Early 2000s Art

Cups II (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 2912. Not mounted. This pr...

Title: British Impressionist Watercolor of Coastal Hillside with Mediterranean View By Anthony Avery (British 1946-2023) Original watercolor on arti...

Impressive, powerful and psychological strong big size painting on wood, silver collage, oil painting base, signed by the artist. Contemporary French Art. Many prizes and exhibitions. Exhibitions and acquisitions in important museums as Mac Musée d'art contemporain de Lyon, Centre Georges Pompidou Metz, Cape Town Artfair, Biennale de Lyon, etc For more details, information, please contact Parisian Parrots...

Artist: Roberto Matta, Chilean (1911 - 2002) Title: La Dulce Aqua Vita Year: 2002 Medium: Carborundum Etching on Hand-Made Paper, signed and numbered in marker Edition: an artist’s p...

Cindy Sherman Limited Edition Offset Lithograph on 200g Profisilk paper 33 × 23 1/4 inches Edition of 200 Limited Edition Offset Lithograph on 200g Profisilk paper Hand signed in re...

Alvar's “Maternity in the Village” presents a family surrounded by the warmth of its community. Alvar returns to his earth tones to create the mood of tenderness and affection. Disti...

Tan Tan Bo, 2003 by Takashi Murakami Offset lithograph in colors on Wove paper 25 7/10 × 39 3/10 in 65.8x99.8cm Edition 98/300 Tan Tan Bo is a "reincarnati...

Cliclists is a screen print realized by Ugo Nespolo in 2008, in occasion of the Olympic Games in Beijing. Edition of 260. Hand signed and numbered in pencil. Excellent condition.

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

Fantastic pair of gilt bronze Cheetahs sculptures . The item will be well-suited to either an indoor or outdoor setting.

