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Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

Figurative ceramic sculpture with Shino glaze, textured carborundum surface and a porcelain head topped with an amanita-like form. This ceramic sculpture belongs to Óscar Aldonza’s E...

Color screenprint, 1972. Signed by the artist and dated in pencil, lower right margin. Numbered 24/60 in pencil lower left,. Printed and published by Workshop, Inc., Washington, DC...

Artist Comments
Artist Catherine McCargar illustrates alluring red flowers in a background of white. She captures the delicacy and transparency of gorgeous poppies she noticed in a local public garden. She creates a somewhat stylized arrangement of blooming stems. "It is punctuated by the addition of the buds as they dangle before bursting forth the seed capsules that remain after the petals drop," says Catherine.

About the Artist
Impressionist Catherine McCargar expresses her deep admiration of nature through landscape paintings of Northern California...

Louis Emiel Chappel (1888-1963) floral still life II oil painting, circa 1950s Beautiful full basket bouquet of flowers on a pedestal by listed artist Louis Chappel. Original oil o...

Antoine DE SAINT-EXUPERY (1900–1944) (after) Ecology: The Little Prince Loves the Earth, 2022 Colored photolithograph based on the work of Saint-Exupéry On laid paper 20 x 30 cm (c....

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

Sea , 40x50 cm, oil on canvas

KAWS Black Flayed Companion 2016. A rare, out of print KAWS figurative sculpture new and sealed in its original packaging. Published by Medicom Japan in conjunction with the exhibiti...

Jean-Michel Basquiat Pez Dispenser (1984) Made of 7 ply Grade A Canadian Maple Wood 31 1/2 × 7 9/10 in 80 × 20 cm

Artist Comments
A mother watches as her child searches for small treasures in the sand as the golden afternoon light shines across the shore. She savors this timeless scene of ...

Color screenprint on heavy white wove paper, 1971. Signed by the artist in pencil, lower right. Numbered 146/175 in pencil, lower left. Published by Denise René and Hans Meyer, Pa...

Modern Impressionist Ballet Scene of Three Dancers Backstage in Tutus, a Signed Oil Painting on Canvas, mounted on stretchers and framed in bespoke handmade Frame. Legrand is a well ...

Street art Stickers on a mirror with permanent marker. Unique Pop art from an emerging artist using a familiar style of collage and flower stickers and marker to create a unique bl...

A girl with cat, 50x60 cm, acrylic on canvas

Brillo Box YP x Andy Warhol Date of creation: 2024 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: 500 Size: 62 x 60 cm Condition: Brand new...

ANDY WARHOL (after) "Santa Claus" from "MYTHS" Invitation portfolio 1981 Offset lithograph (Invitation) Published by Ronald Feldman Fine Arts, Inc, New York City. Signed in marker to...

Return of the Jedi 1983 Original Vintage Poster measures 27×41" inches / 68 x 104 cm unfolded rolled excellent condition Return of the Jedi (also known as Star Wars: Episode VI ...

CAMOUFLAGE - Textures and lush brushstrokes create expressive, visual movement in this abstract painting. With parts left to intuition and chance, layers of muted blues, greens and n...

Color lithograph on cream wove paper, 1956. Edition of 200. Printed by Mourlout, Paris.

Takashi Murakami Painted cast vinyl, edition of 400 27 x 34 x 26 cm (10 1/2 x 13 x 10 in) Sold in 'as new' condition, in original box as issued.

KAWS Brown Companion, 2016. New and sealed in its original packaging. This classic KAWS figurative sculpture was published by Medicom Japan in conjunction with the exhibition, KAWS: ...

Antique Chinese Four-Panel Lacquer Screen with Scenic Landscape Description: This exquisite antique Chinese four-panel lacquer screen is a remarkable example of traditional craftsma...

