Oversized Art

Abstract Universe Composition In Red Artist signed verso, oil on canvas 60hx48w JARO was born in 1934 Prague the Czech Republic. Since his childhood, he enjoyed his art class at scho...

"Insignia" #1 Hand Made Paper Aquatint Abstract Tactile Abstract on handmade paper by David Dodsworth (English, b-1952) David’s work is typified by his...

Painting on Panel signed verso Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poet and theorist li...

chalk pastels, acrylic paints, spray paints My paintings explore the relationship between elements such as the skies, the oceans, the natural environment such as the formation of rocks, cliffs, and weathered material. In my work, I aim to bring together certain properties of each of these elements to create an experience and understanding of the world and the contrasting relationships between each of these ideas. The use of texture in my work is formed using material which has been subjected to the forces of the weather, and I love to use ‘untouched’ and ‘natural’ material in my work to form the basis of all my paintings. It is the idea of bringing together a number of natural materials in my work that inspires me. The contrast between elements such as the roughness of the texture, the smoothness of the ink or paint. and the reflection of the metallics brings about a composition and structure that is unique. The impact of the weather, space, and seasons has been important in determining the structure of each of the paintings and the way the different elements and materials react to one another. The use of ink in my work has been a work in progress that I have been experimenting with over the past year. The use of this new medium has proved to be invaluable to the message and direction that I would like my work to take. On each of the works, I manipulate the Ink using air from my mouth as I want to form a stronger relationship with the canvas and the way that the ink Is manipulated. I have particularly enjoyed the added contrast which has been created between the variety of mediums being used. Textured mixed media original abstract painting by Rajan Seth.

Born into a family of artists in Utrecht in 1986, Patrick’s passion for painting was fostered from an early age in an environment that valued creativity. Inspired by his parents’ dee...

This painting is part of a series that is influenced by trying to find simplicity and beauty in todays chaotic world. I start each painting with a feeling; be it hope, despair, happi...

Bettina Mauel, an internationally collected artist, effortlessly channels vitality and sensuality through her awe-inspiring collection of abstract and figurative paintings. With an u...

Wenten Rubuntja (1926-2005) Title "Emu Dreaming Aboriginal Painting Size: 182x275cm year: 1987 Acrylic and Pigments on canvas inscribed verso with Avant Galleries cat. no. 242 ...

This work is a part of the "Chaos and Control Theory" Series - the artist's signature series. It was created with the pages from an Oxford Dictionary of Quotations. This technique gi...

Horizontal bars of blue, maroon, cherry red, pink, lemon yellow, burnt orange and green communicate on a soaked sand-coloured ground in the two panels that form this 9-foot square acrylic diptych painting on canvas. The rhythm of the spaces between the short lengths of colour creates a dialogue of movement that leads the eye upwards through the large picture plane. About the inspiration for the work, the artist wrote: "This is one of the rare paintings that I saw clearly in a dream and painted almost exactly as I saw it. It relates back to the four-panel work, Lock-Up (1972), done a couple of months earlier, where I used the physical break between panels as an edge to anchor some colour bars. In Phoenix, some bars are anchored while others float within the larger ground colour." This painting was included in the exhibition catalogue Milly Ristvedt-Handerek: Paintings of a Decade (1979). Milly Ristvedt, RCA, began her career in Toronto in 1964 after studies with Takao Tanabe at the Vancouver School of Art. In Toronto, during the 1960s and 1970s, she was making and exhibiting large-scale paintings alongside a small but defined group of non-figurative painters who, like Ristvedt, had planted...

Each color in this impactful painting was hand mixed with mica particles and iridescent mediums to make the lavender, orange, yellow, purple, blue and teal all pop and shine. The col...

Blue Red Yellow Abstract Oil Painting 72H X 48"W, Vivid Dreams, Irena Orlov Oil on Stretched Canvas SPECIFICATIONS: - Artist-grade canvas. - 1" deep wooden support bars - Gallery Str...

Very large Contemporary powder coated aluminum sculpture for inside or garden outdoor spaces. Beautiful spiral dancing and intertwining. This is a large scale outdoor or indoor scul...

Vibrant and expressive, this circa 2013 acrylic on canvas diptych by noted Colorado artist Rita Derjue (1934–2020) captures a dynamic abstract interpretati...

