Modern Art

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...

Speedboat Landing A Magnum motorboat belonging to Count Filippo Theodoli arrives at the private jetty of the Il Pellicano Hotel in Porto Ercole, Italy, August 1973. Gorgeous print ...

Pablo PICASSO Carmen, The Sleeping Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catal...

Cafe Terrace In Nice 1957 by Slim Aarons Slim Aarons Limited Estate Edition Holidaymakers on a cafe terrace in Nice on the French Riviera, 1957. unfra...

This stunning reproduction of Georgia O'Keeffe's painting titled White Rose with Larkspur No.2 is a captivating piece created for the Museum of Fine Arts, Boston. Published by The Mc...

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

A Stylized, 1950s Mid-Century Modern Studio Figure Study of a Standing Female Nude Model (Back) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Executed in a Mannerist, Ru...

John Leslie Berry (1920–2009) An Officer, 8th Kings Royal Hussars, circa 1833 Oil on canvas Signed lower left Canvas size - 14 x 10 in Framed size - 18 1/2 x 14 1/2 in ohn Leslie B...

Marc CHAGALL (1887-1985) Bible : Dove and Menorah candlestick, 1962 Original lithograph (Mourlot workshop) Unsigned On Vellum 32.5 x 24 cm REFERENCE: Mourlot catalog raisonné #366 ...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

'Fern Forest II' is an Archival Inkjet Print by photographer Morgan Silk. It is available in this size of 17" x 24" in a limited edition of 25. 'Fern Forest II' is the second prin...

'Hidden Portraits X', acrylic on canvas mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an intermediary of an ageing ar...

Nude Figure In Pink Interior by Jacqueline Boisselot (French, late 20th century) oil on canvas, unframed Canvas: 9 x 10.75 inches Provenance: private collection, Paris Condition: ver...

This limited edition print by Marc Chagall, titled La Chevauchée (The Horse Ride), was published by Pace Columbus for an exhibition held at the gallery in 1979. The print is signed i...

A Striking, 1940s Mid-Century Modern Studio Figure Study of a Reclining Female Nude by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed Modernist figure study ...

Color linocut on Arches wove paper with watermark, realized in 1962. Image dimension 34.9x27; Sheet dimension 63x44.6. Hand signed in pencil lower right. Edition of 49/50, hand nu...

'Portrait of Boy in a Chair', gouache on art paper, by Raymond Debiève (circa 1960s). Here the artist paints a young boy, very probably his son, Vincent, sitting in a chair posing fo...

Paste on paper realized by Sirio Pellegrini in 1971. Hand signed and dated in pencil lower right. Includes a wooden frame, one-of-a-kind realized by the Artist cm. 50x59.5 Sirio P...

Nude Portrait by Jacqueline Boisselot, French late 20th century 25.5 x 19.75 inches oil on artist paper, unframed condition: very good and ready to enjoy provenance: from a private ...

A Large, Compelling 1950s Mid-Century Modern Portrait of a Standing Male Nude Model by John Warren Ekstrom (Am. 1929-2020). A unique and well executed studio figurative painting by ...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Work on paper Frame in wood moldings and gilded plaster with glass pane 65 x 85 x 3 cm

Betsy Podlach (American, born 1964.) Still life with Tin Cup, 1996 17.5 X 16.5 inches. Framed it measures 18.25 X 17.25 Betsy Podlach graduated from Harvard, cum laude, (she studied...

The illustration of the King in The Little Prince depicts a monarch who believes he rules over everything, including the stars, yet has no real subjects. This character represents th...

Capri Boat by Toni Frissell A beach scene on the island of Capri, Italy, 1959. (Toni Frissell) Limited edition estate stamped print 20 x 24" inches / 50 x 60 cm paper size Unframed...

J. Blot (France, 20th Century). This gouache painting features a still-life execution of exotic fishes in a very typical Mid-Century-Modern 1950s design style., Bursting with vintage...

David Bowie Aladdin Sane Eyes Open 40 x 40 inches / 101 x 101 cm paper size Archival Pigment Print Hand signed by David Bowie Edition 23/25 Duffy Archive stamp to margin Taken b...

