Remo Farruggio

Untitled Mid Century Modern abstraction (original signed oil painting on board)

ca. 1947

Ron Gorchov Historic Self Portrait, 1955-1959 Oil painting on board Hand signed in paint on the upper recto and dated 1955-9 Frame included: held in original vintage artist's frame This work was exhibited at the Sager Reeves Gallery in Columbia, Missouri in their Masters Exhibit in December, 2022, and is reproduced as a full page in their exhibition catalogue. A copy of this catalogue accompanies the artwork. In 2019, the year before Ron Gorchov passed away, Stephen Truax, director of Cheim & Read, his then gallery, passed along details of this extraordinary painting to Gorchov's studio to be included in the forthcoming catalogue raisonne. When shown the work, Gorchov remembered it well, but was amazed that the painting was still in existence after so many years. This historic early self-portrait, done over a period of four years, from 1955-1959, starting when he was only 25 years old reveals Gorchov's distinctive and sophisticated sense of color and form. This is one of the artist's earliest works, and very few works by Gorchov from this era ever appear on the market or are known to remain in existence. It should be in any museum or career retrospective. This work was gifted by the artist to Elthea Rembrandt Peale...

Ben WIlson Lightness, ca. 1980 Oil on masonite board 21 × 25 × 3/10 inches Stamped by artist's estate, Hand signed by the artist on the front AND stamped by the artist's estate on the back Unframed Hand signed by the artist on the front and stamped by the artist's estate on the back. Acquired from the Estate of Ben Wilson. This poignant painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn...

Will Cotton Untitled abstraction, ca. 1989 Mixed media painting on board Signed by the artist on lower right front Elegant recessed hand made frame Included with artist's original plexiglass bearing his markings on it Stunning, rare early signed abstract work on board by renowned artist Will Cotton in delicious candy-like pastel colors. Floated and framed in a white wood shadow box frame with the artist's original painted plexiglass. Measurements: Framed: 26 x 20 x 2.75 inches Artwork: 23.5 x 17 inches More about Will Cotton Will Cotton (born 1965 in Melrose, Massachusetts, U.S.A.) is an American painter whose work primarily features landscapes composed of sweets, often inhabited by human subjects. Will Cotton lives and works in New York City. Cotton’s works from the 1990s depicted pop icons sourced from contemporary advertisements such as the Nestlé Nesquik bunny. Cotton described his early works in a 2008 interview, saying “My initial impulse to make these paintings really came out of an awareness of the commercial consumer landscape that we live in. Every day we’re bombarded with hundreds, if not thousands of messages designed specifically to incite desire within us.” In 1996, Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works. Since about 2002, nude or nearly nude pinup...

Edna Andrade Mirage (de-accessioned from the Reader's Digest Art Collection), 1988 Original Collage painting on board Signed, titled & dated on the front; the back bears labels from Marian Locks Gallery & Readers Digest Association with inventory (RDA) number Original frame included with collection and gallery labels verso This is a unique work Exquisite 1980s collage on board painting (framed) titled "Mirage" by renowned female Op artist Edna Andrade...

Richard Anuszkiewicz Old Door, 1953 Watercolor on paper Signed and dated by the artist on the lower right front 20 × 14 inches Unframed This unique and extre...

Donald McLaughlin In the Sculpture Garden (ex-collection Charles Cowles Gallery), 1985 Oil on Canvas. Framed with labels from Wolff Gallery and Charles Cowles Gallery Sticker label, ...

Expressive portrait, a caricature of a man with bowtie by Michael Pauker (American, b. 1957). Unsigned, but was acquired with a collection of the artist's work. Another version of th...

Measures 16.5 X 20 without frame. heavy craquelure. it seems like some sort of experimental technique the artist used. paint is stable. please see photos Abram Tromka was born May 1, 1896 in Poland. At the age of seven he immigrated with his family to the United States, settling in New York City. It was on the boat coming to New York where Tromka first became interested in art. Fascinated by a woman who was painting, he decided that he wanted to become an artist. Upon arrival at immigration headquarters, Tromka’s family adopted the surname “Phillips,” which he kept until 1930. Hence the artist’s early works bear the signature — ‘A. Phillips.’ Having a rough childhood, Tromka left home at 15 and spent the remainder of his teenage years living at the Henry Street...

"Orange Clouds" is an American Modern contemporary seascape with sailboat, evening. Kelly Carmody’s work has been widely exhibited and collec...

Laimdots Murnieks had a significant influence on the development of Latvian painting at the end of the 20th century. His work 'Holiday' conveys the feeling lightness and joy, which i...

1950s oil on board painting by George Cecil Carter portraying a modernist couple, thought to be Alfred Stieglitz & Georgia O'Keefe. Presented in a custom frame, outer dimensions measure 20 ⅝ x 13 ½ x 1 ⅞ inches. Image sight size is 16 ⅞ x 9 ⅞ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private Collection, Denver Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: George Cecil Carter was born in Oklahoma in 1908 and became a noted Colorado abstract expressionist alongside contemporaries including Al Wynne, Mary Chenoweth...

CONNECTION Size: 26 x 47 cm (including frame) Oil on board A brilliantly executed and beautifully textured abstract figurative oil composition, painted in 1965 by the established Sw...