{"title":"ART","description":"","products":[{"product_id":"mcm-italian-2-horses-man-circus-faces-blue-modernist-orig-oil-painting-signed","title":"EQUESTRIAN ABSTRACT BY UNKNOWN GERMAN ARTIST (1960s)","description":"\u003cp\u003eA dense and funky mid-century abstract, dynamically sculptural in its execution, portraying a mythic horse and rider—or perhaps the fabled Juggernaut! This intricate oil-on-canvas is predominantly colored in royal shades of blue, with details in orange, green, yellow, and black. Signed both front and back in what may be non-Roman script, the name of the West German artist is illegible. (A title appears to once have been written en verso and then subsequently obscured.) While the artwork is in good condition, there is significant crazing throughout—albeit no paint loss. Currently unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; ABSTRACT EXPRESSIONISM; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eROYAL, NAVY, APRICOT, MUSTARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGood vintage condition. Significant crazing throughout—albeit no loss of paint.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24\" H × 36\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13962125967402,"sku":"ART031","price":610.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231014_123718-01-01-01.jpg?v=1697306814"},{"product_id":"redux-20","title":"‘THE TOWERS OF SAN GIMIGNANO’ BY DOUGLAS CONNELLY (1958)","description":"\u003cp\u003eA Tuscan landscape featuring the towers of San Gimignano, Italy, at twilight. California artist DOUGLAS CONNELLY uses the “chiaroscuro of nature”—the effects of vanishing light experienced outdoors—to model the skyline of the famous medieval hill town. Thirty-five miles south of Florence, San Gimignano served as a relay point for pilgrims traveling on the Via Francigena between Canterbury and Rome in the Middle Ages. Competition among the town’s patrician families led to the construction of more than seventy tower houses, some reaching heights of over 50 m. Fourteen of these monuments to their rivalry survive to this day. In an original frame built from recycled wood.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eDOUGLAS CONNELLY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1958\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; IMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eART BOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSIENNA, CREAM, OXBLOOD, NAVY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ½\" H × 28 ½\" W × 3\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":14427474460714,"sku":"ART005","price":585.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250301_120921_1099bd27-90c6-4323-9ac7-d50d729b8acc.jpg?v=1740859809"},{"product_id":"copy-of-price-redux-sherman-chinsky-untitled","title":"UNTITLED PORTRAIT - OIL ON CANVAS BY SHERMAN CHINSKY (1998)","description":"\u003cp\u003eAn untitled expressionist portrait in oil on canvas (1998) by Bay Area artist Sherman Chinsky. The high-angle perspective and blue-green chiascuro work create a mood of intrusion. Signed and dated in the lower left corner.\u003c\/p\u003e\n\u003cp\u003eSHERMAN CHINSKY (1926-2004) was born in Brooklyn, New York, where he fell in love with jazz, sports, and the art of painting. He moved to Berkeley, California, in 1951 and earned a BFA at the California College of Arts and Crafts in Oakland (today the California College of the Arts). Chinsky showed his work in numerous galleries throughout the Bay Area, including Maxwell Galleries Ltd., the George Lawson Gallery, the Mills and Short Gallery, and the Lucien Labaudt Art Gallery.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI remember Diebenkorn telling me don't worry what people think, just paint how you feel—there will be a certain group that you will reach.\u003c\/i\u003e – SHERMAN CHINSKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eSHERMAN CHINSKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod – \u003cb\u003e1998\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT EXPRESSIONISM; POSTMODERNISM; BAY AREA SCHOOL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLEMON, BLUE-GREEN, RUSSET\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor traces of wear consistent with age and use..\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e38\" W × 1 ¼\" D × 39\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"LYNNE MESSINGER","offers":[{"title":"Default Title","offer_id":14575024144426,"sku":"UNTITLED SHERMAN CHINSKY - OIL ON CANVAS (1998)","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20230317_182645_1-01.jpg?v=1679370608"},{"product_id":"untitled-abstract-surrealist-painting-unsigned-a","title":"SURREALIST PHANTASIA [A] BY UNKNOWN GERMAN ARTIST (1970s)","description":"\u003cp\u003eA pair of surrealistic abstractions by an anonymous East German painter. Both works depict dystopian dreamscapes piped through with intersecting timbers and metallic, ice-crystal obelisks—where the woodgrain of the former adds a hint of proto-“steampunk” flavor. The medium seems to be acrylic paint applied to cotton-rag paper. The predominant colors encompass brown, purple, yellow, blue, and teal. Priced separately, but available for combined purchase at a reduced rate. We value the hyper-quotidian quality of the assertively Eastern Bloc framing.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eEAST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eSURREALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOLORS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e22 ½\" H × 18 ½\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":37555260522683,"sku":"ART044","price":345.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20201113_170749-03.jpg?v=1605311821"},{"product_id":"untitled-abstract-surrealist-painting-unsigned-b","title":"SURREALIST PHANTASIA [B] BY UNKNOWN GERMAN ARTIST (1970s)","description":"\u003cp\u003eA pair of surrealistic abstractions by an anonymous East German painter. Both works depict dystopian dreamscapes piped through with intersecting timbers and metallic, ice-crystal obelisks—where the woodgrain of the former adds a hint of proto-“steampunk” flavor. The medium seems to be acrylic paint applied to cotton-rag paper. The predominant colors encompass brown, purple, yellow, blue, and teal. Priced separately, but available for combined purchase at a reduced rate. We love the hyper-quotidian quality of the assertively Eastern Bloc framing!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eEAST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eSURREALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOLORS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e22 ½\" H × 18 ½\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":37555264225467,"sku":"ART044","price":345.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20201113_170448-01.jpg?v=1605312037"},{"product_id":"modernist-abstract-oil-on-canvas-still-life","title":"STILL LIFE WITH ARTIST’S TOOLS BY UNKNOWN ARTIST (2000s)","description":"\u003cp\u003eA sophisticated modernist still life with painter’s tools and a notebook. Thick patches of oil paint have been applied with brushes and spatulas, and a somewhat regular grid has been carved into the resulting impasto surface. This fracturing of the visual plane produces something of a semi-cubist effect—which emphasizes fragmentation rather than abstraction. The biomorphic form of the painter’s palette straddles the framework—maybe in winsome defiance. Signed indistinctly at the lower right. Presented in a slim, gold-tone frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; CUBISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBURNT ORANGE, EGGSHELL, BURNT UMBER, ROBIN'S EGG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e23\" H × 36 ½\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40266320642235,"sku":"ART011","price":1035.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210514_145154-01.jpg?v=1621033663"},{"product_id":"robert-ernst-marx-mixed-media-on-canvas","title":"CLEAN-EDGE GEOMETRIC ABSTRACT SIGNED “MARX” (1980s)","description":"\u003cp\u003eA textural study in tonal dimensionality, this piece explores shades of black, white, and taupe. Multiple forms occupy distinct, layered planes, led by a central trio of seemingly embossed polygons that resemble shapes cut out of corrugated cardboard. The grouping appears to float forward, casting dramatic charcoal shadows. An unframed acrylic on canvas, the piece is designed for frameless presentation, with all four edges painted black to continue the work’s stark, graphic sensibility. Signed by the unknown artist in the lower right corner.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; GEOMETRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGRAY, WHITE, BLACK, TAUPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30\" H × 40\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40339651231931,"sku":"ART054","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/98524341_1_x-01.jpg?v=1703809718"},{"product_id":"large-impasto-cityscape-painting-signed-c-kavon","title":"RIVERFRONT CITYSCAPE BY CHRISTINE BARTH (1960s)","description":"\u003cp\u003eBlazing impasto riverfront cityscape, executed with a palette knife in a naïve style and fiery autumn colors, by German-born, eastern Pennsylvania artist CHRISTINE BARTH (1920–1992). Barth’s standing practice was to sign her work “C. Kavon”—using her first initial and the ananym of her maiden name, Novak. (Many thanks to the grandson who contacted us online to provide this detail.) Oil on canvas. The frame shows separation at the mitered corners and light staining to the linen liner. Priced “as is.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCHRISTINE BARTH (1920–1992)\u003c\/b\u003e emigrated to the US with a toddler son in her early thirties in 1954, having survived the Allied bombing of Hamburg during WWII in which much of her family was lost. A preference for the palette knife had emerged during studies at the University of Fine Arts of Hamburg (HFBK). She maintained a studio at her new home in eastern Pennsylvania and frequently sold work through NYC galleries.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eCHRISTINE BARTH (1920–1992)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eCOASTAL; EXPRESSIONISM; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBURNT ORANGE, BROWN, ORANGE, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eArtwork in excellent vintage condition. See above regarding the frame.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30 ¾\" H × 54 ¾\" W × 1 ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40363077632187,"sku":"ART018","price":1013.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210526_165002-01.jpg?v=1622067243"},{"product_id":"fishing-village-with-docked-boats","title":"VILLAGE HARBORSCAPE BY JULES DUFFART (1960s)","description":"\u003cp\u003eAn unapologetically traditional oil-on-canvas harbor scene by the listed French School artist JULES DUFFART (1924-?): this artwork features a painterly representation of three small boats at serene anchorage. The bold, graphic outlines of the buildings and rigging are characteristic of Duffart’s style and provide a striking contrast to the predominantly pastel color scheme. The same brushwork technique captures by turns the interplay of dappled clouds, the shimmering ripples of water, and the efflorescent walls. Signed in the lower right corner and elegantly framed in a bleached oak frame with hand-carved detailing.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJULES DULES DUFFART\u003c\/b\u003e studied at the Academy of Fine Arts in Paris and painted various subjects from landscapes and still lives to portraits and genre scenes. He is known for carefully choosing color palettes and expertly balancing chromatic equilibrium. Duffart is also a master of line work, especially in his landscapes. He creates distinct, dark outlines of hard, angular shapes with a confident, draftsmanly touch, in a style similar to Bernard Buffet’s. And, like Buffet’s modernist French School oils, Duffart\u003cspan\u003e’s \u003c\/span\u003ework is perfect for any classic modern ’50s or ’60s interior. Despite a prodigious output, there is surprisingly little biographical information to be found about Duffart, although one chronicler of the Paris art world of the 1950s wrote glowingly about him at that time:\u003c\/p\u003e\n\u003cp\u003e“His recent exhibitions demonstrate a dynamic talent with an unusual style that surprised audiences and critics alike. His formulations are dramatic and authoritative. His colors, developing in a delicate chromatic range, show a profound harmony, an infinite gradation of shades with serene transparency. A turbulent spirit inspired by a creative force of glowing enthusiasm. Experts recognize him as one of the rarest talents of today’s young artists.