JIM SHAW (B. 1952) Stocks Painting signed and dated 'J Shaw 2007' (on the overlap) oil on canvas mounted on wooden board 82 x 121.5 cm. (32 ¼ x 47.7.8 in.) Executed in 2006. PROVENANCE Metro Pictures, New York Famous as a collector of American junk, including a trove of thrift store paintings once sought by art collector Charles Saatchi, Jim Shaw draws on his vast stores of pop cultural artifacts in his work. The My Mirage (1986–91) project comprises nearly 170 drawings, silkscreens, photographs, sculptures, films, and paintings based on a Shaw stand-in called Billy, who grows from childhood to psychosis to born-again Christianity. Billy exists amid a 1960s and ’70s visual overload of pulp novels, comic books, records, and psychedelic posters. The artist’s Oism project, initiated in the late 1990s, explores his fictional religion through media including video installations (recalling both Busby Berkeley musicals and 1980s aerobics videos) and found paintings in the “Oist style.” Shaw’s richly layered practice takes liberally from both art history (Art Brut, Vincent van Gogh, Salvador Dalí, Rene Magritte, Max Ernst) and America’s vernacular of coffeemakers and zombie films. 1952 born in Midland, MI, US Lives and works in Los Angeles, CA, US 1974 BFA, University of Michigan at Ann Arbor, MI, US 1978 MFA, California Institute of the Arts, CA, US One-person exhibitions: 2017 (Forthcoming) The Wig Museum, Marciano Art Foundation, Los Angeles, CA, US Massimo De Carlo, Milan, IT 2016 Rather Fear God, Praz-Delavallade, Paris, FR Rather Fear God, Praz-Delavallade & Vedovi, Brussels, BE 2015-2016 The End Is Here, New Museum, New York, NY, US Simon Lee Gallery, London, UK Entertaining Doubts, Mass MOCA - Museum of Contemporary Art, North Adams, MA, US 2014-2015 Jim Shaw. Oeuvres choisies : dessins – peintures – sculptures – vidéo, Galerie Guy Bärtschi, Geneva, CH 2014 The Hidden World. Jim Shaw / Didactic Art Collection, Centre Dürrenmatt, Neuchâtel, CH I Only Wanted You To Love Me, Metro Pictures, New York, NY, US 2013-2014 The Hidden World. Jim Shaw / Didactic Art Collection, Chalet Society, Paris, FR Simon Lee Gallery, Hong Kong, CN 2013 Blum & Poe, Los Angeles, CA, US Peter Saul, Jim Shaw: Drawings, Mary Boone Gallery, New York, NY, US Simon Lee Gallery, London, UK 2012-2013 The Rinse Cycle, Baltic Centre for Contemporary Art, Gateshead, UK 2012 Dreams, BFAS, Geneva, CH (in collaboration with Metro Pictures, New York) Metro Pictures, New York, NY, US 2011 Thrilling Stories from the Book of "O", Praz-Delavallade, Paris, FR Cakes, Men in Pain, White Rectangles, Devil in the Details, Patrick Painter Inc., Santa Monica, CA, US 2010 Left Behind, CAPC - Musée d’Art Contemporain de Bordeaux, Bordeaux, FR Bernier/Eliades, Athens, GR 2009 Wet Dreams, Erotic Dream Drawings by Jim Shaw, Praz-Delavallade (space II), Paris, FR The Whole: A Study in Oist Integrated Movement, Simon Lee Gallery, London, UK 2008 Extraordinary Rendition, Patrick Painter Inc., Santa Monica, CA, US Jim Shaw: New Arrivals, Metro Pictures, New York, NY, US 2007 Dr. Goldfoot and His Bikini Bombs, Metro Pictures, New York, NY, US 2012: Montezuma’s Revenge, Praz-Delavallade, Berlin, DE The Hole, Praz-Delavallade, Paris, FR The Donner Party, PS1 Contemporary Art Center, Long Island, NY, US Galleria Massimo de Carlo, Milan, IT Distorted Faces & Portraits 1978-2007, Blondeau Fine Art Services, Geneva, CH 2006 My Mirage 1986-1991, Skarstedt Gallery, New York, NY, US 2006-2007 DO (I was in my Japenese gallery/museum in Japan...), Patrick Painter Inc., Santa Monica, CA, US Left Behind #8, 9, 10, Patrick Painter Inc., Santa Monica, CA, US 2006 Vise Head, Patrick Painter Inc., Santa Monica, CA, US Bernier/Eliades, Athens, GR Emily Tsingou Gallery, London, UK Vise Head, Patrick Painter Inc., Santa Monica, CA, US 2005 The Inky Depths/The Woman in the Wilderness, Metro Pictures, New York, NY, US Art & Public, Geneva, CH Praz-Delavallade, Paris, FR The Dream That Was No More A Dream, Patrick Painter Inc., Santa Monica, CA, US 2004 O, Kunsthaus Glarus, Glarus, CH Emily Tsingou Gallery, London, UK 2003 Kill Your Darlings, Patrick Painter Inc., Santa Monica, CA, US Kill Your Darlings, Bernier/Eliades, Athens, GR O, Le Magasin, Grenoble, FR Drawings, Metro Pictures, New York, NY, US Drawings, Studies, O-ism, Art & Public, Geneva, CH 2002 The Rite of the 360° Degree, Praz-Delavallade, Paris, FR The Goodman Image File and Study, Swiss Institute, New York, NY, US Oist Thrift Store Paintings, Metro Pictures, New York, NY, US Galleria Massimo De Carlo, Milan, IT 2001 The Artist’s World, Logan Galleries, CCAC Institute, San Francisco, CA, US Dreamt of Drawings, Emily Tsingou Gallery, London, UK Metro Pictures, New York, NY, US Praz-Delavallade, Paris, FR Galleria Massimo de Carlo, Milan, IT 2000 Thrift Store Paintings, ICA, London, UK Patrick Painter Inc., Santa Monica, CA, US Everything Must Go (curated by Sue Spaid), MAMCO, Geneva, CH; travels to The Contemporary Arts Center, Cincinnati, OH, US Johnen + Schottle, Köln, DE 1999 Metro Pictures, New York, NY, US Praz-Delavallade, Paris, FR Everything Must Go, Casino Luxembourg - Forum d'Art Contemporain, Luxembourg, LU (traveling retrospective) 1998 Drawings (curated by Peter Weiermair), Rupertinum - Musée d’art moderne et contemporain, Salzburg, AT Eccentric Drawing (curated by Peter Weiermair), Frankfurter Kunstverein, Frankfurt, DE 1997 The Deep, Tokyo, JP Bookbeat, Detroit, IL, US Rosamund Felsen Gallery, Santa Monica, CA, US Praz-Delavallade, Paris, FR 1996 Massimo de Carlo, Milan, IT The Sleep of Reason, Metro Pictures, New York, NY, US