Vertical Art

This original, modern abstract acrylic painting brings the refreshing energy of nature into your home. Built with vibrant shades of emerald green, deep cobalt, and soft pastel pink, ...

Foyer IV, Italian interior photography from Richard Heeps series, A Short History of Milan. A Short History of Milan, began in November 2018 for a special project featured at the Af...

This summer landscape with horses grazing in a paddock under the rays of the sun beside a rural farmstead is a finely executed drawing in brown, signed lower right by Swedish female artist Ester Almqvist (1869-1934). A winding path leads the viewer into the composition, where buildings, fences, and vegetation define a cultivated countryside. Two horses stand quietly within the enclosed field, their forms rendered with spare yet assured lines. Above them, the sun shines from a clear sky, its rays spreading outward in rhythmic, hand-drawn strokes that cover all of the sky. The composition is built through a lively and vibrating pen line, where hatching and linear repetition create both texture and luminosity. The warm sepia tone unifies the scene, while the expressive draughtsmanship conveys a sense of immediacy and presence. The motif is elevated through a distinctly personal interpretation of landscape and light. Ester Dorothea Almqvist was born in 1869 in Bromma, Stockholm and died in 1934 in Lund, south Sweden. She emerged as a significant figure in Swedish art at the turn of the twentieth century, initially associated with the National Romantic movement, before later contributing to the introduction of modernist tendencies in Sweden through a highly individual synthesis of Neo Impressionist and Expressionist elements. Her early life was shaped by a religious and intellectually engaged environment. Almqvist lived her entire life with a physical disability caused by a spinal deformity, which limited her mobility but did not prevent her from pursuing an artistic career. Following her mother’s death, Almqvist broke with her earlier environment and relocated to Skåne, where she would spend the greater part of her professional life. The landscapes of southern Sweden became central to her artistic production and provided the basis for many of her most characteristic works. Her artistic education began at Tekniska skolan in Stockholm (1888–1891), where she received foundational training in drawing and design. She continued her studies through private lessons with the history painter Gustaf Cederström, but chose not to apply to the Royal Academy of Fine Arts. Instead, she pursued further training at Valand Art School in Gothenburg, where instruction was led by prominent artists such as Carl Larsson and Richard Bergh. She also studied for a period at the Konstnärsförbundet’s school (Artists' Association), under the guidance of Per Hasselberg and Bruno Liljefors...

Official poster designed and created for the tennis tournament held at Roland Garros French Open every year. The poster is a limited edition of 2000. First edition, unsigned and not ...

Côte d'Azur is a lithograph designed by Pablo Picasso in collaboration with Henri Deschamps, depicting a view from Picasso's balcony overlooking the Côte d'Azur. Created in 1962, thi...

Abraham Begeyn (1637–1697), Italianate Landscape with Ruins and Herdsmen This atmospheric and finely balanced landscape by Abraham Begeyn presents a sunlit ruin beside tranquil wate...

The painting evokes a sense of peace, a dissolution of form and light. The viewer seems to be looking at the surface of a quiet pond, reflecting the sky, trees, and clouds. Water lil...

Color lithograph for Carlos Franqui, circa 1976. Published by Galeria Eude Ediciones, Barcelona. Framed. In good original condition, with minor wear consistent with age and use, pr...

A pair of mid-century Impressionist beach landscapes depicting Rio de Janeiro , ca. 1960. Oil on canvas, each measures 12 x 16 inches; 15 x 19 inches framed. Signed indistinctly lo...

Autumn Splendour oil on canvas 10 x 8 image size, 16 x 14 framed Not signed but Vose Gallery label with estate stamp on back The painting is in excellent condition in a gilded Impres...

Jean-Michel Basquiat - PopBox PEZ Date of creation: 2025 Medium: Stainless steel; low-energy LED system; UV-printed plexiglass panel. Edition: Open Size: 28 x 35 x 4 cm Condition: B...

Title: Gentleman in Interior (After Fernando Botero) Artist: Sanz (Spanish painter, active late 20th – early 21st century) Year: circa 2000 Medium: Oil on canvas Dimensions (unfr...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Bey...

Original Andy Warhol vintage poster with Michael Jackson for Time Magazine March 1984. This vintage poster created by Andy Warhol was the image used for the cover of Time Magazine ...

Impressionist Figurative Scene, Picnic in the Park Original Oil Painting, Signed Beautifully rendered figurative landscape of a family in the park on a picnic, signed Jean Chambers....

