Late 20th Century Mixed Media

Modern pop art 3 dimensional silkscreen serigraph by contemporary artist Charles Fazzino. The work features a variety of vignettes that have been combined to create a larger hospital...

Genre: Modern Subject: Abstract Medium: Other Surface: Paper Country: United States Dimensions w/Mat: 20" x 21" Bas relief on hand-made paper; Visual statement of society’s role in...

Roy Lichtenstein Hardback monograph of drawings and prints hand signed and inscribed by artist, 1973 Hardback Monograph. Hand signed, inscribed and...

Listed Los Angeles Artist. Aubrey Penny Original Collage Signed and Dated Mind-Line Series, Stamp Series. 2- 4201, 1977 Aubrey Penny (American 1917-2000) was an innovative Californ...

Edna Andrade Mirage (de-accessioned from the Reader's Digest Art Collection), 1988 Original Collage painting on board Signed, titled & dated on the front; the back bears labels from Marian Locks Gallery & Readers Digest Association with inventory (RDA) number Original frame included with collection and gallery labels verso This is a unique work Exquisite 1980s collage on board painting (framed) titled "Mirage" by renowned female Op artist Edna Andrade...

Aubrey Penny Collage, Signed and Dated Mind Line Series, Stamp Series. 2 - 4200, 1977 Aubrey Penny Original Collage Signed and Dated 71 Aubrey Penny (American 1917-2000) was an inn...

Aubrey Penny Original Collage Signed and Dated Mind-Line Series, Stamp Series 2-4203, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who worked...

Aubrey Penny Original Collage Signed and Dated Mind - Line Series, Stamp Series. 2- 4209, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who wo...

John Cage I–VI (Hand signed box set), 1990 Boxed set: Mixed media hand signed hardback monograph accompanied with 2 audio cassettes and dust jacket and ...

Gianni Versace Couture clutch bag from the 90s Impeccable condition, black crocodile leather.

Original mixed media drawing with watercolor on paper. Hand signed by Peter Max. Frame size approx 17 x 21 inches. Artwork size 11 x 15 inches. Artwork is in excellent condition....

Gaugin inspired 'montage' titled 'Manau Tupapau' (spirit of the dead watching) by French artist, Armand Avril. Signed and dated 2004 to the bottom right and mou...

Robert Petersen After A Rain #2, 1987 Collage on Paper: Pencil, Oil, Acrylic and Cloth Hand signed, dated and titled on lower front with Castelli Graphics label on the back Frame Inc...

Large Abstract Expressionist mixed media from the 'Megaliths' series by French artist Joseph Alessandri. Signed to the front bottom left side and dated 99 and signed with a reference...

"Nightfall" - Limited Edition Reverse Painted Etching on Glass 1/100 A mirrored moon rises over mountain peaks against a deep purple sky gradating into hues of orange and yellow in ...

Aubrey Penny Original Collage Signed and Dated Mind-Line Series, Stamp Series 2 - 4207, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who wo...

Aubrey Penny Original Collage Signed and Dated Mind Line Series, Stamp Series 2 - 4208, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who wor...

Fashion Forecast: The beautiful hippies—Pilar Crespi in fringe; Marisa Berenson and the one-strap shoulder bag . . . The new fur-lined coat- double-faced mink, printed on the hide side. The London Bit—clothes from England's bright young designers worn by Natalie Wood; Lesley Paterson; Jane Birkin; Virginia Grose: Mrs. Peter Blond . . . The great wrap-ups in printed silk with fringe; fur with tails . . . New snake looks, real or printed . . . Fez embroideries; Gypsy flounces; Crocheted-looking crochet . . . Indian jodhpurs and midi pants. Suedes and Spanish leathers . . . Fringe on everything . . . Mini, midi, and maxi looks--plus boots for every length. ~ 40 pages of fashion editorials featuring models and actresses Pilar Crespi, Marisa Berenson, Lynn Sutherland, Cynthia Korman, Ann Turkel, Marisa Berenson, Natalie Wood, Lesley Patterson, Elizabeth, Princess of Toro, Benedetta Barzini, Charly Stember, Mouche, Editha Dussler, Birgitta af Klercker, Françoise Rubartelli, Marsha Hunt...