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eJULES DUFFART (1924-?)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eFRANCE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eEXPRESSIONISM; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eGREIGE, OYSTER, CANARY, RUBY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e26\" H × 30 ½\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":41117715988667,"sku":"ART050","price":1088.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210802_132451-01-01-01.jpg?v=1627929658"},{"product_id":"baling-wire-bull-sculpture-by-paul-gershowitz-c-1955-1965","title":"MID-CENTURY BALING WIRE BULL SCULPTURE BY PAUL GERSHOWITZ","description":"\u003cp\u003eA wild-eyed, bellowing bull sculpted from wire by Brooklyn political activist and artist Paul Gershowitz circa 1960. Blacklisted by Joe McCarthy's House Un-American Activities Committee (HUAC), Gershowitz moved to Pennsylvania and took a job with \u003ci\u003eThe Philadelphia Inquirer\u003c\/i\u003e—there he created a series of Calder-esque forms out of the baling wire used to bundle printed newspapers. This critter is unsigned.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003ePAUL GERSHOWITZ (1929\u003cspan\u003e–\u003c\/span\u003e2017)\u003c\/b\u003e was born in Brighton Beach, Brooklyn, New York, in 1929, to Sam and Rose (née Becker) Gershowitz. He graduated from Brooklyn College in 1952 with a Bachelor's in Fine Arts and Mathematics and went almost directly into the army. After serving in Korea from 1952\u003cspan\u003e–\u003c\/span\u003e1954, he returned home to pursue a career as an art-school educator and community activist.\u003c\/p\u003e\n\u003cp\u003eIn 1955 Gershowitz established the Brighton Beach Community Cultural Center, which offered classes in painting, sculpture, photography, dance, music, and theater. A firm believer in children’s art education, he was tragically blacklisted during the McCarthy Era and forbidden to teach in the NYC public school system. Relocating to Pennsylvania, he eventually found a job with \u003ci\u003eThe Philadelphia Inquirer\u003c\/i\u003e, a fairly politically independent organ at the time. Employed there, he was inspired to create sculptures from the baling wire that was used to bundle the printed newspapers. These are the works for which he has become best known.\u003c\/p\u003e\n\u003cp\u003eIn 1971 Gershowitz moved to upstate New York where he opened several cultural centers and children's museums. During this time he continued his activities in progressive politics, as well as education and the arts. A fixture on every progressive picket line, he was known for his bib overalls and red paisley scarf. From 1972 until 1977, Gershowitz owned and managed the Towne Crier Café (then in Beekman, New York, in Dutchess County) which sponsored performances by a variety of musical artists, as it does to this day.\u003c\/p\u003e\n\u003cp\u003eAfter retirement, Gershowitz moved to Albuquerque, New Mexico, where he worked as a freelance artist and contributed to local causes. In 2012 he was persuaded by friends in California to move to Santa Cruz, where he became known locally as an unstoppable political agitator for social, economic, and environmental justice, never afraid to speak up and out of turn at City Council meetings and other venues.\u003c\/p\u003e\n\u003cp\u003eGershowitz died peacefully of natural causes at his Santa Cruz home in 2017.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePAUL GERSHOWITZ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003ePAUL GERSHOWITZ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; FIGURATIVE; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMETAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use. Very nice patina.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e13 ¾\" W × 6 ½\" D × 12\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":41139555139771,"sku":"BALING WIRE BULL SCULPTURE BY PAUL GERSHOWITZ ca. 1960","price":765.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210803_160823-01.jpg?v=1628025834"},{"product_id":"abstract-modernist-mixed-media-on-paper-1978","title":"INK AND TISSUE PAPER COLLAGE BY UNKNOWN ARTIST (1978)","description":"\u003cp\u003eA mixed-media collage of tissue paper shards. Dyed to various organic shades of green and brown that encompass the quintessential ’70s shades of Harvest Gold and Avocado Green, the fragments are folded, layered, and shellacked into place on a stained background. The composition is split horizontally by a dark phalanx of gauzy figures, with moss above and sand below. Splattered all over with discrete dribbles of India ink. Indistinctly signed and dated in the lower right-hand corner. (Please be aware that the Plexiglas frame needs some minor repairs. For the time being, this represents our “as-is” price.)\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1978\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT EXPRESSIONIST; MODERN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eMIXED MEDIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eSUPPORT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBROWN, TAN, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use. Artwork in good vintage condition. (See above regarding the frame.)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ½\" H × 48 ½\" W × ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44521646489787,"sku":"ART007","price":675.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/99094074_1_x.webp?v=1678321665"},{"product_id":"when-autumn-is-here-litho-by-hovsep-pushman","title":"‘WHEN AUTUMN IS HERE’ BY HOVSEP PUSHMAN (1930)","description":"\u003cp\u003eA framed offset lithograph after a still life by Armenian-American artist HOVSEP PUSHMAN (1877–1966). A small vessel holding a wilting rose is depicted alongside a Chinese figurine against the backdrop of a religious mural. The differently shaped and sized objects are balanced within an open-air atmosphere, cultivating an ideal of beauty in impressionistic color. Much here is typical of Pushman’s work: Oriental mysticism, the suggestion of allegory, and an aura of nocturnal intimacy. The signature is printed in plate at the bottom right.\u003c\/p\u003e\n\u003cp\u003eIncidental to its artistic merits, the original played an important role in US copyright law. Upon its completion, Pushman turned it over to Grand Central Art Galleries to broker a sale—without negotiating further reproduction rights. It was sold to the University of Illinois; the school in turn sold said rights to the New York Graphic Society. Pushman sued for an injunction in 1940. The controversial dispute would eventually—some ten years after his death—be ruled in Pushman’s favor. Section 202 of the Copyright Act of 1976 expressly rejected the “Pushman presumption,” which had held that when the only tangible embodiment of a work is transferred, common-law copyright is transferred concurrently.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHOVSEP PUSHMAN\u003c\/b\u003e was an Armenian-born American painter, best known for mystical still-lifes and his sensitive portraiture of women, often in exotic dress. The subject matter of the former typically involves meticulous arrangements of oriental figurines and ornate pottery, often set against centuries-old embroidered silk backdrops. Pushman’s oeuvre is a major contribution to the history of American art and represents a significant achievement in the history of the still-life genre.\u003c\/p\u003e\n\u003cp\u003ePushman (originally “Pushmanian”) was born in 1877 in the town of Dikranagerd (Diyarbakir in modern Turkish) in Anatolia, aka Asia Minor, in the part of Armenia then known as Turkish Ermenistan, where his family was in the carpet business. At 11 years of age, Pushman became the youngest student ever to be admitted to the Imperial School of Fine Arts in Constantinople. The continual political persecution suffered by the Armenians under the Turkish Sultan Abdul Hamed forced the Pushman family to leave for the US in 1896. They settled in Chicago and became US citizens. Pushman entered classes at the Smith Academy, where, at the unprecedented age of 17, he began to teach. In 1910, he decided to continue his art education in Paris at the Académie Julian under the tutelage of Jules Joseph Lefebvre (1836–1911). He was awarded the Bronze Medal for painting at the Paris Salon of 1914.\u003c\/p\u003e\n\u003cp\u003eThe first important US exhibitions of Pushman’s works were held at the Milwaukee Art Institute in 1915 and the Art Institute of Chicago in 1916. Pushman settled briefly in Riverside, Calif., in 1918 where he and a group of fellow painters formed the Laguna Beach Art Association; that same year he was awarded the California Art Club’s Ackerman Prize. After his return to Paris, he resumed his association with the Salon des Artistes Francais and won the Gold Medal for painting at its 1921 exhibition. He would maintain a studio in Paris for the rest of his life.\u003c\/p\u003e\n\u003cp\u003ePushman returned to the US in 1921 and opened a New York City studio in the Carnegie Hall Building on 7\u003csup\u003eth\u003c\/sup\u003e Avenue. It was here that his artistic identity began to fully take shape. His later career would be largely devoted to one subject, oriental mysticism—and to one form, the still life. At the urging of Erwin S. Barrie, its director, Pushman joined Grand Central Art Galleries as a member artist. The 1932 exhibition of his paintings and prints there created a sensation. All 16 of his works were sold on opening day. This phenomenon was followed by critical acclaim and public approval. He continued to exhibit at the Galleries for the rest of his life—first at their original location on the 6\u003csup\u003eth\u003c\/sup\u003e floor of Grand Central, and, following their 1958 relocation, on the 2\u003csup\u003end\u003c\/sup\u003e floor of the Biltmore Hotel.\u003c\/p\u003e\n\u003cp\u003eToday, Pushman’s works are in the collections of the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Seattle Art Museum, the San Diego Museum of Art, the Houston Art Museum, and the National Gallery of Armenia in Yerevan, among others. Pushman continued to paint in his New York studio until a few months before he died in 1966.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eThere is an abiding hush in this canvas, the intense stirring stillness of remembered music.\u003c\/i\u003e – HOVSEP PUSHMAN, on one of his compositions\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eA portrait of Pushman’s niece, Dora, at the age of fourteen, dressed in traditional Armenian costume, was presented to Woodrow Wilson in thanks for his efforts to aid the Armenian people during WWI. Still on display to the public today, \u003ci\u003eL’Esperance\u003c\/i\u003e now hangs in the Woodrow Wilson House in D.C., the converted private Washington home where Wilson moved after leaving office.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eHOVSEP PUSHMAN (1877–1966)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eASIAN; IMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eLITHOGRAPH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTEAL; BRONZE; ALABASTER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e29\" H × 22\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44794161561787,"sku":"ART014","price":410.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231101_123043-02-01.jpg?v=1699309005"},{"product_id":"nick-luttinger-mid-century-hard-edge-abstract-painting","title":"HARD-EDGE OP ART ACRYLIC BY NICK LUTTINGER (1970s)","description":"\u003cp\u003eAn original acrylic painting on canvas by New York artist NICHOLAS LUTTINGER (b. 1942), combining aspects of Op Art with hard-edge abstraction: twin derivatives of Minimalism. While both eschew a focus on personal expression, the former emphasizes optical illusion and other perceptual effects like the perspective games that “Nick” is playing, and the latter is defined by bold, flat areas of color (here, tones of blue, green, and orange) separated by sharp, clear lines. The canvas is currently unframed; the image wraps around the side of the stretcher to encourage frameless display. The artist’s signature runs along one edge.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eNICHOLAS LUTTINGER\u003c\/b\u003e grew up in Far Rockaway, Queens, in New York City. He enrolled at the Pratt Institute in 1959, graduating with a BFA in Graphic Arts and Illustration in 1965. Luttinger spent several years as a graphic designer while pursuing his passion for painting and printmaking. His technical knowledge and skill with various painting media—including oil, acrylic, and wax—are exceptional. He is equally skilled as a printmaker in aquatint, engraving, intaglio methods, and stone lithography.