Large Art

This is an aerial photography that was not manipulated or color corrected.

Painting on canvas signed verso Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poet and theorist living in Pagosa Springs, Color...

'Bay of Poets' Lerici, Italy 2023 Limited edition of 10. Photograph shot using mid-century large format film camera Linhof. Printed on archival Hahnemühle Photo Rag Baryta paper...

This exceptionally charming antique Continental oil painting depicts an intimate and tender scene of a mother with her young child, re...

Artist: Jack Graves III (American, 1988-) Title: "Princess Diana Icon V" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Medium:...

In late spring, the high desert floor is still covered with grass and flowering yuccas. Against this colorful backdrop, the artist has captured a burst of sunlight breaking through t...

Norman Parkinson's iconic image of models wear a variety of hats on the roof of the Condé Nast building on Lexington Avenue, New York City. Published in American Vogue on 15th Octobe...

Pierre-Auguste Renoir 1841-1919 French Femme au corsage blanc, Jeanne Samary (Woman in a white blouse, Jeanne Samary Initialed "AR" (lower right) Pastel on paper Among Renoir's most famous works are those that capture the ladies of his inner circle in his signature style. This vibrant pastel from 1879 depicts the young Jeanne Samary, Renoir’s favorite subject and most important muse at the height of his career. Compared to his 4,000 paintings, the artist made exceptionally few pastels—only about 150 total—making this luminous work an extraordinary Renoir rarity. Samary was one of the most captivating figures of late 19th-century Paris. An iconic actress at the Comédie-Française, her fame rivaled that of the great Sarah Bernhardt. Beginning in 1876, Renoir created dozens of portraits of Samary, and she also appeared in all three of the artist’s most important paintings from this pivotal period—Bal du moulin de la Galette (1876), La balançoire (1876) and The Luncheon of the Boating Party (1880–81). Renoir’s close friend and biographer, Georges Rivière, noted that “no portrait ever gave Renoir greater satisfaction than the ones he made of Samary.” This magnificent pastel perfectly embodies this bond between Renoir and Samary. Vivid and spontaneous, the work captures an intimate moment, with Samary’s blouse delicately falling over her shoulder. Renoir typically reserved pastel for his portraits of friends and family, as it allowed him to capture their true essence with speed and ease. The year this pastel was created, 1879, was also one of the most important years of Renoir’s career. He entered the prestigious Salon of 1879, where four of his portraits were accepted, including a full-length masterpiece of Jeanne Samary. This pastel stands as a testament to this pivotal chapter for Renoir, portraying the muse who shaped his groundbreaking vision. Renoir’s portraits of Jeanne Samary are exceptionally scarce, with most already held in prestigious museum collections, including the State Hermitage Museum in St. Petersburg and the National Gallery of Art in Washington, D.C. Similar pastels of Samary have commanded millions at auction—among some of the highest prices for Renoir’s works on paper. Importantly, the artist’s pastels are getting recent museum attention, with the major 2025-2026 exhibition organized by the Musée d’Orsay and the Morgan Library, Renoir Drawings...

Bull dog in a suit Animals dressed up fantasy, surreal Comes ROLLED in a tube Needs framing Artist Y.m.Lo is known for his Wheat Pasted Animals in proper ...

Title: Abundant Energy Energy Painting Abstract Abundant Contemporary Maximalism Bold Unique Contrast Fresh Revival Renewal Texture The Guardians of Abundant Energy is a brilliant...

ARTIST: MARLENA NIZIO (1959-2021) Studied painting under prof. Jerzy Nowosielski at the Academy of Fine Arts in Cracow. She received her diploma in 19...

Judith Brenner Solfrid Dancing Original Figurative Painting Mixed Media on Paper Size: H 84.1cm x W 59.4cm x D 0.1cm Sold Unframed Please note that insi...

THE HAWK is an original hand drawn lithograph by the Argentine artist, Aldo Luongo. Hand printed at Circle Gallery NYC using traditional lithography methods ...

Mixed media & acrylic on canvas Kusbudiyanto is an Indonesian artist born in 1969 who lives & works in Jogjakarta, Indonesia. He started his artistic career in working for a company...

