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70x70cm, print on canvas Edition 20 pcs.

medium: aluminum (found cans), wire, gold leaf Available in multiple color/finish options (inquire with gallery). Installations are made to order, sizes and shapes of butterflies vary. Unique, open edition. Ships with installation template and loaner tool kit. Installation can be arranged with JONATHAN FERRARA GALLERY. Paul Villinski has created studio and large-scale artworks for more than three decades. Villinski was born in York, Maine, USA, in 1960, son of an Air Force navigator. He has lived and worked in New York City since 1982. A scenic route through the educational system included stops at Phillips Exeter Academy and the Massachusetts College of Art, and a BFA with honors from the Cooper Union for the Advancement of Science and Art in 1984. He lives with his partner, the painter Amy Park, and their son, Lark, in their studios in Long Island City, NY. His work has been included in numerous exhibitions nationally, recently including the solo exhibitions “Paul Villinski: Burst” at the McNay Art Museum in San Antonio, TX and “Passage: A Special Installation,” at the Blanton Museum, University of Texas, Austin. Recent group shows include “Material Transformations” at the Montgomery Museum of Art, Montgomery, AL; “Re: Collection,” at the Museum of Arts and Design, New York, NY; “Making Mends,” at the Bellevue Museum of Arts, Bellevue, WA; and “Prospect .1,” an international Biennial in New Orleans, LA. “Emergency Response Studio,” a FEMA trailer transformed into an off-the-grid mobile artist’s studio, was the subject of a solo exhibition at Rice University Art Gallery, Houston, TX; the exhibition also travelled to Ballroom Marfa, in Marfa, TX; Wesleyan University’s Zilkha Gallery, Middletown, CT; and ERS was featured in the New Museum’s “Festival of Ideas for the New City”, in New York, NY. Villinski’s work is widely collected, including major commissioned public works including “SkyCycles,” three full-scale “flying...

This work by Yoshitomo Nara is a rare exhibition poster from 2002 featuring Yoshitomo Nara's interpretation of the famous Doraemon character in ...

70x70cm, print on canvas Edition 20 pcs.

70x70cm, print on canvas Edition 20 pcs.

70x50cm

Donald Sultan is an American painter, sculptor, and printmaker. He is particularly well-known for large-scale still life paintings, and one of the first to employ a wide range of ind...

Certificate of Authenticity Included Edition Size: 50 SIZE 7.75 x 31 Inches Archival Pigment Print Transfer on Cold Pressed Steep Natural Skate Deck

Untitled (exhibition poster)

Talking until midnight, 2023, 78x54 cm The work is sold without a frame.

By that time, 2023, 78x54 cm

Jenny Lock b. 1949 Sunday Afternoon, 2024 oil on canvas 75 x 60 cm 29 1/2 x 23 5/8 in signed and dated verso Jenny Lock came to painting later in life and the fresh relationship wit...

Divyendu Anand - Eternal Beauty Liquid Metal Coating over Composite of Stone Glass & polyester Resin Black Granite H 31 x W 18.5 x D 19 inches, 2020 Growing up with the thoughts of ...

RETNA X BTS Silkscreen Skateboard Edition of 250 2018 Limited edition Silkscreen on maple wood skateboard deck. 31 × 8 × 1 in 78.7 × 20.3 × 2.5 cm Edition of 250 Comes with Certifica...

Animation Celluloid Image Size: 9 x 9 Frame Size: 16.5 x 28.5 Medium: Celluloid "Sylvester" This piece is an original drawing and a celluloid. Each piece is 9 inches by 9 inches.

Warhol and Basquiat skateboards set 2

Celebrating the King of Pop Michael Jackson by Mauro Oliveira. The colorful pinstripes represent the music and the happiness the King of Pop brought to the world. Limited edition of...

A lacquer-and-polyester-resin-on-aluminum artwork from the 1969 "Mesquite Western" series by important, West Coast artist, Billy Al Bengston (b. 1934). Authentication on reverse. B...

This neon piece is hand blown glass. It is mounted on contoured, clear plexiglas with pre drilled holes for hanging, and comes ready to hang. This piece is offered in the following c...

ROBERT KENNETH WHITE – "SOFT GAZE" ⚜ Oil on canvas ⚜ Hand signed lower right ⚜ Frameless display TONAL FIGURE STUDY IN QUIET CONTEMPLATION In Soft Gaze, Robert Kenneth White present...

