1980s Art

Vintage Photo. The Italian Actress Lea Massari

The Running Man is an original drawing on pencil realized by Anthony Roaland in 1981. Hand-signed and dated by the artist on the lower right margin. The ...

14-colors lithograph on wove paper realized in 1980s. Edition of 50. Hand signed and numbered in roman numbers. Excellent condition.

Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art

"Gold Country Homestead", California Farmhouse Landscape with Red Barn & Wagon Pastoral oil on canvas landscape painting entitled "Gold Country Homestead...

Paolo Minoli (1942-2004) Archipainting 1988 Acrylic paints on canvas Size 60x60 cm - thickness 3 cm Bibliography: Pirovano, Paolo Minoli, General Catalog, volume 2, 1959-1979 Paolo Minoli was born in 1942 in Cantù (Como). He attended, at a very young age, the home of painter Enrico Sottili and, as a student, the studio of sculptor Gaetano Negri. He graduated "Master of Art" in 1961 from the State Art Institute of Cantù, where he taught from 1964 to 1978. Participated in 1968 in the national exhibition for young painters of the "San Fedele" prize in Milan. In 1969 he was featured in the exhibition "Urban Field. Aesthetic Interventions in the Urban Dimension," organized in Como, with a collective intervention on the theme "Signal Color." From 1977 to 1978 he was part of the research group "The Systematic Questioning" with Nato Frascà and Antonio Scaccabarozzi. Since 1979, at the Brera Academy of Fine Arts in Milan, he has taught the special course in "Chromatology" and collaborated, as a consultant, with companies for the application of chromatic solutions in industrial production. He was artistic director of the art series published by the "RS" editions in Como (1975-1986) and, from 1986 to 1989, of the "On Color" silkscreen printing workshop in Cantù, in collaboration with various artists, including Mario Radice, Carla Badiali...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Artist: Salvador Dali, Spanish (1904 - 1989) Title: Le Legacy from Historia de Don Quichotte de la Mancha Year: 1981 Medium: Etching on Arches, signed and numbered in pencil Edition:...

John McNulty, Irish/American (1949 - ) - Sailing 2, Year: circa 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 450, Size: 13 in. x ...

Dancer/Choreographer Christopher Gillis photographed in December 1986 when he was principal dancer with the Paul Taylor Company. He died from AIDS complications in 1993 at the age of...

Polynesian Mother and Baby - Original Abstract Expressionist Figurative Acrylic on Paper Abstract Expressionist figurative painting by Michael William Eggleston (American, 20th Cent...

16 x 20" vintage silver gelatin photograph of Choreographer Agnes de Mille, photographed in 1980. It is signed by Jack Mitchell on the recto and in pencil on the verso. Comes directl...

Original poster by Bob Peak for the Star Trek saga. Since its first adaptation in 1979, it has changed several times of crews and styles. Some parts focus on adventure, others on com...

One of a kind shaped painting by Noche Crist (1909 - 2004). Titled "The Kiss" and signed on reverse. Painting is casein paint and plaster on board. Catalogue of an exhibition in...

Abstract watercolor with bold, dynamic colors by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Unsigned and unframed. ...

Beautiful figurative oil on canvas of a woman seated in her boudoir by Monterey California-area artist Patricia Gillfillan (American, 1924-2016). Signed "Gillfillan" lower left. Unfr...

Roy Lichtenstein for Leo Castelli Gallery is a very colorful artwork realized after Roy Lichtenstein in 1979. Mixed colored offset  on paper. This beautiful print was realized on t...

Dramatic seascape by Vasil (Victor) Papkov (20th Century). A highly saturated purple, blue and yellow sky hangs above the composition. In the distance, rain can be seen above the coastline, which has a few dots of light from buildings. In the foreground, turbulent waves crash toward the viewer. Signed in the lower right corner. No frame. Board size: 12"H x 16"W Vasil Papkov...

This exquisite lithograph by Joan Miro (1893–1983), titled La Melodie acide (The Acid Melody), from the folio 14 original lithographs by Joan Miro "La Melodie acide" (The Acid Melody...