Portrait of Grand Duke Pavel Petrovich (1754–1801), later Emperor Paul I of Russia After Alexander Roslin (1718–1793) Oil on canvas, oval, late 18th century This is an exceptionally handsome and historically resonant eighteenth-century portrait, uniting the immediacy of an intimate likeness with the authority of one of the defining dynastic images of Imperial Russia. Grand Duke Pavel Petrovich, the future Emperor Paul I, turns towards the spectator with a composed, almost conversational expression, his youthful face emerging softly from the restrained brown background. The rich scarlet of his coat, the deep blue of the sash and the flashes of gold, lace and jewelled decoration give the picture remarkable visual distinction, while the oval format concentrates attention upon the sitter’s face and magnificent ceremonial attire. Painted during the eighteenth century, the present work is a contemporary reduced version of Alexander Roslin’s monumental state portrait of 1777, now in the State Hermitage Museum, St Petersburg. Roslin’s full-length original measures approximately 265 by 168 centimetres; here, its essential elements have been reformulated as a more intimate portrait suitable for display within an aristocratic residence, diplomatic household or private cabinet. Pavel is dressed in the height of European court fashion of the later 1770s. His scarlet habit à la française comprises a close-fitting coat and elaborately embroidered waistcoat, enriched with scrolling metallic ornament, floral motifs and a sequence of large decorative buttons. The shoulder is finished with a densely worked epaulette-like band, while a white linen stock and delicate lace jabot frame the face. His powdered hair is dressed in the fashionable bag-wig, drawn back and tied with a broad black silk ribbon. Although the costume is unmistakably Russian in its dynastic significance, its cut and ornament belong to the international language of court dress then prevailing from Versailles and Vienna to Stockholm and St Petersburg. In Roslin’s original full-length composition, the costume was completed by matching scarlet breeches, silk stockings, buckled shoes, a sword and a plumed tricorne, all identifying Pavel as both a prince of the blood and a cultivated participant in the ceremonial life of Europe’s great courts. Across his breast passes the broad blue watered-silk sash of the Imperial Order of St Andrew the First-Called, the senior Russian order of chivalry established by Peter the Great. The sash, conventionally worn from the right shoulder towards the left hip, proclaimed the sitter’s position at the summit of the imperial hierarchy. Superimposed upon it is the red-enamelled cross of the Order of St Anna, surrounded in the portrait by scintillating, jewel-like highlights. The cross had a particular dynastic resonance: the order had been founded by Pavel’s paternal grandfather, Duke Karl Friedrich of Holstein-Gottorp, in memory of his wife Anna Petrovna, daughter of Peter the Great. Pavel’s display of the two orders therefore asserted not only rank and honour, but his descent from the founder of Imperial Russia and his inheritance through the Romanov and Holstein-Gottorp lines. Contemporary portraits similarly identify Pavel through the blue sash and star of St Andrew and the red cross of St Anna. Born in St Petersburg in 1754, Pavel Petrovich was the only son of Grand Duke Peter Fyodorovich, later Emperor Peter III, and Grand Duchess Catherine Alexeyevna, the future Catherine the Great. Through his father he was a great-grandson of Peter the Great and inherited the Romanov and Holstein-Gottorp bloodlines; through his mother, born Princess Sophie of Anhalt-Zerbst, he was connected to the extensive network of German princely houses that shaped eighteenth-century European dynastic politics. His childhood was dominated by the uncertainties of imperial succession. Soon after his birth, the Empress Elizabeth removed him to her own household and assumed control of his upbringing. Educated under the statesman Nikita Panin, Pavel studied history, geography and mathematics and became fluent in Russian, French and German. He was eight when his father ascended the throne in 1762, only to be deposed by Catherine within months and to die shortly afterwards in confinement. Although Pavel remained the acknowledged heir, Catherine ruled for another thirty-four years and excluded him from meaningful political authority. He was therefore publicly honoured as the future sovereign while being denied the practical experience of government. In 1773 he married Princess Wilhelmina Louisa of Hesse-Darmstadt, who converted to Orthodoxy as Grand Duchess Natalia Alexeievna. She died in April 1776 after a prolonged labour, together with her stillborn child, leaving Pavel widowed and the succession unsecured. A second marriage was arranged within months. His new bride was Duchess Sophie Dorothea of Württemberg, daughter of Friedrich Eugen, later Duke of Württemberg, and Friederike Dorothea of Brandenburg-Schwedt. Raised at Montbéliard in a cultivated German princely household, she converted to Orthodoxy as Maria Feodorovna and married Pavel in October 1776. The union strengthened Russia’s links with Württemberg and Brandenburg-Prussia, but also became an enduring domestic and cultural partnership. Maria was intelligent and artistically gifted, practising drawing, embroidery, ivory carving and hardstone work, while collecting books and decorative art and later supporting charitable and