Niki de Saint Phalle Niki de St Phalle Bespoke LOVE Shopping Bag, ca. 1982 Silkscreen on paper bag 9.5 x 8 inches Unframed The edition is unknown but we h...

“I am an Artist for justice and peace, my works are influenced greatly by world conflicts, 9-11, violence and revenge in repeated disasters of war.” In artistic creation, there are...

The tree is an artwork realized by Mario Schifano in the 1990s. Mixed Media on Photograph. cm.10x15. Monogrammed on the back. Good conditions! Mario Schifano (Homs, Septemb...

Henry Newman: 1923-1996. Listed American artist with auction results Over $800. This assemblage is a really clever piece, showing an artist and his model. It is made of different mat...

"Grindelwa" Small Collage by Michael Pauker Small abstract paper collage by Bay Area artist Michael Pauker (American, b. 1957). This piece is created from a few pieces of antique pa...

About the artist : Siri Hollander’s entire process started from an innate desire to work in large format but being self-taught she had to create her own system through trial and erro...

A freestanding 3-dimensional work that wonderfully captures both the spirit and draftsmanship of this great American artist. I have included a pic of an identical sculpture in this s...

Ramon Antonio Carulla (Cuban, born 1936). Oil paintings on paper. Titled "When Dreams Become Reality" Artist signature lower right. Title on verso. Retains original Joy Moos Gallery label. Sheet measures measures approximately 14 in. x 22 in. (paper). Framed 20.5 X 28.5 This painting is a mixed media with oil paint, on paper It is hand signed recto and signed and titled verso. An abstract naive, folk art, work depicting depicts colorful imaginative Surrealist figures. . Ramon Carulla, born in Havana, Cuba in 1936 moved to the United States in 1967. He has exhibited widely throughout the United States, Latin America and Europe. He has participated in personal and group exhibitions in Canada, Venezuela, Mexico and Spain and throughout the USA. Select Gallery Exhibitions: Lowe Art Museum (Coral Gables, Florida), The Museum of Fine Arts (Montreal, Canada), The International Monetary Fund (Washington, D.C.) The Art Expo (New York City). Select Awards: First Prize at the VI Graphic Biennial of Latin America (1983; San Juan, Puerto Rico), the Silvia Daro Dawidowicz Award for Painting (1980; Metropolitan Museum) the Samuel Golan Award (1982, Fine Art Auction Exhibition; CH 2, Miami, Florida). the Cintas Fellowship (Institute of International Education; United Nations, New York) SELECTED INDIVIDUAL EXHIBITIONS 2005 Sonnet Gallery (Sarasota, Florida) 2000 Ramon Carulla: People and Places - Corbino Galleries, 1998 The Dreamers - Cuban Collection Fine Art (Coral Gables, Florida) 1997 The Immigrant Series – Metro-Dade Cultural Resource Center (Miami, Florida) 1996-96 Ramon Carulla: Works on Paper – PJorn (Hamburg, Germany) 1994 Ramon Carulla: New Paintings, Plates & Boxes – The Barbara Scott Gallery Rostros para recordar – Galería Traz (Mexico City, Mexico) 1993 Ramon Carulla, Exhibición Personal – Contemporary Art Museum (Panama) 1992 Ramon Carulla: Recent Work - The Barbara Scott Gallery (Bay Harbor, Florida) 1991 Cabinet Room – The Capitol (Tallahassee, Florida) 1988 Sofa & Hostage Series – Jay Moos Gallery 1987 20 Years After – Bacardi Art Gallery (Miami, Florida) 1985 Malcom Brown Gallery – (Cleveland, Ohio) Mask Series...

A fine abstract expressionist assemblage by American artist Varujan Boghosian (1926-2020). Boghosian was born in New Britain, CT and after serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA. Boghosian became a professor of sculpture at Dartmouth College in New Hampshire, and became primarily known for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn...

Aubrey Penny Original Hard Edge Collage Signed and Dated Amor Abundans Series, Amor Stabilis, 1-6215, Jan 1991 Aubrey Penny (American 1917-2000) was an innovative California abstr...

A mixed media Dada collage by Ron Wilman. The work is signed bottom right and resigned, dated and fully titled to the back panel, 'Colours May Fade Keep From Direct Sunlight. Dust My...

Modern mixed media abstract expressionist painting by artist Lamar Briggs. The work features strokes of black, purple, and blue against a gold background. Signed in the front lower r...

