Art

No title (No 31) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 31) by Yevgeniy Repiashenko Year photo was taken: 2018 Limited Edition of 18 Picture size...

No title (No 57) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 57) by Yevgeniy Repiashenko Year photo was taken: 2017 Limited Edition of 18 Picture size...

Immerse yourself in the regal allure of Chinese history with this captivating pair of framed reverse glass paintings depicting a Chinese Emperor and Empress...

Photograph of the legendary 1969 Sunset Strip billboard designed Roland Young for the release of the Beatles Abbey Road LP. Selected from Robert's museum exhibition and book: Rock ‘N’ Roll Billboards on the Sunset Strip. (Billboard photo by Ian Macmillan) Archival pigment print from an edition of 15, printed on 100% cotton fine art paper with a matte finish, signed and numbered in the lower margin by the artist. Print ships rolled, but framing options are available. Robert Landau...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

Saddle, Whip, Nude- Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Ac...

This is a large Oil Painting on Canvas, it came from a Country Estate in the UK. It is housed in its original restored gilt sporting frame. The painting is not only really well exe...

Giclee print on Hahnemuhle Photo Rag Baryta paper 315g, 74 x 67 cm. Edition of 10 and 2 Artist's Proofs. The photographs are printed with a white margin of 5 cm on each side, therefo...

The Knight Errant English School, circa 1900 after the painting by John Everett Millais (1829-1896) oil painting on board, framed board: 13 x 10 i...

This painting uses simple geometric shapes and color harmony to explore balance and the relationship between positive and negative space. Cool blues and warm green shapes bring a sen...

"Lake Vorobino" Mixed Media Wall Sculpture 48" x 79" inch by Dmitry Kawarga Medium: aluminum, oil, 3D printing, polymer resin Artist Dmitry Kawarga - Biomorphic radical. He has exh...

Limited edition of 99 prints, numbered and hand signed. Rafael Alberti (El Puerto de Santa Maria 1902 – El Puerto de Santa Maria 1999) A Spanish poet born in Puerto de Santa Maria ...

Giclee print on Hahnemuhle Photo Rag Baryta paper 315g. Available dimensions and editions: 42 cm x 37 cm, edition of 10 + 2 A.P. 108 cm x 94 cm, edition of 3 + 1 A.P. 147 cm x 128 c...

Giclee print on Hahnemuhle Photo Rag Baryta paper 315g. Available dimensions and editions: 35 cm × 46 cm, edition of 15 and 2 Artist's Proofs 64 cm × 84 cm, edition of 10 and 2 Artist's Proofs 94 cm × 116 cm, edition of 5 and 2 Artist's Proofs 128 cm × 158 cm, edition of 3 and 2 Artist's Proofs The photographs are printed with a white margin of 5 cm on each side. The price indicated applies to the print alone, without mount and unframed. For all special requests concerning mounting and framing please contact us. Miss Aniela's ‘Surreal Fashion...

Giclee print on Hahnemuhle Photo Rag Baryta paper 315g. Available dimensions and editions: 48 cm × 35 cm, edition of 15 + 2 A.P. 86 cm × 63 cm, edition of 10 + 2 A.P. 121 cm × 89 cm,...

German artist Klaus Kampert focuses primarily on the body and movement. This series was produced for the Deutshe Oper Am Rhein, Dusseldorf and Duisbourg's common opera. The photogra...

Giclee print on Hahnemuhle Photo Rag Baryta paper 315g. Available dimensions and editions: 35 cm × 46 cm, edition of 15 and 2 Artist's Proofs 64 cm × 84 cm, edition of 10 and 2 Artist's Proofs 92 × 121 cm, edition of 5 and 2 Artist's Proofs 125 cm × 164 cm, edition of 5 and 2 Artist's Proofs The photographs are printed with a white margin of 5 cm on each side. The price indicated applies to the print alone, without mount and unframed. For all special requests concerning mounting and framing please contact us. Miss Aniela's ‘Surreal Fashion...

161.03.11 is a work by contemporary photographer Klaus Kampert, from the 'On Body Forms' series. The work of Klaus Kampert is focused on nude photography, trying to capture an emotio...

Excellent Condition Framed in high quality frame Edition 14/40

The gorgeous muscular physique of the nude male in Doug Birkenheuer's photograph titled "Backside" is highlighted with the play of light and shadows. Th...

Gustave Fontaine (Etterbeek 1877-1952 Brussels) was a sculptor–painter. He took courses in Saint-Josse-ten-Noode and continued his training at the Academy of Brussels and with the sculptor Julien...

