Applique Art

Jean Arp, French (1886 - 1966) - Heaume, Year: 1952, Medium: Lithograph (unsigned), Edition: 1500, Size: 12.5 x 9.75 in. (31.75 x 24.77 cm), Publisher: Societe Internationale d'Art....

Judith Bledsoe, American (1938 - 2013) - Unicorn Tapestry. Year: circa 1970, Medium: Lithograph with Embossing, signed in pencil, Edition: EA, Size...

Grace Ramsey (American, b. 1985) Grace Ramsey is a self-taught painter based in Charlotte, North Carolina. Before establishing herself as a visual artist, she spent over a decade as ...

Artist: Keiko Minami, Japanese (1911 - 2004) Title: Castle Year: circa 1985 Medium: Aquatint Etching, Signed and numbered in pencil Edition: 120 Image Size: 12 x 11 inches Size: 22 ...

"Yemaya, Goddess of the Seas" is a beautiful oil painting of a mermaid by Michele Mikesell. Her animal-human figure has a flawless and beautiful face combined with abstract elements ...

Japanese Christmas Tree is an original modern artwork realized by a Japanese artist in the mid-20th Century. Original colored woodcut on cardboard. Image Dimensions: 15 x 10 cm Th...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1969 En la parte trasera, va nuevamente firmado y con una etiqueta con los detalles de la obra Se pr...

Judith Bledsoe, American (1938 - 2013) - Cats, Year: circa 1980, Medium: Lithograph and Blind Embossing, signed and dedicated in pencil, Edition: EA, Image Size: 9.5 x 15 inche...

Set against a vibrant floral dress, the dog rests in the woman’s arms — not held back, but held close. Her gesture is not control, but care. The painting captures a shared moment of ...

Ginger Williams Cook says of her work... My previous solo exhibition, entitled Abundance of Apollo: The Celestial Gods, Goddesses, and Heroes of Greek Mythology, served as a point o...

Judith Bledsoe1, American (1938 - 2013) - A Shrewdness of Apes. Year: circa 1974, Medium: Lithograph, signed and numbered in pencil, Edition: EA 51/60, Image Size: 13 x 8.5 inches, ...

Hela is an emerging contemporary artist whose vibrant and playful paintings celebrate the quiet glamour of everyday life. With a focus on table settings, cocktails, glassware, and el...

Hela is an emerging contemporary artist whose vibrant and playful paintings celebrate the quiet glamour of everyday life. With a focus on table settings, cocktails, glassware, and el...

Lithograph by Maurice Esteve titled Composition from the book titled "Prints from the Mourlot Press" published in Paris, 1964, first edition, 2000 copies. The book also contained sev...

printed fabric, thread, sequins and ink ARTIST STATEMENT: ICONS I work on an intimate scale, creating delicate, hand-stitched images of imposing, dazzling, iconic women. They are ...

Joan Miro Femme dans la nuit (Woman in the Night), Plate IX From: Constellations, 1959 Lithograph in colours with pochoir From the edition of 350 Sheet size 43.1 x 35.5 cm Printed b...

"Flying the Kite of Happiness" is a joyful and expressive 1970 oil painting by celebrated Denver modernist Edward Marecak (1919–1993). Known for his...

The image of the Sun is an ancient symbol of the source of life, light and the continuous movement of time. The solar face combines human features with sacred signs of heavenly light...

Past and Present Remo Farruggio, Italian/American (1904–1981) Date: Circa 1979 Lithograph, signed and numbered in pencil Edition of 300, AP 35 Image Size: 20.5 x 28 inches Size: 27 i...

Unsigned as is usual for this publication From: XXe Siecle, Volume 44, 1975 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, Paris...

Full title : The first meeting of the Prince and his lover in the forest Acrylic paint on paper Hand-signed lower right by the artist THE THOUSAND AND ONE NIGHTS OF MOHAMMAD ARIYAEI...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 8 x 11 in Frame: 17 x 19 in Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Hela is an emerging contemporary artist whose vibrant and playful paintings celebrate the quiet glamour of everyday life. With a focus on table settings, cocktails, glassware, and el...

