Baby Art

This photograph by Mona Kuhn is offered by CLAMP in New York City. Playing 2000/2001 Signed, titled, dated twice, and numbered in pencil, verso Gelatin silver print (Edition of 25...

Lisa Fricker's "Quiet Glow" is an original, handmade oil painting that depicts a portrait of a child, it measures 8 x 8 inches. This painting is framed and ready to hang.

Paper Size: 39.5 x 26 inches ( 100.33 x 66.04 cm ) Image Size: 39.5 x 26 inches ( 100.33 x 66.04 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Supplemental...

Hendrick van Balen (Antwerp 1575 - 1632) workshop Possible Jan van Balen (Antwerp 1611 - 1654) Madonna and Child with Three Angels Oil on panel 65 x 50 cm....

Under the Crescent Moon is a black and white linocut on ivory-colored paper, realized in 1945 by Mino Maccari. Hand-signed with the pseudonym "Jean ...

Aquarius is a screen print on grey paper realized by Sergio Barletta in 1973. 68 x 49 cm. Good conditions. Sergio Barletta (1934) is an Italian cartoonist and illustrator, who ...

Oui, mon Cul #11, 2015 [Les Foxy Femmes de Carmen De Vos] 30x25cm, edition of 7 Archival color print based on original Polaroid on beautiful PHOTO RAG ULTRA SMOOTH 305gsm - 100% cot...

"Night at the Beach", (2023) by Nick Runge is an abstract nude female portrait that measures 36 x 36 unframed.

Artist: Peter Max (1937) Title: Angel with Sun II Year: 2002 Edition: 427/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excellent Insc...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Palm Springs Desert Museum (Still Life with Longhorn Skull and Cactus)" Year: 1982 Medium: Original Offset-Lithograph, ...

In my series "Gardens of Resilience," I explore the theme of the human connection to nature and its internal relationship with the world. Each painting in this series is an attempt t...

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...

Shipping Procedure Ships in a well-protected crater from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist A...

Florentine Master (late 16th century) - Flagellation. 71.5 x 59.5 cm without frame, 89 x 76 cm with frame. Oil on panel, in an antique carved and gilded wooden frame from the 17th ...

This unique and delicate artwork was created using the artist's original technique on a high-quality Italian linen canvas. The vibrant oil painting, rendered in shades of purple and ...

Lithograph and stencil on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the album, Mon ami Léger par ...

