Art

Looking for a perfect gift for your loved ones or a small treat for yourself? Consider these beautifully crafted, one-of-a-kind acrylic paintings with a textured finish. Each canvas...

Title: Mad World Dramatic Colorful Contemporary Abstract Invest Striking Artwork Original One-of-a-kind Authentic Delight The round canvas, painted lines, circles and spirals, repr...

Early historical portrait in the style of William Aikman believed to be of David Carnegie, 4th Earl of Northesk, a Scottish peer and politician. The work features the central figure ...

Impressive early American impressionist landscape oil painting. Framed. Oil on canvas. Image size, 12H by 16L. Wonderful subject and great color. Excellent ready to hang condition.

Superb original British abstract oil painting, from the 1980's period. The painting is by the hitherto undiscovered abstract painter Isaiah Gerard Calleja (1936-2016), who was base...

FLORUIT 2024 Paris, France This complex and layered floral painting of an abstract vase of flowers presents an energetic and mesmerizing subject. This original painting on cotton ca...

Richard Anuszkiewicz Annual Edition, 1970 Silkscreen on Masonite Signed and dated in graphite pencil lower right recto. Edition of 100 8 × 5 1/10 × 1/5 inches Unframed Signed and dat...

This expressive artwork "Vibrant blooms and light" , created by Natalya Mougenot, displays a vividly abstract bouquet of flowers in a vase that intriguingly resembles a human form, c...

Stephen identifies the delicate texture and beauty of the natural oxidation process. Oftentimes a found object initiates his work: By incorporating an object directly, imprinting, or...

Imaginary Geometric City. Date: Second half of the 20th century Medium: Gouache on cardboard Dimensions: H 63 cm x W 48 cm approx. Description: A network of soft shapes and wa...

Alexandre Rochat (1895-1981) was a French artist known for his figurative work and rural landscapes. Active during the early 20th century, his art reflects the transitional period be...

Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Thomas Stringer (1722-1790) A groom with a saddled bay hunter and dogs, in an extensive landscape Dated 1754 lower left Oil on canvas Unframed size 25 x 36 in Framed size 31 x 42 in ...

Impressive early American school modernist abstract oil painting. Framed. Oil on canvas board. Signed.

This painting is from 2018. I have had it in my home for a few years and have decided to change it out. I love the interplay of color and black marks in this piece. It is lively an ...

This Limited Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann measures 30" x 24" and is an edition of 95. Printed on canvas,...

Ron Hick's (US based) "Matilda" (2024) is an original, handmade oil painting that depicts an abstract portrait of a woman. Ron Hick's works have been characterized as a blend of rep...

This original sculpture is created in cold-cast aluminum, which interacts beautifully with its environment and reflects light in nuanced ways. Because of the reflective surface of aluminum, the sculpture takes on different appearances depending on the lighting conditions: In bright lighting, the sculpture appears more vibrant and silver-toned, showcasing its lustrous finish and fluid contours. The high contrast highlights every curve and swirl, giving it a striking, almost glowing presence. In softer or dimmer light, the tones become more muted and subtle. The sculpture takes on a pewter-like appearance, with deeper shadows and a more understated elegance. This makes it a perfect fit for a variety of settings, adapting to its surroundings and changing mood with the light. The sculpture’s color and finish are consistent; the perceived changes are purely the result of lighting. The color variations in the photos are a testament to the material’s responsiveness to light. If you’re placing it in a room with changing daylight or adjustable lighting, you’ll enjoy how it shifts throughout the day, almost like a living piece of art. Jacob Burmood creates undulating abstract cold cast aluminum sculptures, intuitively redefining aesthetic shapes and visual perceptions. His sculptures draw connections between nature-inspired, organically composed objects, rejecting the rigid structure of geometric abstraction in favor of harmonious compositions that seem to move before the eye. This original cold-cast aluminum sculpture is 26 inches tall by 12 inches wide and 12 inches deep. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping is available. A certificate of authenticity issued by the art gallery is included. The sculpture Burmood's artworks are inspired by modernist and bio-morphic sculpture...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Rare early American fauvist interior scene. Great colors and composition. Oil on canvas. Nicely framed. Measuring 20 by 24 inches.

Bernhard Zimmer has created a positive stir at major international art fairs (Art Basel, Kunst Köln, etc.). His lively and mysterious compositions pique the taste of the serious art ...

Colourful, French mixed media abstract, acrylic, newsprint and ink from the 1980s. The canvas is signed and dated bottom right but we have not yet managed to decipher it. A colourful and engaging painting crossing over styles. The colourfield elements are reminiscent of the work of Mark Rothko, three defined bands of colour in orange/pink tones vertically dissecting the painting with one horizontal band across the top, and yet the elongated depiction of the female figures within the bands remind us of Gustav Klimt and his paintings of Adele. The background of the painting has been worked broadly with a palette knife whilst the detail has been added quickly and deftly with ink or finer brushstrokes. With the addition of newsprint (in French) the artist may...

This lithograph is part of my private collection. It is original and pencil signed an numbered by the artist. It is one of a kind in black and white.

Large, brightly colored abstract geometric painting in various shades of red, pink, and peach with accents of mint green, teal, blue, yellow, white and black. "Memory Wall #6" made ...

Blurring the distinction between figure and abstract settings, Swiss artist Edith Konrad’s spectral forms—human in shape—inhabit muted abstract environm...

ASCENSIONS 2021 Paris, France A release of tension through surrender. An abstract, contemporary, calm, cerebral and graphic painting. Five orange-red lines - four thin and one th...

