Art

Chantal Jentien is a contemporary Swiss artist who want to make colors and fun in her life. Completely self-taught, she paints according to her inspiration almost with closed eyes. S...

Kandahar is a contemporary artwork realized by Victor Vasarely in 1955. Screen print on wove paper after a painting of 1951. Hand signed and numbered on the lower margin. Edition ...

Paul Jenkins (July 12, 1923 – June 9, 2012) The paintings of Paul Jenkins have come to represent the spirit, vitality, and invention of post World War II American abstraction. Employing an unorthodox approach to paint application, Jenkins is as much identified with the process of controlled paint-pouring and canvas manipulation as with the gem-like veils of transparent and translucent color which have characterized his work since the late 1950s. Certificate of Provenance: Each individual work of art carefully curated by Mourlot Editions...

(After) Andy Warhol Flowers, 1968 Hand Woven Wool Tapestry 183 x 183 cm (72 x 72 in) Edition of 20 With the knotted name ‘ANDY WARHOL’ lower right and the embroidered annotation ‘WARHOL ©’ on the reverse Published by Modern Master Tapestries, NY Throughout art history, the flower and its symbolism have been a subject matter for many renowned artists. Andy Warhol explored the qualities of the flower image through his Pop Art prism in the Flower series of 1964, thus creating cartoon-like symbols that would be instantly recognized. The 1964 Flower series became one of his most iconic and successful works. Based on a discovered photograph of hibiscus blossoms, Warhol drenched the flowers’ floppy shapes with a variation of vibrant colors, transforming them into psychedelic indoor décor. Playing with traditional art historical themes, Andy Warhol gave a particular twist to this historically accepted symbol of life. The electric colors of his flowers, drawn from a darker and rich undergrowth background might be the indicator of an extreme vision of life, a life lived on the edge. Andy Warhol (1928-1987) was an American artist, a leading figure of the Pop Art movement. ​Using a variety of media materials from photographs up to computer-generated art, Warhol's works explore the relationship between artistic expression, celebrity, culture and advertisement that flourished by the 1960s. Emerging from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, Warhol became a charismatic magnet for bohemian New York. In 1960, he began to produce his first canvases depicting Popeye and Dick Tracy. After Marilyn Monroe’s death in August 1962, he started working from snapshots of the star’s already legendary face, which had been widely distributed by the world’s press. His choice of subjects clearly relates to an obsession with demise – his Marilyns, his Ten Lizies (created when the actress Elizabeth Taylor was seriously ill), and also his Elvis. Part of the “Death and Disaster” series, Andy Warhol´s...

Artist: George Dannatt Title: Variations on Verticals No 3 Reference no: 0320/3 Date: 1973 Medium: Oil & pencil on paper Image: 4 x 4” 10.1 x 10.1 cm Frame: 9 x 9” 22.8 x 22.8 cm Ex...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Original vintage drink advertising poster for a fortified port wine produced in Porto Portugal - Porto Souza Guedes - featuring an illustration of a worker carrying a large woven basket...

Acrylic, pastel & marker on canvas

Oil Pastel on black paper cutout.

Momen is the creator of the Metaphor: The Tree of Utah, an 87-foot (27 m) sculpture resembling a tree in the Bonneville Salt Flats off of Interstate 80. He financed the project himself and built it from 1982 to 1986, afterwards donating the sculpture to the state of Utah. Known For remaining true to the initiation he received early in his career into the modernist paradigm that still informs his distinctive style to the present day. Momen is the most long-lived exponent of early twentieth century Geometric abstraction movement. bauhaus, futurism art...

Animal is a Black Marker Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a yellowed paper. Monogrammed and dated on the lower margin. Reynol...

Playful, colourful and imaginative, Viktor Mitic’s latest series of table-top sculptures appear to merge pop art with science fiction. The colour palette is fun, bright and contemporary—a juicy orange...

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Soldier is an Lithograph on ivory-colored paper realized by Luc Albert Moreau. The artwork is in good condition. Hand-signature on the lower right corner, numbered on the left. Lu...

Lithograph on paper. Sheet size 19 x 12 inches. Hand signed, dated and numbered by the artist. Edition of 300. Certificate of Authenticity Included. Artwork in Excellent Conditi...

