Baby Art

Ancient Greek Sculptures is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the univers...

Pablo PICASSO (1881-1973) The 156, Painting : Riddle Selfportrait (plate 11), 1978 Original etching with aquatint (Crommelynck workshop) Signed with stamp Justified HC B/C On vellum...

A print by Andy Warhol. “Howdy Doody” is a pop art screenprint in a unique and rare color combination, due to red background. The edition is TP 6/30 and the artwork is signed lower...

Bicentennial Bandwagon by Red Grooms, American (1937) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 10 x 13 inches Size: 14 in. x 17 in. (35.56 cm x 43.18 cm) Frame S...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Toilet of Venus Francesco Albani (Bologna 1578 - 1660) Follower of Oil on canvas 64 x 96 cm In fine gilded frame 83 x 121 cm. The painting on offer, depicting ‘Venus’ Toilet',...

Oil on canvas realized in Italy ih the late 17th Century. The painting depicts the episode from Genesis (21, 9-21) in which the servant Hagar, together woth her little son Ishmael b...

Laura Greenwood (1897-1951) Still Life with Cactus, ca. 1925 Oil on artist board, measuring 16 x 20 inches; 23 x 27 inches framed measurement. Signed lower right. Condition: the...

Paper Size: 15.75 x 19.75 inches ( 40.005 x 50.165 cm ) Image Size: 10 x 15.75 inches ( 25.4 x 40.005 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling "Composi...

Ninetta is an artwork realized by Arthur Greuell (1891-1966) in 1950. Etching on paper. Hand-signed on the lower right margin. Limited edition n. 25/65 ex. Good condition on a yell...

"Adam and Eve" Whimsical Original Lithograph Limited Edition 55 of 1,000 hand-numbered and plate-signed by Jan Balet. Jan Balet (20 July 1913, in Bremen - 3...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

In this print, Pablo Picasso uses a series of curving lines and soft angles to portray a bird in flight. Relying on the use of perspective, the artist creates a unique view of the animal as it soars through the air, surrounded by organic decoration. A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso drawing "Etudes de Mains et Colombe...

John Koch, American (1909 - 1978) - Landscape Sketch, Year: circa 1970, Medium: Graphite on Paper, Size: 13.75 x 20 in. (34.93 x 50.8 cm)

Jean Cocteau, Portrait de Jean Desbordes is a Lithograph on vélin pur fil des Papeteries du Marais, realized by Cocteau in 1929. Belongs to the suite "25 Dessins d'Un Dormeur", publ...

“Boardwalk” is a robust 30 x 40 x 1.5 inch oil painting on canvas by Anita Loomis that offers a playful and dreamlike abstract seaside view. With her own highly developed style of pa...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Lettr...

'Figure study in black and white I' 2016, Edition 2/7 plus 2 Artist Proofs Based on a Polaroid, digital C-Print, not mounted. Signed on the back and with certificate. Artist invent...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...

Posing Nudes is a drawing realized by an Anonymous artist in the 1950s. Charcoal on paper. Good Conditions. The artworks are represented through strong deft strokes and nudes whil...

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

The Virgin and the Child is an original Woodcut on cream-colored paper. realized after Albrecht Durer, a reproduction of the early 20th Century from the...

Etching on cream laid paper mounted to a cream laid paper support, 9 x 12 7/8 inches (230 x 327 mm), thread margins. Three small areas of light skinning with one extremely small hole...

'Portrait of Boy' by Luigi Corbellini (circa 1930s). The artist painted this endearing young boy whose name remains unknown. Perhaps the slightly timid expre...

Terry O’Neill’s candid photojournalistic portraits of creative and political luminaries have included Brigitte Bardot, The Beatles, Audrey Hepburn, Nelson Mandela, and Frank Sinatra,...

In German, the meaning of the word "niemand" ranges from nobody, none, and no one to anybody. Apply that to Viktor's unique sculptures and a dose of humorous social commentary meets...

A soft and diffused nude study by the Newlyn School artist Ken Symonds. The scene depicts a female figure lying comfortable on a colourful rug. The pastel has been signed by Symonds ...

Seated male nude that falls fully within the academic "model from life" production of the early 19th century, as also seems confirmed by the "Titus-like" hairdo of the effigy. The s...

Shepard Fairey, POWER Lenticular Edition, 2024 2-phase lenticular print 45.72 x 60.69 cm (18 x 24 in) Edition of 831 This is a lenticular print edition with optical colours that...

Screen print & hand-finished watercolor on paper. Hand signed and numbered by the artist. Pest Control included. Banksy’s Dumbo is an extremely rare Ban...

Jean-Michel Basquiat by Nicholas Taylor 1979/2014: The complete set of 9 works, shot in 1979 and recently exhibited at the The Philharmonie de Paris, as part of the heralded 2023 ‘B...

Takashi Murakami Doraemon, Let's Go Beyond These Dimensions on a Time Machine with Master Fujiko F. Fujio!, 2020 Offset Lithograph 25 7/10 × 22 1/2 in 65.4 × 57.2 cm Edition XX/300 ...

Sunbathing In Antibes, 1976 Dani Geneux (left) and Marie-Eugenie Gaudfrin sunbathing at the Hotel du Cap Eden-Roc, Antibes, France. 60x40” / 101x152 cm - paper size Estate Stampe...

