Art by Medium: Wood

"Homage to Malewitsch - Malewitsch is Working" is an original mixed media artwork by Volker Kuhn. The work is hand-signed and numbered by the artist below the artwork on the mat. It ...

Brian Mashburn's painting "Barn Owl" crafted in 2023, is an original oil painting that depicts a close up portrait of a barn owl with a foggy landscape in the background. The artwork...

Night Animal is a unique pigmented artificial stone and wood sculpture by contemporary artist Pavlína Kvita, dimensions are 175 × 75 × 45 cm (68.9 × 29.5 × 17.7 in), including the wo...

"Gotham" is a minimalist and modernist, solid wood wall sculpture that brings bold statement to wherever it is placed. Artist Scott Troxel says "The piece is part of my popular "Sm...

Sculpture LEAF is made of wallnut tree and combined with bronze. An abstract form with organic aesthetic. Interior sculpture, that may looks your place fancy and original. One of a...

This is an 3-part painting / construction (assemblage) created from acrylic paint, wood, glass, and found objects. It includes several historic photograph of figures as well as many scenes from Black African American cultural history. Each piece measures 23" x 7.75" x 2.5", and they can be hung close together or far apart, depending on the buyer's preference. All pieces are wired with the appropriate hanging hardware and are ready to install, no additional framing needed. PROVENANCE: Exhibited in "Portals + Revelations: Richard J. Watson," the African American Museum in Philadelphia, Oct 2021 - Mar 2022. "Most of my works are supported by memories of the past and suggested realities. Issues of social politics, ancestral references, and astral projections are presented with fragmented elements of 'real life' collaged and collapsed, as dreams are prone to do. If connections are made, all the better. I feel that life should remind us of our dreams." - Richard J. Watson Richard J. Watson is an icon in the Philadelphia art world. Much of his work relates to his experiences as a Black African American man. He is a graduate of Pennsylvania Academy of the Fine Arts (1968), has taught at his alma mater, and has served in the Exhibitions Department at the African American Museum in Philadelphia since the 1980s. He has been exhibiting his work for decades, and has an extensive bibliography. His work is held in the Petrucci Family Foundation Collection of African American Art; the Pennsylvania Academy of the Fine Arts; the Uniworld Corporation; Sony; the Federal Reserve Bank; the City of Philadelphia; Sprint; the Church of the Advocate; the poet Dr. Sonia Sanchez; and the Woodmere Museum...

Singularity II is a wood sculpture (walnut) by Wouter van der Vlugt, dimensions are 42 × 65 × 55 cm (16.5 × 25.6 × 21.7 in). It is a unique signed piece and it comes with a certific...

"Untitled I" is an original piece by NDA made from acrylic on cut wood. This pieces measures 24.5”h x 23.5”w. NDA is a public and gallery artist based out of Philadelphia. Although ...

Christ Pantocrator after a Russian icon of the 15th Century. Tempera and gold leaf on gesso over a wooden board. Measurements in centimeters: 38 x 29.5 x 3 cm. / In inches: 14.96 x 11.8 x 1.18 " This is how the artist sums up the technique used by him to create the icon: “The aim of these steps is to create a durable painting. The icon is eternal. The first step is to choose a support, traditionally made of wood, from the center of the trunk to avoid warping it. For this purpose, two hardwood bolts were often used on the back to give the picture panel additional stability. Often a frame is milled out. Then the image carrier is sanded smooth and now 12 or 14 thin layers of gesso are applied and sanded smooth as well. Then the preliminary drawing is applied and the drawing board is prepared with a special preparation called bolus. This bolus can be polished to a high gloss. Afterwards, the gold leaf is "shot" with special brushes. It dries up within a few hours and can now be polished with agate. Gold leaf is real 24-carat gold. Now does the actual process of painting begins. Egg tempera is made fresh from egg yolk, water, and a little vinegar. This is used to prepare the color pigments. Tempera painting is done in numerous layers from dark to light. When the icon is finished, it is left to dry for a few months and varnished with a special varnish called Olifa made from boiled linseed oil and other ingredients”. ABOUT THE ARTIST Oliver Samsinger (Vienna, 1968) began to take an interest in icons in 1990. He undertakes several trips to Bulgaria, Greece, and Cyprus to see in situ the original works treasured in these three countries. This experience will be crucial in his life since the studies carried out in Sofia, the Bulgarian capital, and his stay on Mount Athos...