Andy Warhol (1928-1987) is arguably the most important American artist of the 20th century. He not only defined Pop Art but had an unrivaled influence on artists and image-making. ...

Oil on canvas

A rare original Signed E.A. (artist proof in French) color lithograph, "Still Life", by Bernard Buffet (1928-1999), circa 1982. A still life image by the celebrated French Modernist figurative artist Bernard Buffet, the color litho shows an interior scene with a table, saucepan and an oil lamp near an open window, whilst Buffet produced many still lifes, this is a rare and uncommon image by the artist! The artwork is signed in pencil lower left "E.A." (épreuve d'artiste), this was an artist's proof from the limited edition numbered prints (which was limited to 100) , it is also boldly signed "Bernard Buffet" lower right. Condition is excellent, we at Bloomsbury Fine Art...

Original vintage World War Two poster - tout va tres bien... Madame la Marquise - featuring a caricature of Winston Churchill in torn clothing with crossed band aid...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Mixed techniques on Indian handmade paper White frame - white background Floating pose Framed dimensions: 107 x 82 x 5 cm Solo exhibition “La Conférence des Oiseaux” - Marrakech 2015

(MADE TO ORDER) (Hand-painted, hand-made, porcelain) *Lead Time may vary between 1-3 weeks Melanie Sherman "Bat Ornament" Year: 202* Porcelain, Glaze, Chinapaint, 24k German Gold L...

Jon Anderson Signed in pencil, u.l. Color crayon on paper 23 x 17 inches (58.4 x 43.2 cm) This work is offered by CLAMP in New York City.

Original vintage London Underground poster - Paint It By Tube at the Royal Academy Piccadilly nearest station Green Park. Colourful image of a waiter and people eating at a Chinese restaurant in Chinatown with food and games on the table including playing cards and a checkers / draughts board...

Abstract composition on paper 12x9inches Created for the Earth Day 2023

Across the Frozen Pond - Winter Landscape in Oil on Canvas Winter landscape by Karen Evans (b. 1952). An off-white expanse of snow stretches out from the bottom edge of the canvas, ...

This spectacular red chalk drawing depicts an elderly woman, her eyes bulging, her hand stretched out towards the sky. This disturbing character, who seems close to dementia, and the elongation of her arm with its Mannerist overtones, plunge us into the Florentine artistic milieu of the first half of the 17th century. The proximity of this drawing to some characters in the fresco in the Pitti Palace representing The Muses, Poets and Philosophers chased from Parnassus, the last masterpiece of Giovanni da San Giovanni, leads us to propose an attribution to this artist and a dating of around 1635-1636. 1. Giovanni da San Giovanni, the painter of contradiction We take here the title of the monography dedicated to the artist by Anna Banti in 1977, which remains the reference book for this artist. The son of a notary, Giovanni Mannozzi, known as Giovanni da San Giovanni, abandoned his studies to go to Florence at the age of sixteen, where he entered the studio of Matteo Rosselli (1578 - 1650) around 1609 and enrolled in the Academy of Drawing Arts in 1612. Around 1615 he produced his first known works, mainly frescoes for the city's tabernacles. He became famous in Florence for his originality, combining an obsessive application to the study of drawing and the reading of poetry and history with a disheveled appearance. Between 1619 and 1620 he decorated the facade of the Antella Palace in Piazza Santa Croce, a decoration that still partly survives today. The death of Cosimo II in 1621 put an end to the Florentine building activity and Giovanni da San Giovanni left for Rome to find other sponsors with the painter Francesco Furini...

Signed lower right, 'Lebadang' and with number and limitation, 163/215, lower left. Also known as Dang Lebadang (Vietnamese-French, 1922-2015) this not...

Original “Coppertone” Colore di Rame vintage Italian poster. Colore de Rame translates into the color of copper. Abbronzatevi! (suntan) Non bruciatevi! (don’t burn) Archival linen-backed in fine condition, ready to frame. This original Coppertone poster is in A condition. The background in the poster is a brighter yellow; after all, it is a sunny day, and you need suntan lotion! Coppertone is an American suntan cream. Interestingly, the American poster of this famous little girl and dog...

RUBIK'S X INVADER CUBE This limited edition of an invaded Rubik's cube™ has been made to celebrate the exhibition INVADER RUBIKCUBIST at MIMA in Brussels.

