Early 2000s Art

Raf Peeters is a Belgian artist represented by Boycott Gallery.

Title: Eilean Donan Castle, Scotland (with further image verso) By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15 inches (Hei...

Effloresce (Abstract painting) Oil on paper - Unframed Framed on request Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at ...

Bram Bogart Sunday Morning 2007 Mixed Media 140 x 137 cms (55 x 54 ins) BB10401 Provenance The artist Bernard Jacobson Gallery London Jason Martin, Lond...

This is a gorgeous David Sorensen painting; one of the desirable ‘Horizon’ series painted in the early 2000s. The palette is rich and warm. The gestural brushstrokes reveal subtle la...

Untitled (Beachshoot) - 2005 50x50cm, Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory # 898, not mounted “I never rememb...

A narrative of hard edged orthogonal shapes in sapphire blue, bright yellow and crimson unfolds across a background grid of washed charcoal black rectangles. The black ground is made more powerful by the size of the six foot tall canvas...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Title: British Impressionist Watercolor of Countryside Cottage with Rolling Fields by Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 10....

Artist: Alex Katz Title: Gloria 13 Medium: Etching on Zerkall Ingress paper Date: 2005 Portfolio: 2005 Gloria Edition: 25/100 Frame Size: 15" x 15" Sheet Size: 12" x 9" Image Size: ...

Tricksy (Beachshoot) - 2005 featuring Radha Mitchell 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Arti...

Untitled (Beachshoot) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 21398. Not...

Twilight, located near the village of Haddenham in Buckinghamshire, is a slight coolness and almost calm. Slowly floating clouds above strangers and gradually changing color from gre...

Landscape - Vittorio Landi Italia 2018 - Oil on canvas cm. 80 x 120. In this wonderful oil on canvas the painter draws inspiration from Architectural Capricci, a pictorial genre o...

Jehudith Sobel (Polish‑American, 1924–2012) "Scenic Porch" Signed lower right Oil on canvas Sight size: 30 x 24 in. Frame size: 40.5 x 34.5 in. A vibrant and contemplative exampl...

Edition 25 Also available in 101 x 127 cm / 40 x 50 inch, Edition 10 Color portrait of artist David Hockney smoking in front of some portraits on the wall. From personality portra...

Who's That (Beachshoot) - 2005 featuring Radha Mitchell 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. A...

Title: British Watercolor of a Tranquil Riverside Path with Trees and Reflections By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.2...

This is a silkscreen and woodcut print created in 2007. It is signed and numbered in graphite from the edition of 118 (plus 18 APs). This print comes directly from the publisher, Lin...

This piece captures the serene harmony between tradition and nature. Using oil, I sought to evoke the peaceful rhythm of horse riding against the historic backdrop, blending impressi...

Acrylic and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a transparency i...

"Ex Nihilo Fragment 3" by Frederick Hart is a figurative bronze with the edition of 56/65. I saw Ex Nihilo (Out of Nothingness) as a single expression of creation, as the metamorph...

Oil on canvas, signed lower left

Tulip Time, by Lu Haskew Oil 24x18" image size Floral Still Life Painting, Pink and Purple Tulips with Green Apples This painting is unframed, canvas on gator board, the price refle...

Robert Indiana Pax, Paix, Shalom (The Peace Print), 2004 Silkscreen in 4 colors on rives BFK paper Hand signed, dated, titled and numbered 35/50 in pencil by Robert Indiana on the f...

Title French Abstract Landscape Study in Soft Greens and Greys, Oil on Paper Key Details Artist: Yvette Dubois-Habasque (French, 1929–2016) Medium: Oil on heavyweight paper Size: 19....

Oldsmobile and Sinful Barbie's, from Richard Heeps' 'Man's Ruin' Series. This artwork is part of a sequence capturing Wendy at the Rockabilly Weekender, Viva Las Vegas, these Barbie'...

Chromogenic print Signed and numbered, verso 11 x 14 inches (Edition of 5) 16 x 20 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please no...

This bold color lithograph is signed, dated and numbered in pencil by Peyton, from an edition of 350. Published by the Public Art Fund, New York.

Still life Antonio Celli Italia 2002 Oil on canvas cm. 80x100 n this precious oil on canvas, Antonio Celli is inspired by the paintings of the Neapolitan...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

Tony Scherman (1950-2023) is one of the most collected and cherished Canadian artists. He is internationally renowned for his work in encaustic (a mix of wax and oil, one of the most...

