Art

Parapliers the Willow Dipped by Van Vliet, better known as Captain Beefheart from The Mothers of Invention, is part of the Collection of American Masters at the Nordfallen Museum in ...

Edition 10 Also available in 40 x 50 cm / 16 x 20 inch, Edition 25 Black and white portrait of nude model Tony Ward. From personality portraits and advert...

The painting is created on a round canvas using the acrylic pouring technique. At the center, vibrant shades of green and gold flow into orange and red tones. Surrounding them are f...

Artist: Michael Exall (1950-1996) British Title: "Still Life Of Fruit Stand In The Window At Night" Medium: oil on board Size: 102cm x 74cm inc frame Condition: very good Notes: Pai...

From the City Stories series, New Stories portrays the quiet poetry of urban encounters. Figures gather around a café beneath a bright awning, some pausing in conversation, others si...

Jean-Michel Basquiat Untitled Head (Skull 2) - Set of 3 skate decks Made of 7 ply Grade A Canadian Maple Wood 31 1/2 × 7 9/10 in 80 × 20 cm (each deck)

"Summer 2025" is an animalistic landscape by Lilia Volskaya. Let's start with the shape of the canvas, which is a hexagon, which is unusual, isn't it? The canvas is painted black. Th...

'Golden Tranquility' Forest Lake Scene by American Postwar 20th Century Artist, Phillip Cantrell, born in 1922. Original, Signed, Landscape, Vintage Oil Painting. Art measures 16 x...

Original Painting by Marilina Marchica, "Landscape " (2018) Details of the artwork: Title:Landscape Year: 2018 Dimensions: 50x50 cm (depth 3.5 cm) Technique: Contemporary abstract ...

Laurel Forest Study 1, Portugal - no. 21247 - Color fine art landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are ma...

Artist: Andre Minaux, French (1923 - 1986) Title: Goldfish Year: circa 1979 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 120 Image Size: 21 x 26 inches ...

This 27" x 19" monochromatic graphite and charcoal drawing by Serbian artist, Bojan, is rendered in a hyper-realistic manner. A dog is the main subject in the lower right corner ...

'Abstract, Turquoise and Gray' by Dora Maar. Paris, Picasso, Andre L'Hote, Guernica, Benezit ----- Signed verso with artist monogram 'DM' for Dora Maar (Argentine-French, 1907-1997)...

In my work, I explore the quiet dialogue between earth, texture, and silence. Each surface becomes a landscape — not one we see, but one we feel. I build these compositions with recl...

Black and white fine art winter landscape photography print. Archival pigment ink print, edition of 7. Signed, titled, dated and numbered by artist. Certificate of authenticity inclu...

Gerald Berghammer - Black and white mystic landscape photography. Road through a tunnel of twisted, gnarled trees on both sides with branches overhead. Archival pigment ink print, e...

Bench Overlooking the Azure Mediterranean Tony Minartz (French, 1873 - 1994) watercolour on artist paper painting : 17 x 13 inches Provenance: private collection in the South of F...

ABOUT THIS ARTIST: Natasha Martin is an LA-based photographer who loves color and infusing dreamy-nostalgia into her work. She has created work for Prada, Miu Miu, and 24 Sèvres, and...

Salvador DALI (1904-1969) Casanova : Birdy on the Tongue, 1967 Original etching Printed signature in the plate On Rives vellum 38 x 28 cm (c. 14.9 x 11 inch) REFERENCES : - Catalog...

Gerald Berghammer - Color Photography. Cliffs along a coastline with green vegetation, white rock formations, and a calm sea under a partly cloudy sky. Archival pigment ink print as ...

19th Century German School Br: Venus aus Chemnitz 50 Jahre alt 58 24/5 39, 1839 Oil on canvas Signed lower left 25.5 x 20 inches 30.5 x 24.75 inches, framed The gentleman is Johann ...

Werner Bronkhorst Get Served, 2015 Giclée print on Hahnemühle Photorag paper with ready-to-hang heavyweight solid oak frame. From the artist's acclaimed Wimbledon series. Accompanied...

This painting captures a warm and peaceful autumn day. A man sits alone with his guitar, playing music under the golden canopy of a tree. The bright yellow leaves, soft shadows, and ...

Gazing at Lebanese American artist Sally K.'s floral artworks is consuming and empowering. Inspired by the endless variety of beautiful flowers, she creates pop-realistic paintings t...

This artwork, titled "Sweetness of Morning Summer Flowers," captivates viewers with its lively and vibrant composition, drawing immediate attention to the central bouquet of red rose...

Donald Judd Untitled, 1980 Signed "Judd" in pencil lower right margin and numbered Aquatint on etching paper Image 24 1/4 x 29 1/4 inches Sheet 29 1/8 x 34 inches Edition 29/150 Pro...

"Winter Blues" (2017) by Stephen Day is an original, handmade oil painting that depicts a a snowy landscape with a stream and large pine trees on either side. Stephen Day was born ...

This reproduction of “Superman” by Mel Ramos, part of the De Young Museum’s permanent collection, showcases the artist’s signature Pop Art style, blending comic book aesthetics with ...