Dreams, Cabinet Gallery, London, UK 1995 I Dreamed I Was Performing in an Alternative Space in My Maidenform Bra, Rosamund Felsen Gallery, Santa Monica, CA, US Dreams, Galerie Andreas Brändström, Stockholm, SE What Exactly is a Dream and What Exactly is a Joke..., Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV, US 1994 Dreams That Money Can Buy, Rena Bransten Gallery, San Francisco, CA, US 1993 Dreams That Money Can Buy, Metro Pictures, New York, NY, US Dreams That Money Can Buy, Linda Cathcart Gallery, Santa Monica, CA, US 1992 Life and Death, Texas Gallery, Houston, TX, US Metro Pictures, New York, NY, US Horror A Vacui (with Benjamin Weissman), Linda Cathcart Gallery, Santa Monica, CA, US Galleria Massimo de Carlo, Milan, IT 1991 Thrift Store Paintings, Metro Pictures, New York, NY, US New Works from My Mirage, Linda Cathcart Gallery, Santa Monica, CA, US 1990 My Mirage, Linda Cathcart Gallery, Santa Monica, CA, US My Mirage, Matrix Gallery, University Art Museum, University of California, Berkeley, CA; travels to St Louis Museum of Art, St Louis, MO; Feature Inc., New York, NY, US Thrift Store Paintings, Brand Library, Glendale, CA, US 1989 Dennis Anderson Gallery, Los Angeles, CA, US 1986 The Nuclear Family, EZTV, Los Angeles, CA, US 1981 Life and Death, Zero Zero Club, Los Angeles, CA, US Group exhibitions: 2017 I Love L.A., Praz-Delavallade, Los Angeles, CA, US 2016 Realisms, The State Hermitage Museum, St. Petersburg, RU Un autre monde (((Dans notre monde))), Galerie du Jour Agnès B., Maison de la poésie, Centre Wallonie-Bruxelles, Paris, FR Collection(s) et nouveaux ensembles monographiques, Mamco, Geneva, CH Physical: Sex and the Body in the 1980s, LACMA, Los Angeles, CA, US A History: Contemporary Art from the Centre Pompidou, Haus der Kunst, Munich, DE DO IT, Hab Galerie, Nantes, FR (organised by Frac des Pays de la Loire) On verra bien, Galerie du Jour Agnès B., Paris, FR Nothing Compares to You (works from the collection of Martin & Rebecca Eisenberg), Riverview School, Cape Cod, MA, US 2015-2016 Drawing. The Bottom Line, S.M.A.K., Ghent, BE 2015 Free Admission, Praz-Delavallade, Paris, FR Better Than De Kooning, Villa Merkel, Esslingen am Neckar, DE Collecting Lines - Drawings from the Ringier Collection, Villa Flora, Winterthur, CH Magnificent Obsessions: The Artist as Collector, Barbican Centre, London, UK The Making of Personal Theory: Mysticism and Metaphysics in the Work of Sara Kathryn Arledge, Charles Irvin, and Jim Shaw, Armory Center for the Arts, Pasadena, CA, US Dominos, CIRCUIT, Lausanne, CH 2014-2015 What Nerve! Alternative Figures in American Art from 1960 to the Present (curated by Dan Nadel), RISD Museum, Providence, RI, US do it (homage), Utah Museum of Contemporary Art, Salt Lake City, UT, US; travels to Michaelis School of Fine Art, Capte Town, ZA; Garage Center for Contemporary Art, Moscow, RU Selections from The Permanent Collection, MOCA, Los Angeles, CA, US Onetorino: Shit and Die (organized by M. Cattelan, M. Ben Salah & M. Papini), Palazzo Cavour, Turin, IT (by invitation of Artissima) 2014 The Century of The Bed (curated by Vienna 2014), Galerie Steinek, Wien, AT As I Run And Run, Happiness Comes Closer (curated by Jérôme Sans), Emerige, Paris, FR The Crime Was Almost Perfect (curated by Cristina Ricupero), Witte de With, Rotterdam, NL Nothing Twice, Tadeusz Kantor Centre - Cricoteka, Krakow, PL Hearsay: Artists Reveal Urban Legends (curated by Wendy Sherman), California State University Fullerton Grand Central Art Center, Santa Ana, CA, US Grey Flags (curated by Timothée Chaillou), BackSlash Gallery, Paris, FR VEILS (curated by J. Dahl & A. Papademetropoulos), The Underground Museum, Los Angeles, CA, US The Crime Was Almost Perfect (curated by Cristina Ricupero), PAC - Padiglione d’Arte Contemporanea, Milan, IT My Little Boat of Sorrow, Rosamund Felsen Gallery, Santa Monica, CA, US 2013-2014 Donation Florence et Daniel Guerlain, MNAM - Centre Georges Pompidou, Paris, FR 2013 Oeuvres de la collection Philippe Cohen (curated by Ami Barak), Passage de Retz, Paris, FR The Universal Addressability of Dumb Things (curated by Mark Leckey), The Bluecoat, London, UK XXXL Painting (organized by the Museum Boijmans van Beuningen), Submarine Wharf, Rotterdam, NL Nuage, Musée Réattu, Arles, FR I'm Dreaming About A Reality, Galerie Chantal Crousel, Paris, FR Il Palazzo Enciclopedico / The Encyclopedic Palace (curated by Massimiliano Gioni) in The 55th Venice Biennale, The Arsenale, Venezia, IT More Young Americans (curated by Susanne Van Hagen), L'Enclos des Bernardins, Hôtel de Miramion, Paris, FR Coulisses, Frac Aquitaine, Bordeaux, FR Untitled. Works on Paper, Galerie Sophie Scheidecker, Paris, FR do it, Manchester Art Gallery, Manchester, UK 2012-2013 Faking It: Manipulated Photography Before Photoshop, Metropolitan Museum of Art, New York, NY, US LOST (in LA) (curated by Marc-Olivier Wahler, presented by FLAX), Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles, CA, US 2012 Artists Merchandising Art (organized by René Luckhardt & Judith Rohrmoser), Wonderloch Kellerland, Berlin, DE / Los Angeles, CA, US Poule! (curated by Michel Blancsubé), Fundación/Colección Jumex, Ecatepec, MX Dogma (curated by Gianni Jetzer), Metro Pictures, New York, NY, US Panegyric, Forde, Geneva, CH For The Martian Chronicles, L&M Arts, Venice, CA, US 2011-2012 Destroy All Monsters: 1973-1976, Prism Gallery, Los Angeles, CA, US Incongru. Quand l'art fait rire, Musée cantonnal des Beaux-Arts de Lausanne, Lausanne, CH 2011 Interchange, Exchange LA, Los Angeles, CA, US All of the above (carte blanche à John Armleder...