Madonna 1997. Paper, mixed media, 20x12 cm "Madonna" is a symbolic and emotionally charged artwork, celebrating the iconic religious figure of the Virgin Mary and the spiritual sig...

A Scottish Glasgow School Abstract Expressionist mixed media painting by Grant McTavish. The work is signed and dated bottom right and is resigned and dedicated to the backboard. The...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This is a rare example of Pettibone's iconic Appropriation Print, as it's silkscreened and sculpted on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster...

Robert Goodnough Collage Canvas Painting III, 1983 Painted canvas collage on cardboard (signed twice and inscribed to artist and curator Matthew Rose) S...

Aubrey Penny Hard Edge Collage, Signed and Dated Amor Series, Amor Propitus, 11-6192, Nov. 1990 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who w...

Mixed media on board Image size: 22 1/2 x 14 1/2 inches (57 x 37 cm) Original frame A very fine three-dimensional original by the well listed British born artist, Peter Manzaroli (b...

Aubrey Penny Collage, Signed and Dated Mind- Line Series, Stamp Series. 2 - 4212, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who worked in ...

"Minutiae V" is a fiber collage mixed media piece by Jeanne Smith. This abstract piece is mostly blue on the front and mostly green on the back. The artist wrote on a small beige-col...

Patti Smith Horses Vinyl Record Album, 1975: US 1st Pressing featuring original photography by Robert Mapplethorpe. Produced by John Cale. Cover: Very Good to overall vintage condit...

mixed media on paper

American painter and author Alex Beard is best known for his elaborate wildlife compositions created in his signature style of gesturalpainting, which he has coined “Abstract Naturalism.” Raised in a family that fostered philanthropy, creativity and exploration, Alex has traveled extensively around the world. The diverse cultures, colors, and climates of Africa, India, China, the Americas, and Australia have profoundly influenced both his professional and artistic practice. While earning his BA from Tufts University, he studied painting and drawing at the School of the Museum of Fine Arts in Boston. In his early twenties Alex moved to New Orleans to continue his formal training at the New Orleans Academy of Fine Arts. Fueled by curiosity about the cultures and wildlife he had been exposed to in his early years, Alex has spent much of his life traveling to the some of the world’s most remote wildlife outposts - paintbrush in hand. His time in nature enables him to continually hone his style – creating complex compositions in which abstraction and figuration collide, while exploring themes of cultural and environmental interconnectivity. Alex’s work figures prominently in several private and public collections and he has exhibited extensively throughout the United States, including solo exhibitions in New York, Los Angeles, New Orleans, and abroad in Hong Kong. An impassioned conservationist and philanthropist, in 2012 Alex established The Watering Hole Foundation – a public charity engaged in saving endangered wildlife and preserving their environments. His documentary, Drawing the Line, fused his artistic talent with his dedication to preservation, chronicling the plight of the endangered Wild African Elephant, as seen through the eyes of a conservationist artist. In addition to producing a series of short films, Alex has authored and illustrated a critically acclaimed trilogy of storybooks published by Abrams. The series, Tales from the Watering Hole, includes The Jungle Grapevine (2008), Monkey See Monkey Draw (2009), and Crocodile Tears (2010). Along with other New Orleans artists Raine Bedsole, Dr. Bob, George Dunbar, Mitchell Gaudet, Alan Gerson, Thomas Mann, Steve Martin, James Michalopoulos...

