Airplane Art

Subrata Biswas - Untitled - 10 x 8 Inches ( unframed size ) Dry Pastel & Tea Liquor on Paper. ( Unframed All in Delivered Price ) Style : The motive of a child in its most basic fo...

Before there was Photorealism, there was Austin Briggs. Done in 1951, this work has all the hallmarks of the 1970's fine art movement and more. Briggs is using photographs as a refer...

Eagle A sign of power and prestige, the eagle also symbolises cruelty and pride. Once more, the sculptor has used an animal metaphor to express the ambivalence of our instincts. "I ...

Vintage Silver Gelatin Print. John Albok stamp in black ink on verso (John Albok 1980) Born in Munkacs, Hungary, John Albok learned photography as a boy. He came to the U.S. in 1921...

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Arts...

1964 Ford Falcon with surfboards.

Butterfly Days by Rob Barnes [2021] limited edition Linocut Edition of 50 in edition Image size: H:30 cm x W:45 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.02cm S...

Ed. of 10, includes thin black frame. Debranne Cingari is a well-established American photographer and assemblage artist. Cingari is known for her explorative and boundary breaking artistic approach where she combines photographic images with assemblages of various artifacts. She often combines the two genres into text reliefs and cityscapes. With a background in photojournalism and a hobby of collecting random, assorted objects, Cingari introduces found items such as keys, locks, and book pages into her photographs, welding, drilling, screwing, gluing, and sewing them to the images. Such amalgamated compositions give new meaning to old objects...

Artist: Howard Kanovitz, American (1929 - 2009) Title: Paris Review Year: circa 1968 Medium: Lithograph, Signed and Numbered in Pencil Edition: 200 Size: 33 x 26 inches

Oceanic White-Tipped Shark, by Joseph Rossano, 2020 Additional information: Medium: Tar, whitewash, and ash on wood panel Dimensions: 19 × 29 × 1 in (48.3 × 73.7 × 2.5 cm) Rossano’...

Unspecified Involvement #2, Acrylic on Paper Painting by Kara Maria, 2003 Additional information: Medium: Acrylic on paper Dimensions: 12 x 16 in Kara Maria produces paintings and ...

24"x30" will photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover what is not apparent on the surface. My photographs are as much about me as what I am seeing: In Southern California, 2010 is a perfect example of this process of seeing. When I first noticed this scene, it was a simple mural of a whale on a wall. After looking at it for a while I realized that by eliminating the sky and foreground from the image the whale now had an undulating rhythm and movement. In another image Restaurant Hostess, Palm Beach, FL 2012, I would go to this restaurant every week and sit in the bar behind the reception area. One day, I turned around and saw the back of a woman. Through this process of deductive framing, the image became one of dark shadows rhythmically trickling down her back interwoven with the tattoo of the lizard. David Saxe was born in Montreal, Québec, Canada in 1943 and studied fine art at l’ecole des Beaux Arts in Montreal. He started taking pictures in 1970, after being influenced by the work of Robert Frank, and Henri Cartier Bresson. About 10 years ago, he decided to take a workshop with Constantine Manos...

circa 1960: Mike Phipps arriving for lunch at the Guinness house in Manalapan, Palm Beach. 40 x 60 inches $3950 30 x 40 inches $3350 20 x 30 inches $3000 Complimentary dealer shi...

The New New York Skyline with Chrysler Building is depicted in shimmering sliver light and set against a deep cobalt blue sky. It incorporates the newly constructed supertalls: One...

Figurative Painting. American Flag with symbolism of disparate views of the states. About the Artist. Mothes is an artist living and working in East Hampton.  His work has be...

Depicting a Mohawk Airlines airplane in flight Signature: Signed Lower Right and Dated ’97

A breathtaking silkscreen by Jacques Monory depicting a plane crash. Numbered and signed by the artist in pencil. Rare version "HC" (Out of trade) Printed on Arches paper. Circa 1980...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires with water. The "water" in this case, has been replaced with glitter by the artist. Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service, but it is also due in a large part to global climate change and massive drought. Wildfires are not relegated to the western US. They happen across the country and often occur in the Smokey Mountains, just on a smaller scale.” McLean Fahnestock...