Atin Basak - Untitled - 21.5 x 16 inches (unframed size) Etching on paper Inclusive of shipment in a roll form. Style : Atin Basak says that his recent body of work represents the ...

Rare Out of Print Keith Haring Skateboard Deck featuring the artist's iconic Boom Box men. This highly decorative Keith Haring skate deck originated circa 2012 as a result of the co...

This textile work, signed by Arcemont, presents a delicate and intimate approach to mixed media, where each element is imbued with a poetic intention. Rather than simply gluing piece...

Nineteenth Century Victorian Dutch River and Harbour Scene with Boats, and Buildings in background. A Signed Oil Painting on Wooden Panel that is Framed in original ornate Frame. Th...

"Red sofa", paper/oil, 70x50 cm.

An academic drawing of a female nude figure sitting atop a flat surface. He highlights the body with white chalk. She leans on one arm and the other rests behind her torso. Artist B...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In Hommage to Andy Warhol 1, Marek Letkiewicz reimagines Warho...

ROBERT KENNETH WHITE – "SUMMER LIGHT" ⚜ Oil on canvas ⚜ Hand signed lower right ⚜ Frameless display TONAL PORTRAIT OF FEMININITY IN SUN-WASHED SILENCE In Summer Light, Robert Kennet...

ALFRED JANSSON (1863-1931) – FOREST LANDSCAPE Oil on Canvas ⚜ Signed ⚜ Dated ⚜ Framed A STUNNING IMPRESSIONIST WOODLAND SCENE FROM 1909 This original oil painting by Alfred Jansson,...

Getting Onboard

Untitled , 2025, 78x54 cm The work is sold without a frame.

Proteus, 70x50cm

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...

This neon piece is hand blown glass. It is mounted on contoured, clear plexiglas with pre drilled holes for hanging, and comes ready to hang. This piece is offered in the following c...

Own a piece of history with this rare and limited edition poster from the MCA! Commemorating Christo's iconic exhibition "Wrap In Wrap Out," this poster is a true collector's item. T...

Gotthardt Johann Kuehl (German, 1850-1915), "Rathausplatz, Bremen", Pastel on Paper, signed and titled lower left, wood frame. Image: 19" H x 18" W; frame: 24.5" H x 23.5" W. Provena...

Roy Lichtenstein - Explosion, 1967 Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint conditions and ...

Yoshitomo Nara Arabaki Rock Fest, 2022 Material: 100% Cotton Yoshitomo Nara Copyright lower center Image size: 50 x 50 cm Frame dimension: 64 x 64 x 2.5 cm Framed with the alumini...