Rest during the Flight into Egypt - The Virgin and Child with St. John the Baptist and the angels in a Landscape. Attributed to Pieter Van Avont (1600-1652) 17th century Antwerp School, circa 1630 Oil on oak panel, Dimensions: h. 38 cm, w. 50 cm (14.96 in x 19.68 in) Flemish style frame in ebonized and moulded wood Framed: h. 56 cm, w. 68.5 cm (22.04 in. x 26.97 in.) In the heart of a lush wooded landscape, the Virgin with Jesus rests in a green clearing accompanied by Saint John the Baptist and the cherubs. Seated to the left of the composition, the Virgin Mary holds the Child on her lap; the little Saint John the Baptist wearing the camel-skin tunic (his attribute) stands before Jesus to exchange a few caresses. On the right, the couple of cherubs are playing with the lamb of Saint John the Baptist, bringing a jovial character to the scene. A pair of gardening putti on the left pick flowers to bring bouquets to the Virgin and Jesus. Spring flowers such as tulips, daffodils and anemones that grow abundantly around them and enrich the composition with their shimmering colors. A lush rose bush blooms to the left of the figures offering delicate roses. (The rose is the flower associated with the Virgin Mary, who is the "mystical rose," the one that does not bear the "thorn of sin") At the feet of the Virgin are bunches of grapes (symbol of the future passion of Christ) as well as apples (symbol of the original fall of Man but also of the Redemption in Christ) In the foreground we find a wicker basket filled in profusion with beautiful flowers and guinea pigs nibbling on the blades of grass. In a cleverly arranged disorder, these elements of the still life with their strong symbolic power accentuate the religious theme, but are also an opportunity for the artist to demonstrate his know-how in the still life genre that is gaining momentum in Antwerp. The landscape behind the figures consists of a large tree with a twisted trunk and a luminous opening to the horizon placed on the right. We see Saint Joseph arriving with a donkey, a small reminder from the artist that the composition is associated with the episode of Rest during the flight into Egypt. The calm expanse of this bucolic forest opening onto the luminous distance, with its profusion of symbolic flowers and fruits, is particularly suited to this sacred scene. The theme of Jesus' sacrifice and his tragic fate is mitigated by cherubs who play with innocence and carelessness in the face of the fragility of life symbolized by cut flowers. The great mastery of the painter is manifested by the finesse of the drawing enhanced by the delicacy in the application of the brushstrokes bringing a multitude of details. The richness of the whole is exacerbated thanks to the choice of colours, this varied palette is an undeniable asset of our work. The virtuosity of our artist lies in his versatility, as much concerned with the success of the landscape and flowers as with the modelling of his figures. The cherubs with their naked bodies are gracefully illuminated by warm colours with subtle shadows, while the still life is rendered with astonishing realism, both in the precision of the drawing and in the countless shades of the flowers. There are several compositions similar to ours, of which below are the closest versions: • Sale, Jean-Claude Anaf et Associés, Lyon, 08/02/1998, attributed to Pieter Van Avont, oil on panel, h. 48 cm, l. 71 cm (recorded on RKD n° 31451). Comment: identical composition, only St Joseph with the donkey is different) • Christie's New York sale, 29/01/1998, Pieter Van Avont, oil on copper, h. 23.8 cm, w. 24.8 cm • Dorotheum sale, Vienna, 25/04/2017, Pieter Van Avont and Jan Breughel II, oil on copper, h .26 cm, w. 39 cm • Hermitage Museum, Saint Petersburg, Russia, Pieter Van Avont, oil on panel, h. 50.5 cm, w. 71.7 cm Peter van Avont, Flemish painter (Mechelen, 1600 - Antwerp. 1652) Born in Mechelen, he is mentioned in 1620 as a member of the painters' guild of his hometown. He left in 1 622 for Antwerp, where he was also a member of the guild. He collaborated with many painters, including Jan Brueguel the Younger, David Vinckboons, Lucas van Uden...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Work on paper

This painting by Astrid Ritmeester belongs to a series she has called 'Memories' Ritmeester also works as a costume and graphic designer for theatre productions. Astrid Ritmeester...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

Medium: original lithograph. Catalogue reference: Mourlot 153. Printed by Mourlot Frères in an edition of 2000 for the Dix Ans d'Edition issue of Derrière le Miroir in 1956, publishe...

Edition 1/3 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: The Trevi Fountain has so many romantic...

Artist: Ian Hornak (1944-2002) Title: Renaissance Hand Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good...

16 x 20" vintage silver gelatin photograph, multiple exposure male nude. Titled, numbered, dated, and signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Arch...

Medium: offset lithograph (after the watercolor sketch). Printed in 1955 by Draeger Freres, this composition is from George Braque's Intimate Sketchbooks (Carnets Intimes). Braque ha...

Amorphisms explore the distorted and negative self-image, which is constructed and mutated from emotions, lived experiences, and interactions with others. Assuming that these mental ...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

5077 Oversized portrait in rapped canvas

Original linen-backed 1974 Spoleto poster. Roman Polanski directed Alban Berg's opera LuLu at the Spoleto Festival, which was conducted by Christopher K...

In this framed oil painting by Frederick Herrera, a reclining female nude in a stretching pose is featured. The face is not detailed and there is white drapery over the mid-section...

Portrait of a Lady as Venus ATTRIBUTED TO PIERRE GOBERT (1662-1744) FRENCH SCHOOL AROUND 1720 OIL ON CANVAS: H. 55.51 in, W. 42.91 in. IMPORTANT 18TH CENTURY GILTWOOD FRAME (RE-GILT)...