Title: British Impressionist Watercolor of Landscape at Dusk with Trees and Shadows by Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11...

Zita Sudnika, Horses of the sun. 2004. Oil on canvas, 80x120 cm Dynamic and vivid painting that captures the energy of running horses against the backdrop of an orange sunset. The s...

White Visor, 2003 by Alex Katz Signed, dated and numbered (34 of 75) Etching and aquatint in colors on paper 86 x 172 cm Edition of 75 Sold in excellent condition, unframed.

Published in 2003, as a gift for the employees of the Victoria-Versicherung Insurance company. This is an offset lithograph of “Victoria II” printed on heavy stock paper. Listed in c...

The other by itself is an original contemporary artwork realized in the 2000s by the Italian Contemporary artist Franco Ferrari. Original mixed media painting. Acrylic on canvas. ...

Title: British Impressionist Watercolor of a Country Lane with Church and Geese By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes Dimens...

John Hinchcliffe (1949-2010) Roof Boss Sherborne Abbey Dorset 2002 Screenprint 28.7 x 20.0 cm 30.2 x 21.5 cm Signed John Hinchcliffe (1949-2010) John Hinchcliffe's career encompasse...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

LeRoy Neiman's art style is a blend of impressionism, expressionism, and realism, with elements of Pop Art. His work is known for its vibrant colors, spontaneous brushstrokes, and dy...

Flowers - Oil on canvas cm.80x60 by Maximilian Ciccone, Italy 2002. Frame available on request from our workshop. In this oil on canvas painting the painter Ciccone draws inspiration from the masterpieces of the great Roman master Mario Nuzzi...

