1990s Art

Tolla Inbar, Spiral circle of life, Bronze sculpture, International artist, Israeli artist, Figurative sculpture, art

The circa 1990 original advertising poster by Philippe Sommer for Liquoristerie de Provence introduces Versinthe, a unique liquor infused with absinthe plants. Limited to just 550 co...

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

Francesco Clemente Clemente (Hand Signed by Francesco Clemente and inscribed with a small drawing), 1998 Large Illustrated Softback Exhibition Catalogue. (Hand signed and inscribed t...

"Geostructure IX" is an intensely colorful painting of the primary shapes of the circle, square, and triangle. Though the shapes are repetitive their mixed juxtapositions and the creative use of color moves the eye around the canvas with constant interest. This painting is an extraordinary example of Franklin Jonas...

This hand-blown square vase by Ioan Nemtoi could easily be the centerpiece of any collection of glass art. Nemtoi's incorporation of gestural composition techniques derived from Abstract Expressionism into his glass work yields a dazzling array of colors when this vase is illuminated from the inside. Hand-blown glass 13.25 x 7.4375 x 7.25 inches Signed 'Nemtoi' along the base Ioan Nemtoi was born in 1964 on a farm in Trusesti near Dorohoi, in North-Eastern Romania, as the eldest son of a large family. When Nemtoi was in the fifth grade, one of his teachers noticed his artistic talent and sent him to art school. Later he went on to the art branch...

White Tank, Joshua Tree (My own Private Travel Diary) - 1999, 43x59cm, Edition of 10, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Cer...

SALE ONE WEEK ONLY The untitled oil painting of a quiet country winter scene is a typical subject matter for T. M. Nicholas who is considered by many to be among the most prominent painter of his generation and specifically of the Rockport School of Art. Painting is signed in the lower right front corner. He grew up admiring the rugged beauty of the U.S. northeast coastline especially the landscapes of coastal New England. His father, esteemed painter, Tom Nicholas...

minosaurus and trumpet original impressionist acrylic painting. Sola PUIG, Joan (Barcelona 1950 ) Joan SOLÁ paints in a natural way, which reflects the Old Masters, soaking up the c...

Paper Size: 8 x 10.75 inches ( 20.32 x 27.305 cm ) Image Size: 8 x 10.75 inches ( 20.32 x 27.305 cm )Framed: Yes?Frame Size: Condition: A: Mint Additional Details: Published by Grap...

#5-3485 Circles on Red abstract acrylic on canvas applied to a board, set in a new gilt-wood frame, signed by J .Costa .Image size 16H x 20 W

20th century modernist oil painting on canvas . Signed with artists monogram and Dated 1991. This large and impressive painting evokes a range of emotions and interpretations. With...

Albert WATSON (*1942, Scotland) Kate Moss, Frontal Nude III, 1993 Archival pigment print, printed later Sheet 91.4 x 76.2 cm (36 x 30 in.) Edition of 10 plus 2 artist's proofs (AP 2/...

This painting by Frank Vaders is a unique piece from the 1990s, made in oil on canvas with the dimensions 251 × 200 cm. It is in good condition. Vaders' works have been offered at au...

BIRD IN HAND is a hand drawn, pencil signed limited edition lithograph by the well known and loved British artist and humorist, Beryl Cook. BIRD IN HAND is a lighthearted, comical la...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edi...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Official poster designed and created for the tennis tournament held at Roland Garros French Open every year. The poster is a limited edition of 2000. First edition, unsigned and not ...

Outback Dreams - 29 Palms, CA - 2010 50x130cm. Archival C-Print, based on the 3 original Polaroids. Signature label and certificate. Artist Inventory # 1933. Not mounted. THE G...

Rose. Paper, mixed media, 30 x 40 cm Education 1967-1973 Department of Painting, Latvian Academy of Art, Riga, Latvia 1960-1967 Janis Rozentals Riga High School of Art, Riga, Latvia Member of the Artist’s Union of Latvia. Lives and works in Riga, Latvia. Participating in exhibitions since 1972 Awards and Prizes 2016 Art Academy Prize, Art Academy of Latvia, Riga, Latvia 2009 Nominant for the Purvītis Prize 2009 – Latvian National Museum of Art, Alfor LTD, Latvia 2008 Diena Annual Culture Award – Newspaper Diena, Riga, Latvia 2008 “Lielais Kristaps (The Big Kristaps)” prize for the best animation feature artist – Prize of Latvian Filmmakers Union, Riga, Latvia 2008 IV class Order of the Three Stars – highest civilian order awarded for meritorious service to Latvia, The Chapter of Orders, Riga, Latvia 2007 Latvian Museums Association Prize of the Year, Latvian National Museum of Art, Riga, Latvia Public collections Latvian National Museum of Art, Riga, Latvia Artists’ Union of Latvia Art Collection, Riga, Latvia State Bank of Latvia, Riga, Latvia Swedbank Contemporary Art Collection, Riga, Latvia Museum Ludwig, Cologne, Germany ECB’s Art Collection, Frankfurt, Germany State Tretyakov Gallery, Moscow, Russia Perm Museum of Contemporary Art, Perm, Russia Jane Voorhees...

Luminoso paesggio primaverile Boris Lavrenko (Rostov, 1920 – St. Petersburg, 2001) Works by Boris Lavrenko can be found in various private collections in Europe, Japan, United Stat...

Alex Katz (after) Day Lilies (Hand Signed and Inscribed by Alex Katz), 1992 Large silkscreen poster on wove paper Boldly signed, inscribed and dated on the lower, right front in blac...

Total Edition of 15 signed and numbered with label Also available in: 50 x 40 cm / 20 x 16 in 200 x 150 cm / 78.5 x 59 in Portrait of naked Supermodel Alek Wek...