Jean-Michel Basquiat - Horn Players, 1983 Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint conditions and never displayed This triptych is formed by three skate decks made of 7 ply grade A Canadian maple wood. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York "Horn Players" (1983) is one of Jean-Michel Basquiat's most famous works, and a great example of his unique style, which blends graffiti, pop art, and expressionist painting. In this piece, Basquiat depicts two jazz musicians, probably inspired by legends like Charlie Parker and Dizzy Gillespie. The figures are stylized with exaggerated features, something typical of his work. The painting is dominated by vibrant colors like yellow, red, and blue, with a background full of marks and strokes that give the sense of movement, as if you were hearing the music the characters are playing. Basquiat also incorporates text, such as the words “SAX” and “BIRD” (referring to Charlie "Bird" Parker), which not only provide more information about the characters but also add an extra layer of meaning, creating a connection between the music, the words, and the image. The piece can be interpreted as a tribute to African American culture and its impact on music, especially jazz, which was born in that community. But it also reflects deeper themes of identity, as the musicians are not just represented physically but also symbolically, through the music and the words surrounding them. Basquiat, who often explored themes of race, power, violence, and inequality, uses this work to highlight how jazz serves as a form of expression and resistance for Black culture. In 1983, when Basquiat created "Horn Players", he was already at the peak of his career. He had gained significant recognition in New York, and his work was widely acknowledged in the contemporary art world. This painting is part of a series where he pays homage to musicians and the history of jazz, a recurring theme in his work. Additionally, there’s an interesting connection between Basquiat’s art and the world of skateboarding. Skateboarding, much like Basquiat’s art, is defined by its rebellious spirit, its focus on urban culture, and its drive for self-expression. Basquiat's graffiti-style brushstrokes, with their raw energy, evoke the same defiant attitude seen in skateboarding culture, where skaters, much like artists, break free from established norms and create something unique. The influence of graffiti, which is central to skateboarding’s aesthetic, is also present in Basquiat’s works, forming a natural link between these two worlds of rebellion and creativity. "Horn Players" is a representative piece of Basquiat because it captures his vibrant style, his love for cultural references, and his ability to blend visual art with music. Moreover, it’s a work that celebrates Black culture, rebellion, and creative energy—values that also strongly resonate in the world of skateboarding. All of this showcases Basquiat’s mastery in merging different forms of artistic expression, connecting music, urban art, and the culture of resistance in a powerful work. ABOUT THE ARTIST Jean-Michel Basquiat (1960-1988) was one of the most influential artists of the 20th century, famous for his ability to fuse urban culture, social criticism and art history into a unique style. Born in Brooklyn, New York, to a Haitian father and Puerto Rican mother, his life and work were shaped by his multicultural heritage, the New York art scene and the social tensions of his time. Although his career was brief, his impact on contemporary art has been lasting and significant. Basquiat showed an interest in art from an early age. His mother, Matilde Andrades, took him to museums and encouraged him to draw. At the age of seven, a car accident left him hospitalized for a time, and it was then that his mother gave him a copy of the anatomy book Gray's Anatomy, which influenced his fascination with the human body and its visual representation. Despite his early talent, Basquiat's family life was turbulent. His mother was hospitalized for psychiatric problems and his relationship with his father, Gerard Basquiat, was troubled. This instability contributed to Basquiat dropping out of school at age 17 to pursue his artistic career on the streets of New York. As a teenager, Basquiat joined the New York graffiti scene under the pseudonym SAMO (an acronym for "Same Old Shit"), which he used to sign his cryptic and poetic messages on the streets of Manhattan with his friend Al Diaz. SAMO's graffiti were a mixture of philosophical and social commentary on popular culture, capitalism and religion, and soon attracted the attention of the underground art scene. In 1980, SAMO "died" when Basquiat and Diaz decided to end their collaboration, marking the beginning of Basquiat's transition from street graffiti to art galleries. Basquiat emerged as a talent to watch in 1980, when he participated in the group exhibition The Times Square Show, which included other emerging artists from New York's Lower East Side scene. That same year, he attracted the attention of critics and collectors who saw in his work an electrifying blend of street art and neo-expressionism, the predominant movement of the time. In 1981, art critic René Ricard published the influential essay The Radiant Child in Artforum magazine, which positioned Basquiat as one of the most promising artists of his generation. Shortly thereafter, he met renowned artist Andy Warhol, with whom he formed a close friendship and significant artistic collaboration. This association was instrumental in catapulting his career into the world of high art. The collaboration with Warhol was a pivotal point in Basquiat's career. The two artists, although coming from very different worlds, shared a fascination with fame and popular culture. Together, they produced a series of works that combined Warhol's pop art icons with Basquiat's raw, spontaneous style. However, this collaboration was also a source of controversy. Many critics accused Warhol of "exploiting" Basquiat, while others saw the collaboration as a creative dialogue between two genius minds. Although the criticism was mixed, there is no doubt that the relationship between the two artists helped cement Basquiat's reputation in the art world. Basquiat's style is a unique amalgam of influences. His work is characterized by the use of dismembered human figures, skeletons and internal organs, evoking the fragility of the body and mortality. Basquiat also used symbols that alluded to African-American and African history, such as crowns, masks and references to historical figures such as Toussaint Louverture. The use of text is another crucial aspect of his work. Words, phrases and numbers appeared in his paintings, often crossed out or overlapped, creating a sense of controlled chaos. These fragmented words provoked a non-linear reading of his works and conveyed multiple layers of meaning. His art also reflected his concerns about racial issues, especially the place of people of African descent in Western art history and in society at large. The crowns that Basquiat often drew on his figures were a symbol of power and resistance, a way of proclaiming himself "king" in a world that had historically excluded black artists from the upper echelons of art. In works such as The Death of Michael Stewart...

Original cover illustration for The Saturday Evening Post, June 18, 1955 The Post described, “Through this community is sweeping Hurricane Harry, leaving in i...

Glazed ceramic mirror with gold leaf by Marion De Crecy for Atelier Mithé Espelt

Emma Bell Three Clays IV Ceramic 3D Art Raku, Porcelain and Stoneware Framed Size: H 73cm x W 73cm x D 7.5cm Three Clays IV is an original wall sculpture b...

