Art

Signed and dated on lower right, numbered on verso, 2/15 , other size available, unframed

chromogenic archival print, signed and dated on lower right, numbered on verso , 2/15 , unframed

Signed and dated on lower right, numbered on verso, 2/15 other size available, unframed, Printed on Hahnemühle Fine Art paper

Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

Signed and dated on lower right, numbered on verso, 3/15, other size available, unframed, printed later, Printed on Hahnemühle Fine Art paper

A lone surfer contemplates San Francisco bay as a splashing white wave of water partially obscures his view. Signed and dated on lower right, numbered on verso, 4/15 Printed later, ...

Perfectly composed composition depicts caged adult chimpanzee staring out from his confinement. Editorial assignment on Chimpanzees and Animal issues. Life Magazine...

Red, yellow and green of a stop light dangle in front eerie green glowing Empire State Building. Signed and dated on lower right, numbered on v...

Unique camera angle frames the Golden Gate's red vertical tower in between red metal bars of the same color in foreground. Bold color and graphic shapes have defined Mitchell Funk's...

Signed and dated on lower right, numbered , 2/15 Printed later, other size available, unframed. printed later Printed on Hahnemühle Fine Art paper Mitchell Funk is a pioneer of " Co...

The arching shape of a 20mm lens reflected in the grand arches of the Eiffel Tower. Flocks of meandering tourists give a sense of scale Grandiose wrought iron tower...

500mm lens and high angle transforms pedestrians into a Rorschach test of abstract and intertwined black shapes . Signed and dated on lower right, num...

Signed and dated on lower right, numbered on verso, 4/15 Printed later, other size available, unframed

Signed and dated on lower right, numbered on verso, 4/15 Printed later, other size available, unframed - Photo-Abstract impressionist work

Signed and dated on lower right, numbered on verso, 3/15 Printed later, other size available, unframed

Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

Bearing the artist's estate monogram blindstamp in the paper lower right. A richly printed impression of the definitive state from the edition of 100, numbered "75/100" in pencil ...

Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

Signed and dated on lower right, numbered on verso, 3/15 Printed later, other size available, unframed . Exhibited, Images Gallery, New York

Signed and dated on lower right, numbered on verso, 3/15 , other size available, unframed

Shipping should be around $100 Times Square monumental digital screens reflect colorful image on to a rainfull street Punctuated by a solitary figure carry an umbrella with the sam...

Blending colors of an impressionist palette evokes a lyrical New York street scene. Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unfr...

Idyllic moment moment composed in a perfectly balanced composition. Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed Printed on...

This ia an early example of photo manipulation. Photographer put a match to the 35mm emulsion to the burned bubble effect and then sandwiched it with colored gels in a double exposur...

Magical light illuminates an icon of a magical city. Signed and dated on lower right, numbered on verso, Edition 3 of 15, Unframed Printed on Hahnemühle Fine Art paper

Cover. Photomethods Magazine, March, 1982, Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframe

Double Exposure of Red sun into a the black shape of a silhouetted street signed evokes a surreal image of New York. Signed and dated on lower rig...

Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

Mitchell Funk was a pioneer of Sci-fi photography. This work was does for a promotional campaign for Omni Magazine. Signed and dated on lower righ...

Signed and dated on lower right, numbered on verso, 3/15 , other size available, unframed

Mitchell Funk was a pioneer of Sci-Fi photography. He was a frequent contributor to Omni Magazine. This work was done for a promotional campaign for Om...

Graphic and original depiction of familiar scene. Signed and dated on lower right, numbered on verso, Edition 2 of 15, Printed later. Unframed

Signed and dated on lower right, numbered on verso, Edition 4 of 15, Printed later. Unframed

Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

An idyllic Post impressionism photograph charms your eyesballs with a charmingly rustic scene amazingly in the middle of New York City. Signed and dated on lower right, numbered on ...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state...

"The sign, the soul." "The drawings that Matisse made in the mid-1930s were those that the artist considered his greatest achievements. These drawings represent women lying on backg...

"Le signe, l'âme" - Henri Matisse Epoca : Anni 50 "Il segno, l'anima" "I disegni che Matisse realizzò a metà degli anni '30 furono quelli che l'artista considerava i suoi più grand...

Artist: Matisse, Henri Title: Tête de Femme (frontispiece from Portraits) Date: 1954 Medium: Lithograph Unframed Dimensions: 12.5" x 9.75" Framed Dimensions: 20.75" x 18" Signa...