This lithograph from the portfolio "Egon Schiele" is a reproduction of " Kirche von Bozen ", an original artwork realized by Egon Schiele in 1907. The portfolio, that includes 10 lit...

Jean-Michel Basquiat Enrico Navarra Gallery Paris 1999: Rare vintage Basquiat Mr Chow announcement card published on the occasion of: Jean-Michel Basquiat, Gal...

Sophie - Signed limited edition archival pigment print, 1995 - Edition of 10 A classical approach, sensual not sexual Large scale photograph. This image was captured on film in...

Sam Francis, American (1923 - 1994) - Untitled (SF-351), Portfolio: Papierski Portfolio, Year: 1992, Medium: Lithograph on BFK Rives, signed and numbered in pencil, Edition: 50...

An abstract expressionist painting by Duayne Hatchett . Oil on canvas, circa 1992. Signed verso. Framed. Image size, 60"H x 55"L. Duayne Hatchett was a visual artist whose work...

Painting sizes is 27x34 in., oil on canvas. Signed lower right. The Pinajian estate certificate is included. About twelve years ago, Professor William Innes Homer (1929-2012), the f...

Argentinian dancers Julio Bocca and Eleonora Cassano nude study taken during a session for Playboy magazine, photographed in 1993. This is a vintage g...

Rafael Duran Benet (1931-2015) - Still life - Oil on canvas on board Oil measurements 38x46 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter...

Blue & Red II Abstract Expressionist Painting - a rare early work from Leading British Urban Artist, Angela Wakefield. Entitled 'Tropical City #2', this moody and atmospheric artwork...

Mindscreen 10 - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature label and Certificate. artist Inventory No. 244.04. Not m...

"Forest Mist" - Black and White Engraving Black and white engraving titled "Forest Mist" by Doug Forsythe (Canadian, 1949). The viewer looks into the woods where trees of black, gre...

Male Nude VI (29 Palms, CA) - 1999 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and signature label. Artist inventory number...

Almond trees in bloom. Majorca original expressionist canvas painting framed Painter born in the town of Estellencs on the island of Mallorca, from his youth he dedicates himself to...

5203 4 41 1995 1/20. This is a vintage gelatin silver print, selenium toned, made by hand by master photographer Jack Mitchell and signed both on the recto and verso. Chosen by the ...

Winter, light, snow ,white Georgij MOROZ (Dneprodzerzinsk, Ucraina, 1937 - St. Petersburg, 2015) 1937: he was born in Dneprodzerzinsk, Ucraina. 1949-56: he began artistic studies ...

Howard Hodgkin In Tangier, 1991 Screenprint in 22 colours on huntsman velvet 300gsm paper Signed with initials HH, numbered (63/72) and dated ('91) in pencil 82 × 86 cm Edition of 7...

Alexandre Schaller is a Swiss artist from Geneva, known for his contributions to the Pop Art movement. His artwork exemplifies his distinctive style, characterized by vibrant colors...

This exquisite reproduction of Erté's Gala captures the essence of 1920s glamour, epitomizing the opulence and sophistication of the Art Deco era. The artwork portrays a figure adorn...

Baby, Baby Etching & aquatint printed in colors, 1991 Signed, dated, titled & numbered in pencil (see photos) Edition: 35 (4/35) plus 10 AP Condition: Excellent, colors fresh Image/...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Revolution," first released on The "White Album" by the Beatles in 1968 This limited edition was r...

bullfight original expressionist acrylic painting. Framed During its first exhibition in Paris, the French press catalogs it like "The Catalan Sorolla". Honorary Member of the MECOA...

After Keith Haring Fully authorized by the Estate of Keith Haring. Estate seal on lower right

Raphael Abecassis 1991 Chanukah painting Hand signed and dated Frame: 32.5 X 21.5 Image: 23 X 11.5 This is a rare, unique, original artwork. A one ...

Artist: Peter Max (1937) Title: Profile Series II Year: 1998 Edition: 83/300, plus proofs Medium: Lithograph on Coventry Smooth paper Size: 8.5 x 7 inches Condition: Excellent Inscri...

This vintage postcard, estate authorized and produced in 1998, features an iconic design by Keith Haring, showcasing his signature style and playful themes. Titled Fold 'n Please Car...

Wonderful two sided landscape of California wetlands with pond. Circa 1960s. Monogramed. Image size: 19"H x 25"W. Presented in wood frame. Frame size: 19"H x 25"W. One side Meadow ...

Sergii Druziaka and Sergii Litvinov. ART tandem "Field of cropped sunflowers."

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Beautiful floral still life in arts & craft style with a colorful stained glass window background by California artist Peggy Krusee (American, 20th century). Signed "Peggy Krusee" lo...

Roman was asked to photograph a very old vineyard in California by the Nature Conservancy before they removed this old plantation. The result is powerfu...

An Art Deco painting of a Fashionable Lady by contemporary artist Erik Freyman. Watercolor with pastel on paper, signed in pencil Size: 15 x 12 in. (38.1 x 30.48 cm)

"Centre County, PA" is a suite of two lithographs by Harold Altman. Both feature expansive landscapes with blue skies and fluffy clouds over verdant green fields. The artist signed t...

Signed, titled and numbered by the artist from the edition of 76. Artist and community activist Leo Límon lives and works in Los Angeles, where he was born ...

Artist: Christo Title: Ponte Neuf Empaquette-Small Medium: Photograph Size: 26 x 27 inches Year: 1985 Publisher: Nouvelles Image Reference #: Schellmann 86 Hand signed by the artist ...

Total Edition of 15 signed and numbered Also available in: 40 x 50 cm / 16 x 20 in 90 x 120 cm / 35.4 x 47.2 in Nude woman bend over. Thierry Le Gouès...