Art

Jane Atché Rêverie, circa 1897 Signed in plate Poster Image 14 x 14 inches Provenance Felix Transport, New York Estate of the above Jane Atché (1872–1937) was a French painter, il...

Clara Berta’s acrylic and mixed-media paintings blend texture and color to create harmony, mystery, and depth on the painted surface. Her paintings transform spaces into Zen environm...

French contemporary artist Sophie Dumont is known for her textured oil paintings exploring memory, landscape, and the passage of time through layered abstract compositions. Born in P...

Medium: original lithograph. Printed in Paris in 1967 by Clot, Bramsen et Georges and issued in an edition of 2500 for "Les Temps Situationistes" (The Situationist Times -- a radical...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Lord Nelson British school, late 20th century signed oil on canvas, framed framed: 16.5 x 13.5 inches canvas: 14 x 11 inches provenance: private collection, London condition: very go...

'Waiting for Supper' Wire Fox terrier puppies English School, indistinctly signed with monogram dated 1936 watercolour painting on artist paper, framed Glass covering framed: 13.5 x ...

Original vintage oil painting on canvas by Italian artist Antonio De Vity (1901–1993) depicting a romantic Venetian canal scene with a gondolier navigating through historic buildings...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21029 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Sunset in the Scottish Highlands By F. E. Jamieson (British 1895-1950) Signed with the artist’s pseudonym “Henry Cooper” signed oil painting on canvas, framed framed: 24 x 33 inches...

Lithograph on paper realized in 1961. Hand signed in pencil. Table 3 of the suie "Descente aux Enfers". Published by Mourlot, Paris. Prov. Gall. Prandi, Reggio Emilia. Very good...

Landscape in Holland (titled verso) Dutch School, 20th century signed oil painting on canvas, framed framed: 30 x 42 inches canvas: 24 x 36 inches provenance: private collection, Eng...

Sorin Bica's "I Want To Believe" is a 69 x 58 inch abstract expressionist oil painting on canvas, representing stylized human figures in vivid red, orange and black tones, with bold ...

A very interesting 1960's French oil on canvas portrait of a black man wearing a hat. The work is superbly painted and in very good original condition. Indistinctly signed lower righ...

Artist: Hayk Gasparyan Work: Original oil Painting, One of a Kind Medium: Oil on Linen, Year: 2024 Style: Abstract, Figurative Title: Party Size: 30.5" x 17" x 0.8'' inch (77x43x2 cm...

Foyer III, Italian architecture interior photography from Richard Heeps series, A Short History of Milan. A Short History of Milan, began in November 2018 for a special project feat...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Yvonne Canu 1921 – 2008 Signed bottom right and signed and titled on the reverse. Painting Size: 24 x 29" (61 x 74cm) Outside Frame Size: 31 x 36" (79 x 91cm) Yvonne Canu is cur...

In the Park by Louis Abel-Truchet (French 1857-1918) *see below signed oil on canvas, unframed canvas: 16 x 13 inches provenance: private collection, France condition: overall good a...

Up for sale is an original large oil painting on canvas, depicting Venice, Italy. Signed in the lower-left corner probably Tom. Presented in a nice wood frame. Condition: The pa...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

Archival pigment ink print, produced in a limited edition of 9 // Gallery ID: 11463 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts blue gestural figures of Bunnies against an ultramarine blue diamond dust background. Slo...

This reproduction poster of La Serrure by Leonor Fini captures the enigmatic and symbolic nature of the original artwork. Leonor Fini was known for her surreal and fantastical imager...

Archival pigment ink print, produced in a limited edition of 9 // Gallery ID: 11809 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Louis Elshemius (1864-1941) Untitled, c. 1900 Pencil on paper Sight: 7 3/4 x 10 in. Framed: 13 1/4 x 15 1/2 x 1 in. Louis M. Eilshemius studied art in Germany and at the Art Student...

This painting makes a bold statement! A large, dynamic and colorful Abstract Expressionist painting by notable Post-War artist, Lee R. Chesney (Am. 1920-2016). Executed in a palett...

A striking Machine Age Modern oil painting of the historic Bronx Span, Triborough Bridge, New York City by notable American artist, Lessing Whitford Williams (1894-1989). Artwork ...

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

Artist: The Connor Brothers Title: Tell Him I Was Too Fucking Busy - Or Vice Versa Medium: Giclee print with silkscreen varnish Year: 2020 Edition: 36/50 Image Size: 25" x 16" Sheet ...

Maggy Clarysse (1931-2011) Oil on thick card, unframed 7.5 x 9.5 inches Signed In verso ...