Kirstyn Wright is a wildlife and Western artist focusing on Texas and Southwestern imagery. She grew up an hour northwest of Fort Worth in the ranching and rodeo community of Wise Co...

Flowers With Butterflies is a painting realized by Claude Decamps in the 1970s Oil painting on cardboard canvas. Hand-signed on the lower. Good condi...

An oil on canvas by HENRI MAIK (French) titled "Les trois freres" depicts a Lion, Lion Cubs, Birds & Flowers. Painted in 1982. Signed and dated lower right Signed and titled verso ...

In 1993, a window of opportunity opened as a result of several different situations that were occurring. I was participating in an Artist-in-Residence program in Yellowstone Nationa...

In 1993, a window of opportunity opened as a result of several different situations that were occurring. I was participating in an Artist-in-Residence program in Yellowstone Nationa...

Acrylic painting on paper Hand-signed by the artist lower left Unique work THE THOUSAND AND ONE NIGHTS OF MOHAMMAD ARIYAEI " Gentleness and oriental wisdom follow the supercharged bubbling to which we were accustomed from the previous deliberately art brut exhibition by Mohammad ARIYAEI. The Iranian painter's imagination moves serenely from the wildest frenzy to the meditative calm of great, fabulous stories. The artist then took pleasure in pouring the volcanic torrent of his barbaric figures onto the delicate latticework with which he is accustomed to lining his backgrounds with the patience of an illuminating monk. Already sweetness and paroxysm coexisted. Now gentleness wins. The trained imagination of the painter, yet spontaneously bubbling, by instinct as much as by erudition, has no difficulty in reconnecting with the abundant oriental tradition of the thousand and one nights, which, like a long underground river, resurfaces at the light of his painting. Spring renewal of traditions still alive. Systematic filling of space, a sort of oriental version of the Riches Heures...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Issachar, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by ...

'O'Tannenbaum' (Artist's #30129) is an original color silkscreen print by Ruth Grotenrath, signed by the artist on verso. Influenced by the works of Expressionists like Henri Matisse and the woodblock prints of early modern Japanese artists like Katsushika Hokusai, Ruth Grotenrath's 'O'Tannenbaum' combines the expressive use of color of the former with the precision of the latter to create a Christmas card that is as vibrant as it is subtle. Depicting a pine tree decked with ornaments and stockings, Grotenrath has rendered the tree-topping star as a ball of flames to analogize the warmth and spirit of the holiday season. Original color silkscreen 6.625 x 4 inches, silkscreen 14.375 x 11.375 inches, frame Signed in screen on verso inside-letter Framed to conservation standards using archival materials including 100 percent rag matting and mounting materials, Museum Glass to inhibit UV damage and reduce glare, and housed in a gold finish wood frame. "The paintings of Ruth...

Judith Bledsoe, American (1938 - 2013) - A Sloth of Bears. Year: circa 1974, Medium: Lithograph, signed in pencil, Edition: EA, Image Size: 8.5 x 13 inches, Size: 11.5 x 23 in. (29...

Claudine Loquen is a French artist born in 1965 who lives and works in Sassetot-le-Mauconduit, France. Like Colette with the literature, the artist m...

Mixed media on paper Hand signed and titled Unique piece Mint condition

"En Oriente" (In the East). Symbolic paint. Folk Art Landscape by spanish artist Raquel Fariñas. Acrylic mixed media/ wood panel, 62 x 50 x 4 cm. In inches: 24.41" x 19.69" x 1.57" ...

Acrylic & watercolour on marouflaged paper with wooden panel

ANCIENT WHISPERS Size: 68 x 68 cm (including frame) Oil on canvas A surreal and richly symbolic painting, executed in oil onto canvas and dated 1991. The painting presents an enigmatic architectural interior scene that feels suspended between the past and the surreal. At the lower left lies a creature with piercing blue eyes, emerging and integrated into the patterned textile ground. Scattered elements including a large clay pot...