'Keith Haring Painted Man'/Keith Haring Into 84: A set of 2 announcement cards for Keith Haring’s well-documented exhibition, 'Into 84' at Tony Shafrazi Gallery, New York, 1983. For this series Haring borrowed Jones' body — from head to toe — as the canvas to his work. A bodily canvas defined by much of the bold pictograms characteristic of Haring's artistic signature. Photos by Haring's long-time friend and collaborator Tseng Kwong Chi. Looks fantastic framed as a set. Off-set printed gallery announcements, 1983. Dimensions: 6 x 4 inches (applies to each individual). Good overall condition with well-preserved colors. Some surface creating to red card. Unsigned from an edition of unknown. Further About: In 1983 Keith Haring teamed up with award-winning choreographer and dancer Bill T. Jones, founder of the Bill T. Jones/Arnie Zane Dance Company. Keith and Bill met in London in 1983 at a time when the graffiti artist was opening a major show at the Robert Fraser Gallery, and together they produced a series of exceptional collaborations in both performance and drawing. Keith Haring was an American artist and social activist known for his illustrative depictions of figures and symbols. His white chalk drawings could often been found on the blank poster marquees in New York’s public spaces and subways. “I don't think art is propaganda,” he once stated. “It should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.” Born on May 4, 1958 in Reading, PA, he grew up in neighboring Kutztown, where he was inspired to draw from an early age by Walt Disney cartoons and his father who was an amateur cartoonist. After briefly studying commercial art in Pittsburgh, Haring came across a show of the works of Pierre Alechinksy and decided to pursue a career in fine art instead. He moved to New York in the late 1970s to attend the School of Visual Arts, and soon immersed himself in the city’s graffiti culture. By the mid-1980s, he had befriended fellow artists Andy Warhol, Kenny Scharf, and Jean-Michel Basquiat, and collaborated with celebrities like the singer Grace Jones. Diagnosed with HIV/AIDS in 1988, Haring’s prodigious career was brief, and he died of AIDS-related complications on February 16, 1990 at the age of 31. Before his death, Haring established the Keith Haring Foundation, a non-profit committed to raising awareness of the illness through art programing and community outreach. Throughout his career, Haring made his art widely available through the location of his murals, as well as through the Pop Shop—Haring's own storefront which he used to sell his memorabilia.The artist’s mural Crack is Wack (1986), can still be seen today on a retaining wall along FDR Drive in Manhattan. Haring’s works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Smithsonian American Art Museum in Washington, D.C. Related Categories Modern Dance. Ballet. Keith Haring Figurative Drawings. Keith Haring Into 84 poster. Keith Haring and Tony Shafrazi. Haring Shafrazi.

Juan Suarez (Spanish, b. 1946) Naturaleza Muerta, Mixed media painting on three assembled canvases, (triptych) It is either oil or acrylic paint. it seems like oil to me. A label ve...

Night, Times Square from the City Scapes Portfolio Noel Mahaffey, American (1944) Date: 1981 Screenprint on Somerset, signed and numbered in pencil Edition of 250, 30 AP Size: 22 in....

Françoise Juvin - Autumn Landscape Reference number FJ16 Framed with an black color wooden floated frame. 23,5 x 34 cm frame included (18 x 26 cm without frame) This work is painted with oil on a paper that is mounted on a board and placed in a made to measure wood strectcher. It is signed in the bottom right. Françoise Juvin (1927-2010) is a French artist born in Nancy. She entered the Ecole des Beaux-Arts in Lyon in 1941 where she met several artists such as Jacques Truphémus...

Screenprint, numbered and signed, by the Italian artist Mino Trafeli (Volterra, Italy 1922-2018). Part of a portfolio of 13 5-color serigraphs made by Mino Trafeli and printed, with...

Landscape is an original lithograph on cardboard, realized by Mario Sportelli in 1980s. The state of preservation is very good. Hand-signed on the lower right Edition of 100 copi...

