Early 2000s Art

Still life - Giovanni Perna Italia 2004 - Oil on canvas cm.50x70 in this beautiful oil on canvas Giovanni Perna was inspired by the paintings of the Spanish painter of Dutch origin J...

On the F-word (2002), Edition A.P 7/7. 4 plates 7 colors intaglio (photogravure, aquatint) on Arches paper. Image: 49.0 x 39.0 cm. Sheet: 72.0 x 56.0 cm. BSS No. : E-2002-015. Catalo...

This piece is a giclée after an original painting created by Jonathan Winters in 1970. Jonathan Winters was an American comedian, actor, author, and artist whose iconic career spanne...

Autumn Provence by Andre Guillou (French 1925-2017) signed and dated 2002 oil on canvas, unframed canvas: 25.5 x 21 inches provenance: private collection...

In this painting, I captured the quiet essence of an autumn day, where the earthy colors and soft light evoke a reflective mood. Using oil, I blended impressionism and realism to bri...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

Rafael Duran Benet (1931-2015) - Spanish landscape with lake - Oil on canvas panel Oil measurements 50x61 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a C...

Original Les Codes de CHANEL Poster – Black Fashion Wall Art, Modern Luxury Décor, Iconic Designer Brand Print for Bedroom, Living Room, Glam Office poster. Archival linen backed in ...

Very large advertising poster created by the Metropolitan Transportation Authority to promote public transit. In 2002, Colon created the "Highfliers" poster for the Metropolitan Tran...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Otto Aguiar's signature, romantic couple overlooking the water, arms locked in a moment of true peace. Executed in a palette of cool tones complementing the warm sentiments. My Mome...

Black and White painted photographic print of New York City by signed by artist Gottfried Salzmann. This is a rare Artist's Proof, marked "EA" (Epreuve d'Artiste). Offered framed. ...

Already in June, Ivan tea blooms; it is often popularly called fireweed. Its flowers of bright pink color attract bumblebees and butterflies, and not a bright aroma is often beaten b...

Enigmatic shapes and calligraphic lines dance across a flood of lime and emerald green, rimmed in violet, bronze, pink and orange in this horizontal mixed-media painting. The artist ...

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

Artist: Mimmo Rotella Title: Blue Hawaii Year: 2004 Medium: Serigraph with collage, signed in pencil l.r. Edition: P.A. Paper Size: 38 x 28 inches / 96 x 71cm

Stunning original oil painting by the French abstract artist, Yvette Dubois-Habasque (1929-2016). oil painting on canvas, unframed signed and dated verso canvas: 10.5 x 18 inches...

Joseph Piccillo’s meticulous charcoal and graphite drawings and paintings reveal an exquisite draftsmanship tempered by emotional sensitivity. Piccillo presents an action-based assem...

This 2004 poster, titled Wrapped Vespa, was published by Dr. Fils Art Edition and stands as a unique and sought-after collectible within Christo’s celebrated body of work. Printed on...

Artist: Dan May (American, 1955-) Title: "Chickens" *Signed and numbered by May in pencil lower left Year: 2003 Medium: Original Screenprint on unbranded soft-cream wove paper Limite...

Kate #2, 2002 by Leonard Freed is an 8" x 10" hand printed, signed by the photographer black and white photograph, stamped "vintage" by the Freed estate on verso (back of print).. Mo...

Artwork size: 97 x 81 cm. Frame size: 105 × 89 cm. Signed, titled and dated on the verso. Free shipment worldwide. Acquired directly from the artist. Frame in wood white gold. “Wi...

If I was a different Girl (Till Death do us Part) - 2005 48x58cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 94...

First Kiss (Till Death do us Part) - 2005 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory ...

Andrea Belag Untitled, from the Lehman Brothers Art Collection, 2003 Watercolor monotype on paper Pencil signed and dated on the front Framed Gorgeous ...

5196 American primitive oil painting sheep in field by C.Woll Image size 9.5x7.5"

Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride...

Elkhorn Slough - California Landscape in Oil on Canvas Gorgeous oil painting landscape of Elkhorn Slough, Elkhorn, California by B. Skinner (American, 20th Century). Two cranes are ...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Dancer III is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 100 × 50 × 20 cm (39.4 × 19.7 × 7.9 in). The sculpture is signed and numbered, it is part of a l...

This is an intense bronze sculpture created by the well known Italian artist Ugo Riva, in 2006. The title of this artwork is "Dove vai?" , translated...

A gorgeous early Hunt Slonem of birds in grisaille pallette titled "Hornbills"

Ed Ruscha Ed Ruscha, Hand Signed and inscribed to Marvin Davis, former owner of 20th Century Fox, and his wife Barbara, 2000 Hardback illustrated monograph (book) with color plates. ...

Moments in Time (Sidewinder) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #3331 Not mounted. Stef...

