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Game table from Belgium with felt and full playing pieces, table top flips to reveal game top, or flips to make a card table, cabriole style legs; scratches throughout with a tear in game felt as shown in pictures; card table dimensions: 33.75" x 32.75" x 28.25"
$2599 $899
65 % OFF
Game table from Belgium with felt and full playing pieces, table top flips to reveal game top, or flips to make a card table, cabriole style legs; scratches throughout with a tear in game felt as shown in pictures; card table dimensions: 33.75" x 32.75" x 28.25"
$2599 $899
65 % OFF
Game table from Belgium with felt and full playing pieces, table top flips to reveal game top, or flips to make a card table, cabriole style legs; scratches throughout with a tear in game felt as shown in pictures; card table dimensions: 33.75" x 32.75" x 28.25"
$2599 $899
65 % OFF
Game table from Belgium with felt and full playing pieces, table top flips to reveal game top, or flips to make a card table, cabriole style legs; scratches throughout with a tear in game felt as shown in pictures; card table dimensions: 33.75" x 32.75" x 28.25"
$2599 $899
65 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Game table from Belgium with felt and full playing pieces, table top flips to reveal game top, or flips to make a card table, cabriole style legs; scratches throughout with a tear in game felt as shown in pictures; card table dimensions: 33.75" x 32.75" x 28.25"
$2599 $899
65 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Game table from Belgium with felt and full playing pieces, table top flips to reveal game top, or flips to make a card table, cabriole style legs; scratches throughout with a tear in game felt as shown in pictures; card table dimensions: 33.75" x 32.75" x 28.25"
$2599 $899
65 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Get this Set of 4 Cuvier Exotic Birds Pictures. Limited item with discount price from Rue La La.
$2500 $1499.99
40 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Create a focal point in any room with this colorful and detailed set; dimensions given for 1 picture
$651 $299
54 % OFF
Stock Exchange, Poster: Poster Signed in ink lower right Year 1977 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$1800 $1499
16 % OFF
Coney Island, Serigraph: Serigraph Signed and numbered in pencil Year 1977 Edition of 300 Vestie Davis, American (1903 - 1978) Born in Baltimore, Maryland, he went to New York City in 1928 and worked as a circus barker, newsstand manager and undertaker. Completely unschooled in the arts, he began painting after seeing a gallery painting on 57th Street. He said, "I can paint like that" and went to the paint store. Within a few days, he completed a work which sold. He is referred to as the city primitive. Discovered by a collector, he was featured at the Museum of American Folk Art. At first he painted only buildings but found that more popular were scenes with people. None of them are ever in a hurry. There is a sense of peace and joy and civility. The New York of Vestie Davis is a bright, sparkling place with impressive and diverse landmark buildings, bridges, parks, and beaches. It is a hub of civic, business, and recreational activity chronicled in meticulously detailed pictures from the 1950s through the 1970s. Davis predicted that some of his favorite sites would not survive the evolving needs of the city, and he faithfully rendered them with this in mind.
$950 $749
21 % OFF
Gee, Merrie Shoes, Offset Lithograph: Offset lithograph with ink and watercolor Year circa 1955 Andy Warhol began his career as a commercial illustrator, developing ads for the I. Miller Department store in New York. His first exhibition was in 1962, at the Ferus Gallery in Los Angeles, which included all 32 of his Campbell's Soup Can renditions. Born in Pittsburgh in 1928 as Andrew Warhol, he came to represent more than just the American condition. He became pivotal in the evolution of artistic production in relationship to mainstream mass-produced culture and commercialism. The founder and most influential figure of the Pop Art movement, Warhol received his training in graphic design from the Carnegie Institute of Technology in 1949. He then moved to New York City to begin his career as a commercial artist where he gained phenomenal success. By 1955, Warhol was the most successful and most-influential commercial artist in New York. His career took flight when he produced the first of his window displays using enlarged comic strip images. Characters