Color lithograph with full margins. Artist's proof inscribed "E II", from "Estado II" edition of 30, aside from the edition of 63. Signed, dated and numbered XXIV/XXX in pencil, lowe...

Rakesh Sadhak - Metamorphosis Wood & Metal, H 32 x W 21 x D 16 inches Born : 1970 Qualification: B.V.A. in Sculpture from Govt. College of Art & Craft 2012 M.F.A. in Sculpture from ...

Uday Mondal - Untitled, 31 x 22 inches (unframed size) Acrylic on Paper Inclusive of shipment in roll form. Style : His paintings present details of the society in a responsible, lucid and coherent fashion. They are thought-provoking and give a new perspective to art. The most interesting things about his artworks are that they transcend politics, religion, and gender striking a chord with the viewers. About the Artist and his work : Born : 1976. Education : 1999 : BFA in Painting from the Indian Art College, Rabindra Bharati University, Kolkata 2002 : MFA in Painting from MS University, Baroda. Solo Shows : 2006 : Gallery Beyond, Mumbai 2005 : Jehangir Art Gallery, Mumbai 2001 : Solo Show at Baroda. Group Shows : 2010 : IMA Foundation, London & Jehangir Art Gallery by Pink Ginger Arts, Mumbai 2009 : ‘Art Expo’ Mumbai ; ‘Cutting Chai’ curated by Sandhya Bordewekar, Sarjan Art Gallery, Baroda & Online show ‘IMA foundation’ London. 2008 & 09 : ‘Spandan IV’ Gallery Articulate, Yash Birla Group, Mumbai 2006,07 & 08 : ‘Summer Show’ CIMA Art Gallery, Kolkata 2008 : ‘Emerging India’ Henry Moore Gallery, London by Art Alive Gallery 2007 : ‘Singapore Art Fest’, Singapore ; “Synchrome 4’ Tao Art Gallery, Mumbai & Akar Prakar, Kolkata & ‘Reality Bytes’ three men show...

Jiban Biswas - Emotional Attachment - 20 x 24 inches (unframed size) Acrylic on Canvas. Style : According to him, “ The Mud colour are changing its shade...

sisterhood , 70x70cm, print on canvas Edition 20 pcs.

Oil on canvas

Rare collection of 20 skateboard decks produced by Alien Workshop with full authorization from the Haring Foundation

Amy Winehouse Lavender by BATIK Archival pigment pop art print signed & limited edition. paper size 30x30" inches / 76 x 76 cm signed and numbered by the artist on front edition ...

More than a creature, Birdman embodies transformation and duality. Is it a guardian, a trickster, or an internal self-reflection? Its bird-like head and humanoid stance invite viewer...

Traditional Style Contemporary Impressionist Oil painting on canvas of beautiful Lady lounging on Sofa with Cocktail in her hand. Painted from Life with the Model sitting at the artist's studio. A beautiful and evocative painting that is both sexy and demure. Rene Jerome Legrand (Born 1953) "Little Black Dress" - Oil on Canvas, Signed and Framed Rene Legrand...

Twentieth Century Marine Oil Painting of Thames Barges on the Medway with power station in the background by Vic Ellis. Vic Ellis RSMA 1921 - 1984 Thames Barges and other Shipping....