Mermaid's Daughter (Till Death do us Part) - 2005, 70x85cm, Edition of 10. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory ...

In this stunning piece by the renowned artist Yuroz, beautifully encapsulates the timeless themes of love and romance. This artwork invites you to witness a lover's serenade, where a...

Colourful Abstract Landscape & Sky Painting with Reds, Purples & Blues of Pendle Hill in the Northern English Countryside by leading British Urban Artist Angela Wakefield. Art measu...

Title: British Impressionist Watercolor of Sunlit Beach Scene with Figures By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes Dimensions:...

Artist: Peter Max (1937) Title: Flower Jumper Over Sunrise II Year: 2001 Edition: 497/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9 x 11 inches Condition: Excell...

Raul Anguiano (Mexico, 1915-2006) 'Salomé', 2003 Engraving, sugarlift on Deponte handmade heavy-weight paper of 650 g. 19.3 x 15 in. (49 x 38 cm.) ID: ANG-108 Hand-signed by author

Elegant outdoor dining, in the forefront, composed of three women and a man, seated by a French Versailles-style lake: urns, manicured trees, and water lilies, giving an air of tranquility and repose. By the Lake...

Belles of Shoreditch, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 ca...

This artwork, titled "Tulips in a Round Vase" and dated 2000, is an original color lithograph on Arches paper by noted American artist Gary Bukovnik, born 1947. It is signed and numb...

So Still (Sidewinder) - 2005 20x22cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory # ...

This captivating Joseph Raffael poster, published by the Lincoln Center for the Mostly Mozart Festival in 2004, is a limited edition piece, with only 500 prints available. Renowned f...

Martini Corner, interior photography by Richard Heeps, photographed in Arizona as part of his Dream in Color series. The artwork has rich orange colours and an elegant mid-century fe...

Dramatic and colorful painting of two Koi. Circa 2000. Signed lower right corner "Linda H." Presented in white painted frame. Image size: 18"H x 36"W.

Springtime (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Signed on verso with Certificate, Artist inventory number: 18251. Not mounted. Thi...

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...

Daisy and Austen in front of Trailer (Till Death do Us Part) - 2005 Edition 5/5, 125x123cm each. 125x520cm installed. 4 Analog C-Prints, hand-printed by the artist on Fuji Cristal ...

'Primary Colors' (Stranger than Paradise) - 2001 each 20x20cm plus 5 cm in between each print together, 70x70cm, sold out Edition of 10, Artist Proof 2/2, Archival C-Print print,...

Hall is a highly respected contemporary artist. It is framed in a contemporary lacquered off white float frame. The surface of the board is slick and almost photographic in feel. The...

The Blue Pill to forget (Burned) - Self Portrait 1999, Edition of 2/10, 40x40cm Print on Velvet Watercolor, 310gsm, No OBAs, Bright White, Acid Free based on...

This intriguing offset lithograph print, signed and numbered out of 200 by an unknown artist in ballpoint pen, features a puff of smoke or a cloud hovering over a fence. The minimali...

Perseo and Andromeda - Oil on canvas cm.120x80, Eugenio De Blasi, Italy, 2005. Gold gilded wooden frame available on request This is his reinterpretation of a large ancient painting...

Jules and Jim II (Renée's Dream) from the 29 Palms, CA series - 2007 125x123cm, Edition 3/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certific...

Mary Fedden was a Modern British painter, printmaker and illustrator. Born in Bristol to a family of surgeons, from childhood Fedden had wanted to become a painter. At the age of si...

The Kiss (Sidewinder) - 2005 125x154cm, Edition 2/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the original Polaroid. Signed on verso. Artist Inventory No. 3120.02. Mounted on Aluminum with matte UV-Protection. This piece ships in a crate. Schneider harnesses the unpredictable chemical mutations of expired Polaroid film, where bursts of color erupt across the surface, destabilizing the photograph's traditional allegiance to reality. These vivid distortions draw her characters into ethereal, trance-like dreamscapes. Like fleeting sequences from a vintage road movie, Schneider’s images shimmer with a transitory quality, dissolving before any definitive conclusions can be drawn. Their ephemeral essence is conveyed through subtle gestures and enigmatic motives. Refusing to yield to the constraints of reality, Schneider’s work keeps alive a delicate interplay of dream, desire, fact, and fiction, blurring the boundaries between them with poetic ambiguity. Stefanie Schneider’s work echoes the heart of American art, channeling the cinematic nostalgia of Ed Ruscha’s roadscapes, the stark sensuality of Georgia O’Keeffe’s deserts, and the haunting solitude of Edward Hopper...