'Fern Forest III' is an Archival Inkjet Print by photographer Morgan Silk. It is available in this size of 17" x 24" in a limited edition of 25. 'Fern Forest III' is the second pr...

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

Poster for Jackson Pollock's "Number 28" which was published by The Metropolitan Museum of Art in New York City. Paper Size: 27 x 35 inches ( 68.58 x 88.9 cm ) Image Size: 21.25 x 3...

Alekos FASSIANOS Thinker with a Watch (FIAC 1978), 1978 Original lithograph Printed signature in the plate On heavy paper 92 x 60 cm (c. 37 x 24 ...

Work on cardboard Unsigned work

This is a framed reproduction of "Woman's Portrait", published in 1999 by LEM with the approval of the Succession Matisse. The piece, part of the permanent collection at the Hermitag...

Alex (Cuban, b.1949). Indigenous Mexican Woman, 1982. Pastel and charcoal on wove paper, sheet measures 23 x 33 inches. 31 x 40.5 inches on backing board...

M.C. ESCHER (1898-1972) Surrealist Lovers, 2008 Facsimile after the original woodcut from 1935 Signed in the plate Numbered / 450 copies (the number you can see can be different) On...

A charming, lively 1930s charcoal drawing of a Mardi Gras parade by notable Chicago Modern artist Francis Chapin. Depicting a cheerful, crowded scene of a parade on Fat Tuesday in...

Artist/ School: August Pietri, French mid 20th century, signed Title: attic room interior scene with a window overlooking winter snow rooftops Medium: signed oil painting on board...

Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2024 Style: Contemporary Art, Subject: Malachite, Size: 48" x 13" x 4'' inch, 3...

Gazing at Lebanese American artist Sally K.'s floral artworks is consuming and empowering. Inspired by the endless variety of beautiful flowers, she creates pop-realistic paintings t...

Acrylic paint on canvas Mixed technique Hand signed Certificate of authenticity Visual artist Suzanne Visser, was born on March 23, 1972 in Oostburg. After completing her studies at...

M.C. ESCHER (1898-1972) Metaphysics, 2008 Facsimile after the original woodcut from 1935 Signed in the plate Numbered / 450 copies (the number you can see can be different) On vellu...

Joan Miro Danse Barbare (from Artigas) Original Color Lithograph Year: 1963 Size: 14.5x10.5in Edition: 1,500 Portfolio: DLM 139-140 Publisher: Maeght Editeur, Paris 1963 Catalogue ...

This exquisite lithograph and pochoir by Lucio Fontana (1899–1968), titled Concetto Spaziale (Spatial Concept), from the album XXe siecle, Nouvelle serie, XXIe Annee, No. 12, Mai-Jui...

Black and white Print by Erich Andres, ca 1960. The image captures an iconic view of the New York City skyline in the 1960s, presented in black and white, taken from an elevated road...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Komposition (Composition), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Laz...

From space, error is projected onto the focal point, error for man. From within, we modify the language of the elements to compose a reuse of the ordinary and bring it into play in a...

This exquisite lithograph after Lucio Fontana (1899–1968), titled Concetto Spaziale (Spatial Concept), from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe si...

Edward Ben Avram Hand signed lower right Jerusalem Israeli Old City walls landscape cityscape. Home of the Har Habayit, The Western Wall, Temple mount. Size includes frame 23 X 28, paper is 14 X 20 inches Edward Ben Avram (born 1941) is an Indian - Israeli artist who was born in Bombay, India and immigrated to Israel as a teenager. He graduated from the Bezalel School of Art and Design in 1965 and continues to call Jerusalem his home. Most of Ben Avraham oil painting and watercolors portrays Israeli cities, particularly the old city of Jerusalem with its architecture and orientalist domes and arches, religious festivals, and Bible stories. He paints in creamy sensual tones incorporating symbols such as doves, a menorah, and Shabbat candles. With his penchant for filigreed designs and bright colors, Edouard Ben Avram betrays some influences of his Indian boyhood. But the subjects that he paints so gracefully with a touch of Oriental lyricism are scenes of Jerusalem, his home for over 20 years. Exhibitions 1964 Group exhibitions in the United States and Canada 1977 Safrai Gallery, Jerusalem (a prestigious gallery that shows Abel Pann, Mordecai Ardon, Samuel Bak, Abraham Binder...

Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2022 Style: Contemporary Art, Subject: Cosmos, Size: 17" x 37" x 4'' inch, 43x94x10...

Georges Rouault Crucifixion Woodcut and embossing (Raymond Jacquet workshop) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : Woodcut published i...

The Group Portrait by Maria Tort Xirau (Catalan, 1924-2018) signed lower corner dated 1991 oil painting on canvas, framed canvas: 42 x 52 inches framed: 33 x 43 inches Very good condition. Provenance: from the artists estate, France Maria Tort Xirau ( Figueres , 26 May 1924 – 6 June 2018) was a painter and photographic and cinematographic editor from Emporda. She developed a long professional career in leading photographic studios, in films for The Walt Disney Company and also in advertising claims for companies such as Educa Borràs . The second half of her life was dedicated to painting, exercising a luminous, varied and nostalgic chromatic style in the techniques of oil and watercolor and with exhibitions of her work in Barcelona and Figueres. The Biographical Dictionary of Art Empordà defined Tort Xirau's work as "a painting that is characterized by the strength of the strokes, the vividness and brightness of the chromatic range and exudes mastery of the photographic technique. A mixture of nostalgia and tenderness is evident.". Tort Xirau's paintings were exhibited in the two towns where she spent her life: in 1992 she exhibited his work at the Caixa de Figueres Exhibition Hall. Two years later, she did it at Sala Conex in Barcelona and in 2007 and 2013 the Consortium of Sant Ferran Castle and the Figueres Town Council organized tribute exhibitions. In 2013, she ceded to the council of the city of Figueres her work Mercat de la plaça de l'Ajuntament , watercolored on paper around 1991, which is exhibited in the rest room of the building. On June 6, 2018, she died in Figueres at the age of 94, receiving the apostolic blessing . Two years after her death, part of her paintings were included in the exhibition Paint, create, live. Women artists in the Alt...

A stylish, vintage, 1940s fashion study featuring an elegant design for a woman's dress. Inscribed "Nettie Rosenstein at Marshall Field". Most likely a design study for a print adv...

Figurative drawing of two male nudes made with graphite, conte crayon and charcoal on Arches paper 30 x 18.5 inches, unframed This unique life study drawing of two standing male n...

Figurative male nude drawing on Arches paper by Mark Beard graphite, conte crayon and charcoal on Arches paper 22 x 15 inches unframed Contemporary figurative life study drawing of ...

Glass Sculpture, Art for Modern Interior, Artist: Karo Martirosyan, Work: Original Artwork, Medium: Glass and Metal Wall Sculpture, Year: 2022 Style: Contemporary Art, Subjec...

An exceptional original watercolor painting titled Tourists by renowned American modernist Vance Hall Kirkland (1904–1981), created in 1942 during his celebrated Designed Realism per...

This exquisite lithograph by Bernard Buffet (1928–1999), titled La piscine (The Swimming Pool), originates from the 1987 album Bernard Buffet, Lithographe II (Bernard Buffet, Lithogr...

Work on canvas Beige wooden frame 90 x 70 x 4.6 cm Breton fisherman with pipe This captivating portrait shows a fisherman with a bushy beard, deep in thought and smoking his pipe. T...

Marc Chagall, After, Russian (1887 - 1985) - Lovers Over Paris, Medium: Giclee, fascimille signed and numbered in pencil, Edition: 375, Image Size: 13 x 17 inches, Size: 16 x 24 ...

A Bustling 1950s Mid-Century Modern Harbor Scene of Martha's Vineyard by Famed Chicago Artist, Francis Chapin (Am. 1899-1965). A busy harbor scene of sandy shoreline, docks and boat...