Ramon Antonio Carulla (Cuban, born 1936). Oil paintings on paper. Titled "When Dreams Become Reality" Artist signature lower right. Title on verso. Retains original Joy Moos Gallery label. Sheet measures measures approximately 14 in. x 22 in. (paper). Framed 20.5 X 28.5 This painting is a mixed media with oil paint, on paper It is hand signed recto and signed and titled verso. An abstract naive, folk art, work depicting depicts colorful imaginative surrealist figures with a carousel horse. This reminds me of a Latin American Niki de Saint Phalle. Dreamlike imagery. Ramon Carulla, born in Havana, Cuba in 1936 moved to the United States in 1967. He has exhibited widely throughout the United States, Latin America and Europe. He has participated in personal and group exhibitions in Canada, Venezuela, Mexico and Spain and throughout the USA. Select Gallery Exhibitions: Lowe Art Museum (Coral Gables, Florida), The Museum of Fine Arts (Montreal, Canada), The International Monetary Fund (Washington, D.C.) The Art Expo (New York City). Select Awards: First Prize at the VI Graphic Biennial of Latin America (1983; San Juan, Puerto Rico), the Silvia Daro Dawidowicz Award for Painting (1980; Metropolitan Museum) the Samuel Golan Award (1982, Fine Art Auction Exhibition; CH 2, Miami, Florida). the Cintas Fellowship (Institute of International Education; United Nations, New York) SELECTED INDIVIDUAL EXHIBITIONS 2005 Sonnet Gallery (Sarasota, Florida) 2000 Ramon Carulla: People and Places - Corbino Galleries, 1998 The Dreamers - Cuban Collection Fine Art (Coral Gables, Florida) 1997 The Immigrant Series – Metro-Dade Cultural Resource Center (Miami, Florida) 1996-96 Ramon Carulla: Works on Paper – PJorn (Hamburg, Germany) 1994 Ramon Carulla: New Paintings, Plates & Boxes – The Barbara Scott Gallery Rostros para recordar – Galería Traz (Mexico City, Mexico) 1993 Ramon Carulla, Exhibición Personal – Contemporary Art Museum (Panama) 1992 Ramon Carulla: Recent Work - The Barbara Scott Gallery (Bay Harbor, Florida) 1991 Cabinet Room – The Capitol (Tallahassee, Florida) 1988 Sofa & Hostage Series – Jay Moos Gallery 1987 20 Years After – Bacardi Art Gallery (Miami, Florida) 1985 Malcom Brown Gallery – (Cleveland, Ohio) Mask Series...

Peter Voulkos Ceramic Sculptural Dish, ca. 1985 Sculpted ceramic Hand-signed by artist, Incised signature on the base. 1.5 x 11.5 inches This charger plate by Voulkos features a Greek-influenced stylized birds and leaf design. Peter Voulkos is an American artist of Greek descent. The abstraction of animal and nature elements paired with the earthy, mottled gray and brown against brown background make this work beautiful. This work was featured in the exhibition "On Black Mountain: The Bauhaus Legacy in America", at the Sager Braudis Gallery (now Sager Reeves), in Columbia Missouri from April 5, 2019 to April. 27, 2019 and is reproduced in page 53 of the exhibition catalogue. We will provide a complimentary copy of the exhibition catalogue to the buyer of this work. Born in 1924 to Greek immigrant parents in the town of Bozeman, Montana, Peter Voulkos is one of America’s most significant sculptors of the 20th century. Voulkos got his start in art in the late 1940s, when he was studying at Montana State College, Bozeman on the G.I. Bill, after being drafted and serving as an airplane armorer-gunner in the Pacific in World War II. In classes with Frances Senska, he discovered ceramics, the medium that would characterize his career. After graduating from Montana State College, Bozeman in 1951, Voulkos moved west and earned his MFA from the California College of Arts and Crafts in Oakland, California. Returning to Montana after graduation, Voulkos attracted attention “as a prodigious natural potter and a producer of elegantly thrown functional earthenware,” according to Roberta Smith for the New York Times. He also produced dinnerware to sell through high-quality stores, and was noted for his wax-resist method of decoration.Voulkos gained a reputation as a master of ceramics techniques, winning twenty-nine prizes and awards from 1949 through 1955. However, a summer spent teaching at the experimental Black Mountain College (he was invited to teach at BMC by Karen Karnes) near Asheville, North Carolina in 1953 resulted in a dramatic shift in Voulkos’s artistic priorities, as well as his aesthetic. It was at Black Mountain College that Voulkos met Robert Rauschenberg, John Cage, Merce Cunningham and Charles Olson. He then visited New York City (as a guest of pianist David Tudor and Mary Catherine Richards) and encountered Philip Guston, Willem de Kooning and Franz Kline—Abstract Expressionist painters who influenced the new direction Voulkos would go on to pursue. In 1954, Voulkos was invited to teach at the Los Angeles County Art Institute (now Otis), and he established a new ceramics department and graduate program that attracted other young artists including John Mason, Ken Price, Billy Al Bengston and Paul Soldner. It was here that, inspired by the scale and spontaneity of the New York School, Voulkos began to build progressively larger works that cast aside utility and abandoned ceramic conventions. Decoration became aggressive, as he slashed at and pierced the clay, which he then energetically painted with glaze. Peter Voulkos exhibited these new works in shows at the Landau Gallery in Los Angeles, which announced to the world a new way of approaching ceramics. Disagreements with the more conservative administrators of the LA County Art Institute led to Voulkos’s departure for the University of California, Berkeley, in 1959. While at Berkeley, Voulkos experimented with bronze and produced large-scale bronze sculpture, while continuing his ceramic work and doing demonstrations of ceramics throughout the U.S. In 1979, a young ceramist named Peter Callas...

