator, as well as many times in the future, Rigsby stressed that artists function in the same way as any other person in society, and deserved the same respect and place for their work as did all other professions. After two years traveling the country, Rigsby was ready for a change, saying "for the first time in my adult life, there was not a body of paintings to show for the years put into my work." In 1976, a summer retreat to the mountain community of Central City, Colorado, led to a permanent relocation. Eventually settling in the small town of Evergreen, Rigsby followed his own advice about artists becoming actively involved in their communities, and he established the Evergreen Visual Arts Center. The Center provided working space for artists, classes for adults and children, and, most importantly, a place for Rigsby to create his own work. Buoyed by the opportunity to concentrate once again on his art, and inspired by his new surroundings, Rigsby entered an extremely prolific period in his career. In 1977, he organized a traveling exhibition of his paintings, which showed at the Kimball Arts Center in Utah, the Kennedy Center in Washington, D.C., and the Arvada Center in Colorado. 1978 brought more exhibits, notably in Aspen and Denver, as Rigsby's work continued. He took an extended trip to visit his mentor, Tatsu Heima, in Japan, where he climbed Mt. Fuji, followed by travels to Tehran, Delhi, and several European countries. He chronicled his impressions from his travels in a small collection of paintings upon his return to the U.S. - the beginning of a practice which would continue through the rest of his life. In 1979, Rigsby's marriage failed, and at the same time he lost the lease to his Evergreen studio to redevelopment plans. In response to the personal chaos around him, Rigsby began a series of what he called "hard-nosed process paintings," the watercolor paintings of dots which marked his work from this period. The paintings gained him an NEA Individual Artist grant in 1980, as well as a Yaddo fellowship in 1981. The polka dot paintings were followed by a series of cupcake-like images, again examining space and color. During the early 1980s, Rigsby lived in a suite of old dentists' offices in a rundown part of Denver, with a studio in an area that reminded him of the Bowery in New York. In 1984, Rigsby founded the Progreso Gallery in the building where he lived, using the space both to show his own work and also to mount shows of the work of many Colorado artists. The gallery also served as a focal point for Denver's local arts community, hosting weekly discussion groups and classes. In 1984, Rigsby traveled to the Baja Peninsula and then in 1985 to Yugoslavia. After each sojourn, Rigsby returned to create vibrant and explosive paintings based on his experiences, showing them at his Progreso gallery and another alternative gallery in Denver, the Edge Gallery. The economic recession of the mid-eighties hit the art market and Rigsby hard, however, and although he continued to create new works of art, major exhibitions were difficult to come by. In 1987, Rigsby decided to leave Denver and spent six months in Barcelona, Spain. It was an electrifying trip for him. Rigsby wrote of that time: "The streets alone are a visual feast, and the additions of museums from Saarinen, Picasso and Miro to 12th century icons produced artistic indigestion. My paintings are always about the way things look and feel. Barcelona was a time machine extending those sensory and emotional concerns back to the Middle Ages. I felt the need to reduce my work to essential elements of color, scale, drawing and format. The [resulting] color studies speak eloquently for themselves, and in doing so, redefine all of the work I've done in the past 35 years of painting." Rigsby completed over a hundred paintings while in Barcelona - color studies, street portraits of the characters he encountered on a daily basis, and a number of dark landscape paintings. He found time to run with the bulls in Pamplona, and began writing stories about his adventures that were later published. Upon his return to Denver in 1988, Rigsby continued to explore the alter egos of the color studies - he concentrated on a series of dark paintings, all prominently featuring back. He commented about these black paintings that he " decided it was time to explore the perception of the eye and physical space as defined by low -light conditions…I find these paintings elegant, joyous and light-filled, with no feeling of heaviness at all." In mid-1988, Rigsby moved permanently to Houston, Texas, where he would spend the last five years of his life. Once in Houston, Rigsby made a discovery that would serve as the inspiration and material for some of the last works of his career. In 1989, he discovered a salvage yard filled with scrap rubber, and he began working on black rubber sculptures, as well as paintings with rubber elements incorporated. He made strong connections in the Houston alternative arts scene, and became a regular contributor and art critic for a local weekly newspaper, The Public News. From 1989 through 1992, he exhibited his sculptures and paintings at Houston's Brent Gallery, Fountainhead Gallery, and Blaffer Gallery. He also produced an installation of his rubber sculptures on the roof of the Diverse Works Gallery in Houston. 1992 also marked Rigsby's return to Denver when he exhibited his sculptures at the Payton-Rule Gallery in Denver, leading to an Absolut Rigsby commission by Carillon Importers. The 1990s were a tremendous struggle for Rigsby, with financial crises compounded by physical trauma (he accidentally sawed off the top joint of the index finger of his left hand while working in his studio). Although his work was being shown, it wasn't selling, and the tremendous financial pressure he felt weighed heavily upon him. He spent an increasing proportion of his time going to flea markets and garage sales, rehabilitating and repairing the things he bought there, and then re-selling them simply to raise enough money to keep a roof over his head. He had little time to paint or sculpt, the things in life that had always, no matter what the circumstances, brought him joy. Rigsby's final works were a series of intricate paintings and drawings on used books that he purchased at the flea market. Most of these drawings, which he referred to as sculptural form drawings, were executed on page after page of science texts, music books, and a Korean bible and fill hundreds of pages. Additionally, Rigsby created an exquisite book he titled 28 de los Angeles, in which his twenty-eight simple and elegant drawings of angels resonated with the influence of Rembrandt he had so admired in his early days. In a sense, Rigsby's final works, art created on used books which were the only materials he could afford, brought his work and life full circle from his childhood days. Rigsby's life, though begun and ended in adversity, was nonetheless illuminated and enriched by the irresistible impulse he had to create art and beauty. John David Rigsby was killed in a one-car accident in Colorado in August, 1993. Biography from the Archives of askART Following is a review by Michael Paglia of the artist's July 2004 retrospective at the Denver Museum of Contemporary Art. It was submitted by John Rigsby, Jr., son of the artist. There's a magnificent retrospective at Denver's Museum of Contemporary Art devoted to the work of the late John David Rigsby, who was a major powerhouse in Colorado's art scene. "Dots, Blobs and Angels" surveys more than forty years' worth of the remarkable artist's paintings and sculptures. The year 1993 was strange, and by that I mean terrible. Many of the city's galleries closed because of bad economic times, and then the artists started dying. In a matter of a few months, Denver lost three significant artists: Rigsby, experimental photographer Wes Kennedy...

