Miniature Art

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

James Van Fossan's "Back At The Stables (II)" (2024) is an original handmade charcoal and graphite drawing on paper that depicts a cowboy leaning against a sawhorse in a moment of re...

Part of Autumn Collection #3: Pocket Wild Apple is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale oil realistic oil painting...

Painted circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped verso with Victor di Gesu estate stamp. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los...

Directoire Plate is an original decorative limited edition porcelain plate realized in the 1990s. This very rare plate was produced for House Of Ertè in...

Medium: Original Lithograph, Cannes, 10/1/1959, on Arches paper, dated lower left 32.8 x 26 cm - sheet Edition: This was an unsigned and unnumbered edition of 800 Printed by: Mourl...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, Poètes, peintres, sculpteurs, N° 11...

Beautiful watercolor, pen and ink floral study of a purple iris, with brilliant attention to detail and a signature delicate style, by California artist Deborah Eddy (American, b.194...

"M.Y. 3" by Mark Bradley Schwartz is an original oil on board depicting a brunette female in a contemplative pose. A native of Illinois, He began his professional life as a graphic designer and art director in St. Louis, Missouri and later moved to Southern California to further his design career. Although Schwartz’s career was successful, he wanted to pursue work of a more personally fulfilling nature. To reach these new goals Schwartz first attended life drawing classes at Associates in Art, in Sherman Oaks, California. He later studied at the California Art Institute in Westlake Village, California, where he received extensive training in drawing and painting the human figure from life. While studying with famed illustrator Glen Orbik...

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of ...

Marc CHAGALL (1887-1985) Bible : Ruben, Ocean, Sky and Sun, 1962 Lithograph (Mourlot workshop) Unsigned On Vellum 32.5 x 24 cm INFORMATION: Lithograph produced by Chagall in 1962 f...

WELSH LADY IN PURPLE Size: 25.5 x 20.5 cm (including frame) Oil on board A small and engaging portrait composition , painted in a naïve style in oil onto panel, by British artist Ma...

"Pacific ocean blue pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January a...

This dog painting, a stunning black and white ink painting of a sweet Dachshund dog, is a contemporary minimal portrait in black ink on Fabriano 300gsm paper. Ian Mason's portraits ...

SUPER RARE! Invitation Card to private Andy Warhol Memorial Lunch, from the Estate of Tim Hunt, 1987 Offset lithograph card 6 1/2 × 3 3/5 inches Unframed This exclusive invitation to the private memorial lunch for Andy Warhol is an historic collectors item. Few people in the world own this card other than those who were invited to the event and/or their heirs, though it has occasionally appeared at public auction now that another generation has passed. This offset lithograph invitation card to Andy Warhol's Memorial Lunch at the Diamond Horseshoe in the Paramount Hotel bears an image of Andy Warhol's iconic 1967 Marilyn on one side, and on the other side is an announcement that reads as follows: ANDY WARHOL A Memorial Lunch Wednesday, April 1, 1987 The Diamond Horseshoe 235 West 46th Street New York City Special thanks to: Carillon Importers Caffe Condotti Glorious Food All leftover food and flowers will be donated to the homeless program at Church of the Heavenly Rest. Marilyn - Andy Warhol 1967 The provenance of this card is impressive as it comes from the estate of Warhol Foundation curator and sales agent Tim Hunt, who was married to bestselling author Tama Janowitz, author of "Slaves of New York". Tama would describe how she met Tim Hunt as follows:  "Andy Warhol died in 1987. In the long hot summer after, I bought a tiny basement apartment on West 70th Street over by West End Ave. That’s when I met Tim Hunt. A model for Werther’s Caramel and Ralph Lauren who’d gone to Oxford and had a brother who was a famous race car driver, he’d been with Christie’s a few years and had come over from England to work on the Warhol estate. He would later become my husband. Andy would have loved Tim. But the two had never met..." The event in this invitation is the more exclusive Memorial Lunch on April 1st 1987, held prior to Warhol's Memorial Mass at St. John the Divine, later that evening, the latter of which was attended by thousands of people. The press referred to this earlier event as a "Special Memorial Lunch Party" - using the vernacular of the day, as everything in the mid to late 1980s seemed like a party - until it was not. Interestingly, no start time, or even time range, is mentioned on this invitation - something that is rarely if ever missing from such an item; further evidence that it wasn't enough just to get this card; one had to already be in the know to be able to attend. Either that, or the lunch party was going on all day - so invitees could show up whenever they wanted. Or, alternatively, it was simply an accidental omission with no hidden message. And another side note: one of the sponsors of this Memorial luncheon, Carillon Importers, is the holding company or importer for Absolut Vodka, which commissioned Andy Warhol to create a series of advertising ads that would comprise one of the most successful, award-winning advertising campaigns of the era - and the most successful of the company's history. Who attended this event? Probably everybody who was anybody in the nexis of art, celebrity, high fashion and big business. Getty images features photographs by celebrity paparazzo Ron Galella of some of Warhol pals entering or leaving the Diamond Horseshoe for this exclusive event including Dianne Brill...