Bold abstract composition by RH Barnard (American, 20th Century). The backdrop of this piece is composed of rectangular sections of brown, red, blue, and tan. In the center of the composition, there is a black object...

LOOK FOR FREE SHIPPING AT CHECKOUT. ARTIST EXPLANATION OF THE PAINTINGS: In Bloom measures 36" x 36" x 1.5" and is oil on birch panel . Ready to hang with wire on the back. Artist d...

Signed lower right, 'M. Dietrich' (German-American, 20th century) and dated 1963. A powerful, character-driven portrait of the young man, shown gazing directly towards the viewer. w...

Signed and dated "Coraly '06" in the lower right corner. Titled, dated, and signed "Pacific Grove Glory 2006 Coraly Hanson" on verso. Board size:...

Sky Blue Excess by Chloe Hedden captures the serene and infinite expanse of the sky in rich, sculptural texture. The swirling, fluid application of paint evokes the gentle movement o...

Modern Geometric Green & White Kimono, Abstract Expressionist Collagraph Plate #3 Stunning modern minimalism meets abstract expressionism with green, white and black in this unique ...

[Bruce Sargeant (1898-1938)] Single Rower n.d. Signed in red, u.r. Oil on canvas mounted to Masonite 37.25 x 71.5 inches (94.6 x 181.6 cm) $8,500 + $800 framing This work is off...

Gorgeous and vibrant mid century spring garden still life of a vase of pink peonies with a pair of garden gloves in the foreground by listed artist Helen Gleiforst (American, 1903-19...

Canadian sculptor WW Hung has chosen another poignant and powerful pose to explore the human condition in this contemporary mixed-media piece. A nude male sit...

Beautiful double-sided painting of a California nocturnal seascape on one side and a Sierra mountain scene on one side on the other by William L. Hughes. Signed "W. L. Hughes" bottom...

Abstract, three-dimensional standing sculpture in colorful shades of aqua blue, blood orange, green, black, gray, and beige "Play Tower #3", made by Hudson Valley artist, Donise Engl...

FOUR HARPOONS 2021 Paris, France "Four Harpoons" (Abstract, Bold, Neutral, Black Painting on Wood; 50cm x 30cm) Abstract painting. Neutral color palette of black and white on wood....

This painting executed in the Byzantine style is a portrait of St. Nicholas. In the Greek Orthodox Church, St. Nicholas served as an archbishop of the early Church. This portrait is...

Father Rushing Home with an Armload of Gifts, The Saturday Evening Post Cover, December 4, 1909. A charming original cover for The Saturday Evening Post, published December 4, 1909,...

This captivating painting features a reclining nude woman set against a beautifully intricate, floral-patterned backdrop. The composition skillfully merges the softness of the human ...

"JAMÓN JAMÓN I (Reliquary Generalife)", 2019, sold in the frame shown, is one in a series of ceramic sculptures by artist Andrew Cornell Robinson...

Medium: Poplar, concrete, dye As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual l...

A beautiful Modern figure painting of two bathers in a boathouse by noted Chicago Modern artist, Francis Chapin (Am. 1899-1965). Painted at the Ox-Bow School of Saugatuck, Michigan ...

Scott French has over 30 years of painting experience. His work focuses on figures, landscapes, and recently, cocktails. Known for his painterly and expressive style, French uses ric...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Cubist Portrait), 1945, oil on masonite, signed and dated lower middle, 20 x 16 inches, remnant of exhibition label verso, perhaps exhibited at Murry's solo exhibition at the Los Angeles's Screen Cartoonists' Gallery, July , 1945, presented in its original frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry studied at the Detroit Academy of Art and worked as an artist for the Detroit News and Detroit Free Press. Murry traveled to the Bahamas, where he was inspired to paint modernist scenes of island life and people. By the early 1930s, Murry had relocated to Los Angeles, where he caught the attention of Synchromist painter Stanton Macdonald Wright, State Supervisor for the Federal Art Project (FAP) in Southern California. MacDonald Wright enrolled Murry into the FAP. Murry’s Gauguin-influenced painting Sun Image was exhibited together with other FAP artists at the Los Angeles County Museum of Art in 1936, and Murry was also included in the FAP exhibit at the Paris Exposition in 1937. Stendahl Galleries in Los Angeles, the Chamber of Commerce Gallery in Santa Barbara, and at the Los Angeles County Museum of Art also showed Murry’s work during the 1930s. Murry created a murals for Los Angeles Water & Power Company, the Boise, Idaho Post Office, and Glendale Junior College. In 1939, Murry's work was exhibited at the Golden Gate International Exposition and the New York World's Fair. He also was included in the All California Exhibition at the Los Angeles County Museum of art that same year. He went on to exhibit in Los Angeles at the Foundation of Western Art's Trends in Southern California Art shows in 1940 and 1941, at Raymond and Raymond Gallery in Hollywood and USC’s Elizabeth Holmes...

