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Ed Ruscha GOD, 2010 Digital Light Jet Print in Artist-Designed Frame Edition 48/50 Hand-signed by artist, Signed, numbered and dated 48/50 by Ed Ruscha in black marker on the back P...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

Khosrow and Shirin, 150x110cm

Milano e la sua Esposizione Internazionale del Sempione Magazine is a vintage Italian colored newspaper. published in 1906 With illustration, Editors" Fratelli T...

Early Twentieth Century Italian Lakes Landscape a Large Watercolour of the Villa Balbianello near Bellagio, Lake Como Italy. This is one of the most iconic views of the Villa Balbia...

Spring 1991. Cardboard, oil, 94.5x70 cm

Andy Warhol Institute of Contemporary Art, Boston, 1966: Rare historic, original 1960s exhibition catalogue for Warhol's 2nd museum exhibition held at Boston's Institute of Contempor...

Keith Haring Bearbrick Vinyl Figures: Set of two (400% & 100%): A unique, timeless collectible trademarked & licensed by the Estate of Keith Haring. The partnered collectible reveals...

Shells , 2021, 50x35 cm The work is sold without a frame and mat

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...

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...

Pablo Picasso (1881-1973) - Suerte de Picador Lithograph with quadrochromy from 1961. Dimensions of sheet: 37.9 x 27 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Éditions Ce...

Everything is ahead, 70x50cm, oil on canvas, oil pastel

series "Non-standard configurations", 42x30 cm, acrylic on paper The work is sold without a frame and mat

Melanie Sherman Cufflinks: Black Porcelain with Gold Pattern Sterling Silver & Brass Findings Dimensions: 27mm/20mm x 19mm x 19mm Materials: Porcelain, Glaze, Luster Decal Metal type: 925 Sterling Silver, Brass COA Provided Available on backorder Cufflinks Black Porcelain with Gold Pattern Sterling Silver & Brass quantity Melanie Sherman is a ceramic artist, born in Germany and currently residing and working in Kansas City, Missouri. She has a Bachelor of Fine Arts Degree in ceramics from the Kansas City Art Institute. Her background is in graphic design, where she developed an eye for pattern and decoration. In her ceramics she combines her love for ornamentation and her fascination with the history of ceramics, referencing 18th century European porcelain...

Pablo Picasso (1881-1973) - De mémoir d'homme, Planche V Lithograph from 1950. An unnumbered copy from a limited edition of 350. Dimensions of work: 32 x 25 cm Publisher: Édition...

Works on Paper About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 1954, lives and paints in Santa Fe, New Mexico. She discovered her love of abstract ...

One of 250 copies on papier velin de rives. Including illustrations by Kees Van Dongen: 18 coloured illustrations out of text, and 5 in-text. Perfect conditions and partially uncut. ...

Marc Chagall (1887-1985) - Soleil aux amoureux Etching from 1968. Trial proof - unique work. Dimensions of sheet: 51 x 34 cm Dimensions in frame: 63.2 x 53.2 cm Publisher: Maegh...

medium: aluminum (found cans), wire Unique, open edition Available in multiple color/finish options (see second image on listing for options). Installations are made to order, sizes...

A fine still life oil painting with flowers in vases by American artist Everett Lloyd Bryant (1864-1945). Bryant was raised in Galion, Ohio, and s...

Ed Ruscha Records 1971: Ed Ruscha's "Records" is a introspective photographic survey of thirty vinyl phonograph records (and their album covera) from the artist's personal collection...

Bunny Painting “I Could Have Eaten You, You Know” Oil and silver leaf on wood 31” x 24” $2100 Comes unframed About the Artist: Shanna E. D'Antonio is a mixed-media artist living...

Eugène ROUSSEAU (1827-1890) Pair of Chimeras vases A very fine pair of vases made in hand-blown and crackled glass. Decorated with polychrom stains in the glass. Adorned in relief ...