18"x18" photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

On the west coast of Vancouver Island, the waves crash in dramatic storms, but when the tide is out and the sea is calm, the beach is a wonderful place to enjoy the undulating shape...

ink, graphite, gouache, acrylic and watercolor on paper 32 x 32 in ; 81.3 x 81.3 cm

Gail Folwell is a contemporary sculptor who holds a BFA from the University of Denver and has had an accomplished career in graphic design as well as extensive university and college teaching experience before she began sculpting full time. Her highly expressive bronze figurative work is full of inspiring energy and emotion. “Design and illustration are powerful tools”, which gave Folwell “a sound understanding of anatomy and body mechanics,” she says. She finds the human body, with all of it’s musculature, speed, and grace, beautiful and inspiring. Her design approach considers the practical, emotional and environmental elements of the public art experience. Folwell works in large and small scale, bronze, clay, or styrothane for public and private collections. She has exhibited with The National Academy of Design and The National Sculpture Society in New York, The Denver Art Museum in Denver, Colorado, and has completed monumental sculptural commissions for the National Hockey League, University of South Alabama, Vail Valley Foundation, Bowling Green State University, The city of Frisco in Texas, the Gerald Ford...

Print mounted on aluminum with plexiglas, framed. Edition of 15. Dimitri Bourriau is a French photographer, he has always been interested in history...

Mixed media, photography and acrylic paint on canvas. One of a kind. O. Devan paints that which he doesn't really see. His camera captures a second in time, as if he stops at his t...

TWA Skyliner certificate presented to (philanthopist) Seymour H Knox for having flown from New York to London on April 7, 1955 Print Sz: 8 3/8"H x 10 5/8"W Frame Sz: 9"H x 12"W

The present work is from the artist’s “Becoming” series, which consists of 147 photographs documenting the transformation of a green field into Beijing’s new national airport, the la...

Purvis Young (1943 - 2010) Drawing from the 1990's #469 ink on paper 10.50 x 8 in

Woodcut, 2020. Signed in pencil, numbered from the edition of 20.

The painting is being offered with a work and authenticity certificate

Roundism – 12-06-18 It is time to put down a kind of art statement for a change. Lately I came to think about my kind of art a lot, inspired by comments and questions like what ...

Photographer Mitchell Funk looks up at the Met Life and Chrysler Buildings from Grand Central Station. He perfectly designs dark and light areas with golds set against blues. A silh...

Art Sz: 6 1/4"H x 11"W Provenance: Gillian Dupont's The Old Habit Tack Shop Marshall, VA

24"x30" photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

This is a photograph of a Swiss made Pilatus PC-12 airplane. There are other images in this series as well. A self-taught photographer, Phelps has won numerous awards for his photog...

40"x60" C Print 2/5 from the series: "Brace For Impact, The Aftermath of Flight 1549" available unframed please inquire about additional editions and availability Stephen Mal...

Limited Edition Fine Art Prints, series of 10 per each size: Each print comes with a hand signed and numbered certificate of authenticity (will be sent separately). Each certific...

El Al 787 Dreamliner ***** Limited Edition Fine Art Prints, series of 10 per each size: Each print comes with a hand signed and numbered certificate of authenticity (will be s...

"Exit Row" 40"x60" photograph - edition 1/5 (unframed) This iconic photograph is from the artist's series: "Brace For Impact: the aftermath of flight 1549." Depicting the wing from...

Het Depot Rotterdam's latest acquisition is the Depot Boijmans Van Beuningen. There was this online première in Januari 2021 during corona times but it drew less attention than deserved. Upon my word, I declare 'Het Depot' or in slang Rotterdam 'De Pot', a new wonder of the world. Surely it looks like a rather plump shiny pot but it is grand and stacked full of art. Boijmans therefor is the first to offer access to its entire collection in this new art storage...

A fantastic original pop art screenprint, from an edition of 50 on 260gsm Fabriano paper. 5 colour print (plus gloss varnish over image). Print has a white border. Print size 50cm x 70cm All prints numbered signed & embossed with artists stamp. :: Hand Printed...

A fantastic original pop art screenprint, from an edition of 50 on 260gsm Fabriano paper. 5 colour print (plus gloss varnish over image). Print has a white border. Print size 50cm x 70cm All prints numbered signed & embossed with artists stamp. :: Hand Printed...