*New Year Inventory Renewal Sale - 90 Days Until April 30th* *This Price Won't Be Repeated Again This Year* Absolutely and positively one of a kind Dragon Sculpture Masterpi...

"Clover" Wood Wall Sculpture- 2024 Matte Acrylic Paint on solid maple wood. Finished on three sides and ready to hang. Scott Troxel draws on the aesthetics of bygone technology and ...

A beautiful, moody & atmospheric summer landscape painting by South Carolina artist June Rutledge, ca. 1925. Artwork size: 24" x 30". Rutledge...

Ultra Realist Library Still-Life Books and Candles "Little Devil in the Details" Highly detailed library interior scene and still-life titled "Little Devil in the Detail" by Ken DeWaard (American, 20th-century). This intriguing artists performance in excellence piece, features realistically rendered books, paintings within paintings, candle light, and a devil or gargoyle sculpture. The artist creates a strong mood as well as interesting subject matter in this unique scene. Signed "Dewaard '99" upper right. Displayed in a wood frame. Image size, 13"H x 14"L. Frame: 20"H x 21"W x 2"D After receiving his Bachelor of Arts with honors, Ken began working in a commercial art studio in Chicago. He continued his studies at the American Academy of Art, where he studied with nationally recognized watercolorist, Irving Shapiro. Upon Irving's recommendation Ken joined the acclaimed Palette and Chisel Academy of Fine Art in Chicago, where he soon began studying with Scott Burdick as well as Dan Gerhartz...

Opera di fine 1800, Cornice originale restaurata in più punti The "Sacred Heart" is often associated with Catholic devotion, representing the love and compassion of Jesus. This dev...

This miniature drawing may be displayed on a wall or worn on a chain. Bio // ROBERT KRAIZA (pronounced: cry-zuh) is an illustrator and fine artist who lives and works in Philadelphia, Pennsylvania. He studied Media Arts and Animation at the Art Institute of Philadelphia. Interested in many media, he often paints in monochrome watercolor on a small scale, inspired by the Victorian era and whimsical dreams in both his art and personal aesthetic. Depicting fantasy worlds from the hidden life of nineteenth century witches to miniature children...

Artist Len Klikunas paints to modify experienced reality through visual perception. His art is a mix of art and architecture, hovering between painting and sculpture. It employs shiz...

This sculpture titled "Hotel (Blue/Red)" is an original artwork by Drew Leshko made of paper, acrylic, basswood, and pastel. This piece measures approximately 12”h x 12”w x 5.5”d. D...

large format photograph by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Pan di Zucchero...

His first name sounds like a concerto. Vivacious, its name is reminiscent of an aperitif or a cyclist. The addition of the two evokes the Italianate. Indomitable and unavoidable. Mor...

Vintage Grand Canyon Impressionist Landscape Majestic impressionist landscape of the Grand Canyon in beautiful vivid colors by an unknown artist (American, 20th Century). The viewer...

A pair of Meiji period, late 19th Century Lacquerware (漆器, shikki) miniature cabinets on stands. The decorative panels are of very fine quality. The cabinets are a 'true pair' that i...

Work composed of a wooden frame supported by a high-quality cotton fabric. I have used acrylic and enamel paints to make the composition and generate relief and shapes. I want to fu...

Mitzy Renooy Timeless 160 x 120 cm acryllic on canvas Dutch artist Mitzy Renooy, a former camera woman for national television, went to art academy to learn to paint in an own styl...

Fredric Karoly (1898-1987). Etude, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Inspired by the colourful fields filled with wild flowers and the low light of the September sun near where Rachael lives. Rachael Dalzell’s paintings...

Alexandre de Spengler (1893–1973) was a Swiss painter and engraver active in Geneva and Paris. He is known for his land and seascapes, as well as...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Unique variant from an edition of 473 100 x 100 cm (39.4 x 39.4 in) Signed on the front Mint. Sold in...

Signed lower right: Johan Arsenius and dated 1858 or 1853, attributed Johan Georg Arsenius (1818 - 1903), was a Swedish military man, painter and draftsman. Up for sale is important ...

