Willem de Looper

Zanzibar, 1971 (Abstract Expressionist colorfield painting)

1971

Michael Loew (1907-1985). Red Above Blue, 1966. Acrylic on canvas, 39 x 56 inches. Signed lower right. Signed, titled and dated en verso. Excellent condition. Biography: Michael Loew was born in 1907 and was the son of a New York City baker. After high school, he was an apprentice to a stained-glass maker, and from 1926-1929, he studied at the Art Student’s League. In 1929, he traveled to Paris, North Africa, Germany, and Italy with a group of artists, including Max Schnitzler...

Deborah Kass (b.1952). 16 Barbras (Jewish Jackie Series), 1992. 40 x 48 inches. Acrylic silkscreen inks on canvas. Signed, titled and dated in pencil en verso. Biography: (b. 1952, lives and works in Brooklyn, NY) Deborah Kass employs the visual motifs of post-war painting to explore the intersection of politics, popular culture, art history and personal identity. Her celebrated series, The Warhol Project, from the early 1990’s refocused Andy Warhol’s eye for celebrity portraiture. Her work incorporates lyrics from Broadway musicals, movie quotations and Yiddish sayings into canonical formats like Frank Stella’s concentric squares, Ellsworth Kelly’s rainbow spectrum and Andy Warhol’s camouflage patterns. Kass’s work is in the collection of the Museum of Modern Art, the Whitney Museum of American Art, The Jewish Museum and the Solomon R. Guggenheim Museum, The National Portrait Gallery, among others. She is a Senior Critic in the Graduate Painting Program at Yale University. Recent solo and group exhibitions include The Pittsburgh Biennial at The Andy Warhol Museum; “The Deconstructive Impulse” at the Neuberger Museum of Art in Purchase, NY; “feel good paintings for feel bad times” and “MORE feel good paintings for feel bad times” at Paul Kasmin Gallery; and “Shifting the Gaze: Painting and Feminism” at The Jewish Museum in New York, NY. In 2012, The Andy Warhol Museum hosted “Deborah Kass: Before and Happily Ever After, a Mid-Career Retrospective.” Kass’s work was also featured in the Metropolitan Museum of Art’s “Regarding Warhol: Sixty Artists, Fifty Years.” SOLO EXHIBITIONS 2013 “My Elvis +,” PAUL KASMIN GALLERY, New York 2012 “Deborah Kass: Before and Happily Ever After, a Mid-Career Retrospective,” ANDY WARHOL MUSEUM, Pittsburgh, PA 2010 “MORE feel good paintings for feel bad times,” PAUL KASMIN GALLERY, New York 2007 “feel good paintings for feel bad times,” PAUL KASMIN GALLERY, New York “Armory Show,” PAUL KASMIN GALLERY, New York 2001 “Deborah Kass: The Warhol Project,“ WEATHERSPOON ART GALLERY, University of North Carolina at Greensboro, NC 2000 “Deborah Kass: The Warhol Project,” UNIVERSITY ART MUSEUM, University of California at Santa Barbara, Santa Barbara, CA “Deborah Kass: The Warhol Project,” BLAFFER GALLERY, University of Houston, Houston, TX 1999 “Deborah Kass: The Warhol Project,” NEWCOMBE ART GALLERY, Tulane University, New Orleans, LA (traveling, catalogue) 1998 ARTHUR ROGER GALLERY, New Orleans, LA 1996 “My Andy: a retrospective,” Kemper Museum of Contemporary Art and Design, Kansas City, MO 1995 “My Andy: a retrospective,” JOSE FREIRE FINE ART, New York “My Andy: a retrospective,” ARTHUR ROGER GALLERY, New Orleans, LA 1994 BARBARA KRAKOW GALLERY, Boston, MA 1993 “Chairman Ma,” JOSE FREIRE FINE ART, New York “Chairman Ma,” ARTHUR ROGER GALLERY, New Orleans, LA 1992 “The Jewish Jackie Series and My Elvis,” FICTION/NONFICTION, New York “The Jewish Jackie Series,” SIMON WATSON, New York 1990 SIMON WATSON GALLERY, New York 1988 SCOTT HANSON...

Richard Mann (1940-1990). Duino Elegies, 1981. Mixed media on rag paper, consisting of 43 sheets, each measuring 18 x 24 inches. Each vertical edge is hinged with mounting tape, resu...

Beautiful c.1962 painting by Spanish artist, Juan Bayon-Salado (1903-1995). Plaza del Carmen, Madrid. Oil on canvas measures 60 x 73 cm (approx. 23.5 x 29 inches). Unframed. Depicted...

