Vertical Art

Medium: offset lithograph (after Leger). Printed on Velin bouffant paper from the Papeteries de Hauteville and published by Edito-Service Geneve in 1980. This reproduces one of the o...

This impressionistic and atmospheric graphite drawing by Gösta von Hennigs (1866–1941) portrays the celebrated equestrian artist Baptista Schreiber within the charged setting in a ci...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

Maria Helena Vieira da Silva Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 100 Size: 10 x 7.325...

Yellowstone Falls Landscape - Original Turn of the Century Oil Painting Substantial and period painting of Yellowstone Falls by an unknown artist (American, 19th-20th Century), c.18...

16 x 20" vintage silver gelatin photograph, multiple exposure male nude. Titled, numbered, dated, and signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Arch...

Walasse Ting Grasshoppers - 1981 Print - Lithograph on Arches Archival Paper   22'' x 30'' Edition: Signed in pencil and marked 170/200 Walasse Ting (DING XIONGQUAN) (October 13, 19...

This is a reproduction of a Francis Bacon's painting Portrait of Michel Leiris, originally created in 1976. This work is a notable example of Bacon's ability to capture the psycholog...

"Meteor Rider" features a contemplative, angelic figure adorned with delicate wings, surrounded by celestial orbs and accompanied by a watchful owl, all rendered in Hiratsuka’s signa...

6128 Portrait of a French woman Set in a gilt frame Image size 15.5x19.5"

Elsa Sroka is a popular contemporary artist based in Colorado, celebrated for her wonderfully creative and evocative paintings. Her work blends elements of realism and abstraction, r...

Elizabeth Zanzinger's (US based) "Market Flowers VI" is a masterfully created realistic oil still-life. This painting measures at 12 x 10 inches, and is framed in a thin black frame...

Contemporary Floral Artwork – "Summer Blooming Flowers in a Blue Vase" – Mixed Media on Heavy-Weight Acid-Free Paper (21 × 29.5 cm / 8.3 × 11.6 in), Unframed “Summer Blooming Flowers in a Blue Vase” is a contemporary floral artwork by French artist Natalya Mougenot, created with a vibrant mix of watercolor and acrylic paints on heavy-weight professional acid-free paper. Measuring 21 × 29.5 cm (8.3 × 11.6 in), this one-of-a-kind original painting is sold unframed, giving you the freedom to frame it according to your taste and interior. The composition captures a lively bouquet bursting with color and texture. Flowers in shades of pink, purple, and luminous white are rendered with bold, gestural brushstrokes, creating movement, depth, and vibrancy. The blue-checkered vase...

Bold abstract painting with pink, yellow, black, brown and white forms by Les (Leslie Luverne) Anderson (American, 1928-2009). From the es...

Jane Peterson Untitled (Harbor Scene at Night), circa 1915 Signed lower left Oil on canvas 20 x 16 inches Provenance Dr. Milton L. Berg, Tulsa, OK Thence by descent Born Jennie Ch...

Henri Matisse (1869-1954) - Femme Bleue Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm. Publisher: Tériade, Paris. First, original edition. The work is in Excellent co...

A fisherman casts his line into a tranquil lake, with a small town visible in the valley beyond. On the left-hand side, a track leads into dense woodland. Signed to the lower right. ...

Artist: Pablo Picasso Title: Head of a Woman with Mantilla (Plate I) Portfolio: Carmen Medium: Original etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" Sh...

This exquisite lithograph by Joan Miro (1893–1983), titled Pleine lune au-dessus de la Terre (Full Moon Above the Earth), originates from the April 1961 folio Derriere le Miroir, No....

After Pablo Picasso (Spanish, 1881-1973) La Grande Maternité 1963 pencil signed and annotated 'E.A.' (aside from the edition of 200), with margins Editions Combat de la Paix, Paris P...

Milan: c1965. Linocut in colors on watermarked CM Fabriano white wove paper, 26 1/2 x 19 inches (673 x 482 mm)), the full sheet. Signed and numbered 62/100 in black grease pencil, a...