While her work shows a deep-felt connection and appreciation for the rich textile heritage of both Turkey and the Near East, Ani Afshar is, nevertheless, fearless in her experimentat...

PRESENTING a simply beautiful, monumental and imposing original work of contemporary art, namely, a Triptych oil on canvas panels of New Orleans Colonial/French Quarter Houses. Unsigned and undated, but most definitely inspired by the World Renowned New Orleans artist, James Michalopoulos. These were not painted by Michalopoulos, but were clearly inspired by him and his famous depictions of ‘wavey’ New Orleans houses. Also, they were created and painted in New Orleans, contemporaneously to when Michalopoulos was starting to become recognized, in the New Orleans (and greater) artworld. The 3 panels work perfectly together as a visual feast and ‘connected’ work of art. The panel on the left features a wavy blue, grey and yellow, French Quarter style 2 Story Wooden house, complete with Corinthian Style Columns, decks, railings, storm shuttered windows, etc. It has a deep blue sky with shimmering light reflections. The garden to the front, has steps leading to the house and has shrubs and flowers, that are continued into the 2nd or middle/center panel. The middle or center panel incorporates the other side of the garden plants etc for continuity and it features a single story pink, yellow and white wavy French Quarter style house, with fabulous decor and complete with decks, railings, storm shuttered windows, etc. It has a deep blue sky with shimmering light reflections and a white moon, emitting swirling patterns of light. The garden to the front, has steps leading to the house and has shrubs and flowers, that are continued into the 3rd or right panel. The right panel, features a wavy light...

Original framed Contemporary Art in Acrylic on Canvas in warm earth color palette. Executed in hard-edge technique with textured and raw surface. Has a wood Frame and it is Initiale...

Features "The face" one-of-its-kind mirror set exploring unique shapes and fun finishes inspired by free-flowing movements of fluid. Mirror created by free-pouring urethane foam dire...

This wall hanging is a one of a kind heirloom piece. Taking inspiration from brutalism, mid-century abstraction, and Joseph Albers studies on the interaction of color. The entire pr...

The "Forêt de Lune" limited edition fine art print series marries the beauty of the art of chinoiserie with the lush forests of South East Asia. Each print features stylized scenes o...

Introducing "Les Étoiles," a limited-edition fine art print from Lemieux Et Cie, inspired by the ephemeral beauty of the night sky and the ethereal glow of the northern lights. Creat...

Upon discovering a weathered steel drum that had been warped to resemble the sleeve of a garment, artist Gordon Chandler was inspired to embark on a series of kimono sculptures forme...

Original Postmodern lithograph numbered "Winter 3/40", titled "Computer Ink Plot I", signed by the artist and dated 1981 along bottom of image. Strong graphic image from the dawn o...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

A rare and extraordinary authentic artwork by the highly sought-after German-American artist G.H. Rothe (1935-2007). The large unframed mezzotint on Arches paper, limited edition num...

A complete set of “Three Aquatints” prints by Robert Mangold. Published by Parasol Press Ltd., on Rives BFK paper. Each signed, numbered and annotated A, B, C in pencil. Framed using...

This unique piece of Mid Century wall art features a round mirror set within a sleek chrome metal frame, exuding a modern, minimalist appeal. Measuring 30.25”x30.5”. The mirror itsel...

Contemporary Signed Very Colorful Abstract (2 of 15) Lithograph - 1997 Frame and matting needs to be updated.

The new exclusive series of limited edition collages by acclaimed American artist Mickalene Thomas comes in two series of 10 unique collage prints. Phaidon, Artspace, and Avant Arte...

Tempura on heavy paper, signed and dated 1945 lower left. The piece measures 23" x 30" including the frame and presents very well overall. Provenance: Willard Gallery, NYC Bradbu...

Fabulous portrait, "Seated Nude" by prominent American artist Raphael Soyer (1899-1987). Signed lower left. Oil color on canvas. Linen matte with gilt frame. Canvas measures: 11.75"...

Isabel Brinck Abstract Painting on Canvas Titled "I don't recall" Offered for sale is an abstract acrylic painting on canvas painting by Chilean-American artist Isabel Brinck signe...

A beautiful work done by Philadelphia Artist Jane Potash. All original work with signature on front and original frame. Not dated, probably created late 19...

Gorgeous vintage modern mod op art or pop art mirror style # 1034 tag on reverse from Greg Copeland studio. Beautiful condition, keeping in mind that th...