In good condition some surface scratches Measures 18x13 signed potters proof International buyers must cover all shipping costs

This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928. A mosque with a minaret with an Arab standing at its top, and a bird, I believe a swan, flying by. This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960 These are not individually hand signed or numbered. On BFK Rives French velin art paper Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse. He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist. From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married. In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis. Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov. During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes. In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales...

Antonio Diaz Cortes (Mexico, 1935) 'Lucina rojo', 2000 woodcut on paper Velin Arches 300 g. 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Unframed ID: DIA-108 Hand-signed by author

Dazzling Orange by Susanne Winter [2021] original and hand signed by the artist acrylic on canvas Image size: H:32 cm x W:32 cm Complete Size of Unframed Work: H:32 cm x W:32 cm x D:3.75cm Frame Size: H:38.5 cm x W:38.5 cm x D:4.5cm Sold Framed Please note that insitu images are purely an indication of how a piece may look A dazzling sunset on the North Downs. Susanne Winter - Artist - Painter - I did my foundation course in Hastings School of Art followed by a Fashion & Textiles degree in Leicester then moved to London and worked in Interior design companies producing one off hand-painted pieces. I have exhibited in many London galleries over the years taking part in and being very involved in a large thriving artistic community. I now work from my studio in Guildford, Surrey. I take my paints everywhere with me so I have a huge collection of sketches...

"Big Little #144" (Contemporary Abstract Geometric Painting) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in a bright red and white palette acrylic, ...

A medium sized, orange powder coated mild steel sculpture on a black steel footing. Edition 1/5. Available in different colours or finishes on request.

Title of Work: Trees 02 Description: Oil on canvas Medium: Oil color Dimensions: 160x100 cm Original/Reproduction: Original  Date of creation: 2016 Count...

Sabena, acronym for Societé Anonyme Belge d'Exploitation de la Navigation Aérienne, was once the Belgian national airline. Founded in 1923, it went bankrupt in 2001. On this beautiful poster advertising a trip to Portugal by Sabena, we can see this woman with traditional clothes...

Meike Legler 'Catch 22,' 2020 Sequins and cotton fabrics over stretched canvas 48 x 60 inches Meike Legler’s works are a bold post-feminist reframing of sewn...

Peter Halley Peter Halley, Jablonka Galerie, Köln (Hand Signed), 1993 Offset lithograph poster (hand signed by Peter Halley) 26 1/2 × 26 1/2 inches Unframed Alpha 137 Gallery is honored to offer this historic offset lithograph of American artist Peter Halley's 1993 exhibition at Jablonka Gallery in Köln (Cologne, Germany) which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective...

Original antique World War One war bond poster for the National Loan / Prestito Nazionale featuring an image of a Bersaglieri soldier in military uniform standing against a yellow sh...

Original antique advertising poster for a play - The Frisco - featuring artwork by the French artist Louis Galice (1864-1935) of a lady in a fashionable red dress and white hat carry...

Tom Wesselmann Shiny Nude (Stealingworth, 33), 1977 Silkscreen on glossy cast-coated Kromekote paper 8 × 8 inches Edition 489/1000 Pencil numbered 489/1000 with artists printed name on the verso; Held in original stamped envelope Distributed by the Museum of Modern Art; printed by Unity Engraving Co. Unframed "Shiny Nude" - a dazzling limited edition, pencil numbered print features all of the hallmarks of the risque art arising from the sexual revolution of the 1960s and 1970s- saturated lips, full pubic hair...

Shana’s portraits adorned two covers of Time Magazine. Shana’s work is about the face and eyes. Young face, old face, black or white. Her subjects are confused, lonely, ragged and ...

Nude is a Pastel Drawing realized by Georges Gobo (1876-1958). Good condition on a yellowed paper. Hand-signed by the artist on the lower right corner. Georges Gobo or Georges Gob...

Oil painting on wood, without frame This painting is part of a series of works where the human figure is at the height of its stylization, figures one inside the other or intersectin...

Spaced Out Abstract Impressionism A vibrant abstract painting in reds accented in raven black, white latex paint, and shimmering metallic gold, by Californ...

This is an Joseph Stella original pencil drawing “man with beard” . In good condition comes from joseph Stella’s estate. In good condition measu...