'Undo' explores the duality of human emotion through the art of double exposure. Captured using 35mm film, this black and white analogue photograph intertwines two distinct moments i...

Balmes. original abstract mixed media acrylic painting composition of the artist Spanish Toni MAT. Mixed technique on wood. Perfect state. Antonio Amat studies Art in Barcelona, ​​...

This is a unique original acrylic painting on canvas in a fantasy abstract style by Serg Graff Titled "Phoenix". It comes signed, dated, and with a COA (...

This artwork makes part of my series dedicated to the scenes of a summer period. This floral painting called "Beauty of nature" is done in an expressive impressionist style. Such ...

Using an impasto, painterly technique Dana Cowie creates cubist-inspired farm and rural landscapes. Working within controlled color schemes, her artworks appear abstract up close and...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

" The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with express...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

James Seymour (1702-1752) & Thomas Spencer (1700-1753) An elegant lady and gentleman hare coursing in an extensive landscape Oil on canvas Canvas Size - 33 x 50 in Framed Size - 41 x...

Piero Dorazio Untitled Mid Century Modern Geometric Abstraction, 1967 Color Lithograph on Rives BFK wove paper Hand signed, numbered 68/80 and dated on the front 29 1/4 × 21 inches U...

Original oil paint and acrylic paint on wooden panel by the well known American artist, Syd Solomon. Signed lower left. Signed, titled and dated 1971 verso . Condition is very good. No restorations. Original frame. Overall framed measurements are 17 by 14 inches. Partial Saidenberg Gallery, New York City label verso. Provenance: A Long Island, New York collector. American, 1917-2004 SYD SOLOMON BIOGRAPHY: Written by Dr. Lisa Peters/Berry Campbell Gallery Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

This contemporary abstract expressive nature painting, created by French artist Natalya Mougenot, bursts with color and emotion. "Spring on the Horizon" captures the fresh energy of ...

Very nicely painted American impressionist beach scene. A nice summer view with a figures playing near the shore. Signed lower right illegibly. Framed handsomely in a wide gold ...

"...Blue has no dimensions, it is beyond dimensions, whereas the other colours are not.... All colours arouse specific associative ideas, psychologically material or tangible, while ...

This drawing by Johann Rudolf Feyerabend, known as Lelong, is a finely executed still life that captures a rustic yet elegant composition. The detailed rendering of objects—such as t...

After Hendrick MOMMERS (1623-1693) Haarlem Vegetable Market c1750 An early copy c1750, of an entertaining Dutch vegetable market scene in an Italianate landscape. The original was p...

This piece plays with our perception, as well as challenges our definition of the chaotic and the perfect. When viewed from the front, the perceived silhouette is that of a perfect c...

ANTONI TAPIES was the maximum representative of Spanish abstract art of the 20th century. His works are represented in museums and foundations around the world. "ELS MESTRES DE CATAL...

ARTIST : Alex Senchenko © Title : Abstract 2378 Technique: Acrylic & structure on canvas 100cm. x 100cm. Original Painting on a 1.5cm Deep Canvas Ready to hang 2023 -------...

Abstract textured acrylic painting on canvas 100x100x2 cm (39,4 x39,4 x 0,8 inches). Mixed Media on gallery wrapped canvas. The work is ready to hang. No framing required. The sides of the work are painted. The artwork is signed, dated and titled. Original artwork with signed Certificate of Authenticity. My artworks are a result of years of studying spiritual books written by Eckhart Tolle. Eckhart Tolle, a spiritual teacher and author, often uses flowers as a metaphor for living in the present moment, which is a central concept in his philosophy. He notes that a flower doesn't think about the past or the future; it simply exists in the present moment, fully expressing its beauty and essence. By observing and appreciating a flower, we can learn to live more fully in the present moment and experience the beauty of life around us. In Tolle's view, flowers can also remind us of the interconnectedness of all things. A flower is not separate from its environment; it relies on the sun, the soil, and other elements to grow and thrive. Similarly, we are not separate from the world around us; we are part of a larger interconnected web of life. By recognizing this interconnectedness, we can develop a greater sense of empathy and compassion for all living beings. Overall, flowers can serve as a powerful symbol and reminder of important concepts in art and spirituality. Whether we are admiring a beautiful flower in a painting or contemplating the lessons that flowers can teach us, they can help us connect with the beauty and interconnectedness of the world around us. I would like to invite you to immerse yourselves in a colorful yet calm world of impasto colors full of meditative floral magic. Style: My technique shows some influence from abstract expressionism and modern art. I use original mixed media in which undiluted acrylic paint, ink, gel medium and structure paste are applied to the canvas. I like to paint impasto abstract paintings...

The Memory of Unknown Things is a series of paintings exploring the experience of knowing something but not being able to retrieve it immediately from memory. Through the painting pr...

Antonio Puri's "Tantra" sculptural painting is one of 100 intimately-scaled minimalist round mandala circles built from tiny seed beads adhered to canvas in a range of red hues, crea...

Portrait of a Lady, traditionally believed to be Bridget Bertie (1629-1703/4), the Duchess of Leeds, three quarter length, wearing an amber coloured silk gown, with an embroidered bl...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

John Vitale works on many canvases at once, moving between them, adding brushstrokes in acrylic paint, house paint and mark making with pencil and China markers. His process is intui...

Susan English Opening in Sun, 2025 tinted polymer on Yupo paper 26 x 20 in (eng275)

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

“Light is not so much something that reveals, as it is itself the revelation.” - James Turrell James Turrell Key Lime, Rare LACMA Exhibition print, 2013 Scarce Offset lithograph pos...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...