Early 2000s Art

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...

This is a fourteen (14) color screen print on Reeves textured rag paper, hand signed and numbered in graphite from an edition of 118. There are an additional 18 Artist Proofs. The pr...

Edition 10 Also available in 40 x 50 cm / 16 x 20 inch, Edition 25 Black and white portrait of actor Heath Ledger in young age. From personality portra...

Katharina Fritsch Schlange / Snake 1999/2001 Plastic, paint 7/8 x 7 1/2 x 3 3/8 inches; 2 x 19 x 9 cm Edition of 240 Accompanied by a certificate of authenticity signed and numbered ...

Hake's Drove, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire. Richard Heeps was awarded a Millennium Year of the Artist Arts Council Grant to make this work. This project was born from an idea to produce a set of photographs...

Title: British Impressionist Watercolor of Sunlit Country Lane By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11 x 15.25 inches (Heig...

Radha Mind Screen (29 Palms, CA) - 2016 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory ...

Artist: Itzchak Tarkay (1935-2012) Title: Quiet Afternoon Year: Circa 2000 Medium: Silkscreen on wove paper Size: 13.5 x 10.75 inches Edition: 123/750, plus 100 Remarques Condition: ...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 20. All Gerald Berghammer prints are made to ord...

Title: British Impressionist Watercolor of a Loose Floral Arrangement of Pink Blooms By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes D...

'Teacher or Preacher' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madam...

Kate #15, 2002 by American photographer Leonard Freed is an 8" x 10" (small format) black and white photograph, stamped "vintage" on verso (back of photo) by the Freed estate. Shot In San Francisco with the Golden Gate Bridge backdrop Leonard Freed photographs Kate, a woman photographer and yogini who revels in dolce vita poses during a shoot on a cliff drive in California. The self-assigned photo series on Kate became a welcome reprieve for Leonard Freed who during a long photo...

Title: British Impressionist Watercolor of a Tree-Lined Boulevard with Figures By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes Dimens...

Tolla Inbar, Encouragement, bronze sculpture, ropes, mutual help, International artist, Israeli artist, Figurative sculpture, art

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:...

Balthasar BURKHARD (1944–2010, Switzerland) Kuba, 2005 C-print in artist’s iron frame, museum glass Sheet 176 x 176 cm (69 1/4 x 69 1/4 in.) From an...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

Ed Baynard Blue Vase on Antique Paper, 2002 Pochoir and relief in colors on vintage handmade paper Signed, dated and numbered lower right ‘AP 3/4 Ed Baynard 02’. This work is artist'...

Dream Scene on Salt Lake - 2007 from the 29 Palms, CA project 125x156cm, Edition 3/5 Analog C-Print, hand-printed by the artist, based on an original Polaroid. Artist Inventory #96...

Kate Moss vinyl record art by Mert and Marcus (Mert Alas and Marcus Piggott) Off-set print on vinyl record. Measures: 12 inches in diameter. Excellent condition. Published by Visionaire Fashion, 2007. A very cool frame piece. About Mert & Marcus, as they are known in the industry, have worked for W, American Vogue, Pop, Numero and Arena Homme, among many other titles. Their commercial clients include Louis Vuitton , Gucci, Pucci, Versace, Missoni, Giorgio Armani , Roberto Cavalli, Fendi, Kenzo, MAC and Miu Miu. Their aesthetic is highly polished, colour-saturated and hyperreal. The photographers were both born in 1971, Alas in Turkey and Piggott in Wales. The pair met in 1994 in England. At the time Piggott was a photographer’s assistant and Alas was a fashion model, and the two quickly built a rapport and decided to work together. Their joint abilities were clear from the beginning. The first photos the duo submitted to Dazed & Confused made the cover. Related categories Fashion Photography. Supermodels. Mario Testino. Mario Sorrenti...

Romantic readings - Ciro de Rosa Italia 2002 Oil on canvas cm.70x55 The beautiful painting by Ciro De Rosa depicts a young noblewoman and a young boy looking at a map, from his portr...

This limited edition color lithograph, titled Le Petit Prince Fetching Water, beautifully recreates the iconic watercolors from the beloved book Le Petit Prince by Antoine de Saint-E...

American Impressionist French coastal Impressionist scene Charles Bertie Hall painted scenes all over England, Europe, and America in a traditional Impressionist manner. He exhibite...

Artist: Chuck Close Title: Untitled (Kates #11) Year: 2005 Medium: Digital pigment print on Hahnemuhle Satin paper Edition: 25; signed, dated and numbered in pencil Sheet: 17 x 22 inches (43.18 x 55.88 cm) Frame: 19 1/2 x 24 1/2 inches (49.53 x 62.23 cm) Certificate of Authenticity included For its September 2003 issue, W. magazine commissioned artists Richard Prince, Takashi Murakami, Lisa Yuskavage...

Self-portrait 1 2009, canvas, acrylic, 140x98 cm. Juris Utāns (1959-2022) was a Latvian painter. Worked in the field of critical realism, socially active and political art. Juris ...

Title: British Impressionist Watercolor of a Tree Silhouette Against a Dramatic Sunset By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions...

Title: British Original Watercolor of a Stone Bridge Over a Tranquil River By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11 x 15.25 ...

Kansei: Like The River's Flow 2010 by Takashi Murakami Offset print, cold stamp and high gloss varnishing with silver ink signed, numbered and stamped by the Artist 27 7/8 in diamete...