"Farmers are Ploughing Their Fields II" is a mixed media piece by Xiao Ming. The artist stamped their mark lower right. It features abstracted figures farming. 20" x 10 3/4" art 28" x 28" art Born in the Yunnan province of China, Close to Tibet, Xiao Ming found her artwork on her beliefs and traditions of living with nature as a guardian and protector. These beliefs and traditions may have influenced Ming to favor colored inks, a gouache of sorts derived from mineral pigments bound by using animal glue, Mings work is steeped in Chinese art history, influenced by the ancient scroll...

A rare edition work from “The Generals” series, dated back to the early Seventies. Mixed media with passamentrie and collage on brocade with originals medals and pins limited edition...

Louise Nevelson Bicentennial Dawn, 1976 Photolithograph, silkscreen and gold foil on white wove paper hand signed, dated and numbered 15/100 with incised signature on the front 35 × ...

Important Note: The measurements of this scarf when fully opened are 36 inches x 35 inches. (the measurements of 10 square inches are once folded, as it ships folded not flat) Sol LeWitt Limited Edition Geometric Abstraction Silk Scarf, ca. 1987 Limited Edition Silkscreen on 100% Italian silk scarf/shawl Signed on the fabric with artist's printed signature lower right and printed Louis Vuitton brand name...

1986 Andy Warhol record art featuring Debbie Harry. Featured prominently in 'Andy Warhol: The Record Covers, 1949-1987, a Catalog Raisonne' by Warhol scholar Paul Marechal. Off-se...

"She Remained Still - Figure 28" is an original etching and mixed media piece by Joan Soppe. It depicts a wire bed frame and fields of color and text. This piece is edition 14/50. ...

Floral Composition is a composition realized by an unknown, 1970s. Collage on Wooden Table. 29.5 x 21.5 cm ; 37 x 29.5 cm Good conditions!

"The Hunter" is a mixed media piece on paper with a stamped signature by Xiao Ming. It depicts an abstracted figure shooting a boar with an arrow. There are various other creatures and it is created with brightly colored inks. 32 1/2" x 33" art 42 1/2" x 42 3/4" frame Born in the Yunnan province of China, close to Tibet, Xiao Ming founds her artwork on her beliefs and traditions of living with nature as a guardian and protector. These beliefs and traditions may have influenced Ming to favor colored inks, a gouache of sorts derived from mineral pigments bound by using animal glue. Ming’s work is steeped in Chinese art history, influenced by the ancient scroll...

"Anyox" Collage with Chine Colle by Michael Pauker Small abstract paper collage by Bay Area artist Michael Pauker (American, b. 1957). This piece is created from pieces of antique p...

Right Turn on the Railroad Track - Abstract Expressionist Mixed Media on Paper Abstract in bold blue and red on a soft black background , by California-based artist Ricardo de Silva...

Pair of stools in bent wood and black leather h 37 x 60 x 60cm 70s - Denmark

Richard Anuszkiewicz Annual Edition, 1987-1988 Limited edition silkscreen on masonite Signed and dated by the artist lower right in pencil Frame Included (floated within a box frame)...

"Conversaciones Alternadas (Alternated Conversations)" is an original mixed media piece on handmade paper by Teresa Olabuenaga. The artist signed the piece in the lower right. It dep...

"El Gozo en el Recuerdo (The Pleasure in Memory)" is an original mixed media piece on handmade paper by Teresa Olabuenaga. The artist signed the piece in the lower right. It depicts ...

"Entre Mitos (Within Myths)" is an original mixed media artwork on canvas by Teresa Olabuenaga. This piece depicts the head of a woman below abstract forms and other images. 54" x ...