educational institutions. The couple had ten children, nine of whom survived childhood. Their eldest son, Alexander, succeeded Pavel as Emperor Alexander I and ruled during the Napoleonic era; their younger son Nicholas later became Emperor Nicholas I. Constantine Pavlovich became a prominent military figure and briefly stood at the centre of the succession crisis of 1825. Their daughters married into leading European dynasties: Alexandra into the Austrian imperial family, Elena into Mecklenburg-Schwerin, Maria into Saxe-Weimar-Eisenach, Catherine into Württemberg and Anna into the Dutch royal house. Through their children, Pavel and Maria extended Romanov influence across much of Europe. The birth of Alexander in 1777 secured the succession and prompted Catherine to give the couple the estate that became Pavlovsk, south of St Petersburg. Its Neoclassical palace, begun by Charles Cameron in the early 1780s, became closely associated with Maria’s artistic interests, family life and refined sociability. Gatchina, by contrast, reflected Pavel’s more martial character. There he developed his own court and pursued his interests in military organisation, ceremony and administrative discipline. In 1781–82 Pavel and Maria travelled through Europe as the Count and Countess of the North, visiting royal courts, artists, manufactories and antiquities collections. They acquired paintings, furniture, bronzes, sculpture, textiles and porcelain, helping to make Pavlovsk one of Russia’s most sophisticated expressions of international Neoclassical taste. Yet Catherine continued to restrict their independence, taking charge of the upbringing of Alexander and Constantine just as Empress Elizabeth had once removed Pavel from his own parents. This repetition deepened the estrangement between mother and son. Pavel finally succeeded Catherine in 1796, aged forty-two. His reign lasted little more than four years, but his Act of Succession of 1797 established male-line primogeniture and ended much of the uncertainty surrounding the Russian imperial succession. His attempts to regulate the court, army and administration, and to reverse elements of Catherine’s policies, alienated powerful members of the nobility and officer corps. In March 1801 he was assassinated during a palace coup at the Mikhailovsky Castle and was succeeded by Alexander. This knowledge lends the portrait particular poignancy: Pavel appears not as the embattled emperor of his final years, but as the elegant young heir at a moment when marriage, dynasty and the anticipated birth of a son seemed to promise stability and renewal. Roslin’s portrait should be understood within this urgent dynastic context. The Swedish painter had travelled to St Petersburg in 1775 at the personal invitation of Catherine II and was commissioned to paint monumental state portraits of the Empress, Pavel and Maria Feodorovna. The pendant portraits of the young couple presented the heir and his new wife as the polished, fertile and internationally connected future of the Romanov dynasty. Roslin recorded in 1777 that the ruling family had ordered multiple copies. At least six versions of Pavel’s portrait and twelve of Maria’s are known, and such replicas were distributed as courtly and diplomatic gifts. A pair was presented to James Harris, later First Earl of Malmesbury, then the British ambassador to Russia. The existence of numerous eighteenth-century replicas was therefore not accidental or merely commercial: repetition was integral to the commission’s political purpose. Each version extended the official image of succession from the imperial palace into allied courts, embassies and aristocratic collections. The present portrait belongs to that wider culture of dynastic dissemination. Rather than reproducing Roslin’s entire monumental setting, with its architectural balustrade, extensive Neva prospect, sword, hat and full ceremonial costume, the painter has selected the head and upper body and adapted them to an oval. This transformation changes the character of the image. The grandeur of the original remains legible in the orders, costume and confident turn of the figure, but the reduced composition produces a greater sense of proximity to Pavel himself. The face becomes dominant, and the future emperor appears less as a remote emblem of state than as a recognisable young man. The type also circulated through prints: an oval engraved version published in 1781 and now represented in the British Museum demonstrates how rapidly Roslin’s conception entered the broader visual culture of late-eighteenth-century Europe. The artistic economy in which the portrait was created differed substantially from the modern open market. In Catherine’s Russia, the most prestigious portrait production was sustained by imperial commissions, aristocratic patronage and diplomatic gift-giving. Roslin’s success was extraordinary: during approximately two years in Russia he received around seventy-five commissions, many of which had to be completed after his return west. The appetite for his work reflected both the wealth of the Russian court and its determination to present itself through the most polished international style available. Alongside imported masters such as Roslin, Russia was developing its own institutional artistic culture. The Academy of the Three Noble Arts had been founded in St Petersburg in 1757 and was elevated by Catherine in 1764 to the Imperial Academy of Arts. It recruited European teachers, trained Russian...