\u003c\/p\u003e\n\u003cp\u003eLuttinger has spent over four decades creating art that explores the psyche and emotions while pursuing his unique vision. Since the 1970s, his graphic work has been in the permanent collection of the Museum of Modern Art in New York City (MoMA). A drawing by the artist is held by the Estate of Jerome Robbins, the great choreographer of the past century. Luttinger’s work and vision will stand as an important contribution to the art of the late 20\u003csup\u003eth\u003c\/sup\u003e century.\u003c\/p\u003e\n\u003cp\u003eLuttinger is also an accomplished Spanish-language interpreter.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eNICHOLAS LUTTINGER (b. 1942)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; GEOMETRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER, OLIVE, SALMON, NAVY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e26\" H × 26\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44941032947899,"sku":"ART027","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/97881912_1_x_1_-01.jpg?v=1703809582"},{"product_id":"chair-abstract-impasto-oil-on-canvas-painting-by-minglei-wang-china","title":"ABSTRACT OIL ON CANVAS BY MINGLEI WANG (2000s)","description":"\u003cp\u003eA striking fusion of early 20\u003csup\u003eth\u003c\/sup\u003e-century artistic movements. Produced in the early aughts by emerging Beijing-based artist MINGLEI WANG (from whom it was directly acquired), the focus of this predominantly abstract oil on canvas is a black clay pipe on the seat of a white wooden chair. The work showcases quick, expressive brushwork, a dramatic, Fauvist color scheme—incorporating striking hues of magenta, canary yellow, and cyan—and an off-kilter perspective. It currently remains unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eMINGLEI WANG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eCHINA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eCUBISM; EXPRESSIONISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, MAGENTA, SKY, CELADON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e27 ½\" H × 19 ½\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44959134023867,"sku":"ART030","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/97780948-1_x.webp?v=1703969341"},{"product_id":"messina","title":"‘UNTITLED GARDEN’ BY BRIAN MESSINA (2017)","description":"\u003cp\u003eAn abstract, 20\u003csup\u003eth\u003c\/sup\u003e-century oil-on-canvas by  New York postmodernist BRIAN MESSINA (d. 2019). One of several paintings specially commissioned from the artist by MODERN REDUX, this multicolored, Impressionistic work depicts a field of wildflowers beneath a clouded blue sky. Highly textural, it evokes assorted patinas of rotting and decay—e.g.: rust, lichen, etc. We appreciate the self-referential “meta” title. Unframed; signed bottom right.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eThat’s all I wanted—was for it to take you elsewhere—where is up to you. . . .\u003c\/i\u003e – BRIAN MESSINA\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eBRIAN MESSINA (d. 2019)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2017\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; CONTEMPORARY; IMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eYELLOW, BLUE, RASPBERRY, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent condition. Newly commissioned.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e29\" H × 29\" W × ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44959831883963,"sku":"ART035","price":855.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231230_171623-01-01.jpg?v=1703979442"},{"product_id":"abstract-twisted-wire-sculpture-of-a-banderillo-and-bull","title":"TWISTED WIRE SCULPTURE OF BANDERILLERO AND BULL","description":"\u003cp\u003eA vintage, mid-century sculpture comprising complementary wire figures of a banderillero and a bull in confrontation. Both stand approximately 12\" tall and are formed from twisted black metal wire. The banderillero is embellished with brass wire, ornamenting his \u003ci\u003etraje de luces\u003c\/i\u003e (suit of lights) and his \u003ci\u003erejones de castigo\u003c\/i\u003e (lances of punishment). A single strand of black wire outlines his profile. In excellent vintage condition with a light patina of age.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSRACT; FIGURATIVE; SPANISH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMETAL, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK,GOLD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show traces of previous use. Light patina.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e13\" W × 5 ½\" D × 12\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":45508576379067,"sku":"ABSTRACT TWISTED WIRE SCULPTURE OF A BANDERILLO AND BULL","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240224_135818-01.jpg?v=1708808347"},{"product_id":"oil-on-canvas-landscape-with-lake-and-sailboats-by-willi-bauer-germany","title":"LANDSCAPE WITH VIEW OF LAKE BY WILLI BAUER (1980s)","description":"\u003cp\u003eA magnificent landscape, in oil-on-canvas: the view from a clearing of a tranquil, glassy lake—with sailboats visible at the far shore—by contemporary German artist WILLI BAUER (b. 1923). The eye is drawn from the rich, earthy greens and browns of the foreground to the soft, cobalt blues of the far-off mountains and the sky above. Bauer’s signature technique creates a subtly impressionistic effect, a peaceful haze that belies the masterful, controlled brushwork beneath. Most probably painted in the early 1980s. The perfect depiction of a glorious Bavarian afternoon, grandly framed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eWILLI BAUER\u003c\/b\u003e was born in Germany in 1923, in the idyllic Spessart, a low, wooded mountain range in northern Bavaria. The area’s picturesque countryside left a lasting impression on Bauer, as did scenes of local village life. Following an early art education in Berlin, his studies with the Fine Arts Faculty at the acclaimed Städelschule in Frankfurt under Professor Franz Karl Dellavilla (1884–1967) laid the foundation for a lifelong scholarly and painterly approach.\u003c\/p\u003e\n\u003cp\u003eRanking among the most important and successful contemporary German artists, Bauer’s work has been purchased by galleries and collectors worldwide. This international recognition can be attributed to his vivacity and bold, evocative style. Bauer’s magical technique represents a transition between rich impressionism and controlled expressionism. While uniquely his own, it exists within the tradition of the German master Otto Pippel (1878-1960). Both Bauer’s landscapes and his genre paintings celebrate the universality of love of one’s surroundings and particular way of life—while reminding the world of the richness and warmth of German scenery.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eWILLI BAUER (b. 1923)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eIMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSKY BLUE, TAUPE, DARK GREEN, SIENNA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e42\" H × 36 ½\" W × 3 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":45831489028283,"sku":"ART003","price":3015.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/173682459_2_x.webp?v=1761597307"},{"product_id":"abstract-geometric-acrylic-on-canvas-by-frederic-m-faillace-1949-2023","title":"GEOMETRIC ABSTRACT BY FREDERIC M. FAILLACE (1970s)","description":"\u003cp\u003eAn original acrylic painting on canvas by Brookline, Mass., artist FREDERIC MICHAEL FAILLACE (1949–2023). The work features clean-edged geometric fields of vibrant red and orange that emphasize the flatness of the canvas, recalling the style of Piet Mondrian (1872–1974). The deliberately impersonal application of paint exemplifies an important aspect of Minimalism, which emerged as a response to the painterly excesses of Abstract Expressionism. Notable in much of “Freddie’s” work is the incorporation of negative space, and a work-in-progress fractal is possibly suggested. An estate stamp is located on the reverse side. Unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFREDERIC M. FAILLACE\u003c\/b\u003e was a 20\u003csup\u003eth\u003c\/sup\u003e-century artist from Brookline, Mass. He attended the New England School of Art at Boston’s Suffolk University. He exhibited at Stebbins Gallery in Harvard Square throughout the ’60s and ’70s—and at MIT in 1993. Very little of Faillace’s work was sold prior to his death; the vast majority came onto the market only as his estate was opened up.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eFREDERIC M. FAILLACE (1949–2023)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MINIMALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRASPBERRY, PUMPKIN, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24\" H × 26\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46189379223739,"sku":"ART021","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250301_141320.jpg?v=1740861304"},{"product_id":"josephine-vaughn-mahaffey-watermelon-watercolor-on-artists-paper","title":"‘WATERMELON’ BY JOSEPHINE MAHAFFEY (1960s)","description":"\u003cp\u003eBotanical portrait of the stem-end of a watermelon—possibly one she grew on her Jacksboro Highway farm—by prolific Fort Worth painter JOSEPHINE MAHAFFEY (1903–1982). Painted on artist’s paper in the early 1960s, the combination of rapid-fire brushwork and bold color selection practically defines her style—somewhat dizzying, but unfailingly coherent. Mahaffey was notorious for painting on anything that was at hand—scraps of newsprint, brown paper bags, even roadmaps. Signed by the artist. Hang it in a bright kitchen or a solarium!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJOSEPHINE VAUGHN MAHAFFEY\u003c\/b\u003e was dubbed “Mama Mahaffey—the Texas Dynamo” in 1957 by \u003ci\u003eCoronet Magazine\u003c\/i\u003e, an acknowledgment of her enormous gift for high-speed composition. Always working “in the moment,” Mahaffey combined rapid brushstrokes with earthiness and high energy to produce an astonishingly large and complex legacy of art.\u003c\/p\u003e\n\u003cp\u003eBorn into a rural farming family in Hopkins County in northeast Texas in 1903, Mahaffey spent her childhood further south in San Marcos. She studied art at the College of Industrial Arts (now Texas Woman’s University) in Denton, where she won an art contest with a picture painted using different tones of shoe polish. She moved to Fort Worth as a newlywed in 1922 and began receiving art instruction from landscape artist Sallie Blyth Mummert (1888-1938). The tutelage continued until Mummert’s death. Mahaffey also studied with area artists Clinton Blair King (1901-1979), Octavio Medellin (1907-1999), and Kathleen Lawrence (1906-1983). She would later return to TWU to earn her B.A.\u003c\/p\u003e\n\u003cp\u003eMahaffey operated a grocery store in Fort Worth for several years and built the business to include three stores before selling to a chain. With the proceeds, she bought a ranch on Jacksboro Highway north of Fort Worth (a previously notorious strip of Highway 199) and opened a private art gallery where she focused on her art and her passion for communicating her love of painting to others.\u003c\/p\u003e\n\u003cp\u003eMahaffey worked primarily in water-based paints but was proficient in the use of oils and encaustics when economics allowed. She was known for her work with many different surfaces. The choice of media and support was always secondary to the act of painting. She looked to the faces of family and friends for inspiration, to the barnyard and gardens of her farm, the shores of Lake Worth, and the urban landscapes of Fort Worth.\u003c\/p\u003e\n\u003cp\u003eOver time, Mahaffey’s pursuits evolved into teaching and advocacy for arts education. She taught at the Woman’s Club of Fort Worth, the Fort Worth Art Center, the Northside Boys Club, and the Arlington YWCA. Her policy was to provide lessons regardless of a student’s ability to pay. In addition, she participated in workshops, was a charter member of the Fort Worth Art Association, president of the Professional and Amateur Art Association, and a judge of many art shows. She exhibited work internationally and locally and was best known for shows at the Texas State Fair. In 1968, the Fair honored her with a “Josephine Mahaffey Day.”