Henri Pearson (French, 19th Century) Harbour Scene with Fishing Boats and Figures on the Shore Oil on wood panel, circa 1880–1890 This evocative harbour scene by the French painter H...

Attributed to Isidore Pils (1813–1875) Portrait of a Young Red-Haired Woman A captivating portrait of a young red-haired woman, attributed to the French academic painter Isidore Pil...

Roy Lichtenstein 1970-1980 (Hand Signed and dated by Roy Lichtenstein), 1981 Offset lithograph. Hand signed and dated in ink Hand-signed by artist, Hand signed and dated in ink on the front. One of only 100 the artist signed in 1981 for the St. Louis Art Museum. with Artist's copyright (unnumbered) Frame included (vintage frame) This rare 1981 offset lithograph poster depicting Roy Lichtenstein's "Apple" is one of only 100 prints the artist signed for the Saint Louis Art Museum on the occasion of this 1981 ten year survey. It is extremely rare. It is held in the original vintage wood frame to preserve provenance. The gallery reserves the right to remove the glass for safe shipping. Measurements: Framed: 37 inches x 27 inches Sheet alone: 34.25 inches x 25 inches Roy Lichtenstein: A key figure in the Pop art movement and beyond, Roy Lichtenstein grounded his profoundly inventive career in imitation—beginning by borrowing images from comic books and advertisements in the early 1960s, and eventually encompassing those of everyday objects, artistic styles, and art history itself. Referring to Lichtenstein’s equalizing treatment of the subjects he chose for his art, Richard Hamilton, a fellow Pop artist, wrote in 1968: “Parthenon, Picasso or Polynesian maiden are reduced to the same kind of cliché by the syntax of the print: reproducing a Lichtenstein is like throwing a fish back into water.”1 Lichtenstein later recalled that 1961, the year he completed Girl with Ball, marked a break with both his own abstract style and “prevailing taste” in the art world. “Although almost anything seemed to be fair subject matter for art,” he recalled, “commercial art and particularly cartooning were not considered to be among those possibilities.”2 The figure from Girl with Ball came from a printed advertisement for the Mount Airy Lodge, in Pennsylvania’s Pocono Mountains, and he based another painting, Drowning Girl, on a comic book cover. In these two paintings and throughout his other work, Lichtenstein would copy the source image by hand, adjusting its composition to suit his narrative or formal aims, and then trace this altered sketch onto the canvas, aided by a projector. In this rigorously manual process, he used perforated templates to replicate and often exaggerate the dot patterning commonly used in printing imagery. Known as Ben-Day dots, this patterning became a signature element of his style, which incorporated the look of mechanical reproduction into the fine-art world of painting. His transformations of the source image typically included reducing the color palette to saturated primaries, eliminating incidental details, heightening contrasts, and “emphasizing the pictorial clichés and graphic codes of commercially printed imagery.”3 In Drowning Girl, for example, Lichtenstein cropped out much of the original scene and modified the statement in the text bubble, amplifying this image of a damsel in distress. Lichtenstein soon turned his attention from the clichés of commercial print culture to the aesthetic clichés of high art.4 With bold, graphic simulations of brushstrokes in prints like Brushstroke and Brushstrokes, for example, he parodied the autographic mark-making of Abstract Expressionism. Yet where Jackson Pollock had been seen to imbue his skeins of paint with a bravura energy and force, Lichtenstein turned that device into something clichéd, commercial, and reproducible. “Visible brushstrokes in a painting convey a sense of grand gesture; but in my hands, the brushstroke becomes a depiction of a grand gesture,” he later said.5 Art history proved an enduringly rich field for Lichtenstein’s transformations. Concurrent with his Brushstrokes series were explorations of the landscape genre and, in 1969, two volleys at Claude Monet. Monet had also worked serially, devoting multiple canvases to a sustained study of the changing sun as it moved across the facade of the Rouen Cathedral or haystacks in a field. With his Cathedral Series and Haystack Series, Lichtenstein reprised those motifs in his signature Ben-Day dots, making Impressionism, in his words, “industrial.”6 In Artist's Studio “The Dance”, Henri Matisse’s Dance...

Tranquil River Scene French Impressionist artist, 1901 signed with initials lower corner oil on canvas, unframed Canvas: 9.5 x 13 inches Provenance: private collection, France Condit...

Acrylic on canvas Signed

A bit of a mystery painting which is a combination of abstract and surrealism. I believe this is an acrylic and or gouache on board. Is a very cool and colorful painting. It is signe...

Since 1956, Jean Claude Picot has been a full-time professional artist. He has seriously studied the works of the Fauvist masters Vlaminck, Derain and Matisse. Like these great maste...