Romeo & Juliet, 19th Century Circle of Lucy Madox BROWN (1843-1894) Large 19th Century English Pre-Raphaelite portrait of Romeo & Juliet, oil on canvas laid to board. Excellent qua...

"From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each ...

This commanding 42x30” original landscape painting offers a vibrant, modern interpretation of the Mediterranean countryside. Bridging the gap between Post-Impressionism and Contempor...

This evocative artwork captures the serene beauty of a sunlit forest, with sunlight streaming through the tall, slender trees that stretch skyward against a vivid blue sky. The inter...

Belgian-born US actress Audrey Hepburn (1929 – 1993) in a street at Paris during the filming of ‘Funny Face’ Original Publication: Picture Post – 8540 – Audrey Dances With Astaire – ...

A beautiful large signed and dated 1943 English impressionsit oil on board depicting horses in a landscape at sunset, by William Ongley Miller. Excellent quality and condition atmos...

"Art in motion" is a series that offers artworks working with matter; concrete, cement, plaster, mortar, and natural pigments. These works are intended to be exhibited in several way...

Wall mirror “with fold” I is a unique mirror-polished stainless steel sculpture by contemporary artist Franck K, dimensions are 92 × 92 × 3 cm (36.2 × 36.2 × 1.2 in). The sculpture ...

This handmade cyanotype monotype presents a serene, atmospheric landscape composed of softly layered mountain forms rendered in nuanced shades of blue. Through the cyanotype process,...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

In creating this artwork, I delved into the essence of nature's transformative beauty, merging abstract and impressionistic techniques with energetic strokes of acrylic. This piece s...

Poster. Measures 39.5 x 30.5 inches and is Unframed. Good/Fair Condition (i.e. white borders have been cropped).

Henry Moret 1856–1913 French La baie de Lampaul, île d'Ouessant Signed and dated "Henry Moret 1897" (lower right) Inscribed "La baie de Lampaul Ouessant" (on stretcher) Oil on can...

This signed and dated 1907 oil on canvas by Gustav Waldemar Leufstedt (1867–1909) represents a refined example of early 20th century Swedish-American landscape painting. Born in Swe...

“Does it Get Better?” is a hauntingly beautiful question that echoes the collective longing of humanity. It's an emotional inquiry that arises from the depths of our darkest moments ...

A bright still life scene by the artist Pierre Thevenet (1870-1937) depicting poppies in a glass vase. Rendered with thick impasto brushstrokes. Signed. There is an additional study ...

ARTIST: MARLENA NIZIO (1959-2021) Studied painting under prof. Jerzy Nowosielski at the Academy of Fine Arts in Cracow. She received her diploma in 1...

Bathed in the warmth of afternoon light, the city glows with golden trees and quiet movement. People stroll, talk, and share the rhythm of the day — each step a reflection of simple ...

Artist: Christo, Title: Running Fences White Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25" x 39" Signature: Signed...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Elegant floral still life of a beautiful spring bouquet in an antique ivory soup tureen by Elizabeth Fitzgerald Forbes (Dallam) (American, 1875-1933). Exhibition placard on verso signed "Elizabeth Forbes...

Summer Bouquet 2022 Still Life oil on canvas, artist signed lower right framed. Zbigniew Kopania, artist painter, cinematographer, born December 21, 1949, in Łódź Poland. Kopania sty...

Bikinis In Haiti 1975 - Slim Aarons Estate Stamped Marni Morrell and Denise Schluscer with a third woman, all wearing bikinis, pose beside a statue on a bridge in Haiti, in January ...

Girl–Spring This work is part of the Becoming series. This work is about a moment of inner unfolding. The woman is depicted calm and focused, as if she already knows herself and all...

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 39 x 31.5 inches condition: the work is in overall very sound and good c...

Pablo Picasso (after) Bullfight, the Arena, 1982 Lithograph (printed in Atelier Mourlot) Printed signature in the plate On heavy paper 89 x 60 cm (c. 36 x 24 inch) Original lithogra...