Title: 4 Liberty Heads Year: 2005 Medium: Offset lithograph in colors on gloss archival paper Size: 15 x 19 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as iss...

Gerald Berghammer - Black and white photography. Empire State Building and surrounding skyscrapers, taken from below with a reflection on a glass surface. Archival pigment ink print...

Original Soccer vintage sports poster. Linen backed in very good condition, ready to frame. Printed by Ortega Company in Valencia. This type of untitled vintage poster was commonly printed and the date of an upcoming game and team would be added at the bottom of the poster. Soccer games were played quite often, allowing the local team to advertise their events without reprinting a new poster for each game or event. This poster was printed as a full lithograph, so it was expensive to produce. There is no specific designation of which two teams are being shown here in this antique poster The poster has a nickname of ‘heads-up,” as two of the players are in the air as they position themselves to control the soccer ball. Valencia two main clubs, FC València and Levante UD, attract hordes of fans to their matches. Both clubs play in the First Division of La Liga...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a castleton green background with thick use of pain...

Canvas size 81x100 cm. Frame size 94x113 cm. Alvar Suñol Alvar Suñol Munoz-Ramos, commonly known as Alvar, was born in 1935 in Montgat, Spain, a Catalan fishing village on the Medit...

First edition exhibition poster for Hockney Paints the Stage, held at the Walker Art Center in 1983. Published by Petersburg Press and mounted on museum board, this original poster i...

This enchanting reproduction titled Sunrise by Erté beautifully captures a moment of transformation and renewal, where a woman gracefully emerges from her cocoon, seemingly transform...

Original and unique artwork by Hunt Slonem. Oil on wood white, yellow, purple, blue, green, red, orange butterflies on a scored gold background, framed. 2025 Painting is framed, as ...

German Impressionist Painting of Rio de Janeiro's Guanabara Bay and Sugarloaf Mountain in style of Max Slevogt This vivid landscape painting offers a panoramic view of Rio de Janeir...

This painting uses an interplay of dark green, black, and negative space, forming abstract, gestural shapes that evoke a sense of rhythm and movement. The composition balances dense,...

Artist Mati (Abdul) Klarwein Title: The Good Life Year: 1978 Print - Lithograph Paper Size 23" x 23½" inches Edition: signed in pencil and marked 3/300 Hand embellished by the artis...

Landscape oil on canvas 60x80 cm original art Ready to hang certificate of authenticity included Marilina Marchica was born in Agrigento, where she works and lives, After receivin...

ZT 230604 is a unique one-of-a-kind medium size contemporary modern painting relief by Dutch artist Herman Coppus. This bas-relief relief consists of a meticulously hand cut, folded ...

This exquisite heliogravure after Sir Cecil Beaton (1904–1980), titled Marilyn Monroe, from the folio Cecil Beaton, Electa Editrice Portfolios, 1981, originates from the 1981 edition...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Wild Things (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory...

"Rain on Rodeo" Black & White Photography 18" x 18" in Ed. 6/10 by Brendan North Signed and numbered by the artist. Comes with COA issued by the Artist not framed ships rolled i...

This charming original painting on canvas by Joyce Roybal features a whimsical group of musicians joyfully playing instruments in Roybal’s signature naïve style. With bold colors, pl...

The Artists Model, female nude reclining in chair by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 29 x 29 inches Provenance: all the pai...

Title: British Impressionist Watercolor of a Riverside Scene with Cottages and Boats By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 1...

Paris by Claude Marin (French 1914-2001) signed and dated 88 oil on artist card stuck on board, unframed board: 7.5 x 9.5 inches Provenance: private collection, Paris, France Conditi...

Antique American abstract expressionist painting. Oil on canvas. Framed. Signed. Measuring: 37 by 43 inches overall, and 36 by 42 painting alone. In excellent original condition. ...

Oil painting measures 12 x 9; frame dimensions measure 19 3/8 x 16 3/8 x 3. Housed in an elegant gold-tone frame with decorative edges. Illegible signature, lower right. Support patc...

​Tom Otterness's offset lithograph print, titled "9/11," serves as a poignant tribute to the tragic events of September 11, 2001. Hand-signed and dated by the artist, this piece feat...

A fine 18th century Flemish Old Master oil on panel depicting three well dressed gents in a tavern interior. Excellent quality work by an accomplished hand, presented in a fine fra...

Maria Magdalena (Sidewinder), 2005 Edition of 1/10, 50x40cm, digital C-Print based on an expired Polaroid photograph. Signature label and Certificate. Not mounted. Stefanie Schnei...

-Pedro Friedeberg signed print featuring a fantastical architectural scene. Includes whimsical figures, optical art elements, and surreal details. framed in a hand-painted black and ...

Unsigned Work on canvas Gilded wooden frame 70,5 x 48 x 4,5 cm

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Reuben, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Artist: Mishurovski V.V. Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Style: Classic Figurative Year: 2010 Title: Summer Size: 35.5" x 18" x 0....

Gerald Berghammer - Color landscape photography. A rural landscape with a curved dirt road and a line of tall cypress trees on a hill against a pale sky. Archival pigment ink print ...