"Mlle Landsberg" (grade planche, pl. 16), 1914 Henri Matisse (French, 1869-1954) Signed and Numbered Lower Right Edition 12/15 Image size: 7 7/8 x 4 5/16 inches Sheet size: 17 11/16 x 12 1/2 inches With frame: 19 1/2 x 14 1/2 inches Henri Matisse came from a family who were of Flemish origin and lived near the Belgian border. At eight o'clock on the evening of December 31, 1869, he was born in his grandparents' home in the town of Le Cateau in the cheerless far north of France. His father was a self-made seed merchant who was a mixture of determination and tightly coiled tension. Henri had no clear idea of what he wanted to do with his life. He was a twenty-year-old law clerk convalescing from appendicitis when he first began to paint, using a box of colors given to him by his mother. Little more than a year later, in 1890, he had abandoned law and was studying art in Paris. The classes consisted of drawing from plaster casts and nude models and of copying paintings in the Louvre. He soon rebelled against the school's conservative atmosphere; he replaced the dark tones of his earliest works with brighter colors that reflected his awareness of Impressionism. Matisse was also a violinist; he took an odd pride in the notion that if his painting eye failed, he could support his family by fiddling on the streets of Paris. Henri found a girlfriend while studying art, and he fathered a daughter, Marguerite, by her in 1894. In 1898 he married another woman, Amelie Parayre. She adopted the beloved Marguerite; they eventually had two sons, Jean, a sculptor and Pierre who became an eminent art dealer. Relations between Matisse and his wife were often strained. He often dallied with other women, and they finally separated in 1939 over a model who had been hired as a companion for Mme. Matisse. She was Madame Lydia, and after Mme. Matisse left, she remained with Matisse until he died. Matisse spent the summer of 1905 working with Andre Derain in the small Mediterranean seaport of Collioure. They began using bright and dissonant colors. When they and their colleagues exhibited together, they caused a sensation. The critics and the public considered their paintings to be so crude and so roughly crafted that the group became known as Les Fauves (the wild beasts). By 1907, Matisse moved on from the concerns of Fauvism and turned his attention to studies of the human figure. He had begun to sculpt a few years earlier. In 1910, when he saw an exhibition of Islamic art, he was fascinated with the multiple patterned areas and adapted the decorative universe of the miniatures to his interiors. As a continuation of his interest in the "exotic", Matisse made extended trips to Morocco in 1912 and 1913. At the end of 1917, Matisse moved to Nice; he would spend part of each year there for the remainder of his life. A meticulous dandy, he wore a light tweed jacket amd a tie when he painted. He never used a palette, but instead squeezed his colors on to plain white kitchen dishes...

Henri Matisse 1869-1954 French Grand paysage, Mont Alban Signed “Henri - Matisse” (lower left) Oil on canvas Hailing from a pivotal moment in the artist’s artistic development, G...

Lithograph on vellum paper, Edition of 25 Paper size: 33 x 26.5 cms (13 x 10 1/2 ins) Image size: 31.5 x 21.2 cms (12 3/8 x 8 3/8 ins)

Henri Matisse Figure endormie dans un intérieur, 1929 etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by th...

Henri Matisse Nu couché, renversé, 1929 etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 3 5/8 x 4 7/8 inches (9.2 x 12.4 cm) Sheet: 11 x 14 15/...

Henri Matisse Torse, bras gauche derrière la tête, 1926 drypoint, on chine appliqué, signed in pencil and numbered 4 from the edition of 7 Plate: 5 13/16 x 3 7...

Henri Matisse Figure assise sur fond de carreaux fleuris, 1929 etching, on chine appliqué Signed in pencil and numbered 12 from the edition of 25 Plate: 4 3/8 x 5 7/8 inches (11.1 x ...

Henri Matisse Nu assis, bras croisés sur la poitrine, 1929 drypoint, on chine appliqué, signed in pencil and numbered 22 from the edition of 25 Plate: 5 9/16 x 3 15/16 inches (14.1 x...

Henri Matisse Nu couché sur le côté, les jambes repliées, 1929 etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof appro...

Henri Matisse Visage de profil reposant sur un bras, paravent Louis XIV, 1924 lithograph on China paper, edition 7 of 50, + 10 AP 26 x 20 1/16 in. (66 x 51 cm) Ref: Duthuit 447; Cat....

Henri Matisse Torse de face, 1913 lithograph on Japanese vellum, edition 31 of 50 19 11/16 x 13 in. (50 x 33 cm) Ref: Duthuit 407; Cat. 31 signed in ink and numbered 31/50

Henri Matisse Petite Liseuse, 1923 lithograph on Japanese vellum, edition 3 of 12 AP, apart from the edition of 50 17 3/16 x 11 in. (43.7 x 27.9 cm) Ref: Duthuit 431; Cat. 40 signed...

Henri Matisse Nu couché, jambe repliée - Étude de jambes, 1925 lithograph on Japanese vellum, edition of 50 18 x 22 1/16 in. (45.7 x 56 cm)

Henri Matisse Nu accroupi, profil à la chevelure noire, 1906 lithograph on Japanese vellum, edition of 25 17 11/16 x 11 in. (44.9 x 27.9 cm)

Henri Matisse La capeline de paille d'Italie, 1923 lithograph on China paper, AP 22 7/16 x 18 1/16 in. (57 x 45.9 cm)

Henri Matisse Jeune fille en robe fleurie au col d'organdi, 1923 lithograph on China paper, edition of 50 14 15/16 x 11 1/4 in. (37.9 x 28.6 cm)

Henri Matisse Jeune fille au col d'organdi, 1923 lithograph on China paper, edition of 50 14 15/16 x 11 3/8 in. (37.9 x 28.9 cm)

Henri Matisse Figure devant tapa africain, 1929 lithograph on Japanese vellum, edition of 50 25 3/8 x 19 11/16 in. (64.5 x 50 cm)

Henri Matisse Danseuse endormie, 1926-27 lithograph on Japanese vellum, AP 17 5/16 x 22 in. (44 x 55.9 cm)