Spanish School, early 20th century Portrait of Fernando Álvarez de Toledo, the 3rd Duke of Alba (1507-1582). after the 16th century painting by Anthonis Mors oil on panel, framed f...

"Interior with Chair and Vanity" circa 1918 Ricardo Gomez-Gimeno (Spain/France 1892-1954) Oil on cardboard Signed 17 1/4 x 14 1/4 (22 1/2 x 19 1/2 frame) This painting and its mat...

Nobuku Koike (Japanese, b.1937) La Cour, 1974. Color etching on Arches paper. Plate measures 7.5 x 8.5 inches. Framed measurement: 12 x 13.5 inches. Signed, dated, numbered an...

Watercolor and graphite on watercolor paper adhered to a sketchbook page, sheet measures 14 3/8 x 10 1/4 inches (365 x 261 mm). Titled and dated in pencil in the lower right recto an...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Ola...

Polyphemus was the name of the ill-fated cyclops who met his match in the Greek hero Odysseus. The king Odysseus, on his long journey home from fighting in the Trojan war, stopped wi...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Medium: original etching. Printed in 1965 for the deluxe limited edition "Paroles Peintes II" portfolio, published in Paris by Lazar-Vernet. This magnificent, rich impression is one ...

Artist: Fernand Leger (1881–1955) Title: Untitled (Sans titre) Year: October 5, 1950 Medium: Lithograph on velin d'Arches paper Paper Size: 16.63 x 12.69 inches (42.24 x 32.23 cm) Co...

Female Head Study signed with monogram and dated 1883 lower right by Axel Kulle (1846–1908). Oil on canvas laid down on panel. Original giltwood frame with relief ornamentation. The ...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Henri Matisse created a series of posters at the atelier of Mourlot Frere...

Muriel Chazalon (b. 1957) – Fin de journée (End of Day) Oil on canvas, 2023, 31½ × 47¼ in. (80 × 120 cm) signed on the back Fin de journée is a large-scale landscape painting by Mur...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. Akanji Bolaji (b...

In The Axis of Presences, French artist Sophie Dumont constructs an abstract architecture around a dark vertical line that acts as the backbone of the composition. Geometric forms ga...

Serviceberry Blossom English School, 19th century Medium: watercolour drawing on paper, glass covering, framed Size: 12 x 8 inches Provenance: private collection, England. Condition...

David Shrigley The Chaos (2022) 80 x 60 cm Off-set lithography Printed on 200g Munken Lynx paper

This painting is a dynamic exploration of gesture, movement, and materiality. Built through layers of saturated color, sweeping marks, and vigorous interventions, the work balances d...

Nude Lady by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 32 x 26 inches Provenance: all the paintings we have by this artist have come ...

Medium: pochoir (after the gouache). This pochoir illustrates a scene from Oscar Wilde's "Salomé". It was printed in 1938 at the atelier Saudé of Paris and published by The Limited E...

Elegant Female Portrait with Red Ceramic Jar and Blue Mediterranean Shawl Artist: Federico Molina Albero Title: Female Portrait with Red Ceramic Jar Technique: Oil on canvas Support...

Sunset at Öresund with Kronborg Castle, late 19th century Danish school, oil on canvas. Original gilt wood frame. The present small format painting depicts Öresund at dusk, viewed from the Danish coast, with Kronborg Castle visible across the water in the middle distance. The castle is shown in a subdued atmospheric light, its towers and buildings softly defined against the pale evening sky. Several sailing boats are visible on the Sound, while in the foreground a small wooden boat has been hauled up onto the sandy shore. Rocks, posts and traces of seaweed provide additional detail along the water's edge. The work, most likely from the end of the 19th century, is executed on an unusually small canvas for a finished coastal view of this type. The intimate format, measuring only 18 × 14 cm, suggests that it may have been painted as a small personal memento, study, or gift, rather than as a formal exhibition work. The restrained palette of pale blue, ochre, grey and warm yellow is particularly effective in conveying the evening light. The distant architecture is handled with a light and economical touch, while the foreground boat and shoreline are painted with more defined brushwork. Despite its modest dimensions, the artist has created a convincing sense of recession from the beach across the water towards Kronborg. Kronborg and the surrounding coastline of northern Zealand were important subjects for Danish artists throughout the 19th century. The area around Helsingør, Kronborg and Øresund attracted painters from the Danish Golden Age onwards, while the coast and fishing communities continued to provide subjects for later 19th-century artists. Marine painting was an established speciality within Danish art, with artists such as Carl Dahl, Carl Frederik Sørensen...