DIEGO ARMANDO MARADONA (1960-2020) Official Le Coq Sportif Argentina No. 10 World Cup Shirt c. 1986 / Signed in 2008 Official Argentina National Team jersey by Le Cog Sportif, hand-s...

A finely-drawn, pastel still-life showing red tulips informally arranged in a Chelsea soft paste porcelain Chocolate pot decorated in the Japanese style and set beside a cup and sauc...

Jean-Michel Basquiat Keith Haring Tony Shafrazi Gallery 1983: A rare, hisstoric 1983 exhibition announcement for a group show at Tony Shafrazi Gallery New York, featuring: John Ahe...

Raymond Pettibon Sonic Youth Record Cover Art: Sonic Youth Goo; original European 1st Pressing, 1990 The most iconic of all Pettibon music-related images, as well as one of the most celebrated record covers of all time, the cover is a off-set illustration of Pettibon's drawing inspired by a paparazzi photo of Maureen Hindley and her first husband, David Smith, witnesses in the case of the Moors murderers Ian Brady and Myra Hindley, driving to the trial in 1966. Off-set lithograph on double-sided vinyl record cover...

Artist Comments
Poppies fan out from a round vase, their white petals and yellow centers catching the shifting light. Painted with a palette knife, the composition builds a ric...

This is a set of two original artworks on paper showcasing timeless, elegant dresses through the use of paint, colour pencil and collage elements. Delicate details and intuitive mark...

Spanish Illuminated Gradual Leaf: Sexagesima and Quinquagesima Sundays Italy, probably Northern Italy Late sixteenth century, circa 1575–1600 Latin manuscript on parchment; Gothic ro...

Color screenprint on heavy white wove archival paper. Edition of 200. Printed by l'Atelier Eric Linard, Paris. Published by Editions T.A.T Arts, Paris, with the printed justificat...

Artist Comments
A road passes by Les Baux-de-Provence, in the foothills of the Alpilles. Bright green fields and clusters of trees fill the landscape. Painted with a brush and ...

A Modern and traditional Impressionist Oil Painting of Ballet Dancers dressed in Tutus backstage before a performance. A Signed Oil on Canvas, mounted on stretchers and Framed in a ...

This is new old stock vintage Jewelry from the legendary Acme Studio collection, which created many revolutionary jewelry items. It was handmade in the 1980s using the intricate cloisonné process, an ancient technique for decorating metal; hence any imperfections within the colors are to be expected and inherent which makes it unique and one-of-a-kind. This piece is worn around the neck, like a bolo tie. The Memphis Designers...

Basquiat Record Art 1983/2001: 2001 2nd pressing released in limited quantity. Beat-Bop, is a 10-minute track synthesizing various instruments and rhy...

N110 - 80x60, oil/canvas

Nick Thomm 'LOOM' (Hydra) 69cm x 92cm (27"×36″) Limited Edition of 305. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW. Worldwide Shipping. Sold Unframed.