In this painting the artist Larry Abramson depicts an abstract landscape with a high degree of simplification, taking references from the stylistic conventions of conceptual and minimalistic neo avant-garde art movements. Here, the artist applies thick layers of paint allowing for a textural feeling on the surface of the canvas. LARRY ABRAMSON South Africa, b. 1954 Larry Abramson is a South African-born Israeli artist. Born in 1954, Abramson and his family immigrated to Jerusalem in 1961. Shortly after graduating high school, Abramson entered London's Chelsea College of Art and Design in 1973 where he studied a Foundation Course. In 1975, he held his first solo exhibition. Abramson continued to develop his style, combining abstraction and figurative art to create dynamic situations. Upon returning to Israel, he worked as a printer and curator of exhibitions at the Jerusalem Print Workshop until 1986. In 1984, he joined the teaching staff of the Bezalel Academy of Arts and Design in Jerusalem and, in 1992, was appointed head of the Fine Art department. In 1996, he founded and headed the Bezalel Program for Young Artists, the first Master of Fine Arts program in Israel. He served as a guest lecturer at the San Francisco Art Institute in 2000 and 2003. In 2002, Abramson continued to be a leader in art academia by planning the establishment of a new art department at the Shenkar College of Engineering and Design in Ramat Gan, Israel. He is a founding member of Artists Without Walls, a dialogue group of Israeli and Palestinian artists. Throughout his career as an artist, Abramson has been the recipient of numerous awards including the Jacques Ohana Prize, The Minister of Education Culture Prize, and the Mendel and Eva Pundik Prize for Israeli Art. He has shown at prestigious group and solo exhibitions around the world and, in recent years, held two special museum projects, "Searching for the Ideal City" at the Magnes Museum, Berkeley (2005), and "Mini Israel" at the Israel Museum, Jerusalem (2006). Larry Abramson was born in Durban, South Africa. In 1961, he immigrated to Israel with his family and settled in Jerusalem. He studied art with Yona Mach at the Hebrew University High School and devoted much time to painting. In 1970, he signed the High School Seniors Letter protesting the Israel government's foot-dragging on the subject of peace. In the early 1970s, Abramson studied art history at the Hebrew University of Jerusalem and moved to London to continue his art studies, but only remained there for one year. In 1975, he began to work in printmaking. He became an instructor and curator at the Jerusalem Print Workshop and began exhibiting in Jerusalem galleries. In 1984, he began to teach at Bezalel. His work in the 1970s and 80s quoted from art history as a tool for critical reflections on art. This was particularly evident in "Anatomical Painting" (1980-1983), "Nevo" (1984-1986) and "Column" (1988). In 1992, he was elected chairman of the Fine Arts Department of Bezalel. In 1996, he received his professorship. In 1995, he showed his series, Tsooba, which explored the politics of Israeli landscape and aroused great public debate. From the 1990s, he published many essays on the link between art history and the political and social significance of art. Major works from this period include "The Return of the Black Square" and a series of drawings, "The Pile" (2002-2004). Education 1972 Art History, Hebrew University of Jerusalem, Jerusalem 1973 Chelsea School of Art, London, UK 1971 Hebrew University High School, Jerusalem, art with Yona Mach Teaching 1984-92 Bezalel Academy of Art and Design, Jerusalem 1992-96 Bezalel Academy of Art and Design, Jerusalem,Head of Fine Arts Department, 1992-96 Bezalel Academy of Art and Design, Jerusalem, Head of Young Artists Program, 2000-03 San Francisco Art Institute, California, USA, Guest Lecturer, 2002 onwards Shenkar College, Ramat Gan, Professor of Art, Multidisciplinary Art Department, Awards And Prizes 1978 Beatrice Kolliner Prize for a Young Israeli Artist, Israel Museum, Jerusalem 1988 The America-Israel Cultural Fund Scholarship 1991 Jacques and Eugenie Ohana Prize for a Young Israeli Artist, Tel Aviv Museum of Art, Tel Aviv 1993 The America-Israel Cultural Foundation, Sharett Fund Scholarship for a Young Artist 1998 Prize, Ministry of Education and Culture 2007 The Mendel and Eva Pundik Foundation Prize for an Israeli Artist, Tel Aviv Museum of Art, Tel Aviv Genia Schreiber University Art Gallery, Tel Aviv Abramson, Larry Avigdor Arikha, Dei Ben Shaul, David Michail Grobman, Michael Gross, Uri Lifschitz, Ofer Lellouche, Menashe Kadishman, Shaul Schatz and others Sarig - in Israeli Paintings Israel Pollak School of Art Kalisher Five, Art Sc, Tel Aviv Abramson, Larry Menashe Kadishman, Pinchas Cohen Gan, David Reeb, Arnon Ben David...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Mid-Century Modernist Multi-Color Bouquet Still Life Vivid and fun mid century modern still-life of vase of flowers by California artist Virginia Sevier Rogers (American, 1917-2015). A CAL Berkeley...