Sky Cradle, sculpture by John Reeves, mixed media, wood, granite, limestone

Land Battle - Antonio Savisio Italia 2002 - Oil on canvas diam. cm. 30 Maestro Antonio Savisio drew inspiration from the masterpieces of the great Neapolitan Maestro Salvator Rosa wh...

Title: British Impressionist Watercolor of Riverside Town with Church Spire By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11 x 15 in...

Title: British Impressionist Watercolor of Figures in Sunlit Mediterranean Courtyard By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 1...

Artist: Guillaume Azoulay (1949) Title: Etude Deux Chenaux sur Quinze Year: 2004 Medium: Ink drawing on archival paper Size: 14 x 16.5 inches Condition: Excellent Inscription: Signed...

Charming watercolor of red and green apples with an interesting composition by P. Dymond (American, 20th Century), circa 2000. Signed upper right corner. Presented in a metal frame. ...

The Prince (The Princess and her Lover), 2007, part of the 29 Palms, CA project, Edition of of 10, 20x20cm, digital C-Print based on a Polaroid, Signature label and Certificate, a...

Impressionistic English River Landscape Painting Original Oil by British Artist. A matt varnished mixed media artwork on deep edge canvas capturing the shimmering reflections of sunl...

George Dannatt (1915-2009) Dartmoor, 1996 Etching AP Image: 29.5 x 20.6 cm Paper: 38.7 x 25.9 cm Provenance: The Estate of George & Ann Dannatt/George Dannatt Trust George Dannatt...

Peter has an absolute love of oil painting and especially admires the masters of Dutch Painting of the 17th Century, which is reflected in his own work. Since 1995, after seeing the work of Estonian artist Olav Maran, Peter decided to review his paintings and started researching ‘Still Life’ painters such as Willem Kalf and De Heem. After experimenting with priming his own panels and canvases with different colours, then painting with thick and thin paint and glazing on top, in the way of the old masters, he has developed a style with detail and atmosphere that is essential in his portrayal of fine wine, fruit and cheeses etc. In a quirky and sometimes conceptual world, Peter makes no apologies for producing traditional subjects where the craftsmanship is evident in every brushstroke. His paintings bring much joy and pleasure to those who understand he has an obvious and underlying love of handling paint and observing his subject using techniques that take many years to acquire. Recently he has changed the view point for some of his paintings, to give them a bold contemporary look. Peter Kotka...

Title: British Impressionist Watercolor of a Rural Cottage, Farmyard, and Chickens By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes Dim...

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

Steven H. Rehfeld (American, born 1954) "Pompeii" 2009 Oil Paint, Paper, Pencil, Mixed Media, Canvas, Stretcher Bars The artist signed the back of the painting. This striking 30" x ...

Title: British Watercolor of a Scenic Countryside Village Overlook with Horse and Rider By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions...

Title: British Impressionist Watercolor of Sailboats at Low Tide by Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11 x 15.5 inches (Hei...

Additional sizes available upon request. As one of Britain’s longest standing press photographers, Greg Brennan has captured some of the biggest news moments of the last 25 years a...

Title: British Watercolor Village Street with Church and Figures By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15.25 inches ...

The pleasure we share is an original artwork realized by Ugo Nespolo. Serigraph in 44 colors, glitter collage interventions, gilded and silver details and dry chalcography. Hand-s...

Basquiat Record Art 1983/2001: 2001 2nd pressing released in limited quantity. Beat-Bop, is a 10-minute track synthesizing various instruments and rhyming patterns, for which Basqui...

Nobuyoshi ARAKI (*1940, Japan) 69YK #61, 2009 Gelatin silver print 60 x 50.8 cm (23 5/8 x 20 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

Still life - Massimo Reggiani Italia 2005 - Oil on canvas cm.35x50 The origins of still life can be found in Dutch painting. At the beginning of Dutch painting, artists included addi...

"The Way Things Change" Abstract Composition in Oil on Linen Abstract geometric composition by "Tara" (20th Century). This piece has several rectilinear forms, punctuated by sporadi...

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...

Title: British Watercolor of a Sunlit Village Scene with Horse and Cart and Chickens By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 15.25 x 11 inches (Height x Width) Condition: Good, with some minor signs of aging. Provenance: From a large collection of this artists work, held in England. Description: This charming watercolor painting captures a quaint village street bathed in warm sunlight, with its ochre-toned buildings adorned with green shutters and flowering window boxes. The peaceful scene is animated by a horse-drawn cart heading down a narrow path towards the ocean, visible in the background, evoking a sense of timeless rural life. In the foreground, a few chickens peck along the dusty road, adding a touch of rustic authenticity. The artist beautifully renders the interplay of light and shadow on the buildings, creating depth and inviting the viewer to wander down this idyllic street. This piece would be a lovely addition for collectors drawn to pastoral and European village landscapes.

Swim-in-Pool Supply Co. This fun original artwork really shows Richard's unique eye as a photographer. Captured in Las Vegas in 2003 it is part of a series he took over a few years. ...

“Ofrendas” is a painting by Cuban artist Manuel Mendive, created in 2001. This Acrylic on Canvas represents an encounter between divine creatures. The surrounding environment reflect...

Sculpture from the Ballet series. The series is dedicated to classical ballet and includes over 30 sculptur...

Edition 5 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains high...

This 2009 photograph by legend photographer, John Stoddart depicts “The Swan with Leda.” It was inspired from the mythology of the Greek story of Leda and the Swan, when the God Zeus...

This Blue Dog work consists of a Reflective Chrome Paper background with the wording and markings for the Rodrigue 20th Anniversary for the New Orleans Studio. There is a single blue...

3717 Equestrian Surreal painting on board Set in a vintage wood frame

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...