Victorian Barbazon School Landscape Animal Oil Painting of Cattle watering in a Meadow. A rather wonderful Barbizon School Large Oil Painting on canvas on stretchers and signed by Pablo Martinez. Victorian oil on canvas mounted on stretchers showing Hereford Cow and 2 others with sheep in background. Beautiful and tranquil landscape housed in its original restored gilt frame. He was born in Paris in 1838 and exhibited at the Paris Salon from 1868... French Barbizon School oil on canvas painting of cattle in a landscape by Pablo Martinez, second half of the 19th century. This French plein air painting features an exquisite depiction of Cattle, painted in the Romantic tradition of The Barbizon School, lead by the charismatic Camille Corot. The artists of the movement explored the vast possibilities of plein-air painting, in the mesmerizing forest of Fontainebleau, in the south or Paris. Thanks to the invention of paint in tubes, the Barbizon artists...

Montblanc Meisterstück Classique Fountain Pen c. mid 20th century Resin, metal; Nib: 14K solid gold

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

A fine impressionist marine painting of boats at dock on Cape Ann by American artist Emile Albert Gruppé (1896-1978). Gruppé was born in Rochester, NY, and is renowned for his New En...

Andy Warhol Jean-Michel Basquiat 400% Bearbrick Vinyl Figure c.2021: A unique, timeless collectible trademarked & licensed by the estates of Jean-Michel Basquiat & Andy Warh...

This piece titled "Creepiest Button to Ever Exist" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from crocheted acrylic and beads hanging from a...

This piece titled "Samsung Intensity 2" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from recycled cell phone mounted on crocheted acrylic in o...

Christa Capua says of her work... As a female artist working in the American South, I’ve always been intrigued by the contradictions that exist here and my relationship to them: the...

Jean-Michel Basquiat (untitled), 'MAN MADE Sweatshirt', c. 1979: Basquiat produced this rare original hand-painted sweatshirt (among others, with only few known to have survived) for the purposes of selling these on his own and through the historic downtown fashion boutique, Patricia Field’s. Basquiat was captured wearing a similar example in the well publicized 1979 photo, 'Basquiat Dancing at The Mudd Club' by Nicholas Taylor of Gray. This double-sided work notably features Basquiat’s ‘MANMADE’ tag - Basquiat’s alias after he took to the streets to declare “SAMO is Dead”. The work is further highlighted by Basquiat’s ‘BAD’ motif - uniquely paralleling his consideration to naming his band, ‘Bad Fools’ prior to Gray. In trademark Basquiat style, we also find the vertically spaced ‘E’ on both sides of the piece, as well as dashed lines which would appear in many of the artist’s Anti-Product cards, early drawings and more. The work emanates directly from the collection of world renowned author Lucy Sante (formerly Luc Sante). As it is well publicized, Basquiat worked with Sante in 1979/80 on the downtown-art scene publication, ‘Stranded’ (New York, 1980). Medium: Acrylic on cotton sweatshirt (double-sided artwork). Executed circa 1979/1980. Dimensions: 16.5 x 22 inches (outstretched cuff to cuff: 50 inches & sleeve length: 18 inches). Condition: In good overall vintage condition. Bright well-preserved colors; some minor discoloration in several areas due to normal age related wear and use; scattered stains located on the hem, inner arm area(s) and cuffs; scattered minor pilling; loose thread on the reverse of hem. Basquiat's artwork throughout remains fully intact. Unique. One of a kind. Signed ‘MANMADE’ and numbered 5/100 on the reverse. Provenance: Gifted by Basquiat to Lucy Sante; obtained directly from the former. Sante's relationship to Basquiat is well documented in three publications (see below literature/references for more). Accompanied by a letter of provenance from Sante. Literature/References: -'Boom for Real: The Late Teenage Years of Jean-Michel Basquiat,' by Sarah Driver - this 2018 documentary features an in-depth section devoted to Basquiat's 'Man Made' clothing, featuring an interview with designer Patricia Field & artist Kenny Scharf. - 'Basquiat Before Basquiat' (MCA Denver; see Sante, p.40-43 ). - 'Stranded' issue four index (Spring 1980). Basquiat's identity is confirmed as 'Man-Made' midway on page. - 'Zeitgeist: The Art Scene of Teenage Basquiat' (Howl Arts 2018; essay: 'Stranded' by Lucy Sante). - 'An Intimate Look at Jean-Michel Basquiat's Early Days' by Lucy Sante (Village Voice 2/8/17). -'Man Made by Basquiat' (MinnieMuse) May 2019. -'Exploring Jean-Michel Basquiat's 1970's Clothing Collection, 'Man Made.'' Vice Magazine, May 2019. - ‘The Jean-Michel Basquiat Reader’ (Moore pg. 334) discusses Basquiat’s Man Made painted clothing. - 'Basquiat Dancing at The Mudd Club' photograph by Nicholas Taylor of Gray (Basquiat wears a similarly painted sweatshirt). Basquiat’s use of ’MAN MADE', see: - Glenn O'Brien "Graffiti '80;" High Times, June 1980 (p. 53-54); "Jean-Michel Basquiat who is known to many as SAMO, had changed his alias to Man Made". - Jean-Michel Basquiat: 1981, the Studio of the Street (Diego Cortez; 2007 p. 80). - The Last Time I Saw Basquiat (NYR Daily 9/3/16; essay by Lucy Sante). - Basquiat: Boom For Real (Barbican; Nairne, Buchhart & Johnson p.26). - Sotheby's S2 Catalog & Sale, "Man Made" (May 2013). Intertextual References: Basquiat's 'BAD' motif further appears in the following 1979 works: - "Stupid Games, Bad Ideas" (color xerox; see Basquiat: Boom For Real pg. 108). - Basquiat (untitled) "Test Pattern" (original drawing and xerox; see Basquiat: Boom For Real pg. 147). - Basquiat (untitled) "Gumby Is Bad" t-shirt (worn on camera by the artist at Canal Zone...

