Applique Art

Stunning modernist impasto painting of a goldfish with coral reminiscent of California Abstract Expressionist painter Joan Brown's early work. Circa 2000. W...

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...

LEONOR FINI Cat Friends 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

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

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...

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 makes the apology of painting wi...

Catriona Millar (Scottish, b. 1956) Veva’s Guest Oil on canvas Signed with initials (lower left) 19.5/8 x 15.5/8 in. (50 x 39.7 cm.) Catriona Millar (born 1956) is a Scottish figurative painter born in Milngavie, Glasgow. She studied at Grays School of Art, Aberdeen, where her tutors included Joyce Cairns RSA and Keith Grant...

Screenprint Edition of 100 53.5 × 61 cm (21.1 x 24 in) Signed, titled, dated and numbered in pencil Artwork in excellent condition considering its age. Minute crease in on upper edge...

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Prokash Karmakar – Nude – 30 x 22 inches (unframed size) Acrylic on Paper, 2006 Inclusive of shipment in ready to hang form. Style : Legendary master artist Lt. Prokash ...

Living on the Edge, Watercolor on Paper, 6 x 7 1/4 Inches, is one of a series of paintings, watercolors, mosaics, and prints by Lisa Houck, a very established artist from Boston wit...

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

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...

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...

'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...

With a striking palette and sharp, swirling textures, Kingfisher offers a modern reimagining of this elusive marshland bird. The stylized rendering and explosive background patterns ...

With a striking palette and sharp, swirling textures, Western Tanager offers a modern reimagining of this elusive marshland bird. The stylized rendering and explosive contrast create...

Original and unique artwork by Hunt Slonem. Oil on wood Artwork framed, framed dimension 43 x 33 inches. Signed Verso, titled and dated. This artwork, framed with a richly ornate g...

Tsukioka Yoshitoshi Looks Slovenly', Mannerisms of a Kyoto Geisha from the Kansei Period from Thirty-Two Daily Scenes (風俗三十二相), 1888 Woodblock print Oban The image depicts a geisha...

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...

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 makes the apology of painting wi...

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 & watercolour on marouflaged paper with wooden panel

original acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company La Cosa de las Peliculas...

"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...

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...

"Los Recolectores" (The Gatherers). Symbolic paint. Folk Art Landscape with figures by spanish artist Raquel Fariñas. Acrylic mixed media/ wood panel, 47 x 38 x 3 cm. In inches: 18....

"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" ...

This Blue Dog work consists of a dark blue background with various sizes of Blue Dog soulful yellow eyes and 3 dogs; 1 white & black, 1 red and one blue. All dogs...

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...

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...

Medium: house-paint on upcycled drop cloth Becca Fuhrman (b. 1988, Boise, ID) is an interdisciplinary artist who specializes in multimedia large-scale p...

Jane Wooster Scott (American, b. 1920) Untitled (Cats), 20th century Watercolor on paper Sight size: 10 x 14 in. Framed: 17 x 20 3/4 in. Signed lower left: Wooster In the "Guinness Book of Records" as one of the most reproduced artists in America, Jane Wooster Scott began copying work by folk artists such as Grandma Moses and gradually evolved into her own style. A turning point for her career was a joint showing at the Ankrum Gallery in Los Angeles with her comedian friend, Jonathan Winters. It was mostly a business crowd, and she sold 40 paintings in an hour. Scott grew up in the Philadelphia area and moved West following her dream to be a movie star. She quickly learned that goal was not for her, but became the host of a talk show where she interviewed movie stars. Then she married and quit that work, becoming a full-time mother. Currently (2002) she resides in homes in Los Angeles and Sun Valley...

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 ...

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...

Lesley Anne Spowart, an abstract artist hailing from Cape Cod, Massachusetts, is renowned for her transformative creations that blur the boundaries of mediums and styles. With a dive...

The painting is 2 cm deep and can be hung without an additional frame, also all picture sides are painted. The painting is signed on front and on the back. A signed Certificate...

Acrylic on canvas This painting portrays the essence of hope — a deep belief within a child that dreams and wishes can come true in the future, even when the results are not yet vis...

Paul KLEE (1879 - 1940) Happy character Color photolithograph after a painting Signed in the plate On vellum 83 x 60 cm (c. 32 x 24 in) Excellent condition

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...

Southern California native Courtney Simone seamlessly blends her passion for abstract art with the exploration of everyday beauty, resulting in exuberantly inspired abstract figurati...

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...

oil on canvas

Louis Rhead Art Nouveau Portrait of a Woman with Lilies: Jane, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) IN...

Esperanza (Hope), Eduardo Oropeza Day of the Dead, serigraph, birds, skeletons Esperanza (Hope), Day of the Dead, serigraph, blue, yellow, birds, skel...

David Hockney Flowers, Apple & Pear on a Table, 1986 signed and dated in pencil Home-made print in colours executed on an office copy machine, 1986, on four sheets of Arches pape...

She once loved and lost— left holding wilted promises, growing strength in silence. But still, she stood. Time healed what hurt tried to ruin. And when love came again, It came gent...

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...

French School, late 20th century signed lower left and stamped verso with artists studio stamp purple, violet and pink flowers still life oil on canvas, framed 16 x 12 inches framed ...

Jacques Camus The Dove and the Snake, 1933 Original lithograph and stencil Unsigned On paper 39 x 29 cm (c. 15.3 x 11.4 inch) INFORMATION : This lithograph is part of the "Idées" p...

"Die Segen" (Sins/Blessing) - 1986 Lithograph On Paper Original 1986 lithograph on paper titled "Die Segen" ("Sins/Blessing") by Deborah Rumer. Red, green, purple, black and white m...

Color lithograph on paper. Hand signed and numbered. Edition of 19/50. Dry stamp "Il Torchio", Milan. Very good condition.

Linda Stein, Profile Solid 383.045 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.045 is from Linda Stein's Profiles series--drawings, coll...

Hibou is an Artwork realized in 1975, by the Artist Enrico Baj. Color lithograph lithograph, by the artist in 1975 for éditions XXe Siècle - Le Surrealisme . Excellent condition. P...

The art of hedonism in miniature is the subject of Olga Afanasyadi's new painting. Aesthetic and gastronomic pleasure are a combination of the material and spiritual aspects of life....

Etching, 1966 Edition : 94/100 Publisher : Schwarz (Milan) Printer : Lacourière (Paris) 63.70 cm. x 44.70 cm. 25.08 in. x 17.6 in. (paper) 41.00 cm. x 36.00 cm. 16.14 in. x 14.17 i...

Coleth The Lovers of Venice Carnival Original gouache and ink drawing (c. 1925) Signed bottom right On drawing paper 23 x 20 cm (c. 9 x 8 in) at view...

This sculpture titled "Cutting Machine" is an original artwork by Ulla-Stina Wikander made of needlepoint embroidery and vintage object. This piece measures approximately approx. 11....

This striking 1974 original exhibition poster was created by the renowned Romanian-born surrealist Victor Brauner for a show at Galerie Alexandre Iolas...