Vibrant and dynamic monoprint by David Stephens (American, 20th Century). Sand (or a similar medium) was used in the pressing of this monoprint, creating a pocked texture in multiple...

Medium: original lithograph. This lithograph is from the rare 1952 "Improvisations" portfolio, published by the Artists Equity Association of New York on...

Susan Kiefer Entity - Dual Nature Oil on Canvas Year: 2022 Size: 24x24x1.35 Signed by hand COA provided Ref.: 924802-1489 Tags: hard-edged abstract, geometric shapes, pattern, irregular shapes, orange, green, purple, secondary triad Two irregular shapes on a purple base overlap on a patterned orange background Though born and raised in Kansas City, artist Susan Kiefer lived on the west coast for 30 years where she earned her BFA and MFA in printmaking from California College of Arts in San Francisco. Kiefer moved back to Kansas City in 2014, exhibiting geometric abstracts in various local galleries since. More recently, Kiefer has revisited figurative paintings as her perspective of expression. For Kiefer, the human body inspires mythical and visceral themes. Abstract, Painting, Contemporary Art, Contemporary Painters, Abstract Paintings, Abstract Geometrics, Geometric Abstraction, Women Painters...

Artist: Peter Max, German/American (1937 - ) From the President Bill Clinton Inaugural, An American Reunion, New Beginnings, Renewed Hope Poster depicting the 1993 inauguration of Bill Clinton at the Capitol Building. Hand signed in marker with dedication Year: 1993 Medium: Poster Size: 36 in. x 24 in Provenance: collection of Friede & Rubin L. Gorewitz Peter Max (born Peter Max Finkelstein, October 19, 1937) is a German-American artist known for using bright colors in his work. Works by Max are associated with the visual arts and culture of the 1960s, particularly psychedelic art and pop art. Max was born in Berlin, the son of German Jews, Salla and Jakob. They fled Berlin in 1938, settling in Shanghai, China, where they lived for the next ten years. In 1948, the family moved to Haifa, Israel, where they lived for several years. Peter attended school in Mount Carmel, but was often drawing instead of taking notes. His principal suggested to his parents that he be put in art lessons after school, and he began to study under Professor Hünik, a Viennese Expressionist. From Israel, the family continued moving westward and stopped in Paris for several months—an experience that Max said greatly influenced his appreciation for art. In their short time in Paris, Max's mother enrolled him in drawing classes at the Louvre, where he began to study Fauvism. After nine months in Paris, Max and his family made their final move, settling in Brooklyn, New York, USA. In 1956, Max began his formal art training at the Art Students League of New York in Manhattan, studying anatomy, figure drawing and composition under Frank J. Reilly who had studied at the League alongside Norman Rockwell. In 1962, Max started a small Manhattan arts studio known as "The Daly & Max Studio," with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max's interest in astronomy contributed to his self-described "Cosmic '60s" period, which featured psychedelic, counter culture imagery. Max's art was popularized nationally through TV commercials such as his 1968 "un cola" ad for the soft drink 7 Up which helped drive sales of his art posters and other merchandise. In 1967, Max solidified his place as a counter cultural icon by designing the flyers for the second ever 'Be In', a political gathering of mainly hippies in New York's Central Park after the Easter parade on March 26, 1967. In 1970, many of Max's products and posters were featured in the exhibition "The World of Peter Max," which opened at the M.H. de Young Memorial Museum in San Francisco. The United States Postal Service commissioned Max to create the 10-cent postage stamp to commemorate the Expo '74 World's Fair in Spokane, Washington, and Max drew a colorful psychedelic scene with a "Cosmic Jumper" and a "Smiling Sage" against a backdrop of a cloud, sun rays and a ship at sea on the theme of "Preserve the Environment." According to The New York Times, "His DayGlo-inflected posters became wallpaper for the turn on, tune in, drop out generation." On July 4, 1976, Max began his Statue of Liberty series leading to his efforts with Chrysler CEO Lee Iacocca to help in the restoration of the statue. Max has been the official artist for many major events, including the 1994 World Cup, the Grammy Awards, the Rock and Roll Hall of Fame, the Super Bowl and others. In 2000, Max designed the paint scheme Dale Earnhardt...