Elias Telles (b. 1950, American) Monterey, California, 2019 Acrylic on Canvas, Found Wood, Metal Brackets 21.5 x 25.5 Inches Elias led an adventurous existence before becoming a sel...

Katrina Revenaugh Daybreak Archival Pigment Ink, Acrylic and Spray Paint on Birch Panel with a UV Matte Varnish with Natural Wood Edges Year: 2022 Size: 36×24in Signed: On Verso COA ...

Thelma Frazier Winter (American, 1903-1977) Woman and Child, c. 1935 Glazed stoneware, painted plaster 14 x 7 x 5.875 inches Thelma Frazier Wint...

Ray Richardson is a contemporary British artist known for his cinematic paintings. The artist employs icons of working-class London, including bull terriers, soccer pitches, and grit...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8 x 6.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the vo...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Grabbing the faces of one another, the two women in this Pablo Picasso print tenderly kiss one another. Seen in profile view from the position of the viewer, the scene is loving albe...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 4.875 x 6.625 inches Inscription: Unsigned and unnumbered, as issued Notes: From t...

Painting Oil On Canvas, a Reclining Nude by Legendre French school of the 20th century Beautiful and large oil on canvas, French school from the 1920's representing a naked young rec...

Original, horizontal, 1972, 'ICED LOLLY" created by the British artist Michael English. Printed in Harlow England. This nude is melting the form ...

Bolognese school of the seventeenth century Circle Giovanni Battista Ramenghi, known as Bagnacavallo (Bologna, 1521 - 1601) Oil painting on canvas (86 x 72 cm. - With antique frame ...

Alekos FASSIANOS The Inspired Poet in Blue, 1983 Original lithograph Printed signature in the plate On heavy paper 67 x 48 cm (c. 27 x 19 inch) Printed in Atelier Cassé : four-colo...

Dr Seuss THEODOR GEISEL "These Things are Good Things" 2013 Limited Edition - Fine Art Pigment Print on Acid-Free Paper Edition Size: # / 2500 Signed: Signed in the plate Condition: ...

Color lithograph after the watercolor illustrations by Antoine de Saint-Exupéry from his beloved masterpiece "The Little Prince". This lithograph was printed and published in 2009 ...

This accomplished tavern scene captures four men round a table, with clay pipe, tankard of ale, bread and berries. Signed 'Burkert' to the lower right. Well presented in a large gilt...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

'Large Blue Iris' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Int...

Rembrandt van Rijn 1606-1669 Dutch Woman Bathing Her Feet in a Brook Etching on paper New Hollstein's 309, second state of II Signed and dated "Rembrandt f. 1658" (upper left) Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor. The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Sommaire du N°1, 1er Mars 1938...

This elegant 1894 lithographic poster by Armand Rassenfosse was created to advertise the Grande Brasserie Van Velsen Frères, a Belgian brewery based in Bornhem. With its minimalist c...

Lilly Martin Spencer (American, 1822-1902) A Portrait of a Mother and Child 19th Century. Oil on canvas, signed Lilly Martin Spencer was one of the most popular and American female genre painters in the mid-nineteenth century. She primarily painted domestic scenes, paintings of women and children...

Marc Chagall (1887-1985) The Bible, The Angel Original lithography (Mourlot Workshop) On paper 37 x 26.5 cm (c. 14.5 x 10.2 in) REFERENCE: Catalogue raisonné Chagall Lithographe...

'Pink Floral Dress' and 'Gloves & Handbag' taken at the glamorous retro event Goodwood Revival, perfectly captures feminine sophistication with a vintage vibe. This artwork featured ...

Lithograph in colors on japon paper. Hand signed and numbered by Salvador Dali. Edition I LXIII/C. Sheet size 29.5 x 21.5 inches. Image size 23 x 15 inches. Frame size approx 34 x 24 inches. Catalogue Raisonné: Field 79-12, pp. 185. Artwork is in excellent condition. All reasonable offers will be considered. About the Artist: Salvador Dalí (Spanish, 1904–1989) was a renowned Surrealist artist known for his enigmatic paintings of dreamscapes and religious themes. The Persistence of Memory (1931), arguably his best known work, visually manifests the strangeness of time, showing clocks melting in an idyllic landscape. “One day it will have to be officially admitted that what we have christened reality is an even greater illusion than the world of dreams,” he once reflected. Born Salvador Domingo Felipe Jacinto Dalí i Domènech on May 11, 1904 in Figueres, Spain, he displayed a great aptitude for the visual arts as a teenager. Three years after his first exhibition at the age of 14, he enrolled at the Academia de San Fernando in Madrid. At school, he emulated many contemporary styles but also the works of Johannes Vermeer and Diego Velázquez. During his visits to Paris in the late 1920s, he was introduced to the Surrealist movement by René Magritte and Joan Miró. Though the concept of Surrealism was new to him, Dalí was already well versed in the psychoanalytic theories of Sigmund Freud. Dabbling in various projects throughout his long career, in 1942 he published the book The Secret...

Jean-Gabriel Domergue (1889-1962) French, Bordeaux, France - Paris, France Portrait of a Lady Oil on panel 21 ½ x 18 inches unframed (54.61 x 45.72 cm) 31 ¼ x 27 ¾ inches framed (79...