Coconuts by Iran Issa-Khan Black and white archival pigment print Image size: 19 in. H x 23 in. W Frame size: 36 in. H x 40 in. W Dated and signed by the artist. 2000 Born in Tehran and raised in Europe and the United States, Iran, Issa-Khan began her photography career in the late 1970s studying with William Minor, Jr. Throughout the 1980s and 1990s, Issa-Khan photographed Paulina Porizkova...

after Henri MATISSE (1869-1954) Lithograph Signed in the plate Vélin Paper Dimensions: 32 x 24 cm (12 x 9") This lithograph is one of a rare edition made during the Second World War ...

Savannah Spirit We The Nipple 30 x 30 inches Archival pigment print on Hahnemühle Photo Rag. Edition of 5 Signed by artist Erotica to save our souls. Latest press ARTSY: May 28, 2019: The Photographers Fighting Instagram’s Censorship of Nude Bodies, by Kelsey Ables. First artist featured: Savannah Spirit. In this self portrait, Savannah Spirit turns the tradition of black and white female portraiture back on itself. The muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Her artwork asserts that a woman is her own muse. Through her artistic, social and curatorial projects, Spirit also takes on technology and social media censors, who assume that the unclothed body of a human—especially a female human—is by definition, pornography, in need of control. Press FORBES: Savannah Spirit Wants to Trigger Your Trump VICE: Erotic Art Fights Trump with Scenes of Female Pleasure BULLETT: The Art Show Fighting Fascism with Erotica HUFFINGTON POST: Artists Are Resisting Trump's Misogyny with Erotic Art DAZED: The Erotic Show Taking on Donald Trump Internal: Savannah Spirit, Black and White Photography, Black and White Nude...

Original American Lobby Card of Walt Disney’s Movie „ALICE in WONDERLAND“, USA 1951. Alice at tea time with Mad Hatter and March Hare. Keywords: Animation,...

This piece is a silkscreen montage with unique coloring, originally shot by Bert Stern in 1962 and printed at a later date. This piece depicts Marilyn Monroe for "The Last Sitting" photo shoot, taken six weeks before Marilyn Monroe’s death...

GIOVANNI FRANCESCO BARBIERI, known as GUERCINO (1591-1666) Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso) Black chalk heightened with white on light blu...

This wonderful painting features a loyal dog watching over a napping baby in a sunny courtyard. It is an oil on board and features a period, possibly original, frame and is signed in...

11 x 14" vintage silver gelatin photograph of Warhol Superstar Jane Forth & Michael Findlay nude for 'After Dark' magazine, 1970. Comes directly from t...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

Stella Jae Stillness 2024 Oil on canvas Size: 23.62 x 31.49 inches (60 x 80 cm) Signed by hand COA provided Stella J Richey is an international visual artist and designer. Her wor...

Framed 29 X 23 Image 18 X 24 The sweetness that characterizes the work of Mexican painter Jose Maria de Servin (1917-83) is a melancholy and placid one. While he worked in the most modern of styles, he adapted it to an anecdotal folk-art approach distinctly his own. When he was an infant, de Servin's family moved with him to Guadalajara. A city of history and culture, Guadalajara had a thriving artistic community with strong connections to Europe. His brothers Antonio and Miguel became artists as well, and in later years they worked collaboratively. As a teenager, de Servin studied at one of Mexico's Schools of Open-Air Painting, free art-teaching institutions sponsored by the government. Later de Servin became a pupil of the painter Chucho Reyes, known for his improvisational watercolor variations on traditional Mexican themes. This interest in imagery particular to Mexico would be of great significance to de Servin. De Servin also studied under the more traditional painter Jose Vizcarra. In the early 1930s de Servin joined the Pintores Jovenes de Jalisco, or Young Painters of Jalisco. An influence of critical importance to de Servin was Pablo Picasso. One of the originators of Cubism, the Spanish painter soon departed from its quasi-scientific and optical basis to create lively and humorous geometrical abstractions. It was this Cubism, personal and decorative, that de Servin adopted. His earliest Cubist works mimic Picasso, while during the second stage of his career, his works become smooth and polished, with an emphasis on gentle surface textures. After these cautious years, however, a rough boldness enters along with dominating colors of earth and sand. Modernists like de Servin were interested in exploring what they considered primitive artmaking styles. The adoption of a native manner and native themes is in keeping with Modernist tenets, as is the use of nontraditional materials. De Servin's portraits of peasants, large-eyed and simply rendered, recall children's drawings. The rough burlap ground contrasts with the playful imagery and delicate range of color. The figures, all children or child-like adults, are all curves and simple shapes arranged harmoniously. De Servin's cubism is free from grotesquerie as it celebrates the simplicity of its subjects. De Servin worked with the social-realist Jose Orozco on several large mural commissions in Guadalajara, including one at the Legislative Palace. While their styles were dissimilar, both made use of Mexican imagery to glorify the common people. A sought-after muralist in his own right, de Servin brought the rich colors and endearing characters of his panels to his larger-scale work. For 15 years, de Servin taught summer art classes at the University of Arizona. His career was marked by many one-man shows, both in North America and Europe. In recent years, his striking style has attracted increased notice from critics and the public. His style is a unique conglomerate of tradition, history, legends, heroes, old customs and folklore. It is a self-standing style, recognizable, cheerful, whimsical and a happy creation. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard...