This lithograph in black ink was created by the artist in 1961. From A Los Toros avec Picasso, this lithograph is dated 6.3.61.III in the stone and measures 10 x 13 in. (25.4 x 33 cm...

Alphonse Mucha's 1898 chromolithograph for the Lefèvre Utile (LU) brand's "Vanilla Wafers" is an iconic work that embodies the Art Nouveau aesthetic and testifies to the artist's cre...

Double Self Portrait in White Mist c. 1970s Signed in black ink, l.r. Vintage gelatin silver print 10 x 8 inches (25.4 x 20.3 cm) This work is...

Lithograph, 1959 Handsigned by the artist in pencil and numbered 234/275 Publisher : Maeght (Paris) Catalog : [Maeght 1036] 20.00 cm. x 30.50 cm. 7.87 in. x 12.01 in. (paper) 10.00 ...

Artist: Slonem, Hunt Title: Green Date: 2022 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14" x 12" Signature: Signed by Artist on Verso Edition: Unique

Pocket Ladybird 2 is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque still lif...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Medium: lithograph (after the poster). Printed in Paris in 1950 by Mourlot Freres, this lithograph faithfully reproduces the original Toulouse-Lautrec poster in a smaller-size format...

Yayoi Kusama Pumpkin (YT), Edition 88/120. Screenprint [3 screens, 2 colors, 3 runs]. Edition 88/120 Image: 29.8 x 22.8 cm. Sheet: 40 x 32.5 cm. Framed: 48 x 40 x 2 cm. Published in ...

Judith Yellin Ginat is one of the most prominent artists working in Israel today. She was born in Jerusalem and is a fifth generation Israeli. Her work has a naive, folk art quality...

A rare and textural abstract wall sculpture by renowned folk artist and preacher Rev. Howard Finster (1916–2001), dated 1992 and numbered 25,000,621. This signed piece is hand-painte...