such as Superman and Popeye were among the popular images he incorporated into designer fashion. Needless to say, his department store windows drew a lot of attention, and Warhol garnered a reputation for the extreme. One of Warhol's most important developments was his use of enlarged photographic images which were silk screened directly onto canvas and/or paper. This technique enabled him to produce quickly and cheaply a series of mass-media images that he marketed to the public. Iconographic objects such as Soup Cans, U.S. Dollar Bills, Coca-Cola Bottles, as well as the various faces of celebrities and politicians became highly sought after by art aficionados. In the late 1960s, Warhol experimented with the medium of film exploring such rhetorical topics as time, boredom, and repetition. He founded inter/VIEW magazine in 1969, published "The Philosophy of Andy Warhol: From A to B and Back Again" and continued to produce silkscreens until his death in 1987. Selected Exhibitions 2006 Warhol's World, Hauser & Wirth, London 2006 Man's Best Friend, Lococo Fine Art, St. Louis, MO 2006 Andy Warhol: Vanishing Animals, Medium SARL, Gustavia, St. Barthelemy 2005 Andy Warhol Self-Portraits, Scottish National Gallery of Modern Art, Edinburgh 2004 Andy Warhol - Self- portraits, Sprengel Museum, Hannover 2004 Kunstmuseum Liechtenstein, Vaduz 2004 The Late Andy Warhol - The Late Work, Museum Kunst Palast, Dusseldorf 2004 Andy Warhol: Motion Pictures, Kunstwerke, Berlin 2004 Andy Warhol, Anton Kern Gallery, New York 2004 Andy Warhol - Late paintings, Gagosian Gallery, Los Angeles 2003 Andy Warhol - The Time Capsules, Museum fur Moderne Kunst, Frankfurt 2003 Warhol - Screen Tests, Museum of Modern Art, New York 2001 Retrospective, Neue Nationalgalerie, Berlin 1999 Photography, The Andy Warhol Museum, Hamburg, Kunsthalle, travelled to Pittsburgh 1998 Reframing Andy Warhol: Constructing American Myths, Heroes and Cultural Icons, University Art Gallery, Maryland 1993 Andy Warhol: Abstract, Basel, Kunsthalle, travelled to Vienna, Ostereichisches Museum fur Angewandte Kunst; Valencia, IVAM 1992 Andy Warhol Polaroids 1971 - 1986, New York, Pace/MacGill Gallery, travelled to London, Anthony d'Offay; Paris, Durand-Dessert 1991 Andy Warhol's Video and Television, Whitney Museum of American Art, New York 1990 Andy Warhol: Films, IVAM, Valencia 1990 Andy Warhol: Cars-The Last Pictures, Kunstmuseum, Berne 1990 The Prints of Andy Warhol, Cartier Foundation for Contemporary Art, New York 1989 Andy Warhol: A Retrospective, Hayward Gallery, London 1989 Andy Warhol: Shadow Paintings, Gagosian Gallery, New York 1976 Venice Biennale 1970 Museum of Contemporary Art, Chicago 1970 Stedelijk van Abbemuseum, Eindhoven 1970 Musee d'Art Moderne de la Ville de Paris, Paris 1970 Museum of Art, Pasadena, CA, toured the US 1969 Neue Nationalgalerie, Berlin 1968 Stedelijk Museum, Amsterdam 1968 Moderna Musset, Stockholm 1967 Galerie Rudolf Zwirner, Cologne 1967 Ileana Sonnabend, Paris 1966 Leo Castelli Gallery, New York 1966 Institute of Contemporary Art, Boston 1965 Institute of Contemporary Art, Philadelphia 1964 Ileana Sonnabend, Paris 1964 Leo Castelli Gallery, New York 1964 Stable Gallery, New York 1963 Fetus Gallery, Los Angeles 1962 Fetus Gallery, Los Angeles 1952 Andy Warhol: Fifteen Drawings Based on the Writings of Truman Capote, Hugo Gallery, New York
$15000 $13399
10 % OFF
The Plaza Hotel, Serigraph: Serigraph Signed and numbered in pencil Year 1976 Edition of 250 Vestie Davis, American (1903 - 1978) Born in Baltimore, Maryland, he went to New York City in 1928 and worked as a circus barker, newsstand manager and undertaker. Completely unschooled in the arts, he began painting after seeing a gallery painting on 57th Street. He said, "I can paint like that" and went to the paint store. Within a few days, he completed a work which sold. He is referred to as the city primitive. Discovered by a collector, he was featured at the Museum of American Folk Art. At first he painted only buildings but found that more popular were scenes with people. None of them are ever in a hurry. There is a sense of peace and joy and civility. The New York of Vestie Davis is a bright, sparkling place with impressive and diverse landmark buildings, bridges, parks, and beaches. It is a hub of civic, business, and recreational activity chronicled in meticulously detailed pictures from the 1950s through the 1970s. Davis predicted that some of his favorite sites would not survive the evolving needs of the city, and he faithfully rendered them with this in mind.