19th century portrait, child at play ,Attributed to Henry Tanworth Wells A beautiful oval portrait of a young child at play, attributed to the portrait painter Henry Tanworth Wells. finely executed, this oil on canvas is in excellent condition. Housed in a period frame. The size overall is 79 cm x 62 cm whilst the painting is 56 cm x 46 cm Henry Tanworth Wells [1828-1903] Henry Tanworth Wells RA was an English miniature and portrait painter. He was a member of the Pre-Raphaelite circle though he painted in the academic style. His most popular painting...

Square one - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-950. Not mounte...

Rebecca Venn's (US based) "Untitled" is an original, handmade oil painting on canvas paper that depicts a nude female model laying on her back. This is ...

Ferenc Berko Nude in Tub, ca. 1940-1949 Gelatin silver print, 13 1/4 x 9 1/2 in. Signed in pencil and misc. notations in black ink on print verso by Ferenc Berko

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

"Naiades" French Modernist artist, circa 1950's The work is faintly monogrammed to the lower corner though hard to tell. There is a name verso but illegible - possibly the artist or ...

Full Moon Night (from "In the Floating World" series) Fuji Xerox copy print Signed, dated, and numbered 11/50 in pencil. Image: 29.5 x 41.5 cm. Sheet: 29.5 x 41.5 cm. BSS No. : E-199...

Portrait of Sir Winston Churchill English I 1874-1965 Charcoal on paper Signed lower right (indiscernible) This lifetime charcoal portrait of Winston Churchill, dating to around 19...

Sunbathing in Capri, Catherine Wilke, Chromogenic Lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity fr...

The circa 1970 original poster by René Gruau for Federico Fellini's La Dolce Vita (1960) is a masterpiece of cinematic art and graphic design, capturing the allure and decadence of o...

Medium: original lithograph. This lithograph is from the rare 1952 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1952 Spr...

Portrait of the Hon. James Thynne (c. 1680-1704), full-length, in the gardens of Longleat House, seated beside a fountain, holding a shell beneath water spouting from a horn blown by a cherub on a dolphin. A glimpse of part of Longleat House can be seen upper left. Oil on canvas in a period giltwood frame, decorated with leaves and acorns. C. 1682. Dimensions: 145 x 123cm (57 x 48in) in frame Provenance: Ex Longleat House, Wiltshire Private collection, Bath James Thynne was the youngest son of Thomas Thynne, 1st Viscount Weymouth and Frances Finch of Longleat House, Wiltshire. He died in his youth and his Aunt, Anne Kingsmill Finch, Countess of Winchilsea (1661-1720), wrote a moving poem on his death. He was buried in the family vault at Longbridge Deverill, Wiltshire. A mezzotint of this painting by William Faithorne the Younger is held in the Royal Collection. Johann Kerseboom (d.1708) was the nephew of Frederick Kerseboom and first worked in Germany before coming to England in the 1680's where his sitters included the 'Electress Sophia Dorothea' (known from a mezzotint by William Faithorne). His early works were influenced by William Wissing...