"Don't be afraid, Step into the world I frequent. Luminescent stones light a rock path beneath the translucent stream. Through the waterfall, into the staircase. Take my hand, let's relearn together." -Shannon Ewing...

Original artwork by Spanish artist Rafael Ruz. Acrylic in perfect condition. While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the sam...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

This artwork presents a dreamy blue abstract scenery by contemporary artist Sophie Pollock. With its soft nuances of blue and white, the color palette creates a soothing and serene a...

Belgian artist Greet Helsen masterfully layers acrylic paint with the effervescent transparency of watercolors in her large mixed-media abstract paintings. Reminiscent of abstract ex...

Mexican-American visual artist Javier Arizmendi-Kalb’s expressive and texturally rich paintings are nuanced with symbolic and narrative motif in oil and oil-crayon on canvas. 'Hacked...

"Mas Rojo", as hte name implies, is "More Red" in an Oil on Canvas painting. Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of o...

This colorful abstract acrylic painting is by Canadian artist Milly Ristvedt. Inspired by modernist mentors, in the 1970s Milly Ristvedt used simple formats on raw canvas to displa...

Nick Thomm - ONYX - SET (XL SIZE 36" x 48" per print). Limited Edition #15 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW -...

Antique American signed abstract expressionist oil painting. Oil on canvas. Signed. Framed. Image size, 41.5L x 31.5H.

mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from Christian Stoll‘s body of works titled 'Hemisphere' Hemisphere I by Christian Stoll 58 x 58 inches (147 x 147cm) signed edition of 7 48 x 48 inches (122 x 122cm) signed edition of 7 40 x 40 inches (102 x 102cm) signed edition of 25 archival fine art pigment print signed + numbered by artist on certificate label „frameless“ glass face mounting available on request _________________________ Christian Stoll has experimented with the photography medium since 1991. His predominant interest is the still-life on a monumental scale. As his subject matter, Stoll shoots static objects, forms...

Untitled XLVI is a unique oil on free-standing canvas painting by contemporary artist Ferle, dimensions are 200 cm × 140 cm (78.7 × 55.1 in). The artwork is signed, sold unframed and...

Nina is an artist, ceramist and colorist with 20 years of professional experience and a lifetime of art appreciation. Originally from Virginia and having traveled and lived extensive...

Superb original British abstract oil painting, from the 1980's period. The painting is by the hitherto undiscovered abstract painter Isaiah Gerard Calleja (1936-2016), who was base...

Acrylic painting on canvas Fluid, expressionist, abstract, moder, minimal style. Unique piece impossible to replicate Unframed

Artist: Jeanick Bouys, French (1950 - ) Title: No. 217 Year: 1983 Medium: Oil on Canvas, Signed on Verso Size: 42 x 52 inches (106.68 x 132.08 cm)

This large abstract statement painting by Kelly Rossetti is made with oil paint on gallery wrapped canvas. It features a cool, muted blue, beige, and grey palette with a strong horiz...

Large scale abstract landscape of a city inspired by graffiti painted in the style of Abstract Expressionism. Signed by artist in lower right corner. Currently unframed, but framing ...