Victor Arimondi (1942-2001). Portrait, ca. 1975. Period print measures 9 x 12 inches. Artist studio stamp on verso. Victor Arimondi (November 8, 1942 – July 24, 2001) was an Italian American photographer and model who lived and worked in Europe before moving to the United States in the late 1970s. His early fashion photography, his portraits of Grace Jones and other artists, and his male nudes photographed in New York and San Francisco captured the pre-AIDS culture of the 1970s and early 1980s. Arimondi's nudes were collected in several books, including David Leddick's award-winning[1] The Male Nude, (New York: Taschen 1998, 2005 and 2015). The photographer's later work documented homeless individuals in San Francisco's Tenderloin neighborhood and the toll of the AIDS epidemic on the city. His photographs, featured in several posthumous exhibitions, also are in the collections of Sweden's museum of modern art, Moderna Museet, and San Francisco's GLBT Historical Society. Biography Arimondi was born Vittorio Maria Tevitti to his unwed mother, Alessandra Calligaris, in Bologna, Italy on November 8, 1942. His mother struggled financially, which left an impression on her only child. In 1948, she temporarily left him at a children's boarding school and orphanage in Italy to move to Sweden for a job. There she met and married Bruno Arimondi, who adopted her son. The family returned to Naples, Italy in 1952 where Victor graduated from high school.[1] In 1960, Arimondi returned to Sweden to study at the University College of Arts, Crafts and Design in Stockholm, although he did not graduate. Meanwhile, he worked at several blue collar jobs, including as a mailman, before he gave up on traditional full-time work to pursue what he considered more essential— a life of creative expression. He created costume-like clothing for himself and friends and at age 19 became a fashion model. Even as a teenager, the Italian born photographer who spent his 20s and 30s primarily based in Sweden, noted that he preferred fantasy to the trials of real life.[1] That conflict, and his passion for beauty as well as his sexual energy, were major factors in his life and his work.[2] From 1965 through 1972 Arimondi worked as model in London, Milan, Germany, New York and Stockholm, appearing in catalogs and fashion magazines including Vogue , Harper's Bazaar and Esquire and on the runway in several Valentino fashion shows. In 1972 he decided to try working on the other side of the lens as a photographer to better express his creativity.[2] Arimondi moved to New York in 1979 and continued to build his photography portfolio. Portrait of Bearded Man, New York City, 1979 Two years later, in 1981, he moved to San Francisco where he lived and worked for twenty years until his death of AIDS at age 58 on July 24, 2001. The year he moved to San Francisco, Arimondi opened a photo gallery in the Haight-Ashbury neighborhood for a short time. When he struggled financially, he gave up on trying to earn a living through commercial fashion photography and closed the gallery.[3] Arimondi returned to modeling for the financial benefits, though he did so on less of an international scale than in his early years. He continued to create photographic portraits of the denizens of the San Francisco gay and arts cultures, to shoot male nudes and publish his work in magazines, and he began to compose and photograph evocative still lifes using his own photographic images. Many of them touched on the death of dozens of his former photography models from AIDS. Arimondi was in the midst of a new photography project that brought together his background as a fashion photographer and his more recent social documentary work when he died several months after he learned he was HIV-positive.[4] The project featured his former colleague, haute couture cover model Ivy Nicholson,[5] who he found living homeless in San Francisco. Several of the haunting portraits he took of her were later included in a noted group exhibit at SF Camerawork. Art Arimondi's early photography in the 1970s in Stockholm included portraits of the stars of Sweden's fashion, theater and dance worlds. His first two photography exhibits were in Stockholm and met with mixed reviews. But as he matured as a photographer and tapped into his fashion world contacts, Arimondi landed a number of commercial fashion jobs, including shooting for the Italian designer Salvatore Ferragamo S.p.A.'s I.Magnin department store ad that ran in Vogue. Marlboro Man Nude, New York City,1980. He also shot other artists and models for his own portfolio, including Grace Jones, the Norwegian actress, Liv Ullmann, and the American writer, Norman Mailer. Arimondi's aesthetic vision was focused on fantasy and drama, and he prided himself on pushing limits.[6] Although less well-known than his San Francisco contemporary...

This striking hand-colored botanical mezzotint and line engraving is entitled Malus domestica, Pomier, Apfelbaunt (Apple)". It is plate 704 in Johann Weinmann's monumental publicatio...

Original Watercolour of Farmhouse in the Northern Ireland Countryside by 20th Century Irish Artist, D Hall Art measures 8 x 6 inches Frame measure...

In "The Power Within", French artist Natalya Mougenot places a strong emphasis on authenticity, suggesting that true empowerment for women arises when they embrace their most genuine...

Title: French Canal Scene Oil Painting of Whitewashed Buildings Gondolas and Reflections By Fanch Lel Signed: Yes Size: 12.75 x 16.25 inches (height x width) Oil painting on board, u...

Title: Mediterranean Village, Catalonia Artist: José María Vilà Cañellas (Vic, 1914 – Barcelona, 2001) Date: 1941 Technique: Oil on canvas Support: Canvas on stretcher Dimensions (un...

Pocket Yellow Quince by Dani Humberstone [2022] original and hand signed by the artist Oil paint on canvas Image size: H:5 cm x W:5 cm Complete Size of Unframed Work: H:5 cm x W:5 cm x D:3cm Frame Size: H:16 cm x W:16 cm x D:3.5cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Please note that insitu images are purely an indication of how a piece may look. Pocket Yellow Quince is an original oil painting bay Dani Humberstone as part of her pocket fruit series.

Title: Original Oil Painting of Tranquil Greek Landscape with Villa and Cypress Trees Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: ...

Pair of Antique Hand Painted Chinese Vases with Foo Dogs and Inscriptions China, early 20th century Porcelain 17 x 8 x 8 inches Painted in iron red, these Foo Dogs or Imperial Guardian Lions are strong Feng Shui protection symbols which were traditionally placed in front of Imperial palaces, temples, and government offices. They were also a traditional symbol of family wealth and social status and were placed in front of wealthy homes. It is widely accepted that foo dogs were created sometime after real lions...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Work on cardboard Otto Vautier is a renowned Swiss painter, born in 1863 in Düsseldorf. He was influenced by a family of artists and developed his style ...

A fun, vintage collectible by the indomitable Peter Max. The two piece jar is in new condition. Artist: Peter Max, German/American (1937 - ) Title: Zero Year: 1989 Medium: Ceramic Cookie Jar...