'George Hamilton' American actor George Hamilton holidays in Saint-Tropez, on the French Riviera, August 1977. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collection E...

A charming early 19th-century genre scene depicting figures having an altercation in a tavern interior. Unsigned. Presented in a wooden frame with a gilt-painted inner window. On can...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This vibrant still life painting depicts a bouquet of colourful flowers arranged in an ornate vase, set against a striking red tablecloth and dark background. Signed and dated. Prese...

Elisabeth Grace, a visionary artist based in Denver, CO (USA), is renowned for her immersive large-scale paintings, collages, murals, and installation art. With a BA in oil painting ...

An impressive 19th-century copy of "The Little Fruit-Seller", after Bartolome Esteban Murillo (Spanish, 1617 - 1682), by an unknown artist (1...

Brandon Neher is a California artist whose original paintings embody a profound exploration of space, structure, and balance, infused with a touch of modern minimalism. Drawing inspi...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled 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...

An amusing eighteenth-century genre scene depicting a shepherd pausing to rest beneath a tree, whilst his dog barks at a defiant goat. Unsigned. Beautifully presented in a smart blac...

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

Salvador Dali, Spanish (1904 - 1989) - Look Not Upon Me..., Portfolio: The Song of Songs of King Solomon, Year: 1972, Medium: Color Etching with Gold Dust on Arches Paper, signed ...

Artist: John Matos "Crash" Title: American Thunderbird Medium: Lithograph Measurements: 27.5" x 21.5" Edition Number: 12/100 Year: 2003 Condition:Excellent. This piece has been ...

In 1834, William Henry Fox Talbot (1800–1877) saw that silver salts darkened in the sun and invented a photographic process he called “photogenic drawing” — in which images were made...

'Monte Amiata I', photographed in February 2020 for his ongoing series 'A Short History of Milan'. There is a reoccurring linear, structural theme throughout the series, capturing t...

Oil and tempera on cardboard realized by Sirio Pellegrini in 1960s. Hand signed. Includes a beautiful wooden frame cm. 66x54.5.

Scipione Pulzone, called Il Gaetano (Gaeta 1544 - Rome 1598) Holy Family with the Young St John The Baptist and St Elizabeth Oil on canvas A Royal Coat of Arms lower left Canvas size...

This special large drawing on wood board (ready to hang) created by Shizico in early autumn where her Cat and the garden take centre stage. The pictorial language in this series pays...

"Der Schritt" Photography 49" x 39" in Edition of 3 by Kseniya Vashchenko Signed and numbered by the artist. Comes with COA issued by the Artist Not framed. Ships rolled in tube. ...

A colorful, 1930s American Modern figure study watercolor of a standing young male nude model by notable Chicago Institute of Design artist, Eugene Dana. Watercolor on paper, dating...

This stunning original poster by Julio Garcia, dating from around 1940, is a rare and vivid celebration of the Basque Country’s strong ties to the sea. With its bold colors and styli...

Title: Original French Abstract Study or a Rearing Horse and Figure Artist: Robert Ladou (French, 1929-2014) Medium: Pen on paper Size: 6.25 (Height) x 4.5 (Width) Signed: No Condit...

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 (Issued by the Gal...

A charming depiction of a young boy reading a paper titled 'The League'. Inscribed verso 'Sketch by E. Brothers'. Presented in a gilt frame with elaborate foliate ornamentation. On c...

Vintage b/w photograph realized by Henri Cartier-Bresson in 1958. Copyright: Magnum Photos and Agenzia Contrasto. Excellent condition.

Herbert Bayer Sale and Marketing Kiosk for P Cigarettes (Verkauf- und Werbekiosk, Zigarettenmarke P ), 1924 Offset Lithograph Year: 1994 Size: 33.2 × 23.2 inches Publisher: Bauhaus A...

Artist: James Rosenquist (1933-2017) Title: Katonah Muse Year: 1993 Medium: Lithograph in colors on wove paper Edition: A.P. 6/20; 100 Size: 27.75 x 21.25 inches Inscription: Signed ...