Rufino Tamayo, Mexican (1899 - 1991) - Mascara, Year: 1984, Medium: Etching, signed and numbered in pencil, Edition: 60/99, Size: 30 x 22 in. (76.2 x 55.88 cm), Publisher: Edici...

Subaquatic Canyon - Abstract Expressionist on Paper Abstract in bold blue and red with textures created by salt in India ink and watercolor, by California-based artist Ricardo de Silva (Brazilian, 20th Century). Bonus sketch on verso of a person's face, perhaps a self-portrait of the artist. Unsigned, but was acquired with a collection of the artist's work. Paper size: 17.75"H x 12"W From a collection of Ricardo de Silva's work and memorabilia. DeSilva was a gallery owner, first in Santa Barbara in the 1960's and 70's, then in San Jose in the 1980's. He was dedicated to promoting the work of talented upcoming artists, including Kogyo and Hasui Kiyochika, Robert Frame, Jim Stuckenberg, Alice Robertson Carr, Deborah Eve Alastra...

Larry Brown Long-time established New York painter as well as faculty member the The Cooper Union, Brown works in oil on canvas and tempera paints on paper. He deals with themes of science and universality. EDUCATION: 1970 M.F.A. in Painting, University of Arizona 1967 BA in Painting, Washington State University SELECT GROUP EXHIBITIONS: Mixed Company: Women Choose Men, AIR Gallery, New York, NY Easy Breezy, Sears-Peyton Gallery, New York, NY From Stone and Plate: Contemporary Prints from Tamarind Institute, California State University Change of View Tamarind Institute Gallery, Albuquerque, NM Animal As Muse, The Norton Museum of Art, W. Palm Beach, FL Painting--Larry Brown, Joseph Haske, David Schoffman, Helander Gallery, New York, NY Paper Houses, David Beitzel Gallery, New York, NY Curators Choice, Albright-Knox Art Gallery, Buffalo, NY Current Trends in Abstraction-- Larry Brown, Bill Drew...

A highly detailed India ink drawing with watercolor and Gouache. Each intricate circle and line is hand drawn to create a matrix within which the artist colors the scene to a fine realistic conclusion. Aladdin smiles at the Lantern that has given him his wishes, wealth and knowledge. Signed and dated "Ben Black 85" lower right. Image, 17"H x 27"L (portions of the work flow into the full mat length and width, which is: 20"H x 30"L). We have included a lower resolution image (#1) taken in subdued light to show the full range of colors we were unable to capture due to the extensive fine India ink designs throughout. Ben Black was born in Boston, he graduated from the Massachusetts College of Art 1947. He served in World War 2. He was an art director at one of Boston's leading advertising firms, later opened his own studio where his works were included in The New Yorker, Saturday Evening Post, Reader's Digest, establishing himself as a leading American Illustrator. He had many solo and group exhibitions throughout New England and his work is collected throughout the world. Originally known for his clowns, he created a limited edition series of plates for Royal Daulton as well as clown figurines...

DRESSED UP is an original hand drawn lithograph by Peter Max printed in an edition of 280, using traditional hand lithography techniques on archival paper, 100% acid free. DRESSED UP...

February 1989: Pierre Vincent Marais holidays with friends on the island of Mustique in the Grenadines. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered an...

5008 Large Vintage French Surreal female nude on canvas unframed

Tribute to Jean Arp. This decorative piece has been painted by hand on glazed porcelain with an intense red color. Jean Arp Sargadelos Porcelain Vase. last quarter 20th Century sign...

Composition is an original drawing in oil on cardboard realized by an unknown artist in 1989. This Artwork is depicted through strong and confident s...

Gardner's Autograph is an autograph postcard signed (P.A.S.) by the cinema star Ava Gardner and addressed to Roland Sensini. On the recto, a colored photo...

Oil on canvas Signed and dated lower right 1982 Painting exhibited at the National Arts Club, New York Nahum Tschacbasov Retrospective, June 2013

"New York Sunset with Blue Gray Cloud" is a mixed media painting on paper (oil and waterbased paint) by artist Emilio Sanchez. It is painted to the paper edge. Emilio Sanchez return...

