Albert Radoczy

1960s Figural Graphite Drawing by Artist Albert Radoczy

1961

Exceptionally rendered graphite drawing by artist Albert Radoczy. Delicate mark-making of female figure. Signed lower right. Presented in a handsome vintage bamboo-look giltwood fram...

Spectacular 1970s anatomical sculpture of a lower torso rendered in plaster compounds. Perfect for coffee table or pedestal. Artist unknown, unsigned. Both...

1980s large scale vintage oil painting on stretched canvas by California artist Don Stacy (1925-2008). Beautifully textural; striking color palette. Slight s...

Mid-20th century painting on 8-ply rag paper in vivid color palette by artist Jack Hammack. Presented in a giltwood antique frame.

Masterful figurative painting by mid-20th century artist Harley Francis. Exceptional for its circular composition and use of intricate pattern. Acrylic on stretched canvas. Harley Francis (1940 to 2017) was a passionate and prolific creator whose work has been exhibited in the Museum of Modern Art. His oeuvre includes the figure, still life, portraiture, landscapes and abstract work in a number of diverse techniques and media including oil, acrylic, clay, collage. Most interesting is Francis’ integration of pattern with abstraction and figural compositions. Gillian Bryce...

Striking Southwestern landscape painting in the soak-stain manner of Helen Frankenthaler. Wonderfully calming palette. Unsigned, unframed.

This work clearly has homosexual overtones which in the mid-'40s was as daring as showing nudity. I am not sure if this was the artist's intention but the salesgirl and the model look identical and she signs it twice Shermond. Added to this is a strobe light effect where the model's image is partly replicated giving the impression of 2 figures. She's lost in thought pondering the notion of removing the bows and seeing the consequences. Meanwhile, the sales girls ( perhaps her alta ego - perhaps an admirer ) eggs her on. Caption: "You can always remove the bows if you think they're too fussy." Cover cartoon for unknown publication - Signed "Shermund" twice in the lower right image, dated on verso, and captioned in graphite in the lower margin. Original Matte and not framed - Barbara Shermund...

This untitled work by Rick Sindt was inspired by the works of Paul Cadmus. It is a small graphite drawing of two male nude figures with both of their faces somewhat obscured during an intimate moment. The graph lines often used by artist are still visible to distinguish between the photographic elements of a Polaroid photo and this actual drawing. The piece is framed in a white float frame measuring 12.5h x 10.5w inches. Rick Sindt Untitled - After Cadmus graphite on panel 10h x 8w in 25.40h x 20.32w cm Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? In the body of work submitted here, black and white graphite drawings maintain a Polaroid scale referencing the found historical photographs on which they are based, oil paintings provide isolated moments of feeling as they investigate questions about queer dispositions in a contemporary setting, and a few key sketches provide insight into how a few individual inquiries began. Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

Reclining nude woman covering her face from the viewer. The work is signed by the artist. The paper is not framed. Many others are available. Ple...

Dancing nude figurative study of a french woman. The work is signed by Thierry Andre thought to be a French who was influenced by Edgar Degas. The paper i...

Stamped verso for estate of Victor Di Gesu (American, 1914-1988) and painted circa 1955. A Post-Impressionist figural watercolor showing a young woman partially-clothed in evening w...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...