\u003c\/p\u003e\n\u003cp\u003eMahaffey had seven sons and a daughter over the course of her dual career as a businesswoman and artist. In later years, despite her gregarious nature, she eschewed the familiar and turned inward. She died in 1982. Her influence lives on in scores of private and public collections in North Texas. In 2010, the Fort Worth Community Arts Center hosted a retrospective of her work.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eYou’ve got to get it down fast, or else you lose it.\u003c\/i\u003e – JOSEPHINE VAUGHN MAHAFFEY\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eJOSEPHINE VAUGHN MAHAFFEY (1903–1982)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eAMERICAN; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eWATERCOLOR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eRAG PAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCELADON, ARMY GREEN, DOVE GRAY, SKY BLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage conditioner⁹. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e15\" H × 13\" W × ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46233341722811,"sku":"ART022","price":395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20240629_163410_f874cd6c-9995-44f3-b8d2-117e1bc89c5d.jpg?v=1719701383"},{"product_id":"beachscape-with-abandoned-pier-by-frank-gebhart","title":"BEACHSCAPE WITH ABANDONED PILINGS BY FRANK GEBHART (1950s)","description":"\u003cp\u003eThe ruins of a Mid-Atlantic pier at low tide stand as a testament to forgotten storms, brought to life in the saturated hues and expressionistic style of amateur New York watercolorist Frank Gebhart. Vertical pilings are smeared with bright green marine algae. Scattered flotsam—possibly the remnants of a shattered hull—is captured in dry-brush strokes among sparse tufts of dune grass. Executed in the late 1950s on what appears to be handmade cotton rag and affixed to an uncut piece of light-taupe mat board. Presented under glass in its original, weathered frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eFRANK GEBHART\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eEXPRESSIONISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eWATERCOLOR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCERULEAN, KELLY, CHARCOAL, SAND\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e17\" H × 20 ¼\" W × ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"DOUGLAS SMITH","offers":[{"title":"Default Title","offer_id":46254276935867,"sku":"ART004","price":288.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Unknown-9_f726af40-085a-4352-9f61-98bbfec699d0.jpg?v=1721758498"},{"product_id":"berry-consignment-3","title":"‘LITHOGRAPHE I - PLATE IX’ BY JOAN MIRÓ (1972)","description":"\u003cp\u003eTwo of eleven plates realized by JOAN MIRÓ (1893–1983) for Volume I of his 1972 \u003ci\u003eCatalogue Raisonné\u003c\/i\u003e of lithographs (published by Graphis Arte, Livorno, and Toninelli Arte Moderna, Milano)—each a vibrant dance of whimsy and the subconscious. Famously eschewing academic theory, Miró’s creative approach involved the free play of association—provoking “accidents” connected to the inner workings of his psyche. Hence, the poet André Breton (1896–1966) called him “the most Surrealist of us all.” The sense of cheerful playfulness is integral to his enduring popularity. Priced individually and accompanied by Gallery COAs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJOAN MIRÓ I FERRÀ (1893–1983)\u003c\/b\u003e is regarded as one of the 20\u003csup\u003eth\u003c\/sup\u003e century’s most original artists. He struck a balance—between spontaneity and automatism on the one hand and meticulous planning and rendering on the other—which makes his work, because of its precision, seem somehow representational, despite its considerable abstraction. His mature style arose out of the tension between the brutalities of modern life and his personal poetic impulses.\u003c\/p\u003e\n\u003cp\u003eBorn into a family of artisans in Barcelona, the renowned Catalan painter and sculptor showed a teenage interest in drawing, and in 1907 took lessons at the city’s Escola Superior d’Arts Industrials i Belles Arts. At his father’s insistence, he simultaneously enrolled at the Escola de Comerç to study business. After three years of classes, he found work as an accounts clerk in a chemist’s shop. Stressed to the point of exhaustion, he collapsed with a nervous breakdown, and, after an ensuing bout of typhoid, was taken to live at his parents’ farm in Mont-roig del Camp, a secluded seaside village, 125 km to the southeast. During his convalescence, he foreswore business entirely, and in 1912 he resumed the study of art at the Barcelona school run by painter Francesc d'Assís Galí (1880—1965). The following year, he enrolled in life classes at the Cercle Artístic de Sant Lluc.\u003c\/p\u003e\n\u003cp\u003eIn 1916, Miró met the Symbolist painter and art dealer Josep Dalmau (1867—1937), who managed the revolutionary Galeries Dalmau in Barcelona. Intrigued by Miró’s talents, Dalmau offered to host a solo exhibition for him in 1918. Sadly it was a disaster; critics and the public alike ridiculed and even damaged the paintings. Undeterred, Miró traveled to Paris for the first time in 1920 and would go on to spend the decade alternating between the French capital and Mont-roig.\u003c\/p\u003e\n\u003cp\u003eThe next year Dalmau organized a show for Miró at Paris’s Galerie La Licorne. There he met Pablo Picasso (1881—1973); André Masson (1896—1987) as well as a dozen other Surrealist luminaries; and such notable American ex-pats as Ezra Pound (1885—1972) and Ernest Hemingway (1899—1961)—the latter would purchase \u003ci\u003eThe Farm\u003c\/i\u003e, a landscape of the artist's family home in Mont-roig.) While Miró’s work from the early 1920s reflected the influence of Cubism, over the decade his distinctive style of flattened picture planes, organic forms, and linear symbols developed. In 1925, he met André Breton (1896—1966), the principal theorist of Surrealism, and had his first solo exhibition the surrealist Galerie Pierre. The following year, he collaborated with Max Ernst (1891—1976) on designs for Diaghilev’s Ballets Russes.\u003c\/p\u003e\n\u003cp\u003eMiró was the subject of a retrospective at MoMA in New York, in 1941. He won the Grand Prize for Graphic Work at the XXVII Venice Biennale in 1954, and featured in the inaugural Documenta in Kassel, Germany, the following year. In 1958, he was given a Guggenheim International Award for murals he executed for the UNESCO building in Paris. Further retrospectives took place in Paris at the Musée National d’Art Moderne, in 1962, and the Grand Palais, in 1974; in 1978 the Musée National d’Art Moderne exhibited more than five hundred works in a retrospective of his drawings.\u003c\/p\u003e\n\u003cp\u003eMiró died in 1983, in Palma de Mallorca, Spain, in the western Mediterranean.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eNOTABLE WORKS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ci\u003eThe Farm\u003c\/i\u003e, 1922\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Tilled Field\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Hunter (Catalan Landscape)\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eHarlequin’s Carnival\u003c\/i\u003e, 1925\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003ePainting (Blue Star)\u003c\/i\u003e, 1927\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eDutch Interior I\u003c\/i\u003e, 1928\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Escape Ladder\u003c\/i\u003e, 1940\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eWoman and Birds in the Night\u003c\/i\u003e, 1945\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Smile of the Flamboyant Wings\u003c\/i\u003e, 1953\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Gold of the Azure\u003c\/i\u003e, 1993\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI try to apply colours like words that shape poems, like notes that shape music.\u003c\/i\u003e – JOAN MIRÓ\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eJOAN MIRÓ (1893—1983)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1972\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eSPAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; SURREALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eLITHOGRAPHY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003eEDITION\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, RED, BLUE, GREEN, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e27\" H × 34\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MYRA BERRY","offers":[{"title":"Default Title","offer_id":46256567124155,"sku":"ART041","price":985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Joan_Miro_Miro_Lithographe_I_Plate_IX_master.webp?v=1745345182"},{"product_id":"berry-consignment-4","title":"‘LITHOGRAPHE I - PLATE IV’ BY JOAN MIRÓ (1972)","description":"\u003cp\u003eTwo of eleven plates realized by JOAN MIRÓ (1893–1983) for Volume I of his 1972 \u003ci\u003eCatalogue Raisonné\u003c\/i\u003e of lithographs (published by Graphis Arte, Livorno, and Toninelli Arte Moderna, Milano)—each a vibrant dance of whimsy and the subconscious. Famously eschewing academic theory, Miró’s creative approach involved the free play of association—provoking “accidents” connected to the inner workings of his psyche. Hence, the poet André Breton (1896–1966) called him “the most Surrealist of us all.” The sense of cheerful playfulness is integral to his enduring popularity. Priced individually and accompanied by Gallery COAs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJOAN MIRÓ I FERRÀ\u003c\/b\u003e is regarded as one of the 20\u003csup\u003eth\u003c\/sup\u003e century’s most original artists. He struck a balance—between spontaneity and automatism on the one hand and meticulous planning and rendering on the other—which makes his work, because of its precision, seem somehow representational, despite its considerable abstraction. His mature style arose out of the tension between the brutalities of modern life and his personal poetic impulses.\u003c\/p\u003e\n\u003cp\u003eBorn into a family of artisans in Barcelona, the renowned Catalan painter and sculptor showed a teenage interest in drawing, and in 1907 took lessons at the city’s Escola Superior d’Arts Industrials i Belles Arts. At his father’s insistence, he simultaneously enrolled at the Escola de Comerç to study business. After three years of classes, he found work as an accounts clerk in a chemist’s shop. Stressed to the point of exhaustion, he collapsed with a nervous breakdown, and, after an ensuing bout of typhoid, was taken to live at his parents’ farm in Mont-roig del Camp, a secluded seaside village, 125 km to the southeast. During his convalescence, he foreswore business entirely, and in 1912 he resumed the study of art at the Barcelona school run by painter Francesc d'Assís Galí (1880—1965). The following year, he enrolled in life classes at the Cercle Artístic de Sant Lluc.\u003c\/p\u003e\n\u003cp\u003eIn 1916, Miró met the Symbolist painter and art dealer Josep Dalmau (1867—1937), who managed the revolutionary Galeries Dalmau in Barcelona. Intrigued by Miró’s talents, Dalmau offered to host a solo exhibition for him in 1918. Sadly it was a disaster; critics and the public alike ridiculed and even damaged the paintings. Undeterred, Miró traveled to Paris for the first time in 1920 and would go on to spend the decade alternating between the French capital and Mont-roig.\u003c\/p\u003e\n\u003cp\u003eThe next year Dalmau organized a show for Miró at Paris’s Galerie La Licorne. There he met Pablo Picasso (1881—1973); André Masson (1896—1987) as well as a dozen other Surrealist luminaries; and such notable American ex-pats as Ezra Pound (1885—1972) and Ernest Hemingway (1899—1961)—the latter would purchase \u003ci\u003eThe Farm\u003c\/i\u003e, a landscape of the artist's family home in Mont-roig.) While Miró’s work from the early 1920s reflected the influence of Cubism, over the decade his distinctive style of flattened picture planes, organic forms, and linear symbols developed. In 1925, he met André Breton (1896—1966), the principal theorist of Surrealism, and had his first solo exhibition the surrealist Galerie Pierre. The following year, he collaborated with Max Ernst (1891—1976) on designs for Diaghilev’s Ballets Russes.\u003c\/p\u003e\n\u003cp\u003eMiró was the subject of a retrospective at MoMA in New York, in 1941. He won the Grand Prize for Graphic Work at the XXVII Venice Biennale in 1954, and featured in the inaugural Documenta in Kassel, Germany, the following year. In 1958, he was given a Guggenheim International Award for murals he executed for the UNESCO building in Paris. Further retrospectives took place in Paris at the Musée National d’Art Moderne, in 1962, and the Grand Palais, in 1974; in 1978 the Musée National d’Art Moderne exhibited more than five hundred works in a retrospective of his drawings.