Kehinde Wiley Andries Stilte oversized beach towel, 2008 Silkscreen on 100% Cotton Large Beach Towel or hanging tapestry 70 × 60 inches Edition of 2000 In original packaging with ta...

Edward Bohlin Saddle (1895-1980) Hollywood, California Artist / Saddle Maker One of Montie Montana's personal Bohlin Saddles. Movie Star, Trick Rider, Trick Roper Signed. Leather & Sterling Silver #4 "Montie Montana's" Personal Bohlin Parade Saddle Circa Late 1930s - Early 1940s. It is all Bohlin made and marked to include the saddle, the headstall and the breast collar. All made in Hollywood California. Montie Montana (born Owen Harlen Mickel; June 21, 1910 – May 20, 1998) was a rodeo trick rider and trick roper, actor, stuntman and cowboy inducted into the Pro Rodeo Hall of fame in 1994 Biography Montana was born in Wolf Point, Montana, in 1910. He was a perennial participant in the Tournament of Roses Parade until his death in Los Angeles, California, in 1998. Television viewers know him from more than 60 appearances, waving to the crowd from his silver saddle. During the first inauguration of Dwight D. Eisenhower as the 34th President of the United States on January 20, 1953, Montana lassoed the president after his swearing-in. He can be seen as a contestant on the May 7, 1959 television broadcast of You Bet Your Life, along with his horse Rex.Montana would go to elementary schools and perform with Rex. He was at Camellia Avenue Elementary School in North Hollywood, California, in 1959, and he would talk about the rubber horseshoes Rex would be fitted with so Rex would not slip on the asphalt playground while Montie was riding Rex. He performed rope tricks on and off of Rex, and would pass out photos of him and Rex to the students at the end of his show. In 1996, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him. He was buried at the Oakwood Memorial Park in Chatsworth, California Filmography Year Title Role Notes 1932 The Saddle Buster Rodeo Performer Uncredited 1934 Stand Up And Cheer! Rope Spinner Uncredited 1935 The Circle of Death Little Buffalo, alias Jim Little 1935 Border Vengeance Montie Montana, Trick Rider Uncredited 1935 Melody Trail Rodeo Rider Uncredited 1936 Comin’ Round the Mountain Roper Uncredited 1936 Gun Smoke 1939 The Kid from Texas Trick Rider Uncredited 1943 Riders of the Deadline Ranger Kelton 1944 Take it Big Show Performer Uncredited 1944 Man from Frisco Montana Uncredited 1949 Down Dakota Way Sheriff Holbrook 1952 The Story of Will Rogers Trick Roping Double for Will Rogers Jr. Uncredited 1954 The Boy from Oklahoma Roper Uncredited 1960 The Rifleman Stage Driver 1962 The Man who shot Liberty Valence Cowboy on Pinto Pony Uncredited 1963 Hud Cowboy Uncredited 1964 Cheyene Autumn Trooper Uncredited 1968 Arizona Bushwackers Stage Driver 1972 The Young Rounders (final film role) Honors 1989 Rodeo Hall of Fame of the National Cowboy and Western Heritage Museum 1990 Pendleton Round-Up and Happy Canyon Hall of Fame 1994 Pro Rodeo Hall of Fame 1997 Ellensburg Rodeo Hall of Fame 2011 Cheyenne Frontier Days Hall of Fame 2015 Montana Cowboy Hall of Fame & Western Heritage THE BOHLIN BRAND IS AS ICONIC AS THE FAMED WESTERN STARS that wore it. The late actor Richard Farnsworth sported a recognizable gold steer-head Bohlin buckle...