182.02.14 is a limited-edition black & white photograph by contemporary artist Klaus Kampert from the series entitled Porcelain. In this series, the artist pursues his research on the abstraction of the human body. A series of feminine nudes...

"During a battle reenactment At the Daniel Lady Farm in Gettysburg, I helped carry a soldier from the field to the hospital. This painting depicts that soldier as his leg is amputated. Clara Barton...

Artist: Dan May (American, 1955-) Title: "Nude with Dogs" *Signed and numbered by May in pencil lower left Year: 2005 Medium: Original Screenprint on unbranded white wove paper Limit...

Artist: Jack Graves III (American, 1988-) Title: "Brigitte Bardot Icon IV" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Mediu...

After Athena was born fully armed from Zeus' forehead, Triton, acting as a foster parent to the goddess, raised her alongside his daughter, Pallas. The sea god taught both girls the ...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography. Archival pigment print on Hahnemühle Photo Rag. Savannah Spirit Topaz 20” x 26” Silver gelatin print 1/1 "We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses." Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...

"Flare" Art print Edition of 25 (36 x 36 inch) by Yevgeniy Repiashenko "Flare" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size: Heig...

Alfil #1 (2018) by contemporary Venezuelan artist Alejandro Vega Beuvrin. Weathering steel sculpture, 60 cm × 25 cm × 22 cm. Limited edition of...

Spinning-top is a unique ceramic sculpture by contemporary artist Tien Wen whose work revolves around the idea of abstraction and the pureness of shapes. 57 cm × 24 cm × 24 cm. Thank...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Two figures, cast in shadows, stand in the foreground between a nude female figure in the background. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the mystery of this gathering of characters. This artwork is mounted to a wood cradle and can hang directly on the wall. Please contact the gallery for framing options. Georgia Hinaris...

Care Home by contemporary artist Gina Soden. Prints are available in two dimensions: 44.64 cm × 44.64 cm, edition of 15 + II AP 80.2 cm × 80.2 cm, edition o...

This gorgeous female figure is balanced on a wooden pedestal with a stray hand on her torso. Her muscular figure is enhanced by the sepia tones and the play of light on the subject....

'Tiger #7, Los Angeles, CA, 2016' is a limited-edition fine art photograph by American photographer Brad Wilson. Archival pigment print on Hahnemühle Fine Art Baryta Paper. Prints a...

"Taken on Hikkaduwa Beach, Sri Lanka as the sun was setting; casting its golden rays along the beach... The image endeavours to celebrate the noble presence and elegant sway of the ubiquitous palm tree. The palm tree has many symbolic meanings and in this image I have tried to highlight its association with immortality and regeneration with the addition of gold leaf." - Valda Bailey...

Cedars - A dense stand of western red cedar guard the path into the darkness beyond the lamplight. A gap in the foliage creates a void, an invitation to enter into an unknown and unc...

The Education of Achilles by the Centaur Chiron Signed and dated "A.C. Chrétien 1861" (lower right) Oil on canvas A masterpiece of French N...

Artist: Urbain Huchet (French, 1930-2014) Title: "Sunday in the Isle de France" *Signed by Huchet in pencil lower right Year: 1985 Medium: Original Lithograph on unbranded white wove paper Limited edition: 350, (the number may differ from what is shown in the photos) Printer: Unknown, Paris or Cannes, France Publisher: the artist Huchet himself, Paris or Cannes, France Sheet size: 30" x 22" Image size: 27" x 20.5" Condition: Never framed, has been professionally stored away for decades. In mint condition Notes: Numbered by Huchet in pencil lower left. The title printed in the plate lower left. Biography: Born in Rennes on April 28, 1930. After studying law and owning a textile factory for four years, he decided in 1960 to devote himself entirely to painting. He does many paintings of landscapes and the typical people of his region. His love of the Brittany coast and the sea can always be seen in his work. After moving to Paris in 1963, his love of adventure and travel led him to spend more time painting and writing in Europe, the Middle East, and South America, where he produced many paintings of the Indian markets and the great scenery. He made 14 trips, each of more than 4 months each, from Mexico to Brazil via Peru, Central America and the Caribbean Islands. In Addition to the paintings, he has written a book about these beautiful countries. A luxurious portfolio of paintings of Egypt...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