Israel Rubinstein (1944 - ) Date: 1980 Screenprint on Arches, signed and numbered in pencil Edition of 350 Image Size: 38.5 x 25.5 inches Size: 47 x 38 in. (119.38 x 96.52 cm)"

The Magnificent Seven (1980) Original International 1-Sheet Movie Poster Capture a piece of cinematic history with this original 1980 international 1-sheet movie poster for the legen...

La obra va firmada por el artista en la parte inferior En la parte trasera, va nuevamente firmado, titulado y fechado del año 1984 Se presenta sin enmarcar la obra El estado de la...

Keith Haring The Great Peace March Rare vintage original 1986 Keith Haring (offset) illustrated announcement & VIP invitation published on the occasion of: Pro-Peace Great Peace: The...

Untitled Judy Wahl Date: 1980 Acrylic on Canvas, signed lower right Size: 47.5 x 71 in. (120.65 x 180.34 cm) Frame Size: 48 x 71.5 inches

Artist: Ian Hornak (1944-2002) Title: Looking Toward Oyster Pond, Montauk Year: 1983-2001 Medium: Acrylic on Canvas Size: 42 x 60 inches Condition: Excellent Inscription: Signed rect...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Deux Pigeons". The original painting was completed in 1960. In the 1970's after Picasso's de...

Rare 1979 Photograph of Jean Michel Basquiat: This rare Basquiat photograph was taken from Nicholas Taylor’s well-documented portfolio exploring hi...

Flower Market David Azuz, Israeli/French (1942–2014) Date: circa 1980 Lithograph, numbered in pencil Edition of 217/300 Image Size: 19.75 x 25.75 inches Size: 26 x 32.5 in. (66.04 x ...

Red, Black, and Brown Figurative Abstract Expressionist in Acrylic on Paper A bold abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). This pie...

Bronze sculpture. Incised artist signature with date and edition. Size includes base. Additional images are available upon request. Certificate of Authenticity is included. Please ...

Untitled (Abstraction) Mixed media on paper, 1980 Signed and dated 1980 lower right (see photo) Condition: Excellent, unframed Sheet size: 31 1/2 x 47 1/2 inches Provenance: Jan Cowl...

'Isletas Bananas' 1981 by Alain Le Garsmeur Limited Edition Archival Pigment Print Washing bananas on Isletas banana plantation, Honduras, Central America, 1981. Paper size : 4...

Hyper realistic surreal painting by Texas born artist Donald Roller Wilson. The work features a phallus with a single cigarette and a trio or tomato slices floating overhead. Signed ...

Sunbathing in Capri, Catherine Wilke 1980 Chromogenic Lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Catherine Wilke...

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled 16 Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 70 Image Size: 31 x 36 inches Size: 32 x 37.5 ...

Artist: Kevin Red Star, American (1942 - ) Title: Mr. & Mrs. Choke Cherries Year: Circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 150, AP Size: 22.5 in. x 30...

Two Figures oil, graphite on linen canvas 40x30 framed. Jurgen Gorg was born in 1951 in​, Dernbach Germany. His formative years were spent in Koblentz, before moving to Maintz to s...

'Banana Stall' 1981 by Alain Le Garsmeur Limited Edition Archival Pigment Print Bananas in a fruit and vegetable stall, Isetas, a small town in Isletas banana plantation belt, Hond...

Lithograph on paper (Edition of 25) Signed in pencil, l.r. Numbered in pencil, l.l. This print is offered by ClampArt, located in New York City. Joan Brossa (1919-1998) was a Cata...

Figurative landscape painting of the Saint Jans Basilica and the Procession, Laren, Netherlands "Concept (After) Frits Hes (Dutch 1911-1972) of Hilversu...

#5-3062a Black & White Forest, contemporary oil on wood board displayed in a black and white wood frame, signed lower left by M.Mirabella .Image size 19.5 H x 19.5 W

6051 Italian white on white composition in silver leaf frame