Horizontal Animal Prints

Black and White Photography, Horse Wall Art, Rodeo Prints-Carefree Country “I heard about the rodeo in my friend's small Colorado county, I knew I had ...

Rodeo Photography, Black & White Photography, Horse Print-Rustic Roundup “I heard about the rodeo in my friend's small Colorado county, I knew I had to go and see it for myself. I w...

Western Art, Black and White Prints, Horse Photography-Strength in Motion “I heard about the rodeo in my friend's small Colorado county, I knew I had to go and see it for myself. I ...

Western Art, Rodeo Photography, Horse Prints-We Run the Night “I heard about the rodeo in my friend's small Colorado county, I knew I had to go and see it for myself. I wanted to se...

Bareback Act, Old Hippodrome By Gifford Beal (1879-1956) Signed Lower Right Unframed: 6.5" x 9.5" Framed: 17.5" x 20" Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist." His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World. He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work." Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...

Horse Prints, Black and White Horse Photography, Iceland Horses-Mop Head 8120 ABOUT THIS PIECE: "Mop Head 8120" was part of a Black and White Photogr...

Extra Large Photo, Black and White Prints, Animal Photography-Pure Bliss “Arriving at a certain place with the most southern organic garden was a delightful surprise. The setting it...

Black and White Prints, Animal Photography, Black & White Photo-Dusty Dale ABOUT THIS PIECE: This beautiful black and white photo named "Dusty Dale" was part of a landscape series ...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

Etching. Ed. 11/35.

Guerrilla Girls: Vintage original 1989 poster for: Guerilla Girls: Do Women Have To Be Naked To Get Into the Met. Museum? Pictured here is the much i...

Black and White Photography, Animal Prints, Animal Photography-Woolly Wlifred ABOUT THIS PIECE: This black white photograph titled "Woolly Wilfred" was part of a photography landsc...

Horse Art, Horse Photography, Animal Prints-Horse's Flock 0225 ABOUT THIS PIECE: This piece of horse art named "Horse's Flock 0225" was part of a landscape...

Animal Prints, Landscape Photography, Water Photography-Floating Through Life ABOUT THIS PIECE: This art photography piece named "Floating Through ...

Other sizes and high-end frame on request. ,,In building the story, my instincts were to play on the vibe of a Paris Catwalk - after all, we had access not just to any cat to strut down our catwalk, but the King of Africa; a magnificent adult male...

Kenny Scharf American, b. 1958 Seeserpent 2017 Archival Pigment Inks on Moab Entrada Rag Bright 300 gsm fine art paper 12 2/5 × 16 9/10 in 31.5 × 43 cm Edition of 150 Colorful, cart...

Pebble Beach Alaska, USA - 2021 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edi...

“Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works explore his version of a lost paradise, an...

This artwork titled "Insect, Simulating Seeds" from the suite "Bestiary and some Correspondences" 1968 is an original lithograph on Arches paper by renown British artist Graham Vivia...

Wild Horse, Colored Horse Photography, Horse Fine Art Prints, Horses-Bernie ABOUT THIS PIECE: "Bernie" was part of a landscape series featuring horses. These Horse Pictures...

Horses, Wild Horse, Colored Horse Photography-Contemplative Conrad 023 ABOUT THIS PIECE: "Contemplative Conrad 023" was part of a landscape series featuring horses. These Horse Pictures...

Horse photography, Black and White Photography, Horses-Stammering Stallion A B O U T T H I S P I E C E : ""Stammering Stallion"" was part of a Black and White Photography landscap...

Protecting the Dreamers, monotype, screen print, bear, dog, bird, maps, signed unique mixed media work on paper by Melanie Yazzie As a printmaker, painter, and sculptor, my work dra...

This Blue Dog work consists of a matching numbers set of prints each with 4 dogs on motorcycles each of a different color with varying neck scarf colors. Each print within the set h...

Edition of 15 3D motion lenticular FRAMED Signed by the artist

Different Directions by Melanie Yazzie, monotype, fish, bird, blue,red,gold unframed, unique monotype As a printmaker, painter, and sculptor, my work draws upon my rich Diné (Navajo...

from the Insect series.

Pigment print on aluminium Edition of 30 “Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works ...

Pigment print on aluminium Edition of 30 “Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works e...

Sitting Out There, Melanie Yazzie Navajo printmaker monotype yellow dragonfly bright yellow monotype, framed in light maple with a white mat. paper size 22" x 30" frame size 32" x 40...

Dye coupler print Signed and dated in ink, verso This artwork is offered by ClampArt, located in New York City. Jo Ann Callis is an American artist and photographer based in Los An...

Ronnie Cutrone (1948-2013) "Bird's Eye View" c. 1980s Color Lithograph Ed. 222/250 Signed, Numbered and Titled Image Size: 17 x 23.5 inches Framed Size: approx. 24 x 30 inches. Ronnie Cutrone, a figurehead of the Pop and Post-Pop art scenes, was Andy Warhol's assistant at the Factory atop the Decker Building from 1972-1980, and worked closely with Roy Lichtenstein, combining stylistic elements of both. Cutrone's large-scale paintings of American cartoon icons, like Mickey Mouse, Felix the Cat, and Woody Woodpecker further reinvented kitsch and popular media in terms of fine art. Executed in fluorescent monochromatic colors with the finesse of mass-produced silkscreen and prints, Cutrone's works are the reverse of tromp-l'oeil; they use fine art media (watercolor, pastel, crayon - on high-quality paper) to celebrate, rather than hide, the artifice of their subjects. "Everything is cartoon for me", Cutrone is noted for saying, even "ancient manuscripts...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

Versaweiss Horse-tag, 2016 Archival pigment print on archival mat paper 100 x 120 cm Edition of 5 Don’t Kill Bambi: The studio 54 phenomenon repositioned at times of crisis ...

Untitled (Angel's Wing), 2014 archival pigment print image size: 36 x 51 inches paper size: 40 x 55 inches Edition of 25