Some works speak loudly. Emerald Calm does not. It gathers. Across a deep, saturated field, sculptural leaves rise in quiet concentration, forming a center of gravity that feels pr...

"Noon" is a painting that immerses the viewer in the majesty and tranquility of nature, reflecting the soft transitions of light and shadow. Against the background of a pale blue sky...

Orignal NEW ORLEANS GREYHOUND vintage travel poster; larger format size. Excellent condition that has acid-free archival linen backing; ready to frame. This image is from the old French Quarter section of New Orleans. It features two women entering into the courtyard and in the background, the old stairs leading to the upstairs area. A bright and colorful image that would compliment any room or office. A great New Orleans vintage poster...

In this work, two female figures rest on a blanket in the shade of trees, their bodies immersed in the softness and stillness of summer. A black dog lying between them becomes a symb...

Immersed in the serenity of nature, I crafted an intimate scene, awash with the rich tones of oil paint. My brushstrokes breathe life into a dance of blossoms and leaves, enveloping ...

This striking large hand painted limited Edition is No. 2 of only 10 in existence. 90% of the painting is hand-painted in oil and gesso on giclee by Shizico Yi, the edition featuring...

A pair of early 19th century French oil on canvas paintings of a man and woman, probably husband and wife. Neoclassical and Napoleonic in style, these paintings are very well execute...

Artist: Christo, Title: Running Fences yellow Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25.25" x 39.5" Signature: Signed Edition: 1000

Man with a Glass of Wine -  is a modern artwork realized by the painter Adriano De Laurentis. Mixed colored oil painting on canvas. Includes frame. Hand signed on the lower margin.

This stunning abstract artwork was made in 1960, by the well known Italian artist Ermete Lancini. The artwork is a painting and a collage with fabric and other glued elements on the ...

Beautiful oil on canvas painting of a young nude woman sitting on a large rock in a enchanted grotto with two swans. The painting was executed in the 1920's and is in fine original condition. Unlined and housed in its original Stanford White hand carved wood gilt frame. Signed lower left. Provenance: Szynanski Gallery, Beverly Hills; Temple Steel Company, Chicago, Illinois; acquired from the above in 1980. Condition report: Stretcher bar mark center with corresponding light cracks. Born in Knoxville, Tennessee, as a child Naegele moved with his parents to Memphis, where by 1873 he was apprenticed to a tombstone carver at three dollars a week. He also earned money painting...

Artist: Alvar Suñol Title: Figurative Composition Date: c.2000 Medium: Oil on canvas Dimensions (canvas): 81 x 100 cm (31.9 x 39.3 in) Framed: Yes Condition: Excellent Alvar Suñol –...

GREG MILLER "Cocktail Lounge" Acrylic, Collage on Canvas 36 x 36 in. Drawing from the diverse cultural and geographic makeup of his Californian roots, Greg Miller explores his rela...

Portrait of a Noble Lady with her dog attributed to Abraham Lambertsz. van den Tempel, Dutch 1622 - 1672 *see notes below oil on canvas, unframed canvas: 40 x 33.5 inches provenance...

Audrey Atomic by BATIK Pop Artwork of the iconic Audrey Hepburn during filming of Breakfast At Tiffany's. BATIK is an increasingly collectable pop artist currently living and wor...

This diptych explores the sensation of renewal and upward movement associated with early spring. Soft yet dynamic layers of blush pinks, muted greens and luminous light tones interac...

Palms Beach by Stuart Möller Limited Numbered and Signed Edition A silent ocean pictured on the coast. 30 x 40" inches / 76 x 101 cm paper size Archival Pigment Print signed and ...

Early autumn. 1990, cardboard, oil, 70x93 cm Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in different seaso...

Barber Schaumann is a contemporary artist known for her vibrant, abstract interpretations of the female form. Her work combines bold colors with modern, geometric shapes, blending el...

A deep ochre warmth spreads across this generously scaled oil on canvas, measuring H 31.9 in x W 39.4 in x D 0.8 in, pulling the eye across an undulating rural landscape that breathe...