Cosmos and Blue, by Lu Haskew Oil 20x24" image size Floral Still Life Painting of a Mixed Bouquet This painting is unframed, canvas on gator board, the price reflects that it is unf...

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...

'Hula Doll', from Richard Heeps 'Man's Ruin' Series, captured at Viva Las Vegas, this fun artwork has a cool kitsch vibe. The photograph itself has a lo-fi effect. This artwork is a...

Title: British Impressionist Watercolor of Coastal Harbour with Sailboats by Anthony Avery (British 1946-2023) original watercolor on artists paper, unframed Dimensions: 11.5 x 15 in...

Title: British Impressionist Watercolor of a Village Scene with Church and Bridge By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.2...

Blue abstract photograph from Richard Heeps' series Trading Paint. Richard Heeps has a history of photographing Drag Racing in the UK, America and Europe. Trading Paint is a term tha...

Safe in the Harbor, by Lu Haskew Oil 30x20" image size Landscape Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price i...

George Dannatt (1915-2009) Nocturne in Black 1995 Monoprint & gouache Fabriano paper Image: 17.6 x 12cm Frame: 37.1 x 30.7 cm Provenance: The Estate of George & Ann Dannatt/George...

Christine Ravaux created Une Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted wi...

Foxgloves from the Garden, by Lu Haskew Oil 24x16" image size Floral Still Life Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. S...

Paper Size: 15.75 x 19.75 inches ( 40.005 x 50.165 cm ) Image Size: 14.5 x 19.75 inches ( 36.83 x 50.165 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Artist: Hirst, Damien Title: Liberty Series: In a Spin Volume 1 Date: 2002 Medium: Etching on 350gsm Hahnmuhle paper Unframed Dimensions: 35.875" x 28" Framed Dimensions: 43....

Title: British Impressionist Watercolor of Mediterranean Garden with Steps and Flowers By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions:...

Title: British Impressionist Watercolor of Horse Riders on a Country Lane By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15.5...

Louis Walden (1934-2013) was one of Andy Warhol's actors who starred in his films. He was a well-known actor prior to joining Warhol's films. He remained with good connections at the factory and was able to produce these brightly colored prints. Large screen print by American filmmaker and actor, LOUIS WALDEN, This is a 2005 print done at the factory of 'MARILYN'. Marilyn Screen print 39x40 inches Stamped 'LOUIS WALDON...

Cottage in Autumn Color, by Lu Haskew Oil 18x24" image size Landscape Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping pr...

'Barton Broad' photographed by Richard Heeps in one of his favourite areas of Britain on the east coast in Norfolk. This peaceful almost monochrome landscape/waterscape creates a fee...

'Telephone VII' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography featuring a vintage telephone on a nightstand combines gorgeous pastel c...

Unorthodox; yet effective, Suki treats us to a series of works that tantalizes the imagination with bold strokes of dark and light, hinting at shapes both human and ethereal and pull...

Still Life of Two Pears in Acrylic on Archival Paper Vibrant still life by California artist Christine Cohen (American, b. 1943). This piece is a close-up still life of two pears, a...

Sunil Das - Untitled - 9.75 x 6.5 inches (unframed size) Acrylic Relief & Mixed Media on paper pasted on Foil Inclusive of shipment in ready to hang for...

This sculpture from Linda Stein’s Knights of Protection series functions both as a defender in battle and a symbol of pacifism, and is made of ceramic. Stein's works are in more tha...

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 ...

Wounaan Tribe Panama Rainforest Basket, brown, white and black geometric design hand woven palm fiber and vegetal dye Estelina Morales The baskets are made by the Wounaan and Embera...

Subrata Biswas - Think Green - H: 13 Inches x W: 12 Inches X D: 4 Inches Bronze Sculpture. Subrata Biswas’s three sculptures ‘Think Green’, ‘Amigo’ and ‘City Bred’ a conscious selec...

Flowers - Oil on canvas cm. 100x80, Carlo De Tommasi, Italy, 2009. The painting is inspired by one of the canvases of the Belgian painter Ambrosius Bosschaert...

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...

Palm Springs Poolside, photograph from Richard Heeps, Dream in Colour series. Classic mid-century Palm Springs architecture, featuring cool blue skies and swimming pool with accents...