$950 $669
29 % OFF
Harlem Streets, Serigraph: Serigraph Signed in pencil Year 1982 Edition of PP LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$4500 $4199
6 % OFF
Metropolitan Opera, Serigraph: Serigraph Signed and numbered in pencil Year 1978 Edition of 6/300 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$5000 $4199
16 % OFF
Central Park II, Serigraph: Movie poster Signed and numbered in pencil Year 1980 Edition of LXIX/LXXV Thomas McKnight, American (1941 - ) Born in 1941 in Lawrence, Kansas, Thomas McKnight grew up in suburbs of Montreal, New York City and Washington, D.C. After receiving his Bachelor's Degree from Wesleyan University, he studied art history at Columbia University. He then served in Korea with the army for two years, and later worked for Time Magazine. McKnight discovered art at at about age thirteen when his mother gave him a set of oil paints, and his first painting - a snowy castle on a hill - was similar to those he still creates. When he was sixteen, McKnight's choice of career was confirmed by the famous designer and art director of Harper's Bazaar, Alexey Brodovitch, who told him that he "had it". After growing up in various suburbs of Washington, D.C., Montreal, and New York, he attended Wesleyan University, a small liberal arts college in Middletown, Connecticut, where he was one of only five art majors. Perhaps this fostered his independent, even eccentric, approach to the art "isms" of his time. He spent his junior year in Paris where he developed a life long love of European civilization. After a year of graduate work in art history at Columbia University, McKnight decided against pursuing a career as an art professor or curator. In 1964 he found a job at Time magazine where he would work for eight years, interrupted by a two year stint in the army in Korea. McKnight held many jobs there, beginning as a file clerk and ending up writing advertising copy. During a vacation in Greece in 1970, McKnight realized that life in a corporation was not for him. He had been reviewing art for a radio program around that same time, and it became clear to him that the art currently popular was not his cup of tea either. Two years later, with the cushion of his profit-sharing plan, he left Time, summered on the Greek island of Mykonos, and commenced painting in earnest. Since deciding to devote himself to painting full time in 1972, McKnight's work has been exhibited in over two hundred and fifty one man shows through out the United States, Europe and Japan, and has appeared everywhere from the cover of Reader's Digest to pages of Japanese calendars to the walls of restaurants in southern China. His prints have appeared in numerous movies and television shows including Beverly Hills 90210 and When Harry Met Sally. At a recent Cannes Film Festival, actor director Robert Redford remarked that McKnight was his favorite artist. McKnight's private, public, corporate and museum collections are too numerous to list here. His work began to sell, although slowly, in America and Germany. In the early 1980's he discovered a larger audience by creating limited edition serigraph prints. By then he had found that, for his work at the time, the silkscreen technique was a natural choice - its brilliant colors and clean shapes echoed his own visions. Throughout the 1980s McKnight's art became increasingly popular, and by the end of the decade he was at the top of his field: six books (including two in Japanese) had been devoted to his work, and hundreds of silkscreen editions had been sold. His art was perhaps even more well-known in Japan, where he was commissioned to paint a series of views of Kobe for the city's 1993 fair. In 1994 he was commissioned by the White House to paint the first of three images for President Clinton's official Christmas card. In the middle of the nineties McKnight deepened his visions, and in the process began to paint larger and more built-up canvases. McKnight's work is represented in the permanent collection of New York's Metropolitan Museum of Art, as well as in the Smithsonian Institution. Today, McKnight and his wife live in a large neo-colonial house in the picturesque village of Litchfield, Connecticut. He has converted the top floor to a loft-like studio where he spends most of his time reading, dreaming, and creating pictures of real and imagined Arcadias.
$1200 $749
37 % OFF
Celebrity Night at Spago, Serigraph: Serigraph Signed and numbered in pencil Year 1993 Edition of 300/600 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$4500 $4199
6 % OFF
Rockefeller Center, Serigraph: Serigraph Signed and numbered in pencil Year 1976 Edition of 300 Vestie Davis, American (1903 - 1978) Born in Baltimore, Maryland, he went to New York City in 1928 and worked as a circus barker, newsstand manager and undertaker. Completely unschooled in the arts, he began painting after seeing a gallery painting on 57th Street. He said, "I can paint like that" and went to the paint store. Within a few days, he completed a work which sold. He is referred to as the city primitive. Discovered by a collector, he was featured at the Museum of American Folk Art. At first he painted only buildings but found that more popular were scenes with people. None of them are ever in a hurry. There is a sense of peace and joy and civility. The New York of Vestie Davis is a bright, sparkling place with impressive and diverse landmark buildings, bridges, parks, and beaches. It is a hub of civic, business, and recreational activity chronicled in meticulously detailed pictures from the 1950s through the 1970s. Davis predicted that some of his favorite sites would not survive the evolving needs of the city, and he faithfully rendered them with this in mind.
$950 $749
21 % OFF
Thurmon Munson Offset, Lithograph: Offset litograph Signed Year 2004 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous..., " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$2500 $2499
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Giants - Broncos Classic, Serigraph: Serigraph Signed in the plate Year 1987 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$1500 $1249
16 % OFF