Color screenprint on rose-toned wove paper, 1966 Limited Edition of 500 Plate (printed) signature This is an exhibition poster for a benefit sale held at Lenox Hill Hospital in NYC...

Artist/ School: British School, indistinctly signed lower right, circa 1950's Title: Portrait of an Aristocratic Lady. The previous owner believed the sitter to be a member of the Q...

Title: Cocker Spaniel Dog Portrait Oil Painting Dorothy Johnson Artist: Dorothy Johnson Medium: Oil on canvas laid to board, mounted within card mat, unframed. Size (including mount)...

A tranquil landscape painting in the style of Jean-Baptiste Corot. The scene depicts a serene waterway, with a solitary figure fishing from a small boat along the marshy shoreline. T...

Seascape Oil Painting Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Canvas Year: 2019 Style: Impressionism, Subject: Ocean Waves...

Vignel N3 is a unique oil on canvas painting by Spanish contemporary artist Calo Carratalá, dimensions are 114 × 162 cm (44.9 × 63.8 in). The artwork is signed, sold framed and come...

An impressionistic depiction of a Saint-Cloud factory porcelain vase ca. 1695–1710 with a burst of flowers exploding with color and bold marks. Alfaro bridges the Baroque cultural mo...

Frederick Kitson Cowley (British, 1878–1943) Nantucket Beach Dated 1929 Oil on card Signed and dated on the reverse A charming and atmospheric beach scene by the British painter Fre...

Allen Voss’s serene oil-on-canvas landscape, titled Autumn’s Last Light, captures a full moon hanging pale in the soft twilight sky over a quiet, open wilderness dotted with autumn f...

This reproduction of Romare Bearden's School Bell Time has been officially approved by the Bearden Foundation, with the foundation's seal printed in the lower right-hand margin. This...

Keith Haring Original Handwritten, hand signed Letter, ca. 1987 Ink on Haring's Private letterhead Stationery, Hand written and hand signed by Keith Haring Unique, original piece: ch...

☀️Dachshund Come Fly with me☀️ In the artistic world, animals have always been key protagonists in expressing the power and beauty of the wild. Artists often use animals as symbols ...

Children, Harlem, New York, USA 1963 by Leonard Freed is a 19" x 13" signed archival pigment print in an edition of 10. Signed by the estate on back of photograph by Freed's widow Brigitte Freed. Available: 7/10. Provenance: Freed estate *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department...

William Anderson (1757-1837) Marine shipping scenes A pair, Oil on panel Painting size 7 x 1/2 x 11 3/4 in Framed size 10 x 15 in Provenance The Parker Gallery, London. William An...

Title: Treasure Trove in Bloom Still-life Painting Floral Vase Colorful Flower Original Contemporary Investment One-of-a-kind Original Artwork This piece bursts with vibrant energ...

Chuck Close Art Card: Chuck Close - Linda, 1975-6, Uniquely Signed, dedicated and inscribed vintage card, from the Estate of Cordelia Platt, 1988 Uniquely Signed, dedicated and inscr...

Felipe Orlando (Cuban-Mexican, 1911-2001). Coronel Retirado y su Amante Esposa, ca. 1970. Ink and gouache on paper with heavily built up layers of textured ground. Measures 13 1/4 x 18 3/8 inches. Signed lower left. Original label affixed on verso. Excellent condition. Unframed. An anthropologist as well as a painter and engraver, Orlando, whose full name was Felipe Orlando Garcia Murciano, studied at the University of Havana and at the painting workshop of Jorge Arche and Víctor Manuel. He was a founding member of the Asociación de Pintores y Escultores de Cuba (APEC) and a professor at the Universidad de las Américas and the Universidad Nacional Autónoma de México, both in Mexico City. His style is influenced by the Afro-Cuban movement and pre-columbian art...

Vintage Giltwood Picture Frame Small Decorative English Wall Art Frame English, Mid 20th century period giltwood picture frame Overall outer size: 11 x 13 inches Internal rebate / si...

Douglas M. Olsen (b. 1960). #38, After the Rains, 1980. Watercolor on rag paper, 22 x 22 inches. Signed lower margin and on verso.

Title Antique Scottish Highlands Loch Sunset Landscape Oil Painting Framed Key Details Artist: Arthur Stanford, signed and dated 1900s Medium: Oil painting on canvas, framed Canvas S...

Frame size 70x59 cm. Caroline Burnett, born in 1940, was a painter known for capturing the charm of urban scenes and landscapes with a vibrant and colorful style. Although little is...