Glossy Print Inquire about special sizing comes unframed 11"x14" $300 A supermoon is a full moon or a new moon that nearly coincides with perigee—the closest that the Moon comes to ...

"SEPTA Bus" is a one-of-a-kind piece created by Eustace Mamba. This oils, acrylics, sewn mixed media, velcro, and thread artwork measures 10"h x 32"w and ships with a gallery-issued ...

This is a hardcover cloth-bound book with a dust jacket titled "Aidez L'Espagne", authored by J. Corredor-Matheos and published by Chartwell Books, Inc. in 1980. The text is presented in English, translated by Anita Roberts, making it accessible to a broader international audience. The book offers an in-depth exploration of Joan Miró's iconic 1937 anti-fascist poster, Aidez L'Espagne ("Help Spain"), created during the Spanish Civil War. Miró’s poster, with its urgent, raw visual energy, became a powerful symbol of resistance, solidarity, and the struggle for freedom. This volume contextualizes the work within both Miró's artistic evolution and the broader political landscape of the time. The book is housed in its original dust jacket, which shows minor wear and a small tear, though the overall condition of the copy is described as very good. As a collectible item, this edition holds significance for those interested in Spanish Civil War art...

DRINKS WITH DEGAS - This dress painting features an interplay of paint, lace collage and ribbon creating an outcome both expressive and refined. Through the process of adding and sub...

Jean-Michel Basquiat - PopBox The Crown Date of creation: 2025 Medium: Stainless steel; low-energy LED system; UV-printed plexiglass panel. Edition: Open Size: 35 x 26.3 x 4 cm Cond...

Antoine DE SAINT-EXUPERY (1900–1944) (after) The Little Prince Welcomes the Fox, 2022 Colored photolithograph based on the work of Saint-Exupéry On laid paper 20 x 30 cm (c. 7.9 x 1...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

Fireplace flame with angular base deep. Customization possible and designed in 2010. Also available to order in stainless steel. The included burner a...

Herbier Botanical Specimens Framed and Pressed, French. Sold as set of 3. Collected by Jacques Mallard. Each specimen has a descriptive label with plant type, where it was collected ...

This Setof Autographs by Fausto Pirandello is addressed to the Countess Pecci-Blunt and to Silvio Perina, Written in Italian, from 1938 to 1957, is composed of 9 items, perfectly r...

Description about painting “Spirit Herbal Fairies” . Collection "Spirit Herbals" In this painting I focus on what gives us resource and taste for life. I invite the viewer to get to ...