\u003c\/p\u003e\n\u003cp\u003eMiró died in 1983, in Palma de Mallorca, Spain, in the western Mediterranean.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eNOTABLE WORKS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ci\u003eThe Farm\u003c\/i\u003e, 1922\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Tilled Field\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Hunter (Catalan Landscape)\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eHarlequin’s Carnival\u003c\/i\u003e, 1925\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003ePainting (Blue Star)\u003c\/i\u003e, 1927\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eDutch Interior I\u003c\/i\u003e, 1928\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Escape Ladder\u003c\/i\u003e, 1940\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eWoman and Birds in the Night\u003c\/i\u003e, 1945\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Smile of the Flamboyant Wings\u003c\/i\u003e, 1953\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Gold of the Azure\u003c\/i\u003e, 1993\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI try to apply colours like words that shape poems, like notes that shape music.\u003c\/i\u003e – JOAN MIRÓ\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eJOAN MIRÓ (1893—1983)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1972\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eSPAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; SURREALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eLITHOGRAPHY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003eEDITION\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, RED, BLUE, GREEN, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e27\" H × 34\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MYRA BERRY","offers":[{"title":"Default Title","offer_id":46256567582907,"sku":"ART041","price":985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Miro_m860_1800.jpg?v=1745345899"},{"product_id":"untitled-aug5_23-09","title":"MONUMENTAL OIL WITH ABSTRACT FIGURES SIGNED “ALANNA” (1990s)","description":"\u003cp\u003eAn imposing untitled piece by an unknown modernist showcasing masks and segmented, Cubistic forms—that suggest artist mannequins, or possibly marionettes. The work employs a muted, trichromatic palette of earthy tones. Close inspection reveals a composition fraught with gesture, conjuring the odd ambivalence of a scene from one of Pinter’s “comedies of menace.” Signed simply “ALANNA” in block lettering en verso along one of the corner braces. Presented in a shallow floater frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1990s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOSTMODERN; CUBISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eALABASTER, BRICK, GOLDENROD, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e61 ½\" H × 32 ½\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46270599692475,"sku":"ART026","price":1785.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179143320_1_x.webp?v=1722974570"},{"product_id":"untitled-aug5_23-14","title":"BLACK AND WHITE ABSTRACT IN THE MANNER OF FRANZ KLINE (1970s)","description":"\u003cp\u003eA non-objective acrylic on canvas by an unknown artist—reminiscent of the large-scale black and white abstracts produced in the 1950s by prominent American artist Franz Josef Kline (1910-1962). The absence of color forces confrontation with the texture of the heavy impasto, particularly that of the white pigment—applied with a wide palette knife in a manner that may even suggest spackling compound. Some will see an aerial map of a sprawling river delta in high relief. Signed at the lower right and mounted in a floater frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e40\" H × 30\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46270603100347,"sku":"ART017","price":1575.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179029867_1_x_0ac0bad3-0d29-4ae8-8ba2-fb93c023da60.webp?v=1722973711"},{"product_id":"clown-painting-by-diane-vedito-1963","title":"PORTRAIT OF TWO CLOWNS BY DIANE VIDITO (1963)","description":"\u003cp\u003eSoberly expressive, half-length portrait of a pair of circus clowns, portrayed without sentimentality, by Boston artist DIANE VIDITO (b. 1931). Calling to mind some of Picasso’s early work, in palette and tonality, the overall mood of this effective painting is tender—and fully human—melancholy, devoid of bitterness. A gifted artist and draftsman, Vidito’s work was never promoted, perhaps out of deference to her husband's career, painter and successful art dealer Donald Roy Purdy (1924–2016). Unframed oil on Masonite.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDIANE VIDITO\u003c\/b\u003e was born in 1931. She married the Post-Impressionist painter and art dealer Donald Roy Purdy. His parents invited the young newlyweds to stay at their cottage outside of New Haven while they were getting started. For seven years, the Purdys ran rooming houses in central New Haven, while they gutted and flipped multi-dwelling housing properties. In each building, a room would be designated as their living quarters, another as a gallery, and Purdy would paint in the basement—leaving 6-7 rooms for tenants. It was a modestly successful scheme; the prolific Purdy managed to paint every night, and Vidito ran the gallery. The couple eventually left the New Haven area for Boston, and Purdy was able to parlay his painting into a lucrative career as an art dealer.\u003c\/p\u003e\n\u003cp\u003eVidito was primarily active as a painter in the 1950s. She was known for her modernist paintings, which often captured urban landscapes and portraits that reflected the vibrancy of mid-20\u003csup\u003eth\u003c\/sup\u003e-century life. Her work displayed a unique blend of color and form, and her style combined elements of realism with a modernist approach, making her pieces relatable and artistically rich. Fellow artists have frequently noted her lovely use of line and color and the overall quality of her craftsmanship. Her contributions to the art scene, particularly in Cambridge, Mass., remain noteworthy, and her paintings continue to be appreciated for their historical context and artistic merit, resonating with both collectors and enthusiasts today. She was an occasional printmaker.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eDIANE VIDITO (b. 1931)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1963\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; POST IMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eMASONITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTEAL, MAUVE, MAROON, CREAM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30\" H × 24\" W × ¼\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46270871044283,"sku":"ART020","price":885.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179141226_1_x_7c3b68bb-8b8c-43f2-a525-8d38a4446676.webp?v=1722974417"},{"product_id":"lot-0200-by-ted-fields-2014","title":"MODERNIST INTERIOR WITH FIGURES AND HOUSEPLANT BY TED FIELDS (2014)","description":"\u003cp\u003eA confident modernist interior, with two slender males (father and son?) and a spindly houseplant, by D.C., artist TED FIELDS. Executed with peculiar harmony in cool greens and rosy pinks, several elements that playfully underscore modernism’s prefigurement in 15th-century mannerism are incorporated: asymmetrical composition; the oddly small heads, stylized features, and elongated limbs of the figures; and a flattened pictorial plane. Signed and dated by the artist in the lower right. Smartly presented in a thinly white-washed frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eTED FIELDS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2014\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eKELLY GREEN, ROSE, OYSTER, ROBIN'S EGG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e41 ½\" H × 29 ½\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46271111299259,"sku":"ART012","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179335344_1_x.webp?v=1722975054"},{"product_id":"lot-0163-by-unknown-artist-0000-copy","title":"PAPIER-MÂCHÉ WALL SCULPTURE BY ADRIANA RIZKALLAH (2007)","description":"\u003cp\u003eA distinctive papier-mâché wall sculpture crafted by São Paulo artist ADRIANA RIZKALLAH (b. 1962): an enormous concave disk, just under three feet in diameter and striped horizontally across its middle with a “tribal” graphic in high relief. The piece is a testimony to an ongoing fascination with paper, and the paradox of its intrinsic fragility and its repurposed use as a modeling agent. Prioritizing sustainability for more than three decades, Rizkallah has perfected an exclusively recycled paper-based compound. Inherently eco-friendly, her work’s objective is to make evident—and to play with—the potentialities of surface art. Signed and mounted to a black wooden box frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eADRIANA RIZKALLAH\u003c\/b\u003e was born in São Paulo in 1962. She studied at the Fundação Armando Alvares Penteado (FAAP), an important cultural center in that city and one of Brazil’s most prestigious universities, graduating in 1984 with a degree in the Fine Arts. She began her career with painting and subsequently taught briefly at St. Paul’s British International School. Since the 1990s, Rizkallah has been working almost exclusively in papier-mâché, producing experimental forms and large-scale installations comprising textured interior spaces. Her interest has always focused on the ambiguity between the lightness and delicacy of paper and its possibilities as raw material for sculpture. Currently, she has been incorporating copper into her work. Rizkallah owns an eponymous gallery in São Paulo.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003ePaper is possibility.\u003c\/i\u003e – ADRIANA RIZALLAH\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eADRIANA RIZALLAH (b. 1962)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2007\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eBRAZIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003ePAPIER-MÂCHÉ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOX MOUNT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eALMOND, TAUPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e46 ¼\" H × 46 ¼\" W × 7\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46271288311995,"sku":"ART060","price":990.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179236890_1_x_782ee66c-09d1-4157-93a7-0350469a062f.webp?v=1722974759"},{"product_id":"lot-0182-by-unknown-artist-0000","title":"MIXED MEDIA HARBOR SCENE BY ELIANE ADINGRA (1964)","description":"\u003cp\u003eApart from her name and the years in which she was creatively active (as deduced from her other dated work), we know little about the identity of ELIANE ADINGRA, the painter of this busy predawn harborscape. Intriguingly, she shares a surname with the accomplished Afro-Cubist painter, Georges-Ebrin Adingra (1933-2005), a name that is highly suggestive of Ivorian heritage (perhaps by way of marriage). The many Parisian place names in the titles of her other pieces would support the theory. Mixed media: gouache, watercolor, and probably ink. Available without a frame for now, we have designs to build one that will enclose the glue residue left from old mattings. Signed and dated.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eELIANE ADINGRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1964\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eFRANCE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eMIXED MEDIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eECRU, SLATE, DARK GREEN, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24\" H × 20\" W × ¼\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46271288672443,"sku":"ART033","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179260524_1_x.jpg?v=1740338301"},{"product_id":"shipwreck-by-austin-artist-cheryl-finfrock-2005","title":"‘SHIPWRECK’ BY AUSTIN ARTIST CHERYL FINFROCK (2005)","description":"\u003cp\u003eA shipwreck serves as a grand metaphor for hopeless loss, in this evocative undersea abstraction from Dallas-born artist CHERYL FINFROCK (b. 1961). The more conventional connotations of bright yellow—happiness and joy—are belied by its presence in the ocean depths. Finfrock reminds us that the color can also signify warning and sickness. Detached propellers and a random piece of die-cut machine frame featuring heart-shaped holes are sunk to the ocean floor and surrounded by fleeting air bubbles. Saturated hues are a hallmark of Finfrock’s work in acrylics. Signed and dated at the bottom right.