Fairfield County - Art

Archival Pigment Print Sandhills in Western Nebraska All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition ...

Archival Pigment Print The landscape shows traces of a famous early-October blizzard that killed tens of thousands of cattle. Still in their unprotected summer pastures, they ended ...

Artist: Gene Davis (1920-1985) Title: Shooting Star Year: 1979 Medium: Lithograph on Arches paper Edition: 202/250, plus proofs Size: 37.25 x 37 inches Condition: Good Inscription: S...

"THE MOONSHOT COLLECTION Emerging from a long evolution stretching back nearly 50 million years comes the horse, a wild beauty, grazing peacefully on the plains, and then suddenly br...

Archival Pigment Print Ruins of physics Classroom at Cass Tech HS All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X ...

Daniel Hill’s work is an exploration between vision and sound and the power of this connection to generate compelling visual environments. The inquiry of this integration has also sa...

This abstract painting by Teodora Guererra features a deep teal and pink palette. The artist layers thick strokes of paint using a palette knife in broad, horizontal sweeping strokes...

Don't Worry Deer Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available sizes 30 x 30 in Edition of 15 40 x 40 in Edition of 12 60 x...

A sensuous and fabulous piece to enjoy in the round as every vantage point is attractive or on a shelf or table. In the 19th century, the Italians and French were in a golden era f...

This impressionistic winter landscape painting by Molly Doe Wensberg features a cool blue, green, and white palette. The artist captures a s...

Medium: Lithograph on vélin d'Arches paper Year: 1973 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Les Réalistes Lyriq...

This traditional landscape painting by Molly Doe Wensberg features a cool palette, and captures a scene of lush green, rolling hills under a pale sky. It is very mildly abstracted, w...

"The word “rhapsody” originates from the Greek rhaptein, meaning “to stitch or sew,” and ōidē, meaning “song” or “poetry.” Translated literally, it signifies a stitched-together song...

Archival Pigment Print Reconstruction of famous amber room All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 10 50" X 40"- Edition of 5 + 2 Ar...

Archival Pigment Print Classic Havana All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition of 5 + 2 Artist...

Archival Pigment Print Lower East side, NYC All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5 + 2 ...

Archival Pigment Print Art Deco Theater in Havana All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of ...

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 9.5 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

Suzanne Chamlin’s paintings are records of her observations and imagination. Painting on site Chamlin explores her expressions of light and color. Suzanne’s process centers on exper...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 12.5 x 9.5 inches; image size: 10.24 x 5.91 inches Inscription: Unsigned and unnumbered, as issued No...

This abstracted painting of a dog by Russell Miyaki features a colorful palette and loose, expressive, and playful brush strokes. The artist applies var...

This abstracted painting of a dog by Russell Miyaki features a light, colorful palette and loose, expressive, and playful brush strokes. The artist appl...

About the artist: As an American artist, Wright’s travels have taken him to paint and/or teach throughout the United States and visiting over a dozen National Park sites in addition...

Archival Pigment Print Jewish quarter, Havana All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5 + ...

Archival Pigment Print Street scene in Detroit All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition of 5 +...

Archival Pigment Print Approaching Dust Storm, Floyd County, Texas, 2013 Dust storms form when wind whips up loose soil. They aren’t unusual in West Texas, and typically the wall o...

Archival Pigment Print one of best early montages; Florence Italy All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X ...

Archival Pigment Print Montage fro Subway poster All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5...

Archival Pigment Print Street next to Brooklyn Bridge All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"- Edition...

Archival Pigment Print near Lake Baikal, Russia All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5 ...

This 5" hand-painted sculptural cube by Sofie Swann is made with acrylic paint and gesso on wood. It features a coastal white, blue, and sandy beige palette with organic shapes layer...

Archival Pigment Print Thorne House, Stanley County, South Dakota, 2014 Most likely this is a Sears Roebuck’s mail-order house, style no. 111, also called “The Chelsea”. The Sears...

This is an abstract encaustic painting by Linda Bigness. It features multicolored palette with silver leaf accents and neutral sides. Dabs of paint and organic shapes and linework ar...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Archival Pigment Print Self-portrait in Istanbul All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5...

Archival Pigment Print 42nd Street, last man working before renewal of area All available sizes & editions for each size of this photograph: 40" X 50"- Edition of 5 + 2 Artist Proo...

Archival Pigment Print Ceramic factory in Terre Haute , Indiana All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs This ph...

This abstract painting by Christine Averill-Green is a beautiful combination of layers of green, blue, and purple. The long, organic stripes that make up this contemporary piece are reminiscent of vines, and the metallic paint used in the piece makes the piece reflect differently in changing light. It is wired and ready to hang. Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