Sam Francis (1923‐1994) UNTITLED [SF69-005] acrylic on paper 104.7 x 74.9 cm (41 1/4 x 29 1/2 in) Executed in 1969 Signed and dated on the base This work is identified with the int...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 30 1/4 × 40 1/2 inches Unframed Commissioned by the Mr. and Mrs. Albert A. List Graphic Fund for The Jewish Museum, New York Signed, numbered and dated in graphite pencil on the front; bears publishers' blind stamp front left corner. Commissioned by the Mr. and Mrs. Albert A. List New Year's Graphic Fund for The Jewish Museum, New York. During the 1980s, various artists were commissioned to create a print celebrating the Jewish New Year. This is the silkscreen renowned sculptor Nancy Graves created to celebrate the year 5745 of the Jewish Calendar, beginning in September 1984 (Rosh Hashanah). This work was published in a limited edition of 90. The number 90 has special significance in Jewish gamatria (numerology) for several reasons, including the fact that it equals five times life - or Chai. The number for Chai, meaning "Life " s 18, and 18 x 5 = 90. This is a magical number in Judaism. All of the works were published in editions that were multiples of 18, or the Life. In her lifetime, Nancy Graves did not receive the renown or acknowledgement that her ex-husband and former Yale School of Art classmate Richard Serra did, but she is finally getting the recognition she richly deserves. Biography: Nancy Graves (1939 – 1995) is an American artist of international renown. A prolific cross-disciplinary artist, Graves developed a sustained body of sculptures, paintings, drawings, watercolors, and prints. She also produced five avant-garde films and created innovative set designs. Born in Pittsfield Massachusetts, Graves graduated from Vassar College in 1961. She then earned an MFA in painting at Yale University in 1964, where her classmates included Robert Mangold, Rackstraw Downes, Brice Marden, Chuck Close, as well as Richard Serra with whom she was married from 1964 to 1970. Five years after graduating, her career was launched in 1969 when she was the youngest artist — and only the fifth woman — to be selected for a solo presentation at the Whitney Museum of Art. Graves’ work was subsequently featured in hundreds of museum and gallery exhibitions worldwide, including several solo museum exhibitions. She was awarded commissions for large-scale site-specific sculptures and her work is in the permanent collections of major art museums. A frequent lecturer and guest artist, her work was widely documented during her lifetime. In 1991 she married veterinarian Dr. Avery Smith. Graves travelled extensively and was fully engaged with the cultural and intellectual issues of her times. Her brilliant career and life were cut short by her untimely death from cancer at age 54. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps, commingling scientific exactitude with abstraction. Resuming sculpture in the late 1970s, Graves was among the first contemporary artists to experiment with bronze casting. She re-invigorated the traditional lost wax technique by assembling cast found objects into unique improbably balanced sculptures, with bright polychrome surfaces and distinctive patinas. Throughout the 1980s Graves became widely recognized for her increasingly large and graceful open-form sculpture commissions. At the same time, she also expanded her drawing, painting, and printmaking practice and made large gestural watercolors. Then, in the late 1980s she created wall-mounted works that combined her explorations of sculpture, painting, form and color. In these large-scale pieces, she mounted high relief polychrome sculptural elements to the surfaces and edges of painted shaped canvases so that patterned shadows were cast onto the paintings and surrounding wall. By the 1990s Graves was casting in glass, resin, paper, aluminum, and bronze, combining these varied materials and colors into daring sculptures with moving parts. As she proceeded in all the media she mastered, Graves increasingly re interpreted and transmuted forms sourced from her own earlier artwork — rather than from outside research — creating elaborate compositions that form a layered a-temporal archaeology of her own visual production. Nancy Graves’ pioneering art...

Simplicity doesn't mean lacking effort or creativity Simplicity is getting rid of the elements that don't add value to a piece of art, a concept or an expression But simplifying is...

Salvaged Book Abstract Wall Sculpture, Contemporary Installation Made to Order MADE TO ORDER Turnaround Time is typically 4-6 weeks depending on the waitlist. This sculpture was mad...

A bold, intensely color-saturated painting from Stephen Henriques, who is influenced by Bonnard and Vuillard, and the western landscape and its light. When referring to his oil on ab...

Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address. The ...

Life is often perceived as linear, a flat process with no return. Leben contradicts this belief and exposes the countless deviations that the path could take. This piece represents l...

AVEC DES ÉPINES 2024 Paris, France The French title of the work translates in English to "With Thorns". The painting captures the rose’s mysterious allure, balancing beauty with an...

Alejandro Rubio Fractured Land #3, 2018 Acrylic on canvas 55 x 55 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars. This painting is p...

Larry Zox Jean Jean, 1964 Signed, dated, and titled on the stretcher Liquitex on canvas 58 x 62 inches Provenance: Solomon & Co., New York Private Collection, NJ Estate of the above, 2023 Committed to abstraction throughout his career, Larry Zox played a central role in the Color Field discourse of the 1960s and 1970s. His work of the time, consisting of brilliantly colored geometric shapes in dynamic juxtapositions, demonstrated that hard-edge painting was neither cold nor formalistic. He reused certain motifs, but he did so less to explore their aspects than to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his essay for Zox’s solo exhibition at the Whitney Museum of American Art in 1973. By the 1970s, Zox was using a freer, more emotive method, while maintaining the autonomy of color, which increasingly became more important to him than structure in his late years. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler for the Gallery of Modern Art, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, Zox was represented in the inaugural exhibition of the Hirshhorn Museum, which owns fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University. While studying at the Des Moines Art Center, he was mentored by George Grosz, who despite his own figurative approach encouraged Zox’s forays into abstraction. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with the visiting fighters. He later established a studio in East Hampton, where he painted and fished including using a helicopter to spot fish. In the 1950s and early 1960s, Zox’s works were collages consisting of painted pieces of paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of intense hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. From 1962 to 1965, he produced his Rotation Series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack...