A wooden replica of Banksy's "Peckham Rock" wall art. "Banksy's 'Peckham Rock' is a piece of concrete showing a supposed prehistoric figure pushing a shopping trolley. This was plac...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

Birds 50x40 cm

Bordeaux is an original etching on paper by Andre Lhote. Signed on the plate. Good conditions except for worn margins. The artwork represents the port of Bordeaux, the artwork is ...

Suite of Ten etchings and dry-points: • L’Auberge des Trois-Corbeaux. Wentworth 29 (i/iii) • Quarrelling. Wentworth 18 • The Rubens’ Hat. Wentworth 8 • The Thames, Wentworth 20 • Bas...

Sibilla is an original couple of books engraved by Giulio Aristide Sartorio (Rome, 1860 - 1932) in 1922. Original First Edition. 1333 numbered and signed copies. Published by L'Eroica, Milan. Format: in 4°. The dimensions of the book are indicative. The book includes 230 pages with 219 etchings (70 of them are in full page). Good conditions. Giulio Aristide Sartorio (11 February 1860 – 3 October 1932) was an Italian painter and film director from Rome. Having attended the Rome Institute of Fine Arts, Sartorio presented a Symbolist work at the 1883 International Exposition of Rome. He formed friendships with Nino Costa and Gabriele D’Annunzio, and associated with the painters and photographers of the Roman countryside. He won a gold medal at the Paris Universal Exhibition of 1889 and met the Pre-Raphaelites in England in 1893. His participation in the Venice Biennale began in 1895 with the 1st International Exposition of Art of Venice, after which he taught at the Weimar Academy of Fine Arts from 1896 to 1898. His period of greatest renown came at the beginning of the century, when he produced decorative friezes for the 5th Esposizione Internazionale d’Arte of Venice (1903), the Mostra Nazionale of Fine Arts (Milan, Parco Sempione...

Roy Lichtenstein (after) 1960s exhibition invitation for Galleria Apollinaire, 1965 Offset lithograph poster Unsigned Frame included This poster/invitation was published for Lichtens...

Edition of 175 specimens (plus 29 out of commerce) of this important book by Dalì, published by Editions Surréalistes in 1930 and one of the first books to...

Harding Black San Antonio (1912 - 2004) Huge Heavy Oxblood Vase 1984 Height 17'' At widest 5'' Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...

Our way out, 180x120 cm, Oil, stitched canvas, Sand

Salvador Dali (1904-1989) - Le cheval de labeur Lithograph from 1970. Dimensions of work: 68 x 50 cm On B.F.K Rives paper as stated in the Field catalogue. Reference: Field 72-6G...

Among the most well-known West African textiles is kente cloth, woven by the Ewe and Asante peoples of Ghana. The word kente is not used by the Asante people; it may be derived from ...

Le Diable Boiteux is an original modern rare book written by René Le Sage (Sarzeau, 1668 – Boulogne-sur-Mer, 1747) and illustrated by Tony Johannot (9 November 1803 – 4 August 1852) in 1840. Original First Edition. Published by Bourdin éditeur, Paris. Format: large 8°. The book includes 380 pages with several in text and full page illustrations. Mint conditions. Tony Johannot (9 November 1803 – 4 August 1852). Johannot was a French engraver, illustrator and painter. His historical paintings were exhibited at the Paris Salon for the first time in 1831. He became an illustrator much prized for his elegance, his diversity, and the lively character of his drawings, which were converted to engravings either by himself or by such artists as Jacques Adrien Lavieille, Émile Montigneul, and Alfred Revel. He was praised by Théophile Gautier.

Chuck Close: Self-Portraits 1967-2005 (Hand signed and inscribed to Michelle with heart doodle), 2005 Hardcover. Bound in publisher's original quarter iv...

The era of change, 150x100cm, acrylic/canvas The work is sold without a frame and mat

Works on Paper About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 1954, lives and paints in Santa Fe, New Mexico. She discovered her love of abstract ...

This contemporary minimal abstract painting puts emphasis on simplified composition. Tone on tone grey builds up a subtle texture using loose brush strokes, adding contrast to the bl...

Between the lines, 120x70cm, Oil, acrylic, canvas