Henri Matisse collected Persian carpets, Arab embroideries and African wall hangings throughout his life, his studio becoming a treasure trove of exotic and vibrant pattern. The collection was practical — it was the impetus for various works with voluptuous women surrounded by rich textures and patterns. Sandy Kaplan takes Matisse's work to a three-dimensional level in her ceramic piece simply titled "Matisse's Persian Woman". Sandy Kaplan Matisse's Persian Woman ceramic 18h x 14w x 14d in 45.72h x 35.56w x 35.56d cm SAK007 Sandy Kaplan b. 1943, St. Louis, MO 2021 Maturity and Its Muse, Art Saint Louis 2020 Storytellers Exhibit, Art Saint Louis 2019 SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL Honors Exhibit, Art Saint Louis Anthony Bourdain - Parts Unknown: Ceramic Centric, Foundry Arts Ctr, St. Charles, MO Current Profiles, Craft Alliance Center, St. Louis, MO 2018 SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL Maturity and Its Muse, Art Saint Louis Works from the Studios, Craft Alliance, St. Louis, MO Drawn From Life: Artful Aging, Washington University, St. Louis, MO 2017 3-D, Gallery Victor Armendariz, Chicago, IL SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2016 Works from the Studio, Craft Alliance, St. Louis, MO A Moveable Feast Exhibit, Oak Park Art League, Oak Park, IL Maturity and Its Muse, Art Saint Louis 2015 Writers Round Table, Craft Alliance Gallery, St. Louis, MO 2014 Save the Last Dance for Me, Art Saint Louis XXX...

'Buffalo #3, Santa Fe, New Mexico, USA, 2019' is a limited-edition fine art photograph by American photographer Brad Wilson. Archival pigment print on Hahnemühle Fine Art Baryta Pape...

"Euphoria" Art print Edition of 25 (36 x 24 inch) by Yevgeniy Repiashenko "Euphoria" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size: Height: 36" inch Width: 24" inch * * * NOT framed - ships in a tube * * * This is an archival pigment print on photo paper with 1" float border (not included in listed image dimensions). Prints are signed and numbered by the artist on verso and come with a certificate of authenticity. ABOUT THE ARTIST Yevgeniy Repiashenko is a well-versed photographer working in such genres as dynamic dance and sculpture, portrait, and fashion...

A thwarted lover cannot conceal her shame so she jumps into the lake to become a fish but her beauty cannot be hidden - thus the legend of the mermaid is born. Here, Bruno Surdo bri...

"Black Lotus" Mixed media Painting 43" x 31" inch by Emanuele Tozzoli Mixed media on canvas 43" x 31" inch 110 x 80 cm ABOUT THE ARTIST Born in Italy...

Polyester sculpture, 2019. 100 cm × 80 cm × 30 cm. Available colors: white, black, red and blue. Limited edition of 8 + 4 artist’s proofs.

This exquisite glass wall sculpture extends almost 60 inches across. It was featured in Robinson's solo exhibition at the Canadian Clay and Glass Gallery. It evokes a remarkable sens...

Polyester sculpture, 2019. 130 cm × 80 cm × 90 cm. This functional sculpture of wild cat can be used as an armchair. Available colors: black, red, blue and white. Limited edition of ...

A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of ...

'Orangutan #1, Los Angeles, CA, 2011' is a limited-edition fine art photograph by American photographer Brad Wilson. Prints are available in 3 different sizes, all signed and numbe...

Stahlwerk 014, limited-edition photograph by German contemporary artist Bernhard Lang. Since 2010 Bernhard Lang dedicates himself to aerial photography, traveling around the world a...

Jennifer unveils her bare breast, luring her unsuspecting rapist towards her so that she may seek her revenge. Should her morals be questioned? It makes no difference to her animal companion. This dog’s family was murdered and his response is to bite on a pair of dentures. Morality is exclusive to humanity. Nature simply carries forward. Featuring the films "I Spit on Your Grave", 1978, "High Tension", 2003 and "Angst", 1983. Georgia Hinaris I Spit on Your Angst oil on panel 28h x 56w in 71.12h x 142.24w cm GHS012 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced...

Painting by Maryanne Pollock titled "St. Catherine's". Signed and titled on reverse. Maryanne Pollock received her BFA from Tyler School of Art in Philadelphia and Rome, Italy. She...

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...

Elevation (2009) is a one-off ceramic sculpture by contemporary artist Tien Wen whose work revolves around the idea of abstraction and the pureness of shapes. Thanks to the raku tech...

Rêve de loup - avec Gabriel-le (A Wolf's Dream, with Gabriel-le), by contemporary French artist Cécile Raynal. Smoke-fired stoneware sculpture, base made of three wood boxes, 180 cm...

Artist: Serge Helenon (French, 1934-) Title: "Mon Jardin Zoologique" *Signed by Helenon in pencil lower right Year: 1989 Medium: Original Carborundum Engrav...