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCHERYL FINFROCK\u003c\/b\u003e completed her BA in Art and English at Trinity University in San Antonio, TX, in 1983. She took graduate classes in sculpture at UTSA in San Antonio, TX. In 1986, she satisfied the requirements for a Texas Teacher’s Certificate in Art Education.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eCHERYL FINFROCK (b. 1961)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2005\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOST-MODERN; ABSTRACT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCANARY, WHITE, SCARLET, GREEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e14\" H × 18\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"DOUGLAS SMITH","offers":[{"title":"Default Title","offer_id":46271332155579,"sku":"ART047","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Unknown-8_d1b317cb-d129-48a3-a183-49e5c5106310.jpg?v=1722977252"},{"product_id":"pastoral-scence-by-unknown-pyrographer-0000s","title":"PASTORAL SCENE WITH OXCARTS AND RAFTS BY UNKNOWN BATIK ARTIST","description":"\u003cp\u003eAn expansive framed batik panel by a talented unknown artist, designed to mimic the look of pyrography, the process of producing designs on wood or leather by burning or scorching with hot instruments. The folk-art scene features a rustic pastoral setting, with farming figures, covered oxcarts, and subtropical foliage. Wagons in convoy trundle downhill while three bargemen punt their rafts upstream in an adjacent canal. Recalling the fluid, Regionalist style of WPA painter and muralist Thomas Hart Benton (1889-1975).\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eFOLK ART; RUSTIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eWOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCHOCOLATE, AUBURN, ALMOND, OXBLOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30 ½\" H × 81 ½\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46277737840827,"sku":"ART019","price":885.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/182788226_1_x_1.webp?v=1730155858"},{"product_id":"portrait-in-the-style-of-hockney","title":"PORTRAIT IN THE STYLE OF DAVID HOCKNEY (1990s)","description":"\u003cp\u003eA larger-than-life painting of a middle-aged man in a summer suit and half-rim glasses, whose stooping posture threatens to break the picture’s “fourth wall.” A second figure either looms in a doorway or hangs in portraiture at the back of the room. An unsigned oil on canvas by an unknown artist, this work demonstrates a visual wit and panache reminiscent of English painter David Hockney (b. 1937). The realism suggests that the subject’s likeness has been adroitly captured. Mounted in an unfinished, relatively deep floater frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1990s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eEXPRESSIONISM; FIGURATIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSIENNA, SKY BLUE, ALMOND, CANARY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e21 ½\" H x 24\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46311347355835,"sku":"ART046","price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/184427286_1_x.webp?v=1727135062"},{"product_id":"shippers-dock-by-blanche-henderson","title":"‘SHIPPERS DOCK’ BY BLANCHE HENDERSON (1960)","description":"\u003cp\u003eA confidently middle-brow work from talented amateur BLANCHE HENDERSON depicting a tranquil late-morning scene at a shippers’ marina, observed through the metaphorical “mists” of drying cargo nets. A lone straggler with a set red sail is featured against a backdrop of dock buildings. This oil-on-canvas original captures a quiet moment of subtle maritime activity, embodying a classic mid-century aesthetic—and would contribute authentic flavor to any modern American interior. Signed and dated by the artist in the lower right-hand corner and housed in a vintage wormwood frame. Sight dimensions: 18\" x 36\".\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eBLANCHE HENDERSON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1960\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; FIGURATIVE; NAUTICAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRICK, SKY BLUE, GREIGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e19 ½\" H × 37 ½\" W × 1 ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46331457601723,"sku":"ART055","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/GridArt_20241111_145057524.jpg?v=1731358303"},{"product_id":"vibrant-post-impressionist-portrait-by-itzchak-tarkay","title":"‘SEATED WOMAN WITH A BASKET OF FRUIT’ BY ITZCHAK TARKAY (2000s)","description":"\u003cp\u003eA stimulating, limited-edition serigraph from esteemed Israeli artist ITZCHAK TARKAY (1935-2012), inspired by his early-aughts oil painting, \u003ci\u003eSeated Woman with a Basket of Fruit\u003c\/i\u003e. The figure of a young female is set against a Post-Impressionist backdrop of vibrant color and geometric pattern, the fluid lines and rich palette pointing to the influence of Matisse and Toulouse-Lautrec. While often celebrated for expressive use of color and his mastery of moods, Tarkay’s primary focus was compositional clarity. He took to heart Picasso’s principle that “every painting should rhyme”; witness the harmony of forms in this piece and how the shade of each ripe fruit is echoed in the sitter’s costume. Signed and numbered in plate: 192\/450.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eITZCHAK TARKAY\u003c\/b\u003e was an influential Israeli artist primarily known for his watercolor and acrylic portraits of sophisticated-looking women in modish clothing. He was born in 1935 in Subotica, Serbia, about 10 km below the Hungarian border, in what was then Yugoslavia. When he was nine years old, his family—after being liberated from a WWII Nazi concentration camp in Mauthausen, Austria—resettled in Israel. Tarkay went on to study at the Bezalel Academy of Art and Design in Jerusalem and later at the Avni Institute of Art and Design in Tel Aviv.\u003c\/p\u003e\n\u003cp\u003eAn accomplished painter, serigrapher, and watercolorist, Tarkay mentored younger Israeli artists throughout his career—including Mark Kanovich (b. 1970), Yuval Wolfson (b. 1966), and David Najar (b. 1962), all of whom worked with him in his studio. He was a great friend of Yaacov Agam (b. 1928), the master Israeli sculptor and experimental artist, widely celebrated for his contributions to optical and kinetic art. They collaborated on two original paintings.\u003c\/p\u003e\n\u003cp\u003eTarkay died unexpectedly in 2012 in Detroit, Mich., following emergency heart surgery.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eEverything we want and need can be found in a female form.\u003c\/i\u003e – ITZCHAK TARKAY\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eITZCHAK TARKAY (1935-2012)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eISRAEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOST IMPRESSIONIST; FIGURATIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eSERIGRAPH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003e192\/450\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTANGERINE, CORNFLOWER, EMERALD, RUBY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e29 ¾\" H × 29 ¾\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46331462779067,"sku":"ART045","price":815.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179256665_1_x.webp?v=1729025043"},{"product_id":"modern-abstract-by-sacha-kilin","title":"MINIMALIST ABSTRACT BY SACHA KOLIN (1960s)","description":"\u003cp\u003eA nicely proportioned abstract oil-on-canvas by French-Jewish émigré painter and sculptor SACHA KOLIN (1911–1981). The piece embodies the graceful scale and simplified geometry of early Minimalism, which promoted abstract work stripped of outside association, referring only to itself. Biographer Lisa Thaler chronicled Kolin’s turbulent life and her trajectory through the mid-century art scene of NYC in the 2008 book, \u003ci\u003eLook Up: The Life and Art of Sacha Kolin\u003c\/i\u003e. It details Kolin’s brushes with near-success and her unwavering commitment to living beyond her means. Drawing its title from a Kolin painting, \u003ci\u003eLook Up: The Sun is Shining\u003c\/i\u003e, the book stands as a paean to the artist’s perennial optimism.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eSACHA KOLIN (1911–1981)\u003c\/b\u003e was a gifted, Paris-born painter and sculptor who emerged as a minor player in New York City’s vibrant mid-20th-century art boom. Her work encompassed abstract painting and aeronautically-inspired, Minimalist sculpture. She was born to Ukrainian Jewish parents, Malwina Slobodianiuk and Julius Kolin (ko-LEEN), the latter a mechanical engineering student at Vienna’s Technische Universität who had journeyed to Paris to test his innovative propeller designs at the Laboratoire du Champ-de-Mars, under the supervision of Gustave Eiffel. (His pioneering concepts would find application in aviation and other machinery.) Kolin spent her early years in Vienna, where she studied interior design at the Weiner Kunstgewerbeschule with architect and sculptor Oskar Strnad (1879–1935), as well as sculpture and drawing at the Academy of Fine Arts. She was among the few women allowed to showcase work in the annual exhibitions of the Vienna Secession and the Künstlerhaus.\u003c\/p\u003e\n\u003cp\u003eIn 1933, Kolin moved to Paris to study in the atelier of Naoum Aronson (1872–1943), a stone carver for Auguste Rodin who was known principally for his busts of important personages: Beethoven, Pasteur, Tolstoy, Lenin, etc. Kolin’s contemporary sculptures primarily consisted of traditionally expressive busts representing men, women, and children. Her drawings during the period sought to incorporate Rodin’s various techniques for maintaining spontaneity and were characterized by her ability to relate concise yet impactful gestures, a defining feature of her graphic artistry. In 1935, she became the youngest full member of the Nationale Société des Beaux-Arts.\u003c\/p\u003e\n\u003cp\u003eIn December 1936, alarmed by the Nazi persecution of Jews in neighboring Germany, Kolin’s affluent family emigrated to the US, establishing their residence in New York City. They opted for prestigious locations in Manhattan, including Essex House and the Esplanade. Within three months, Kolin showcased her inaugural solo exhibition titled “Modern Sculptures and Sketches” at the P.E.D.A.C. Galleries in Rockefeller Center. At the 1940 New York World’s Fair, she was among 42 émigré artists—including notable figures such as Josef Albers, Werner Drewes, Laszlo Moholy-Nagy, and Amédée Ozenfant—featured in the exhibition “New Americans of Friendship House.”\u003c\/p\u003e\n\u003cp\u003eFrom the 1940s onward, Kolin drew inspiration from Native American lore and iconography. She began to integrate elements of native dance into her flat-plane abstract works. During the 1950s, she hosted a color workshop in her New York studio alongside Bauhaus-trained artist Hannes Beckmann (1909–1977), which led her to further explore non-objective artistic styles. The artworks she produced during this period, particularly her watercolors, are often compared to those of Kandinsky and Klee, while her later calligraphic drawings and painted sculptures bear resemblance to the works of Arp, Calder, and Miró.\u003c\/p\u003e\n\u003cp\u003eIn the 1960s, Kolin showcased her Op Art paintings, some of which were produced in quartets of four canvases each. While she was skilled in various media, she identified primarily as a sculptor. Her three-dimensional creations increasingly adopted geometric forms, often featuring a monochromatic palette and centered around the triangle. This triangular motif, along with titles referencing flight, reflects Kolin’s paternal heritage in aeronautics and her personal history as a refugee during wartime. In 1973, Kolin’s monumental aluminum sculpture \u003ci\u003eDrawing in the Sky #1\u003c\/i\u003e was installed at the Everson Museum of Art in Syracuse, New York, and it remains on outdoor display to this day.\u003c\/p\u003e\n\u003cp\u003eShe was a friend of mail artist Ray Johnson (1927–1995) and an early participant in the New York Correspondance [sic] School. Kolin also joined the Artists Equity Association, League of Present Day Artists (serving as Treasurer in 1954), and the National Association of Women Artists. She was the recipient in 1973 of a Mark Rothko Foundation grant award. Her career history includes over 125 solo and group exhibitions, and her work is included in over 70 public and private art collections both in the US and internationally.