Black Cat

Lisa Fricker's "Deep Dive" is an original, handmade oil painting that depicts a portrait of a woman underwater. Through her portrait and figure paint...

Pocket Mauve Anemone 2 (c) is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque ...

The Monkey is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de ...

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts)...

Signed figures in cityscape oil on board circa 1900 by French impressionist painter Luigi Loir. The piece depicts a view of the quai du Louvre by the River Seine in Paris, France at ...

Artist: (after) Ellsworth Kelly (American, 1923-2015) Title: "Ellsworth Kelly: Ferus Gallery (Gate)" Year: 1966 Medium: Original Lithograph, Exhibition Poster on cream wove paper Lim...

Otto Kuhler, 'The Furnace', drypoint, edition 26, 1924, Kennedy 5. Signed and annotated 'Drypoint. Ltd Ed. Del. et imp.' in pencil. Titled in pencil, in the bottom center sheet edge....

Artist : Yoonjee Kwak Title : (3) Bottomless Pit 2 Materials : Porcelain, gold luster, Hand-building Date : 2021 Dimensions : H6.25” W6.25” D11.5” Inch Signed, COA provided Yoonjee Kwak makes sculptural vessels to represent human beings as iconic symbols from the Korean culture. In Korea, when people talk about someone’s personality, they often use “vessel...

Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in a series called Small Deaths published in 2001 by University of Texas...

Sunset to Kyo is a unique painting by Japanese contemporary artist Lumi Mizutani. This painting is made with India ink, Japanese pigments and gold leaves on cardboard, dimensions are...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Planter round. Customization possible and designed in 2010. Also available to order in stainless steel. Here you will find a sturdy and high quality planter for use in your garden a...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

"Kings Remains" 24K Gold Sculpture 8 x 2 in Ed. of 10 by Colin Burn Medium: 24K Yellow Gold, 18K White Gold & Diamonds Edition of 10 NOTE: preparation time may take up to 8 weeks. Pure 24k yellow gold skull and spinal olisbos sculpture featuring an 18k solid white gold royal crown, set with 10 carats of flawless sparkling white diamonds. Sculpture comes with Limited Edition Artist Certificate of Authenticity and Jewelry Certificate of Materials. The crypt of the Kings Remains represents mortality and preserved sexual energy. The sexual spirit lives beyond the grave, etched into history and carried forward by those who have experienced this erotic power. The energy of an erotic past runs through us all, leaving a perpetual sexual imprint for others to follow and immortalize. “The encasing of mind, body and soul as entombed sexual energy, preserved among the ruins of life” - Colin Burn Inspiration & Context - Immortality was the underlying inspiration when creating this sculpture. A Vanitas reflecting on ancient royal entombment as man’s vain attempt to remain immortal by being buried with ones treasures. I wanted the sculpture to represent the encasing of mind, body and soul as entombed sexual energy, preserved among the ruins of life. The sculpture symbolizes how ones sexual energy is at the core of their being and how it can transcend beyond the grave for others pleasure and satisfaction. Materials - Electroformed from pure 24k gold featuring a solid 18k white gold royal crown, set with 10 carats of flawless diamonds. ABOUT COLIN BURN: Australian artist Colin Burn is a bold provocateur in the world of conceptual art, using his work to disrupt societal norms and spark critical dialogue often around uncomfortable truths. His art pushes boundaries, urging viewers to rethink their assumptions on value, power, and meaning, especially in contexts often deemed taboo or overlooked. Known for his masterful fusion of symbolism and opulence, Burn transforms ordinary objects into potent allegories, frequently employing their high monetary value to amplify the emotional and intellectual resonance of his themes. He understands that society frequently ties value to price, and this awareness is central to his approach. With an attention-grabbing allure, Burn’s work invites viewers to look beyond the surface, encouraging them to explore the deeper, often concealed meanings behind what they see—reminding them that true value lies not only in the material cost, but in the idea or theme that it represents. A compelling example of this is his Pearl Royale chess set...

Attitude III is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 41.5 × 14 × 18 cm (16.3 × 5.5 × 7.1 in). The sculpture is signed and numbered, it is ...

PABLO PICASSO (1881-1973) Visage No. 193 (A. R. 493) Terre de faïence plate, 1963, numbered 73/150, inscribed 'Edition Picasso' and 'Madoura', glazed and painted.

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Miró: Cartones, 1959-1965, October - November 1965, 196...