A single golden yellow ‘black-eyed Susan’ pops from the canvas in this joyful painting by Pat Service. Reminiscent of Andy Warhol, Service’s flowers are pared down to the essentials-...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Celebration Roses [2021] Please note that insitu images are purely an indication of how a piece may look Celebration Roses is an original painting by Deborah Windsor. It features pink and white roses and rabbit tailed catkins stand tall in a white jug against a satsuma coloured background. Deborah Windsor has paintings available with Wychwood Art. Deborah grew up in the Kent countryside surrounded by animals and nature and started painting with her mother who was a portrait painter at a very young age. After art college Deborah co-founded a ran a successful ceramic design business in Portobello Road, London, designing, making and selling contemporary ceramics and undertaking commissions for well know media clients. Moving back to Kent in her thirties Deborah taught art and returning to painting, her first love, developed her still-life painting style. Deborah works in oil and acrylics building up her paintings with layers and washes to achieve depth and richness. Pattern, texture, decoration, shapes and colour are all important elements in her work. Working from life is vital to Deborah so that she can capture the essence of her subject. Jugs and vases spill over with fresh flowers and she will often paint part of one of her abstract paintings in the background to add an extra element to the composition. Deborah’s work features vintage china and fabrics from her collections which with her mainly gentle colour palette give her work a homely, peaceful feeling. Deborah now lives with her husband Vincent and their ginger cat...

Materials Lithograph Size 36 × 24 in 91.4 × 61 cm Rarity Unknown edition Medium Print Condition Mint condition and stored flat since purchase. Signature Hand-signed by artist, Hand signed by the artist in pencil and dated 2019, Shepard Fairey. Certificate of authenticity Included (issued by gallery) Frame Not included Publisher Obey Giant Studio's

Artist: Mark Catesby (English, 1638-1749) Title: "Putorius & Pseudo Phalangium (The Pole-Cat) (Skunk)" (Plate/Tab 62) Portfolio: Natural History of Carolina, Florida & the Bahama Islands *Monogram signed by Catesby in the plate (printed signature) lower right Year: 1771-1810 (third edition) Medium: Original Hand-Colored Etching on cream J. Ruse handmade paper Limited edition: Unknown Printer: Unknown Publisher: Benjamin White, London, UK Framing: Not framed, but recently matted in 100% cotton linen fabric matting with acid-free foam board backing Matted size: 18.88" x 22.38" Sheet size: 13.75" x 21.13" Platemark size: 10.25" x 13.75" Condition: UV staining to sheet and mat stain in margins. Some soft handling creases. In otherwise good condition Very rare Notes: Provenance: private collection - Miami, FL. Comes from Catesby's famous two volume portfolio "Natural History of Carolina, Florida & the Bahama Islands" (1771-1810) (third edition), which consists of 220 hand-colored etchings. "J. Ruse 1800" watermark lower right. Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands is generally credited as the first published work to provide illustrations and descriptions of North American flora and fauna. From 1722-1726 Catesby, an English naturalist, ranged over South Carolina, Georgia and the Bahamas sketching and collecting specimens of native plants and animals. Skunks are North and South American mammals in the family Mephitidae. While related to polecats and other members of the weasel family, skunks have as their closest Old World relatives the stink badgers. The animals are known for their ability to spray a liquid with a strong, unpleasant scent. Biography: Mark Catesby (24 March 1683 – 23 December 1749) was an English naturalist. Between 1729 and 1747 Catesby published his Natural History of Carolina, Florida and the Bahama Islands, the first published account of the flora and fauna of North America. It included 220 plates of birds, reptiles, amphibians, fish, insects, mammals and plants. Mark Catesby's The Natural History of Carolina, Florida and the Bahama Islands is generally credited as the first published work to provide illustrations and descriptions of North American flora and fauna. From 1722-1726 Catesby, an English naturalist, ranged over South Carolina, Georgia and the Bahamas sketching and collecting specimens of native plants and animals. Little is known of Catesby's early life. He was born in eastern England in 1683. Although Catesby does not appear to have attended university or studied for the Bar, he was sufficiently educated to write clear English and Latin. His interest in and knowledge of plants may have derived from his uncle, who maintained a botanical garden. Catesby also appears to have benefited from an acquaintance with John Ray, a leading English naturalist of the 17th century and the co-author of an early classic study of birds...

Girl is a Color Markers Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a little sheet of a notebook. No signature. Reynold Arnould was born...