We found 77111 price guide item(s) matching your search
There are 77111 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
77111 item(s)/page
Lot 201
Thomas Koether (New York, Florida, Born 1940) Abstract oil on board painting titled, "Air Riders". Canvas Size: 16.25 x 19.5 in. Overall Size: 20.5 x 17.25 in. Manner of Syd Solomon (Florida, New York 1917-2004). In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia 1971 LE CENTER AMERICAN, Paris, France
Lot 31
Thomas Koether (New York, Florida, Born 1940) "Offshore" Large Abstract Oil on canvas painting. Signed lower left. Dated verso. Sight size: 48 x 60 in. Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia 1971 LE CENTER AMERICAN, Paris, France
Lot 530
* NITA BEGG (SCOTTISH 1920 - 2011), STILL LIFE WITH BOOK AND FLOWER oil on board, signed and dated '56 20.5cm x 22cm Mounted, framed and under glass. Note: Nita Begg enrolled at the Glasgow School of Art, in 1937 at the age of 16. She studied throughout the war as the School was forced to stay open by the Scottish Education Department. Graduating in 1943 she was awarded a place at Hospitalfield House which she took up in 1947 having completed her war service as a nurse. A professional artist for over 50 years, she specialised in oil creating a body of work amounting to over 400 paintings. Her paintings are in the private collection of Her Majesty the Queen and the Duke of Edinburgh, Glasgow Museums and Art Galleries and private collections in New York, Australia and throughout the UK. For extensive bioraphy, see www.nitabegg.com
Lot 677
VIVIAN MANTHEL-FRENCH (NEW ZEALAND), STILL LIFE OF FLOWERS, FRUIT AND CROCKERY watercolour on paper, signed and dated 1997 45.5cm x 36.5cm Mounted, framed and under glass Note: Vivian Manthel-French is an Elected Artist Member of the New Zealand Academy of Fine Arts and former President of the Wellington Watercolour Society, which later became Watercolour New Zealand. For a period of about 20 years, Vivian spent six months of each year in London, where she exhibited at the RWS, held solo exhibitions at New Zealand House and was chosen to hold a solo exhibition at the Commonwealth Institute. Vivian exhibits at the Academy, the Millwood Gallery and with Watercolour New Zealand.
Lot 27
Andre Vignoles (1920-2017). Oil on canvas still life of pots of pink roses and other flowers. Signed along the lower left with brass nameplate attached to the frame. A Wally Findlay Galleries sticker is attached to the verso. Dimensions: Unframed; height: 39 3/4 in x width: 20 in. Framed; height: 47 1/4 in x width: 27 1/4 in.Condition: Good condition
Lot 70
Rufino Tamayo (1899-1991). "Mixografia" in colors on Arches, signed in white pencil along the lower right, titled "Constelaciones" 1977. Numbered 77/100 along the lower left. Biography: Rufino Tamayo was one of the leading Mexican artists of the 20th century. He combined his interests in modernist painting and pre-Columbian Mexican art to create a unique style that was both artistically cutting-edge and grounded in cultural traditions. Tamayo was born in Oaxaca in 1899. He studied art at the School of Fine Arts in Mexico City. Following this education, he became the director of the ethnographic drawings department of the National Museum of Archaeology, which strengthened his interest in pre-Columbian traditional art, which was already an interest of his due to the prevalent artistic traditions in Oaxaca. In 1936, he moved to New York City, where he taught at the Dalton School and the Brooklyn Museum. While in New York, Tamayo was influenced by artists such as Picasso, Braque and Matisse, and began experimenting with styles such as Cubism, Expressionism and Surrealism. However, he continued to be connected to his roots by his subject matter, which he drew from Mexican folk traditions and pre-Columbian themes, creating images, particularly still lifes, unlike anything else being created at that time. Throughout his long career, he migrated between New York and Mexico City, continuing to blend the artistic traditions of both places into his own individual style. He gained fame over time, in part for his pointed rejection of the political muralist style which dominated the Mexican art scene in the early 20th century. His work was displayed internationally and won many awards. Along with creating art, he collected many works of art, both European and Mexican, particularly pre-Columbian, which he and his wife donated to the citizens of Mexico, where they became the basis for two major museums, the Museum of Pre-Hispanic Mexican Art in Oaxaca and the Rufino Tamayo Museum of International Contemporary Art in Mexico City. He continued to work until the age of 90, experimenting and adding new components, such as sand, without sacrificing the careful technicality which characterized his work. In "Galaxia," Tamayo used the technique of “mixografia,†a printmaking technique he pioneered with the Rembas family at their lithography workshop in Mexico City, Taller de Gráfica Mexicana. When Tamayo began his collaboration with them in 1973, he was searching for a way to include a textural element, which had become an integral part of his paintings, into his prints. They developed a technique which used a highly textured plate and still-wet paper pulp to create prints with textural elements and vibrant color. "Galaxia" shows the successful results of this new technology. The vibrant evening sky, the topography of the surface of the moon, and the contours of the dark ground all come to life with Tamayo’s technical mastery and innovation. Dimensions: Sight; height: 19 3/4 in x width: 46 1/2 in. Framed; height: 21 3/4 in x width: 49 in. Condition: Good condition, area of missing color along the lower right extreme edge, possibly natural to the production of the artwork
Lot 1101
After Pablo Picasso, Abstract design; Lamp & Goat's head; Faces; Still life with fish; Double Portrait I; Cubist still life; Still life of fruit; Two Faces; Visage; Still life with Goat's head, ten woodcuts, from Balzac's 'Chef d'ouvre inconnu', edition of 340, published by Vollard 1931, various sizes.(10) DDS
Lot 1896
•SIR PETER SCOTT (1909-1989) WHITE-FRONTED GEESE DROPPING INTO THE FRESH MARSH - SNETTISHAM FRESH MARSH UNDER SNOW, FEB. 1929 Signed and dated 1929, watercolour and bodycolour over traces of pencil 27.5 x 49.5cm. * This skilful early work was drawn by Scott whilst he was still an undergraduate at Trinity College, Cambridge. It seems that it was given (or sold) to a fellow student in 1930, the year before Scott graduated in History of Art. Illustrated: Country Life, November 1929 Provenance: with T. C. Wyatt, Christ's College, Cambridge, May 1930; London, Christies, March 2nd, 1990, lot 81 (£2400); Private Collection, Sussex ++ Slight mat burn around the birds' bodies
Lot 1910
•CONSTANCE MORTON (1905-1992) STILL LIFE Signed, acrylic on board 25 x 31cm.; with a watercolour of `Sefton Park Fair` by Clifford Fishwick, 1947, initialled, 28 x 36cm.; and a landscape sketch by Rupert Lee, studio stamp, 29 x 22.5cm. (3) Provenance: Each from the artists' estates; each purchased from Denys Wilcox Fine Art (The Court Gallery), West Quantoxhead, Somerset, 2008-2011 ++ Good condition
Loading...-
77111 item(s)/page