Back

BILLY AL BENGSTON (b. 1934)

 
BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in. BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in.
Syltkakor Draculas197744 x 44 in. acrylic on canvas
Provenance
Private Collection, Carlsbad, California

38,000

Inquire

Similar Artworks

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

JOHN MARIN

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

Richard Tuttle is a seminal American postminimalist artist. Tuttle’s work is conceptual and meditative, crossing the boundary of sculpture, painting, and poetry, and often challenging the viewer. Untitled (Cloth and Paint Work #2) from 1973, a pivotal period in the artist’s career, evokes the earlier minimalism of his career while pushing towards material-based conceptual art. In the work he pays homage to Marcel Duchamp’s readymades. Textiles, as in this piece, play a large role in his oeuvre and become sites on which to focus performance, engagement, and meaning.

RICHARD TUTTLE

IRVING NORMAN - Farewell - oil on canvas - 90 x 100 in.

IRVING NORMAN

Sculptural work by Theaster Gates is anchored in the artist’s long-standing commitment to social action and responsibility, rooted in his home city of Chicago. The wooden frame of "Lathe Black Box" from 2012 is made of wood from The Dorchester Project, one of his best-known pieces. The project transformed a dilapidated building in Chicago’s South Side into a community gathering place and a celebration of local culture. Gates has described this project as part of a “circular ecological system,” selling sculptural works from the material of these projects to finance the ongoing building renovations. In recent years, his creative efforts do not only consist of making fine art from construction materials, but also extend to creating construction materials as fine art. 
<br>
<br>Much of Gates’s work deals with history, memory, and renewal. The mirrored glass at the center of "Lathe Black Box" creates an ambiguous effect, confronting the viewer with their own reflection.

THEASTER GATES

"Bringing in the Ears" is a composition drawing for an advertisement for Niblets Corn, published in the August 10, 1942 edition of Life magazine. This drawing has been in the same family collection since 1970.
<br>
<br>Among the most noteworthy illustrators this country has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew and grandson Jamie rank among the most respected artists of their generations, heavily influenced by other artists in the extended Wyeth family. N.C. Wyeth, in addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States.
<br>
<br>Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene. He possessed a rare ability to depict subjects and events from a child’s point of view, and is particularly known for dramatizing characters by the use of long shadow, a technique that is said to have influenced the epic moviemaking style of the 1940s. In addition to providing supplementary drama and excitement to the written word, Wyeth’s works have become classics in and of themselves.

N.C. WYETH

WOLFGANG PAALEN - Composition - oil, tempera and ink on canvas - 14 3/4 x 18 in.

WOLFGANG PAALEN

ALEXANDER CALDER - Compositions with Faces and Forms - ink on paper - 15 1/2 x 23 in. ea.

ALEXANDER CALDER

ADAM EMORY ALBRIGHT - Two Boys with Cows "Coming Home" - oil on canvas - 35 3/4 x 59 3/4 i in.

ADAM EMORY ALBRIGHT

ROLPH SCARLETT - Untitled - 1035 - oil on canvas - 15 x 16 in.

ROLPH SCARLETT

CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in.

CHARLES HERBERT WOODBURY

ADAM EMORY ALBRIGHT - Boy Standing with Fishing Pole - oil on canvas - 48 x 36 1/4 in.

ADAM EMORY ALBRIGHT

ROBERT FRAME - Untitled - oil on canvas - 40 x 48 in.

ROBERT FRAME

PETER SHELTON - whitebeard - 41 x 7 x 6 1/2 in.

PETER SHELTON

FRANK GAVENCKY - Book Shelf - oil on board - 30 x 34 1/4 in.

FRANK GAVENCKY

HENRY RICHTER - Seascape - oil on canvas - 29 x 39 in.

HENRY RICHTER

JESSIE ARMS BOTKE - The Yellow Shawl - charcoal on paper - 17 1/4 x 13 1/4 in.

JESSIE ARMS BOTKE

NORMAN ROCKWELL - Extra Good Boys and Girls - collotype on paper - 27 1/2 x 21 1/2 in.

NORMAN ROCKWELL

ARTHUR LONERGAN - Untitled Bridge - oil on canvas - 15 3/4 x 19 3/4 in.

ARTHUR LONERGAN

F. MORTIMER LAMB - A Summer's Day - oil on board - 18 x 22 in.

F. MORTIMER LAMB

RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in.

RONALD DAVIS

FREDERICK KANN - Untitled - acrylic on board - 13 x 9 1/2 in.

FREDERICK KANN

HUGO BALLIN - Field Sketch - oil on canvas on board - 11 x 14 in.

HUGO BALLIN

HANS BURKHARDT - Untitled - mixed media on paper - 22 1/2 x 15 in.

HANS BURKHARDT