Beautiful cubist portrait of a woman by unknown Russian artist. Oil on canvas measures 17 x 25 inches. Signed and dated lower right. Label fragments affixed on verso.

Oskar D'Amico (1923-2003). Fisherman at Dusk, c.1960. Oil on linen canvas, 16 x 30 inches; 18 x 32 inches (frame). Signed lower right. Excellent condition with no damage or conservation. Biography: Oskar Maria D'Amico (February 22, 1923 – May 3, 2003) was an active Italian artist in Rome, Naples, Lanciano, Cisterna, Milan, Gallarate, Torino, Zagabria, Paris, Toulouse, Melun, Carenac, Maubeuge, Madrid, Barcelona, Zaragoza, Budapest, Győr, Mexico City, Cuernavaca, Morelia, Toronto, New York City, Philadelphia, Los Angeles, San Francisco, Miami, Denver, Santa Fe, Albuquerque and Socorro, between 1943 and 2003. He is considered a Nomad artist because of his ability to work in various styles. He had three major periods in his artistic life: Figurative, Materic and Geometric. [1]He also was an outstanding art director for more than 75 epic movies. D'Amico had a very outgoing personality. He was a non-conformist, which was reflected in his work throughout his life. D'Amico was born in CastelFrentano, Italy, a small village in Abruzzo. At a young age, he felt he had to leave and dive into the big world. After being a seminarist with the Salesiani during World War II, he left Naples, where he studied architecture, and began a great adventure in Rome. He specialized at the time in decorating nightclubs and bars, and invented a special type of double ceiling to hide the lights. D'Amico, who was self-taught as a teenager in drawing and painting, burst onto the filmmaking scene in Rome when an art director asked him to do a perspective of a set design. Soon other moviemakers were calling him.[2] D'Amico was an art director on 75 films including two by Orson Welles. D’Amico was able to create a real marble floor in the set of the palace of the King Saul, in "David and Goliath" directed by Orson Welles. Art directors previously painted a simulated marble on top of concrete due to the cost of the real thing. D'Amico became an associate of Jadran Films in ex-Yugoslavia, which specialized in Roman and Egyptian constructions. While an art director, he never stopped painting. His faceless clowns, reflecting the people who had no identity after World War II, were a big success. In the early 1960s, D'Amico moved with his family to Toronto, Canada, another place he felt was too small. He left for Philadelphia and New York City, which affected his work. He turned his focus to abstract, and for more than a decade created abstract Expressionist paintings "on the plane of all matter" that he called "Materic". The Materic style, which he invented, was done in several media and could not be changed once on the canvas. The paintings were very well received. D’Amico sold more than 400 in Philadelphia and New York City. Unfortunately he had to stop doing the Materics because the colors he used were harmful to his liver. In the mid 1970s, he returned to his architectural roots and developed a new vision for Abstract Constructivism using just acrylic colors. Presented in Paris by his French Art dealer, Francoise Tournier, at the Grand Palais de Paris, and in Mexico City, D'Amico's interpretation of the "New Geometry" was widely admired. In 1983, when he presented the work at the Bodley Gallery, people whispered that he had the potential to be the new Picasso because of his eclecticism and the Nomad nature of his styles. In 1987, D'Amico abandoned the gypsy life and settled in New Mexico. Albuquerque was the perfect place to dedicate himself 100 percent to his work.[3] There were no distractions and a good climate that reminded him of his beloved Cuernavaca in Mexico. Staying in close contact with his French art dealer Tournier, D’Amico had several shows in Denver at the Helen Karsh Gallery and in Albuquerque at the Black Swan and Café Galleries. At least once a year, D’Amico went to Europe to immerse himself in the antique world and visit museums and galleries. In 1992, visiting Tournier at the Castle of Saint Cirq Lapopie, he met the man who founded the MADI movement in 1940, Carmelo Arden Quin...

1974 Acrylic on canvas mounted on board 6 x 13 in. Titled and dated, verso Framed

1981 Magna acrylic on canvas mounted on board 5 7/8 x 15 in. (14.9 x 38.1 cm) Unique Titled and dated, /81 45" x 116" "HOT PURSUIT" on the reverse Framed

1972 Acrylic on canvas 34 x 65 in. (86.4 x 165.1 cm) Signed and dated, verso

1974 Acrylic on canvas mounted on board 7 x 6 in. Titled and dated, verso Framed

1976 Magna acrylic on canvas mounted on board 10 x 9 in. (25.4 x 22.9 cm) Unique Signed, lower margin; Titled and dated, #265 + B. 72 x 72" "ROYAL COOL" 1976, verso Framed

1973 Acrylic on canvas mounted on board 5 1/2 x 5 1/2 in. Titled and dated, verso Framed