\u003c\/p\u003e\n\u003cp\u003eKolin had expensive tastes in food and fashion, and in her later life, when her artwork failed to sell consistently, she struggled to live well on meager means. She fell into debt, borrowing funds to sustain her lifestyle and support her elderly father, or exchanging her artwork for essential goods. The sheer volume of work she produced and distributed in this manner resulted in a decline in its overall value. During the 1970s, motivated by the Tax Reform Act of 1969, Kolin actively engaged in third-party donations to museums. She would persuade curators to issue letters of intent indicating their interest in acquiring her pieces. Subsequently, she would sell a painting at a reduced price to a wealthy collector, who would then donate it to the museum, benefiting from a tax deduction based on the painting’s full value. This practice helped to establish a midcentury market for art donations to university collections, allowing affluent patrons to enjoy tax advantages. (After Kolin’s death, several artists and collectors were prosecuted for this scam.) Kolin bartered artwork for rent with the landlords of successive grand apartments and, with her two large dogs, turned at least one dwelling into a squalid mess. Perhaps accustomed to posh environs, she chose to have her remains dispatched through the crematoria of Manhattan’s Trinity Church.\u003c\/p\u003e\n\u003cp\u003eKolin’s artwork has been exhibited at the Brooklyn Museum, the Boston Museum of Fine Arts, and the Whitney Museum of American Art, and it is held in the collections of the Smithsonian American Art Museum and the Cooper-Hewitt National Design Museum.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eSACHA KOLIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMINIMALISM; OP ART\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport \u003cspan\u003e– \u003c\/span\u003e\u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCANARY, GOLDENROD, SAFFRON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e35\" H × 35\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46422262808763,"sku":"ART037","price":1890.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/98068542_1_x.webp?v=1762204089"},{"product_id":"american-school-rooftop-cityscape-1960s","title":"MODERNIST ROOFTOP CITYSCAPE (1960s)","description":"\u003cp\u003eThe unique perspective of this modernist cityscape captures the charm of New York City’s outer-borough rooftops. Its soft, cheery palette creates a calming yet lively atmosphere, as if a quiet morning was dawning over the pre-war brick buildings. The bold, black outlines define discrete planes of color that may remind viewers of the later work of Cézanne, as do the busy brushstrokes, creating a mottled tapestry of speckles across the sky and the window-glass. An engaging work from a skilled, unknown American painter.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eARTIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1965\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eORIGIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eSTYLES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRICK, OLIVE, GOLDENROD, CORNFLOWER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ¼\" H × 36 ½\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46448186228923,"sku":"ART053","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197399545_1_x.webp?v=1739234999"},{"product_id":"movement-diptych-panel-by-willis-franklin-woods-1950s","title":"LEFT-HAND DIPTYCH PANEL BY WILLIS FRANKLIN WOODS (1950s)","description":"\u003cp\u003eThe tall left-hand panel of a diptych that was originally titled, in its entirety, \u003ci\u003eMovement\u003c\/i\u003e, the sophomore work of WILLIS FRANKLIN WOODS (1920-1988), a Washington, D.C., artist and an accomplished museum administrator. A colorful yet sober montage of cubist abstractions, with overtones of Midwest Futurism, the acrylic is a casual jumble of forms. However, its seeming artlessness belies an acuity of execution, with sgraffito and sponging adding textural interest. Williams served in turn as director of the Detroit Institute of Arts and Executive Director of the Seattle Art Museum. From the family’s collection. In a well-built floater frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eWILLIS FRANKLIN WOODS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; CUBISM; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLINEN, CHARCOAL, BRICK, SKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e41\" H × 23 ¾\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46452981825723,"sku":"ART039","price":2495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/196706366_1_x.webp?v=1739401327"},{"product_id":"title-4-year","title":"MODERN DANCE ENSEMBLE OIL-ON-CANVAS SIGNED “NITZ” (1950s)","description":"\u003cp\u003eA nearly monochrome palette emphasizes the transfigured exuberance of a quartet of contemporary dancers, caught in a single, powerful moment. The two males anchor the scene, their youthful strength propelling their pony-tailed partners into dynamic flight. The piece feels both modern and ritualistic, with the unusual, oblong canvas framing the performance like a stage proscenium. The vitality, grace, and emotional depth of dance make it an ideal subject for the visual arts—along with its fundamental theme: the beauty of the human form. A sleek floater frame complements the painting’s modern feel.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eEXPRESSIONISM; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eOYSTER, BLACK, SKY, AMBER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e28\" H × 51\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46452999422139,"sku":"ART002","price":1625.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197300234_1_x.webp?v=1739404858"},{"product_id":"title-5-year","title":"POP ART ABSTRACT WITH COOKIE-CUTTER RAINBOW FIGURES (1970s)","description":"\u003cp\u003eA dynamic oil on canvas by an unidentified, likely late 20\u003csup\u003eth\u003c\/sup\u003e-century American artist. Five unsettling silhouettes in saturated, classroom colors hover over a silvery background. Their molded bases and the olive shade of the centermost evoke little green plastic Army Men—although something about their helmet-like heads suggests alien origin. The painting recalls the rubber-stamp illustrations of Warhol (1928–1987) and the stenciling methods that Keith Haring (1958–1990) employed in his earliest NYC street art. Unsigned and unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOP ART; STREET ART; MINIMALIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER, AVOCADO, BLACK, ORANGE, RED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30\" H × 24\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46452999651515,"sku":"ART001","price":1395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197448078_1_x.webp?v=1739405302"},{"product_id":"oil-on-canvas-still-life-by-adolfo-ruiz-abascal-1929-2009-spainby-ado","title":"OIL ON CANVAS STILL LIFE BY ADOLFO RUIZ ABASCAL (SPAIN)","description":"\u003cp\u003eA still life on heavily textured canvas by Spanish artist and author ADOLFO RUIZ ABASCAL (1929-2012). The homely subject features fruit, a basket, and a draped white cloth arranged on a stone ledge. The traditional composition is informed by Cubist influence; the soft lighting produces realistic three-dimensional effects. Not readily identifiable to us, the fruit in and around the basket may include pomegranates and plums or some other stone fruits typical of central Spain. With its dark green skin, pale flesh, and oval shape, the large cut melon is likely a \u003ci\u003ePiel de Sapo\u003c\/i\u003e (toad skin). Signed at the bottom right and currently unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eADOLFO RUIZ ABASCAL (1929-2012)\u003c\/b\u003e was a Spanish painter and author. His artwork primarily concentrated on depictions of the landscapes and architecture of his homeland, particularly those of Toledo and the El Escorial region, where his cherished hometown of San Lorenzo was situated. His creative approach varied and is often characterized as Cubist-influenced.\u003c\/p\u003e\n\u003cp\u003eWhile recognized for his achievements in the visual arts, Abascal was also a respected specialist in the natural habitat surrounding El Escorial, the large architectural complex northwest of Madrid, envisioned by King Philip II and built to function as royal residence, monastery, library, and mausoleum. Released in the 1990s, Abascal’s most notable publication, Del Entorno Escurialense (Of the Escorial Surroundings), detailed and illustrated the environment and historical context of the area. In its discussion of the various shades of color that nature offers to those who will pay attention, the book describes the yellow of the local \u003ci\u003ebotón de oro\u003c\/i\u003e (buttercup) as “the perfection of yellow.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eADOLFO RUIZ ABASCAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eSPAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; TRADITIONAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLINEN, RUBY, EGGPLANT, CHARCOAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e18\" H × 31 ½\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47057326604475,"sku":"ART062","price":1285.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG-1249.jpg?v=1760058779"},{"product_id":"oil-on-board-landscape-by-george-swinton-1917-2002-canadian","title":"‘MOUNTAIN MEADOW’ OIL-ON-BOARD BY GEORGE H.G. SWINTON (1960)","description":"\u003cp\u003eImpasto flourishes describe the rugged peaks of Alberta’s Rockies in thick, palpable strokes of oil, in this compact 1960 mountainscape by Canadian painter GEORGE H.G. SWINTON (1917–2002).\u003cb\u003e \u003c\/b\u003eThe heavy pigment catches the fiery reddish orange, not of any geographical phenomena, but rather the warm light of the rising sun, as if its glow were permanently cast upon the rock. Center stage, between the summits, a serene counterpoint emerges in the form of a secluded meadow, painted in a mossy, velvety green that presents as soft and welcoming. Overhead, high-contrast shades of orange and turquoise evoke the fleeting drama of sunrise.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGEORGE HENRY GORDON SWINTON (1917–2002)\u003c\/b\u003e was a Canadian painter and historian, and a pioneering writer and collector of Inuit art. His 1965 book \u003ci\u003eEskimo Sculpture\u003c\/i\u003e was a seminal work of its time, offering an early and thorough examination of the topic. Subsequent books provided more detail and represented a nearly exhaustive visual documentation of the subject, while also chronicling its evolution from traditional, magical artifacts to those created for the commercial market. A gifted artist in his own right, with over thirty one-man shows to his credit, including a 1958 exhibition at the Art Gallery of Greater Victoria, Swinton’s landscapes, in watercolor and oil, reveal his love for the Canadian prairie. Today, his art hangs in the National Gallery of Canada, the Vancouver Art Gallery, and the Winnipeg Art Gallery, among others.\u003c\/p\u003e\n\u003cp\u003eBorn in Vienna under the name Georg Heinz Schwitzer, Swinton’s initial studies focused first on agriculture and then economics and political science. After the 1938 \u003ci\u003eAnschluß\u003c\/i\u003e (the annexation of Austria by Nazi Germany), he emigrated with his family via the UK to Canada, arriving in 1939. He served for five years in the Canadian Army with the Intelligence Corps, becoming a citizen in 1944. He completed a B.A. in economics and political science at McGill University in Montreal in 1946. He took courses at the Montreal School of Art and Design and the Art Students’ League in New York City, but never finished his formal fine arts training.\u003c\/p\u003e\n\u003cp\u003eSwinton was Curator of the Saskatoon Art Center from 1947 to 1949, an instructor at Smith College in Massachusetts from 1950 to 1953, and Artist-in-Residence at Queen’s University in Ontario from 1953 to 1954. That fall, he joined the faculty of the School of Art at the University of Manitoba, a position that he held for two decades. He first traveled north for the Hudson’s Bay Company in 1957; his experiences there became the basis for his books on Inuit sculpture. From 1974 to 1981, he was a professor of Canadian Studies at Ottawa’s Carleton University, and his final academic position was an adjunct professorship in that school’s Art History department.\u003c\/p\u003e\n\u003cp\u003eSwinton was a member of the Royal Canadian Academy and the Order of Canada. He was awarded an honorary degree by the University of Manitoba in 1987. In 1992, he received the 125\u003csup\u003eth\u003c\/sup\u003e Anniversary of Canadian Confederation Medal and, in 2002, a Queen Elizabeth II Golden Jubilee Medal.