Artist: Marc Chagall (1887–1985) Title: Paradise II (Paradise II) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Cond...

6050 Italian white on white composition in a silver leaf frame

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 45 x 35 inches condition: the work is in overall very sound and good con...

William H. Eppens Pond lilies Signed lower right Oil on canvasboard 6 3/4 x 6 3/4 inches

Jean-Michel Basquiat Pez Dispenser (1984) Made of 7 ply Grade A Canadian Maple Wood 31 1/2 × 7 9/10 in 80 × 20 cm

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

Size: 100×70 cm (overall size with stretching 108×78 cm) Year: 2026 Materials: acrylic on canvas Shipping: Stretched, in reinforced cardboard packaging. A loosely gathered bouquet o...

Artist: Andy Warhol Medium: Screenprint on Lenox Museum Board Title: Dracula Portfolio: Myths Year: 1981 Edition: AP 6/30 Framed Size: 48 1/4" x 48" Sheet Size: 38" x 38" Reference: ...

The Critic by Norman Rockwell, (1894 - 1978) Date: circa 1973 Medium: Collotype Poster Size: 31.5 x 27.5 in. (80.01 x 69.85 cm)

Cubist Figurative French School, early 20th century circle of Georges Braque (French 1882-1963) oil on canvas, unframed canvas: 42 x 35 inches Provenance: private collection, Paris C...

What struck me when I visited Los Angeles in April and May was the abundance of flowering trees and the incredible amount of exotic flowers! One of these discoveries for me are the p...

“Mixed Feelings” is a visual series that captures the emotional complexity of Black womanhood, strength, softness, pride, visibility, and invisibility. Each portrait in this series h...

Etching on paper realized by Picasso in 1905, on Hollande Van Gelder paper. Full margins. Image dimension cm. 12x8.8. Plate II of the famous series "Les Saltimbanques". Edition of...

Kate Moss is photographed during a night out at the Donmar Warehouse in Covent Garden in London on the 16th of January in 2007. The British supermodel and businesswoman rose to fame ...

Winter On Fifth Avenue, St Patrick's, Flags 24 x 18 unframed. and 30.25 x 24.5 framed signed LL Winter On Fifth Avenue, St Patrick's, Flags is an oil painting on linen by award winn...

Cubist Figurative French School, early 20th century circle of Georges Braque (French 1882-1963) oil on canvas, unframed canvas: 45 x 35 inches Provenance: private collection, Paris C...

A dramatic expressionist painting dedicated to the soul of me before cancer, who believed in a benevolent universe, who saw signs and followed them, who somehow thought she would liv...

LA GRANDE FAMILLE, 1963 (THE LARGE FAMILY) Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition: 275 Size: 60 x 45 cm Observations: Lithograph on BFK Rives paper plat...

Mary Cassatt (1844-1926) Maternal Love Engraving after a pastel Signed in the plate On vellum, 50 x 38 cm (c. 20 x 15 in) INFORMATION: Copperplate engraving published by the Galer...

This "Hendrix Fire Letterpress” is an iteration of a Jimi Hendrix portrait I made but never released outside of inclusion in my “50 Shades of Bla...

Dimensions with frame: 53,8 x 44,6 x 3,5 cm. Signed "Guinand" in the lower left corner. This charming mid-20th-century still life depicts a generous bouquet of flowers arranged in an elegant white vase. Painted with a free and expressive touch, the composition combines delicate whites, vivid reds and pinks with deep greens, all set against a warm, muted background. The artist approaches the subject with a distinctly Modernist sensibility, simplifying the forms and allowing color and brushwork to shape the composition. The flowers are loosely and spontaneously rendered, while the sculptural white vase, with its curving silhouette, provides a strong and luminous focal point. The restrained palette of the surrounding interior further enhances the freshness and vibrancy of the bouquet. Both intimate and decorative, the painting reflects the enduring influence of Post-Impressionism on mid-20th-century European still-life painting. Its expressive character and harmonious colors make it an appealing work for both classical and contemporary interiors. rené guinand...

This piece celebrates the women who have upheld the spirit of unity in Nigeria, women whose influence not only blesses this nation but extends across Africa and into the diaspora. Du...

Book page 133 in Chagall Lithographe II (1957-1962), Andre Sauret, Paris, 1963. Reproduction of lithograph created in 1960. Book text in French by Fernand Mourlot. It is the second...

"Temptation", nude, ultramarine tempera on colored paper, inspired by Matisse. Part of Nude in Interior series. An expressive line, revealing the essential of the female sensual bod...