PLEASE NOTE: The painting will be shipped WITHOUT a frame. The framing option is available on request with additional shipping costs. Already in June, Ivan tea blooms; it is often p...

Rhomboid, 2001 Laminated acrylic Signed and dated: Vasa / 2001 9.5" H x 4.5" W x 2.5" D (size is approximate) Vasa Velizar Mihich (born 1933), known as Vasa, is an American artist based in Los Angeles, California. Born in Yugoslavia, Vasa has lived in Los Angeles since his arrival in the United States in 1960. He is an academically trained painter and was a professor at the University of California, Los Angeles UCLA in the Department of Design and Media Arts. He taught theories of color to understand interdependence and interaction of color and form, color and quantity, color and placement, and after-image. In the 1960s, Vasa developed techniques for working with cast laminated acrylic forms based on simple Euclidean shapes. These prisms of luminous construction are created by composing colored planes within these geometric forms. To fully appreciate these works of art, it is essential to observe them from different angles―the sculptures dimensionality contributes to an ever-changing appearance. Now retired as a professor emeritus, Vasa focuses on his conceptual art practice. His studio, designed to accommodate the technology required for his work, is located in the heart of Los Angeles. He makes laminated acrylic sculptures that reflect and refract light. He has had solo exhibitions at galleries in the United States, Japan, Italy and Serbia, including the Museum of Contemporary Art, Belgrade, the San Diego Museum of Art, and the Palm Springs Desert Museum. Vasa is best known for his sculptures made from colored pieces of the plastic, poly(methyl methacrylate), which is also known as acrylic and by the brand names Plexiglas and Lucite. Untitled from 1975, in the collection of the Honolulu Museum of Art, demonstrates the effect of these minimalist sculptures. His work straddles the West Coast Light and Space art movement, Artists such as Robert Irwin, James Turrell, John McCracken, Larry Bell, Craig Kauffman, Billy Al Bengston, Peter Alexander, and Lita Albuquerque...

Untitled (Beachshoot) - 2005 128x125cm, Edition 4/5. Analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Signature label and Certifi...

Please bear in mind that all prints are produced to order. Lead times between 15-20 days. Edition 19/150 All items are shipped as a print only and come unframed. Tim Flach is a gra...

Sweet Toof's , acrylic painting, framed in a gilt frame with glass is , an unmistakable image that can be spotted throughout East London. Renowned London S...

Eilean Donan Castle, Scotland By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15.25 inches ...

William Wegman is a renowned photographer famous for his unique and artistic photographs of Weimaraner puppies. His approach to is far from conventional, avoiding the typical "cuddly...

Reinhard Görner’s Leda with Swan unveils an intimate and evocative perspective on Correggio’s 16th-century masterpiece, capturing the painter’s exquisite handling of light, texture, ...

Domingo Alvarez (Spain 1942) - sailor fisherman in his boat - oil on canvas Canvas size 46x61 cm. Unframed.

"Mujer de Cajamarca" is an original oil painting on jute by Ernesto Gutierrez. The artist signed the piece in the lower right. It depicts a woman seated in front of an archway. 16"...

This oil on canvas piece features a vibrant sunset with a complementary color scheme of orange and blue. The burnt umber rock and patches in the sky ground the composition and balance out the expanse of the horizon. The clouds reflect the warmth of the earth below. This piece is sold framed and is signed by the artist in the back. Bob Blackmon...

Motel Desert Shores, photograph from Richard Heeps Salton Sea Series. This artwork has the a vibe of a Southern California American road trip, the colours are so seductive, the palm ...

Signed lower left, 'J.da Silveira' for Jose Da Silveira (French-American, born 1965), titled, 'The Soul is Music' and painted circa 2002. Additionally signed and titled, and with figural drawing, verso; Previously with: Chabot Gallery, Campbell, California Born in a tiny jungle village in Mozambique to a Portuguese bullfighter and the daughter of one of the leaders of the French Resistance...