\u003c\/p\u003e\n\u003cp\u003eSwinton died from complications of congestive heart failure in Winnipeg in 2002.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eGEORGE H.G. SWINTON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1960\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eCANADA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; EXPRESSIONISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003ePUMPKIN, TURQUOISE, COFFEE, CELADON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e12 ¼\" H × 15 ¼\" W × 1 ¾\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47057377722555,"sku":"ART056","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/209722036_1_x_1.webp?v=1759007712"},{"product_id":"mid-century-modern-heavy-textured-abstract-expressionist-oil-painting","title":"FRAMED IMPASTO OIL-ON-BOARD ABSTRACT PAINTING (1980s)","description":"\u003cp\u003eA heavily textured abstract, with a mid-century aesthetic, executed in oil on a 2' × 2' square of Masonite. The surface is reticulated with remarkably stringy ridges of impasto, into irregularly squared and rounded scales that recall polished crocodile leather—and, in turn, that material’s vaunted opulence. Two olive drab bubbles are shaded with milky ochre, and scattered dashes of carnelian spell out a counterpoint across the bottom of the canvas. This small-scale, expressionist piece would serve as a fascinating accent in almost any room. By an unknown American artist. In a thin metal frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eEXPRESSIONISM; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eOLIVE, GOLDENROD, PUMPKIN, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24\" H × 24\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47057414455483,"sku":"ART029","price":1150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/210727425_1_x_1.webp?v=1759015225"},{"product_id":"chicago-chi-oil-on-canvas-abstract-1970s-copy","title":"‘CHI CHICAGO’ OIL-ON-CANVAS CITYSCAPE BY NORMAND ROY (1967)","description":"\u003cp\u003eAn imaginative, nighttime  Chicago cityscape with towering buildings. Strong, dark, linear elements denote the skyline, while the foreground presents a creative interpretation of the prominent lakefront landmark, Navy Pier. Intricate cross-hatchings recall the city’s Art Deco architecture, and Atomic Age “sparkle-stars” on the building peaks add a touch of whimsy, evoking an urban Xanadu. This fantasia—in the sense of an unrestrained invention—is signed (quite eccentrically) “Roi des Losiers [sic].” Having been separated from its original frame at some point, the painting is presented simply in its cloth-covered, gold-tone liner.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eNORMAND J. ROY\u003c\/b\u003e either served as the agent for, or was himself in actuality, the Mid-Century American artist, known for his abstracted cityscapes, who painted under the \u003ci\u003enom de brosse\u003c\/i\u003e Schevaune Roi des Losiers [sic]. A business card stapled to the stretcher bar of the latter’s 1967 work, \u003ci\u003eCHI CHICAGO\u003c\/i\u003e, doubles down on the apparent misspelling of the alias.\u003c\/p\u003e\n\u003cp\u003eSchevaune is perhaps a playful French take on the Irish name Siobhan, while Roi des Losiers is likely a misspelling of \u003ci\u003eRoi des Loisirs\u003c\/i\u003e, which translates to King of Leisure. The card lists a phone number and a San Diego, Calif., address for Roy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1967\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; ABSTRACT EXPRESSIONISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSLATE, CHARCOAL, IVORY, APRICOT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e21 ¾\" H × 41 ½\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47082691035323,"sku":"ART064","price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/210983273_1_x.webp?v=1759969594"},{"product_id":"composition-with-red-yellow-and-green-by-victor-vasarely-1980","title":"‘COMPOSITION WITH RED, YELLOW AND GREEN’ BY VICTOR VASARELY (1980)","description":"\u003cp\u003eA late-career work by Hungarian-French artist VICTOR VASARELY (1906–1997), grandfather of the Op Art movement. The piece exemplifies his theory of “visual kinetics,” using a mix of vibrant colors and rigid geometric patterns to create a powerful illusion of movement and depth. The colorful squares-within-squares represent a modular \"alphabet\" for Vasarely, that can be systematically rearranged to  produce an infinite number of compositions. He believed that such work would transcend cultural boundaries and be universally understood. The use of serigraphs reflected a related objective, allowing him to \"democratize\" his art—by making it accessible to and affordable for a wider audience. Signed in pencil and numbered 178\/250.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eVICTOR VASARELY (1906–1997)\u003c\/b\u003e was a French-Hungarian painter, commonly regarded as a pioneering figure of the 20\u003csup\u003eth\u003c\/sup\u003e century's Op Art movement. He created eye-popping geometric abstractions that play with the viewer’s perception of depth, perspective, and motion, and his innovations in color and illusion have had tremendous impact on subsequent generations of artists. His 1937 oil on canvas, \u003ci\u003eZebra\u003c\/i\u003e, consisting of undulating black and white stripes that suggest the entire form of the titular animals, is often cited as the earliest example of an Op-Art painting.\u003c\/p\u003e\n\u003cp\u003eBorn as Győző Vásárhelyi in the city of Pécs in southwestern Hungary, he pursued medical studies for two years at the University of Budapest. He abandoned this path in favor of a career in the visual arts, but his scientific education had a lasting and obvious impact on his systematic methodology. In 1929, he transferred to the Muhely Academy in Budapest, known as the “Budapest Bauhaus,” where he concentrated on graphic design and typography.\u003c\/p\u003e\n\u003cp\u003eIn 1930, Vasarely moved to Paris, working as a graphic artist with various advertising agencies to support himself. During this formative period, he experimented with the optical effects that would ultimately define his mature style, and the graphic work he produced investigated the influences of perspective and light.\u003c\/p\u003e\n\u003cp\u003eAfter WWII, Vasarely opened a studio near Paris and increasingly focused on his fine art. From 1944 to 1947, he explored Cubism, Expressionism, and Surrealism, but he would eventually come to see these as \u003ci\u003e“Les Fausses Routes”\u003c\/i\u003e (false roads, or “wrong tracks”). It was only when he fully committed to developing his own unique voice (from 1947 to 1951) that he hit upon his distinctive geometric abstract style, drawing inspiration from such diverse sources as the tiled walls of the Paris Metro, pebbles on a Brittany beach, and the terraced stone houses of Gordes in Provence. At the same time, he developed an interest in integrating art and architecture. He incorporated his geometric visions into large-scale works for public spaces, such as the ceramic mural he designed for the Ciudad Universitaria de Caracas in 1954.\u003c\/p\u003e\n\u003cp\u003eIn 1955, Vasarely wrote his influential “Yellow Manifesto” for the landmark exhibition \u003ci\u003eLe Mouvement\u003c\/i\u003e at Paris’s Galerie Denise René, wherein he laid out his theories on “visual kinetics.” He proposed that works of art could create truly dynamic experiences without themselves physically moving. His international reputation as the central figure of the Op-Art movement was solidified in 1965 by MoMA's exhibition, \u003ci\u003eThe Responsive Eye\u003c\/i\u003e, in New York City. Vasarely’s geometric abstractions were a defining part of the “psychedelic” aesthetic.\u003c\/p\u003e\n\u003cp\u003eDuring the 1960s, Vasarely developed and patented a system of interchangeable geometric shapes and colors, which he termed a “plastic alphabet,” whose units were simple variations of squares, circles, and triangles in a limited, but expandable, color palette. He used it to create his \u003ci\u003e“Folklore Planetaire”\u003c\/i\u003e series, complex optical illusions that were intended to serve as a visual language. (One early design from the series was featured on the original 1969 UK release of David Bowie's sophomore album.) In 1972, he collaborated with his son Jean-Pierre “Yvaral” Vasarely (1934–2002) to redesign the logo for the French car manufacturer Renault.\u003c\/p\u003e\n\u003cp\u003eVasarely received numerous honors during his lifetime, including the Guggenheim Prize in 1964 and, in 1976, appointment as a French Knight of the Legion of Honor. That same year, Vasarely established an eponymous foundation in Aix-en-Provence, France, to promote his legacy. Following this, museums dedicated to his artworks were opened in his hometown of Pécs (1976) and in Budapest (1987).\u003c\/p\u003e\n\u003cp\u003eHe died in Paris at the age of 90. Apart from his distinctive art, he played a prominent role in the democratization of art, through, on the one hand, its architectural integration, and, on the other, the mass production of prints.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003ePure form and pure color can signify the world.\u003c\/i\u003e – VICTOR VASARELY\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eVICTOR VASARELY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod – \u003cb\u003e1980\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eFRANCE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eOP ART; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eSERIGRAPH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003e178\/250\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRUBY, AVOCADO, APRICOT, DARK GREEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e33 ¼\" W × 1 ¼\" D × 33 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47098652295355,"sku":"ART013","price":1950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/211417169_1_x-1.webp?v=1760480190"},{"product_id":"signed-black-white-oil-on-canvas-op-art-nude","title":"SIGNED BLACK \u0026 WHITE OIL-ON-CANVAS OP ART NUDE (1970s)","description":"\u003cp\u003eThe warped checkerboard of this dramatic Op Art oil painting is subtly manipulated to map out the contours of a voluptuous female nude. The viewer is challenged to look beyond the surface in order to perceive the hidden form, as the stark black and white contrast heightens the sense of distortion. In the same way that zebra stripes function as camouflage, the geometries obscure the outline of the figure and prevent the viewer from readily distinguishing it from the background. The interplay between the flat patterns and the 3‑D illusion produces a slightly dizzying effect. Signed in the lower right with a thin, red wash. In a metal frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eOP ART\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e37 ¼\" H × 25\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47100549660859,"sku":"ART063","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/211262789_1_x.webp?v=1760572194"},{"product_id":"monumental-abstract-by-william-ayers-20th-c","title":"MONUMENTAL ABSTRACT SIGNED BY UNKNOWN “WM. AYERS” (1980s)","description":"\u003cp\u003eA mosaic of fragments, with sharp angles and slanting lines suggesting powerful, rhythmic motion or a sense of organized chaos. The color palette ranges from deep blues and maroons to bright yellows and whites, creating a striking visual tension. Darker, more saturated areas ground the composition, while lighter tones and subtle textures, such as the trompe l’oeil “collage” of paper scraps in the upper right, add layers of depth and intrigue. Despite its nonpictorial nature, the painting maintains a structural feel. This balance between art and design gives the piece an architectural quality. Unknown artist.\u003c\/p\u003e\n\u003cp\u003e(Based on the artist’s signature, the intended orientation may be horizontal. \u003ci\u003eDe gustibus non est disputandum.\u003c\/i\u003e)\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; ABSTRACT EXPRESSIONISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRUBY, TEAL, NAVY, LIGHT YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e55 ½\" H × 41\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47128762941627,"sku":"ART040","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/211290746_1_x_4fe4bdbe-5bd6-4846-902b-7ae920cc5ea0.webp?v=1761699701"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/collections\/3693228.jpg?v=1558563362","url":"https:\/\/modernredux.myshopify.com\/collections\/art-decor.oembed","provider":"MODERN REDUX","version":"1.0","type":"link"}