This exquisite lithograph and pochoir by Alberto Magnelli (1888–1971), titled Papel colle (Pasted Paper), from the album XXe Siecle, Nouvelle serie, No. 6 (double), Janvier 1956, ori...

Indian illuminated Gouache Miniature Painting , attr. to Pahari School ( 18th century) , titled "Birth of Krishna and other miraculous events" Folio from a Bhagavata Purana series. ...

With a striking palette and sharp, swirling holographic textures, Bronco offers a modern reimagining of a classic montana bronco. The stylized rendering and explosive background patt...

This Blue Dog work consists of a red dog head atop of a blue dog on a solid black background. The dogs have soulful yellow eyes. This pop art animal original silkscreen print on pape...

A charming contemporary portrait to add joy to your home. The painting is framed in a traditional wood frame in black. Additional information: Acrylic, Acrylic paint on Canvas 29 H ...

This rare Original 1920s authentic print is a Taisho Period Woodblock print published from the Japan 1920's The Nippon Mokuhan Gasui, Masterpieces Series.; it is authentically hand ...

Mixed media on hanji (Korean traditional paper), Kim Soo Young is a Korean artist born in 1978 who lives and works in Seoul, South Korea. Through over two decades of deep immersion ...

Appel, Karel Purple Owl, 1979 Mixed media screenprint with embossing on Arches paper 35 x 25 3/4 in. Bedized Pudding Canadian Edition of 130 Excellent

Represented by George Billis Gallery. ARTIST STATEMENT: My work delicately renders familiar domestic comforts that we use to feel secure. Examining the identities of heirloom textil...

Henri Matisse: Colour Lithographs after the Cut-Outs, Framed Print, 1958 In 1941 Matisse underwent abdominal surgery after which he found painting to be physically taxing. Increasi...

This is an elegantly rendered and designed work with fine lines and flat colors by an accomplished female illustrator. Signed lower right Framed in an old simple wooden frame with...

Artist: Slonem, Hunt Title: Tulips Tuesday Date: 2024 Medium: Oil on canvas Unframed Dimensions: 48" x 48" Signature: Signed by Artist on Verso Edition: Unique Hunt Slonem is...

This exquisite lithograph after Georges Braque (1882–1963), titled The Bird, S.P.27., originates from the School Prints Ltd. series, published by School Prints Ltd., London, under th...

This exquisite lithograph and pochoir by Jean Lurcat (1892–1966), titled La Vierge (The Virgo), from the folio Les Signes du Zodiaque (The Signs of the Zodiac), originates from the 1...

This striking 1971 original lithograph, Deux Figures, was created by Man Ray for the Salon de Mai and is annotated H.C. (hors commerce) and signed by hand by the artist. Referenced a...

Ancient Persian Miniature is an original China Ink and Watercolour realized by an artist of 19th Century. Good condition for a little brown ...

oil on canvas

"Thank You For Visiting" by Rya Wu is composed of layered, biomorphic shapes that feel both playful and intentional, interlocked like fragments of experience finding balance. Bold re...

Decorative Motifs-Indian Style is a print on ivory-colored paper realized by Carlo Jacobucci in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithograph. ...

Reflection was inspired by my existence as a human, trying to compare my life to that of others without taking a pause to see how far I've come and learn to just breathe when things don't go my way. This piece helps me in taking a moment to breathe, self-reflect, live in the moment, stop having anxiety about the future, and always be grateful for how far I've come. (Written by the Artist) Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Damilola Ilori is a full-time studio artist, born in 1995 and brought up in Oyo State, Nigeria. His art journey started in his elementary school days, he also has National Certificate in Education in Fine and Applied Arts from the Federal College of Education (SP) Oyo, Oyo state Nigeria. He is also inspired by the likes of Kerry James Marshall, Oluwole Omofemi...

Painting on two canvases mounted together. Shipping method is to be specified MICHAL SIKORSKI (born in 1972) He studied at the Academy of Fine Arts in Wroclaw, at the atelier of Pro...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Artist Comments
White orchids bloom alongside blue and purple flowers, their petals glowing with a quiet, inner light. The contrast between shadow and softness creates a calm, ...