In creating this work, I harnessed the fluidity and spontaneity of acrylics to explore a dynamic interplay of forms. Inspired by nature's unpredictable beauty, my brushes danced acro...

Drawing inspiration from an immersive and impressionistic interpretation of nature, Canadian artist Vé Boisvert paints textural original artworks that capture the fleeting effects of...

Large Geometric Abstract Oil Painting on Masonite No visible signature 36 x 48 unframed, 37.5 x 49.5 framed

The Wilder Shore of Love is a paean to the south coast, the celebration of distance, natural power and shoreline. The colours reflect those one finds at the edges of city, where the...

Title: Blue Fish of Cities and Dreams - The Red House Large and strikingly beautiful abstract expressionistic artwork. This piece will create a beautiful focal point in any collecto...

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

Abstract Expressionist Composition signed by Gilbert Pelissier (French born 1924) oil painting on canvas, unframed dated 87 canvas size: 35 x 45.5 inches condition: overall very good...

Artist: Kikuo Saito, Japanese (1939 - 2016) Title: Beggar's Ladder Year: 1980 Medium: Silkscreen, Signed and Numbered in Pencil Edition: 160 Size: 42 in. x 29.5 in. (106.68 cm x 74.9...

Jacqueline Jandrell is an emerging artist who is South African by birth. She immigrated to the UK with her family after the loss of her father and grandfather. Becoming an immigrant ...

Untitled #3, 2019 by Natasha Zupan Mixed Media, paper hand sewing to a stretched canvas Size: 36in. H x 60in. W x 4D _____________________________________ Natasha Zupan's body of w...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Authenticity, guaranteeing its originality and provenance. We offer secure worldwide delivery to any address you specify, ensuring that your purchase arrives in pristine condition. If you require additional shipping options or a bespoke quote from our trusted network of carriers, please do not hesitate to contact us. Our team is here to help you find the best solutions for a smooth and secure delivery experience. Elisabet Urpí Ràfols and Nacho Umpiérrez Fripp, collectively known as ELIURPI, are the creative duo behind our brand. Based in Barcelona, we specialize in shaping unique pieces through a fusion of culture, architecture, and contemporary art. Founded 14 years ago, ELIURPI originally gained recognition for our sculptural hats. Over time, our artistic scope has broadened to encompass sculptures and art-design pieces. Recently, we showcased our latest creations at the Milan Fair, including an individual exhibition at Palazzo Litta titled "Shadows and Poems," inspired by Junichiro Tanizaki’s "In Praise of Shadows," which extols chiaroscuro as the pinnacle of beauty. Raffia served as the central material uniting all exhibited pieces, creating a harmonious narrative throughout the exhibition space. Our professional and personal lives intertwine, enriching our distinctive artistic language that blends cultural traditions with contemporary aesthetics. We draw inspiration from the interplay of light and shadow, while craftsmanship, creativity, and integrity guide our use of natural materials such as wood, straw, raffia, linen, and silk. Notable milestones include our ongoing exhibitions during ARCO week in Madrid, as well as appearances in international art galleries and craft biennials. In 2023, our work "Sculptural Head Object...

Petra Rös-Nickel’s original paintings merge playful forms, bright colors, and architectural compositions in oil and mixed media on canvas. Her contemporary artworks contain rich text...

Unknown Artist, Signed on Verso Untitled, circa 1960s Oil on Canvas 36" x 42" Housed in a Slat-wood frame Overall Size: 36 5/8" x 42 1/2" Appears to be in very good condition.

Elevate your space with this large original, gradient of blue, abstract painting! Made on stretched heavy canvas, the edges are painted for a polished look. The glossy varnish not on...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...