Floaties (Beachshoot) - 2005 20x20cm, Edition of 10, digital C-Print, based on a Polaroid Certificate and Signature label, artist Inventory # 1431. Not mounted. The Tooth of Time It is obvious that the photographer Stefanie Schneider has a background in film. All her pictures live from the dust-filled eroticism of American road movies. For Hitchhikers, the thirty-seven-year-old artist sent her protagonists into the desert. The air shimmers. Desert. A highway, massive autos, dusty kisses. One is familiar with these sorts of images from films, even if one hasn't yet seen this particular one. In any case, it seems to be older: The tooth of time has gnawed at the photos; they are discolored, strangely and incorrectly exposed, covered with white spots. False! The photographic series Hitchhikers was created this year; the photos got their patina because the photographer Stefanie Schneider only uses film which has passed its expiration date by up to five years, and which accordingly reacts to light in unpredictable ways. Where one's assumptions are correct is in the matter of the cinematic allusions: Schneider received a degree in film at the Folkwang-Hochschule in Essen and was a cutter for several years. In the USA, she was responsible for the scene photos in the feature-film debut (Everything put together) of Marc Forster (Monster's Ball, Finding Neverland) and out of tha collaboration developed her own photographic series Suburbia. Hitchhikers is similarly structured and actually consists of stills, in this case without the accompanying film: loosely staged pictures in which the protagonists have space for spontaneous improvisations. No plot, but moods which seem familiar to us. Schneider remarks that during the shooting she was thinking of Thelma and Louise. The series is marketed along with other works of Schneider by the Editions Galerie Lumas, the Galerie Caprice Horn in Berlin, and the Zurich gallery nd-projects. The Lumas branch in Munich is featuring Schneider in the exhibition Polaroid Movie through February 28, and starting on February 23 the feature film Stay runs, in which Schneider's pictures play a crucial role. And the thirty-seven-year-old artist, who lives alternately in Berlin and Los Angeles, continues to work on her filmography. At the moment she is developing along with Marc Forster a concept of transferring her typical photographic aesthetic into moving pictures...

This piece is a unique drawing created by Jonathan Winters in 2001 using pen and ink. It is hand signed and dated, "May 22, 2001." Winters was an iconic American comedian, actor, aut...

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...

Acquired directly from the artist. Free shipment worldwide. Painted on the sides. No frame needed. The work of Antonio de Felipe is a constant source of fascination and surprises. ...

Signed lower right, 'Wildermuth' for Jennifer Wildermuth Reyes (American, 20th century); additionally signed verso, on stretcher bar, and dated 2006. A substantial figural coastal l...

EVENING THOUGHTS is an original limited edition lithograph by the Harlem Renaissance, social realist African-American artist ERNEST CRICHLOW (1914-2005). Printed in 2002 at JK Fine A...

Delightful and fabulous to live with - great to put on tables, shelves, mantles, desks and even better if they can be near natural light coming in. Amazing to turn and see the diffe...

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...

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...

Colorful expressionist corner of a garden with fuchsia flowers. In a corner of the soul (En un rincón del alma), Oil on linen by Chico Montilla. Original perspective of a garden, w...

FLOWERS - Oil on canvas painting cm. 44x35. J. Robis, Italy, 2005. Gold leaf gilded wooden frame cm.54x45 In this delightful oil on canvas, the painter depicts a bouquet of flowers ...

Traditional photographic techniques mixed with digital manipulation work to create slightly surreal homoerotic imagery for the prints in Jenkins' Liquid series. Signed, titled and nu...

Omaggio To Picasso Woman in Hat Murano Glass Sculpture Artist signed and titled. Walter Furlan was born (1931-2018) in Chioggia, a small town near Venice. He started to work in a f...

Paper Size: 51.5 x 35 inches ( 130.81 x 88.9 cm ) Image Size: 50 x 33.5 inches ( 127 x 85.09 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional D...

Achilles riding the Centaur Chiron by Marco Silombria. Hand signed by artist. Created by Italian Pop - Art artist Marco Silombria ( Savona, 1936-Albissola, 2017). The young boy, s...

Live Transmission Morgan O'Hara's conceptually based performative drawing researches the vital movement of living beings, the human experience of time and space. It is culturally co...

Title: British Impressionist Watercolor of Sunflowers in a Vase By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 15 x 11.25 inches (Hei...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 7. All Gerald Berghammer prints are made to orde...

Black and White Fine Art cityscape photography. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

Tracey Emin You Left Me Breathing (Hand signed and inscribed with a hand drawn heart flourish by Tracey Emin), 2008 Hardback monograph with no dust jacket as issued (Hand signed and ...

Artist: Al Hirshfeld Title: Sex in the City Size: 20 x 20 Inches Medium: 5-Color Lithograph on Fine Art Paper Edition: 223/300 Year: Hand Pulled in 2002 Notes: Hand Signed a...

THE DOOR OF JUSTICE is an original, hand drawn, limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor bes...

Black and white fine art long exposure waterscape - cityscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Aubrey O'Day by Markus Klinko, from a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese and Stoya This ...

Signed, titled and numbered by the artist. This print was an hommage to the architect Louis Sullivan, done after a trip to Chicago. With the same elaborate fantasy garden scenery, th...