Jean-Michel Basquiat - Untitled Head (Skull 2), 1982 Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint conditions and never displayed This triptych is formed by three skate decks made of 7 ply grade A Canadian maple wood. © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York Untitled Head (Skull 2), 1982, is one of Jean-Michel Basquiat’s most iconic and enigmatic works, reflecting the artist’s complex relationship with life, death, and identity. Created during an early but intense phase of his career, this piece is characterized by its raw, expressive style, but also by its ability to convey a deep and multifaceted message. The painting depicts a large skull, both grotesque and vibrant. The outlines of the skull are simple yet powerful, with angular strokes and dramatic lines. Basquiat uses a contrasting color palette, dominated by warm, earthy tones such as red, orange, and yellow, along with touches of blue and white. The skull seems to overflow with energy, full of marks and textures that evoke a sense of violence and chaos. The skull is not only a symbol of death, but also carries connotations of internal struggle and personal suffering. Basquiat, known for his personal history marked by adversity, uses the figure of the skull to explore themes such as the fragility of life and the dehumanization of people, especially in African American communities. In his work, death is not presented merely as an abstract concept, but as something very real and close, connected to the everyday experience of those facing violence, racism, and poverty. Through this piece, Basquiat also addresses identity and alienation, as the skull, with its exaggerated and distorted features, can be seen as a representation of an individual stripped of their humanity or cultural identity, particularly in the context of the experiences of Black communities in the United States. Basquiat often incorporates words, phrases, and symbols in his works that reflect his interest in cryptic messages and the deconstruction of meaning, and Untitled Head (Skull 2), is no exception. The skull, often associated with mortality, in Basquiat’s context may also suggest the relentless presence of social oppression and how, in many cases, people’s lives are shaped by circumstances beyond their control. This approach to death is Basquiat’s way of engaging with the collective and personal traumas that defined his life, as well as the racial and social tensions of his time. Untitled Head (Skull 2) is a work full of energy, with a strong symbolic charge, that breaks away from convention and offers a raw, direct view of life, death, and existential struggle. It is an example of how Basquiat used art to express his deepest emotions, challenging traditional representation and creating a piece that remains relevant today, both for its message and its unique style. ABOUT THE ARTIST Jean-Michel Basquiat (1960-1988) was one of the most influential artists of the 20th century, famous for his ability to fuse urban culture, social criticism and art history into a unique style. Born in Brooklyn, New York, to a Haitian father and Puerto Rican mother, his life and work were shaped by his multicultural heritage, the New York art scene and the social tensions of his time. Although his career was brief, his impact on contemporary art has been lasting and significant. Basquiat showed an interest in art from an early age. His mother, Matilde Andrades, took him to museums and encouraged him to draw. At the age of seven, a car accident left him hospitalized for a time, and it was then that his mother gave him a copy of the anatomy book Gray's Anatomy, which influenced his fascination with the human body and its visual representation. Despite his early talent, Basquiat's family life was turbulent. His mother was hospitalized for psychiatric problems and his relationship with his father, Gerard Basquiat, was troubled. This instability contributed to Basquiat dropping out of school at age 17 to pursue his artistic career on the streets of New York. As a teenager, Basquiat joined the New York graffiti scene under the pseudonym SAMO (an acronym for "Same Old Shit"), which he used to sign his cryptic and poetic messages on the streets of Manhattan with his friend Al Diaz. SAMO's graffiti were a mixture of philosophical and social commentary on popular culture, capitalism and religion, and soon attracted the attention of the underground art scene. In 1980, SAMO "died" when Basquiat and Diaz decided to end their collaboration, marking the beginning of Basquiat's transition from street graffiti to art galleries. Basquiat emerged as a talent to watch in 1980, when he participated in the group exhibition The Times Square Show, which included other emerging artists from New York's Lower East Side scene. That same year, he attracted the attention of critics and collectors who saw in his work an electrifying blend of street art and neo-expressionism, the predominant movement of the time. In 1981, art critic René Ricard published the influential essay The Radiant Child in Artforum magazine, which positioned Basquiat as one of the most promising artists of his generation. Shortly thereafter, he met renowned artist Andy Warhol, with whom he formed a close friendship and significant artistic collaboration. This association was instrumental in catapulting his career into the world of high art. The collaboration with Warhol was a pivotal point in Basquiat's career. The two artists, although coming from very different worlds, shared a fascination with fame and popular culture. Together, they produced a series of works that combined Warhol's pop art icons with Basquiat's raw, spontaneous style. However, this collaboration was also a source of controversy. Many critics accused Warhol of "exploiting" Basquiat, while others saw the collaboration as a creative dialogue between two genius minds. Although the criticism was mixed, there is no doubt that the relationship between the two artists helped cement Basquiat's reputation in the art world. Basquiat's style is a unique amalgam of influences. His work is characterized by the use of dismembered human figures, skeletons and internal organs, evoking the fragility of the body and mortality. Basquiat also used symbols that alluded to African-American and African history, such as crowns, masks and references to historical figures such as Toussaint Louverture. The use of text is another crucial aspect of his work. Words, phrases and numbers appeared in his paintings, often crossed out or overlapped, creating a sense of controlled chaos. These fragmented words provoked a non-linear reading of his works and conveyed multiple layers of meaning. His art also reflected his concerns about racial issues, especially the place of people of African descent in Western art history and in society at large. The crowns that Basquiat often drew on his figures were a symbol of power and resistance, a way of proclaiming himself "king" in a world that had historically excluded black artists from the upper echelons of art. In works such as The Death of Michael...