A sensitive life study in oil by the artist Bernard Myers (1925-2007), with areas of thick impasto. Signed verso. On paper.

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: signed and dated 62' oil on board, unframed Size : 10.5 x 8.75 inches Provenance: private collection, France Condition: T...

Raoul DUFY Still Life with White Pot and Pears, 1953 Original Lithograph with stencil watercolor With printed signature in the plate On Arches vellum 28 x 38 cm (c. 11 x 15 inch) E...

The experience of nature and daily life feed my work. The materials I use are from the natural world: beeswax and cotton thread. The threads are untwined and dyed with things I consu...

Libby Bothway's detailed and captivating pen illustration, captures the essence of iconic Parisian architecture. The monochrome drawing vividly showcases three adjoining classical Pa...

Original exhibition poster designed by Jasper Johns for Dayton’s Gallery 12 in Minneapolis. Executed as a color offset lithograph on thick paper, the poster features False Start 1 (1...

The original artworks by Canadian artist Julie Naima feature visually appealing abstract compositions with organic shapes that evoke a sense of tranquility and serenity. The harmonious interplay of a few carefully selected colors, and their varied shades, create a nuanced visual experience that is both calming and invigorating. Crafted in a contemporary and modern style, her paintings are infused with a touch of refinement and artistic flair. The use of organic shapes creates a sense of natural flow and movement, while the balanced color palette adds a level of sophistication to the overall design. This one-of-a-kind abstract painting on canvas measures 48 inches in height and 40 inches in width. The sides of the artwork are thoughtfully painted in a complementary shade of blue, eliminating the need for framing and creating a cohesive, finished look. The painting is wired and ready to hang, making it a hassle-free addition to any wall. It's signed by the artist on both the side and back, adding an extra touch of authenticity and value. Free delivery is available for those in the local Los Angeles area, and affordable worldwide shipping is available for US and international art collectors. A certificate of authenticity issued by the art gallery is included with the artwork, ensuring that the piece is an authentic work of art from Julie Naima. Julie Naima is an accomplished artist originally from Montreal, Canada, who currently resides in a tranquil rural town, removed from the frenetic pace of city life. Her creative process is characterized by experimentation, having explored various techniques and media, such as fluid paints, flowy inks, epoxy resin, collage, and mixed media. However, Naima has since returned to exclusively working with acrylics on canvas, with a particular focus on color. Through this dedication, Naima has discovered that colorful abstract art, imbued with positive emotions and good intentions, is what resonates most with her. Naima's impressive body of work can be found in many private collections across Canada, Europe, Australia, and the United States, attesting to the universality of her artistic vision. Her unique use of color and form imbues her abstract works with a sense of energy and dynamism, evoking a wide range of emotions in viewers. REPRESENTATION: Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2023 Artspace Warehouse, Los Angeles, CA 2022 ARTWRK Gallery, Canada Square Foot Show, Online 2020 Solo Show, Forena Spa, St-Bruno-de-Montarville, Canada Solo Show, Crystal Hotel...

Work on wood Golden wooden frame 54 x 47 x 4 cm

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a bunny on gradient resin and diamond dust background with thick use...

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise recoit les Tables de la Loi (Moses Receives the Tablets of the Law), from Marc Chagall, Dessins Pour La Bible (Dra...

Mother and Child signed initials by Irina Hale (British 1932-2022) oil painting on thin card , unframed double sided painting: 5 x 4 inches provenance: private collection, Cotswold...

Hans BELLMER Abstract Erotism Original etching, 1973 Handsigned in pencil by the artist Numbered / 20 (Roman numerals) On Auvergne paper, 57 x 38 cm (22,4 x 14,9 inches) From the P...

This exquisite lithograph by Maria Helena Vieira da Silva (1908–1992), titled Sans titre (Untitled), from the album Ediciones Poligrafa, Barcelona - Redfern Gallery, London, originat...