This artwork captures all the beauty of the German valley in the lower Alps, showcasing a breathtaking scenery that includes ruins atop high hills, hazed mountains in the distance, s...

Brand-new work completed in June, 2024. This original oil painting on birchwood panel is painted in a creamy pale green and translucent spring green and has a slight sheen. This is t...

Large format photograph of a summer beach scene on the Mediterranean island of Lampedusa, from an earlier body of works (2012) by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Lampedusa (2012) 61.25” x 81.7” / 156 cm x 207,5 cm limited edition of 6 + 2AP (signed, titled and dated on certificate of authenticity) last available edition: AP1 original archival photography print with diasec (acrylic glass) face mount in contemporary white lacquered gallery frame Each limited edition original Massimo Vitali photograph is printed in Italy under artist supervision in strictly limited edition (6 + 2AP) , signed/titled/dated upon final inspection and expertly framed at renowned European art framing facility Disclaimer of authenticity: although it is possible to acquire (small size) single page offset prints from the book "A Portfolio of Landscapes and Figures" (published by Steidl) in the secondary market, the artist studio strongly dissuades collectors from purchasing these single page prints outside of the context and authenticity of the complete portfolio. About the artist: Massimo Vitali was born in Como, Italy, in 1944. He studied photography at the London College of Printing, in the 1970s initially working as a photojournalist, but at the beginning of the 80s a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. Vitali worked in cinematography for film and television before beginning a fine art practice in 1995. Over the next two decades, he would gain recognition for his highly detailed, epic-scale panoramas — sociopolitical observations of the natural habitat of humankind at leisure. Vitali’s iconic series of beach panoramas, captured from a distance with an elevated large-format camera platform, began in the light of drastic political changes in Italy. Drawing inspiration from Renaissance and Old Flemish masters, in which the central space is fully exploited and the urban or natural landscape becomes the background, Vitali’s photographs grasp the viewer by capturing highly detailed observances of the recreational habitats of modern civilization. Vitali’s work has been collected in six monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, Swimming Pools, Short Stories and Entering A New World. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris and the Museo Luigi Pecci in Prato. Massimo Vitali lives and works in Lucca (Italy) and in Berlin (Germany). __________________________ SOLO EXHIBITIONS 2025 94/22 Zander Galerie, Cologne 2024 Photolux Festival - Il bel paese? Palazzo Ducale, Lucca, Italy 2023 La Grande Oasi - The way we live, now OCA, Oasy Contemporary Art, Pistoia 2023 Standing Still Cortona On The Move, Arezzo, Italy 2022 Massimo Vitali PhotoESPANA Biblioteca Central Cantabria, Santander 2022 Endless Summer Edwin Hook Gallery, New York 2022 Massimo Vitali: Leporello 2020 Melbourne 2022 Ti ho visto Mazzoleni Gallery, Turin 2021 PienoVuoto Forte di Belvedere, Florence 2021 No Country For Old Men Visionarea Art Space, Rome 2020 'Human Constellations' Museo Ettore Fico, Turin 2019 Massimo Vitali: Short Stories' Mazzoleni, London 2018 'Coastal Colonies' Spiral, Tokyo 2017 ‘Disturbed Coastal Systems’ Benrubi Gallery...

In her Quebec studio, ceramic artist Paula Murray uses her own recipe for porcelain clay that she hand-shapes into beautiful and intricate pieces. Inspired by forms and patterns foun...

"Silver Duet" is a framed oil painting on wood by Hunt Slonem, depicting a pair of the artist's iconic rabbits in expressive contour lines set against a painterly metallic background...

Wonderful mid century abstract expressionist landscape of bridge over water cityscape, circa 1960. Illegible signature lower left ("Aioli"?). Conditi...

“Coral Gardens” is an interpretation of the experience we had in the Great Lagoon of Rangiroa, a pristine and tranquil spot in the South Pacific. To catch a sense of motion and flick...