This framed "Mandala" thangka is hand painted on canvas with 24K real gold. Ornate frame and seven mandalas make it a unique piece. Earthy color tones and touch of gold makes it a stunning piece of artwork. Measurement of art without the frame: 19" x 14" A handout on process of making a thangka will be included with the purchase. Mandala represents "wholeness" and is also used as an aid in meditation. The term mandala has become a generic way of describing any circular geometric pattern. The word mandala originated from Sanskrit which means “Circle”. Early versions of the Mandala can be found in the Hindu faith where we would see geometric shapes representing deities. Buddhism took this concept one step further and today if you speak to someone in the Buddhist faith they will tell you that these paintings are in essence a 3 dimensional celestial palace with rooms that contains deities. Let’s call this a mind map, a map to help us further our spiritual journey. Our collection will focus almost entirely on Buddhist Mandalas, a Mandala by Buddhist standards will respect certain basic rules of composition and geometric proportion, although each painting you see is unique in its own way, we will try and cover some of these basic iconographic rules. A Mandala almost always consists of two elements, an outer circle combined with a square positioned inside. In most cases these circles or rings create a pure space protected from external impurities and negative forces. The number of these circles can differ from one painting to another. In almost all mandalas the outermost circle will show flames which commonly represents protection and the innermost circle with be lotus petals which is the Buddhist symbol for purity. This imagery is typical of Mandalas and Thangkas in general which is why almost all deities are seated on lotus thrones. The square represents this symbolic palace or mind map, which is mentioned in the previous section. Any Mandala will always contain a principle deity it can be painted or symbolized by a lotus flower in the case of the Kalachakra Mandala...

New Sculpture Collection Vanguard: Italian Stainless Steel with Special Splashed Electrostatic Paint. This sculpture will be shipped directly from the artist's studio.

This abstract painting by Tony Iadicicco features a light grey palette. The artist blends light shades of grey together to create an almost abstracted l...

Archival Pigment Print Los Caneros All available sizes & editions for each size of this photograph: 50" X 60"- Edition of 5 + 2 Artist Proofs 70" X 90"- Edition of 5 + 2 Artist Pr...

Artist: After Pablo Picasso (1881-1973) Title: Modèle et Grande Tête Sculptée (after Bloch 170) Year: 1992 Medium: Reproduced from the original edition using the grain Autotype halft...

About the artist: As an American artist, Wright’s travels have taken him to paint and/or teach throughout the United States and visiting over a dozen National Park sites in addition...

This Limited Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann measures 50" x 40" and is an edition of 95. Printed on canvas, this print ships rolled with natural c...

Archival Pigment Print The Murray House, Sears Roebuck Rockfaced Wizard No. 52, Sheridan County, Nebraska, 2013 Karl Tuchenhagen, a German immigrant who is said to have attended the...

Archival Pigment Print A buffalo can jump a six-foot gate, so for years buffalo ranchers built very substantial fences: six wires with taller posts.  Now they build a three- or four...

Archival Pigment Print Early photo from South Street NYC 1982 All available sizes & editions for each size of this photograph: 30" x 40” - Edition of 5 + 2 Artist Proofs 40" X 50"-...

Archival Pigment Print Palazzo in Noto, Sicily All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5 +...

Archival Pigment Print The Cuban version of McDonalds All available sizes & editions for each size of this photograph: 50" X 60"- Edition of 5 + 2 Artist Proofs 70" X 90"- Edition...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a muted palette and large, textured brush strokes. The painting itself is 13" x 22" and it measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower right-hand corner of the painting, and is framed in a black frame with an acid-free mat. Wired and ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This contemporary abstract statement painting by Teodora Guererra is made with acrylic and oil paint on canvas. It features a coastal palette, with layers of paint applied in wide, sweeping gestures, layering varying shades of blue over one another. The painting is signed by the artist on the back of the canvas, and is wired and ready to hang. Teodora Guererra’s abstract artistic vision has evolved throughout her years spent painting and teaching in Fairfield County, Connecticut; Tucson, Arizona, and upstate New York. Arizona’s naturally radiant landscape and arid climate led her to experiment with rich under-painting and vivid color; while the shifting seasons of the East Coast inspired Guererra to pursue dripping and staining techniques. Her focus has always been pushing the limits through experimentation with new materials. “As an artist, painting can be tormenting and sublime at the same time," the artist says of her work. "I'm a big risk taker, experimenting with different materials to layer, stain and saturate color on large canvases. My most successful work looks as if it happened all at once. It sometimes takes 7 or more paintings to produce a successful one and then it's a beautiful thing." Guererra received her undergraduate and graduate Art degrees from Southern Connecticut University, The College of Saint Rose and Skidmore College. Guererra’s paintings can be found in public and private collections across the U.S., including the Allmen Health and Wellness Center for Women in New York and SUNY Brockport, NY, William & Sonoma, San Francisco, CA. Her influences are Pat Steir, John McCracken, Helen Frankenthaler, Donald Jud, Bernar Venet, Agnes Martin and Brian Rutenberg...

This contemporary realistic landscape painting by Carol Young captures a barn in a rural setting. It features a vibrant palette, with ...

Artist: After Pablo Picasso (1881-1973) Title: La Bonne dans l'Atelier de Sculpture (after Bloch 184) Year: 1992 Medium: Reproduced from the original edition using the grain Autotype...

Oil on panel Compline Series: Compline is a recent piece, a work honoring New England. It is a culmination of what I developed and experienced from those decades painting and trekki...

Artist: Lowell Nesbitt (1933-1993) Title: Lily & Rose Year: 1974 Edition: 60/100, plus proofs. Medium: Silkscreen on Arches paper Size: 24 x 35.5 inches Condition: Good Inscription: ...

This pair of textured abstract paintings by Teodora Guererra features a light, greyscale palette with subtle warm accents throughout the composition. The artist layers thick strokes ...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Patience Peacock Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available sizes 30 x 20 in Edition of 15 40 x 27 in Edition of 12 60 x 40 in ...

Lush Minimalism Silk Road is chromatically juicy and compositionally reductive. Each painting in this ongoing series is a small, luminous color field composed with layers of translu...