A fantastic original pop art screenprint, from an edition of 50 on000gsm paper. 9 colour print (plus gloss varnish over image). Print has a white border. Print size 50cm x 70cm A...

Art Sz: 13"H x 20"W Frame Sz: 14 1/4"H x 21 1/4"W In custom gilt bamboo frame Original color double page from Slim Aarons' iconic book "A Wonderful Time" published 1974

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20 CURRENT EXHIBITION - runs through February 25, 2017. Any framed photographs purchased during the show will ...

In Buehler’s color photograph from a military airplane storage yard in Arizona, the F-106 Delta Darts parked in alignment, their silver tails recede into the...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. CURRENT EXHIBITION - runs through December 31, 2017. Any framed photographs purchased during the show will...

Ink on paper Helen Warner is a British artist born in 1978 who lives and works in Southampton, UK. She studied Art, Sport Studies and Human Biology at co...

Represented by George Billis Gallery, NYC & LA -- Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, lif...

30"x45" C-Print Photograph, #3/5 signed on reverse by the artist. This limited edition Chromogenic Print captures the moment flight 1549 was pulled from the waters along the Hudson R...

40"40" photograph, edition of 5, signed and editioned on reverse framed in natural wood shadowbox frame This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

Represented by George Billis Gallery, NYC & LA --Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives. The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes. Painters today tend to lean on pastiche, on art-historical mashups and code-switching. This typically results in images with no unified style and no concern for pictorial space, illusionistic or otherwise. For many contemporary painters, the picture plane is simply a flat, delimited arena in which different types of visual syntax collide, floating freely. This is a non-strategy in which artists make an end run around some of the thornier problems of composition, perception, and cognition. Young bucks this trend. He activates every square inch of his canvases, blocking in large passages of negative space with skeins of scruffy countervailing strokes. He is not a fussy painter, nor is he out to prove his own mastery to an audience. Like Edward Hopper, Young tends to eschew a lot of paint’s seductive properties, preferring to create hard edges and large, gently undulating planes of subdued color. He draws the viewer into an unpopulated, uncluttered world with a clear horizon line—but one that is also filled with hiccups, discontinuities, and compromises. In Service in the Rear, for example, a shelter for gas pumps in the foreground—closest to the viewer and, therefore, logically a dominant compositional element—is rendered as a hazy silhouette that flagrantly disobeys the rules of linear perspective. This is intentional: The structure is only important to Young in the way that it draws the viewer’s eye below and past it, to the glowing, low-slung building dominating the lefthand side of the picture. Thus Young shows his talent for creating visual tension and drama—and for sidestepping the viewer’s expectations. Young understands that some might regard his brand of painting as obsolete. He also understands the troubled legacy of modernism, and what the triumph of universal technology has meant for cultures around the globe. Still, for Young, the cold comfort offered by outposts of convenience—gas stations, airports, cheap hotel rooms—is not so easily dismissed. Young shares the strange buoyant optimism of his hero, Jonathan Richman, who, in his early ‘70s proto-punk single, Roadrunner, exults in the simple act of driving past the Stop’n’Shop with the radio on...

Ralph Farabee (1935–2003) Title: "Birds Nest" Medium: Watercolor on Paper Dimensions: 10" x 7" image 17.75" x 14.75" framed Markings: Signed LR "Farabee"

Oil on canvas, ''I offer art collectors series about the world we live in simultaneously with reality, they can live in these colorful, interesting, modern and dynamic world filled ...

Oil on canvas, ''I offer art collectors series about the world we live in simultaneously with reality, they can live in these colorful, interesting, modern and dynamic world filled with ecology, making their lives more diverse and fascinating'' Rusiko Chikvaidze is a Georgian artist born in 1970, who lives and works between Tbilisi, Georgia and Chevy Chase...

Red Eye night flight series of paintings are meditations on passage of time, beauty, emptiness and luminosity. :: Painting :: Realism :: This piece comes with an official certificate...

Cobalt Blue, Cadmium Yellow and Theo Violet were used in the creation of this acrylic of four Orcas hunting in the Salish Sea off of British Columbia's sout...