Baby Art

Luca Artioli has always been fascinated by Roman Statues. As a child, he wandered through the Imperial Forum creating dialogues between them. For young Luca the statues were alive. T...

Luca Artioli has always been fascinated by Roman Statues. As a child, he wandered through the Imperial Forum creating dialogues between them. For young Luca the statues were alive. T...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

This bold and imaginative painting by Serg Graff, titled “Golden President Andrew Jackson,” is a rare and unique creation blending acrylic, oil, and mixed media on canvas in a naïve ...

Portrait of Woman is an original black marker drawing realized by and Unknown artist and signed in pencil "Borély". Hand signed, good condition. Included a white cardboard passpart...

Atlanta and the Dog (original Title: Atlanta et le Chien) is an original lithograph realized after Aubrey Beardsley (1970). The drawing is part of a 1970 "Eyes Open" edition, publis...

Paper Size: 26.25 x 32.5 inches ( 66.675 x 82.55 cm ) Image Size: 22.75 x 32.75 inches ( 57.785 x 83.185 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Supp...

Gustave Poetzsch (1870-1950) Gladiators Original pencil drawing Stamp of the Estate auction sale on the back on thin vellum 14 x 22 cm (c. 6...

Anatomy Studies is an etching realized by Jean Francois Poletnich in 1755. Good conditions with foxing. The artwork is depicted through confident strokes. The etching was realized...

Martin Barooshian, American (1929 - 2022) - La Danse (Yellow), Year: circa 1979, Medium: Etching and Aquatint on Arches, initialed in the plate and signed in pencil, Image Size: ...

Artist: MGM Studios Title: Pink Panther, Supporting Characters Year: 1993-1995 Medium: Original, hand-painted production animation cel with laser color background, plus pencil drawin...

Late 15th Century Florentine School Madonna with Child Bas-relief Pietra serena (a blue-gray sandstone) 85.5 x 60.5 cm Provenance: - via Stefano Bardini purchased in 1896 by Prince ...

Dance Step is a contemporary artwork realized by Leo Guida in 1975 Mixed colored lithograph. Hand signed, numbered and titled on the lower margin. Original title: Passo di danza ...

Lithograph on vélin a la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Repli, Gravures de Henri Matisse, 1947. Publ...

In this cinema noir series of original oil and acrylic painting on wood panels, Myron Stephens realistically recreates images of people and often mundane objects that are masterfully...

Andy Warhol Bodley Gallery 1957: A rare, 1950s gallery announcement offset illustrated by Andy Warhol on the occasion of: Andy Warhol Golden Pictures: December 2 - December 24, 1957: The Bodley Gallery 223 East 60th St., New York, NY. A scarce, historical Andy Warhol Pre-Pop illustration; highly collectible. Medium: Double-sided offset lithograph in colors, on wove paper, with full margins, before folding. Dimensions: 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm) Good overall vintage condition. Minor signs of aging & handling. Well-preserved. Unsigned from an edition of unknown. Warhol Foundation annotations in pencil on one side. Provenance: The Andy Warhol Foundation for the Visual Arts, New York. Susan Sheehan Gallery, New York. Private Collection, New York. Literature: Kornbluth: Pre-Pop Warhol, no. 66, pp. 164-165. Further background: Warhol’s career began as a commercial illustrator on New York’s Madison Avenue in 1949, during the massive post-war economic boom. His arrival additionally coincided with an extensive change in the motivations and strategies behind advertising, utilizing applied psychology to influence American consumers to purchase products. This stint as an ad man would further his Pop interest in cultural commercialization and start his artistic career; thus began the first chapter of Warhol’s oeuvre. Several of Andy Warhol's earliest exhibitions in New York were at the Bodley during the 1950s, starting with two in 1956. _ Obsessed with celebrity, consumer culture, and mechanical reproduction, Pop Art king, Andy Warhol created some of the 20th century’s most iconic images. Warhol was widely influenced by popular & consumer culture, with this being evident in some of his most famous works: 32 Campbell's soup cans, Brillo pad box sculptures, and portraits of Marilyn Monroe & Mick Jagger, for example. Rejecting the standard painting and sculpting modes of his era, Warhol embraced silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. The artist mentored Keith Haring and Jean-Michel Basquiat and continues to influence contemporary art around the world: His most bold successors include Richard Prince, Takashi Murakami, and Jeff Koons. Warhol has been the subject of exhibitions at the Whitney Museum of American Art, Museum of Modern Art, Tate Modern, and Centre Pompidou, among other institutions. Related Categories 1950s Andy Warhol. Vintage Andy Warhol. Mid century modern. Pop Art. Andy Warhol advertising...

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...

One of the photographers at Mauritius Publishing based in Berlin was Karl Heinrich Lämmel. Born on 30 July 1910 in Riesa, Saxony, he has been missing since April 1945. In the thirtie...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-Lautrec, 1950. Published by Librairie Au Pont des Arts, Paris; rendered by Daniel Jacomet; and, printed by Ateliers Daniel Jacomet et Cie, Paris, Monday, October 30, 1950. Excerpted from the folio (translated from French), This album, including all the prints dedicated by Toulouse-Lautrec to Yvette Guilbert, was printed for the Librairie Au Pont des Arts, by D. Jacomet. The color state of the Colombine plate in Pierrot and the twenty-seven plates of the French and English series were executed according to the original lithographs (before the letter for the French suite) from the Toulouse-Lautrec workshop and kept in the Cabinet des Stampes of the National Library. The collection includes three plates in color and twenty-eight plates in black. All copies also include a lithograph: Colombine à Pierrot, taken, after special authorization from the Musée d'Albi, on the original stone of Toulouse-Lautrec, by Lucien Détruit. It was taken from this album: A non-trade and nominative example; L examples on a large vélin of Rives including: III proofs of the lithography Colombine à Pierrot printed...

Dog is a Black Marker Drawing and Watercolour realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a little sheet of a notebook. No Signature. Reynold Ar...

Roundism - 16-03-20 Since Corona has brought a new reality and forces so many countries to lock down, there is nothing much left for me but to teach some of the students that have...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, TLautrec, 1946. ...

Artist: Emilia Castañeda (Spanish, 1943-) Title: "Nude in Negligee" *Signed by Castaneda in pencil lower right Circa: 1980 Medium: Original Pen & Ink and Watercolor Drawing on wove paper Framing: Recently framed in a contemporary gold moulding from Spain and double matting from Holland. All archival Framed size: 23.75" x 20" Image size: 12.25" x 8.5" Condition: In excellent condition Biography: Emilia Castañeda Martínez (born 7 November 1943) is a Spanish painter. She was born in Madrid, but moved to Barcelona with her family as a child. She began training in 1956 at the academy of the painter Víctor Esteban Ripaux and at Escola de la Llotja in 1959 and Escuela Massana in 1969. By the 70s she had finished her studies and became a professional painter. Her works focus on the nude, generally placed in an abstract and dreamlike background that include objects that offer clues to the story told by the central figures. Her work has been compared with that of modernists such as Gustav Klimt, Anglada Camarasa...

Medium: offset lithograph (after the Rodin watercolor). Printed in 1945 on Vélin de Lana paper and published in Paris by the Musée Rodin in an edition of 2500. Size: 9 1/2 x 7 1/2 in...

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...

Jeremy Novy’s unique brand of street art is ripe with thoughtful social examinations. Novy has combated a homophobic lack of representation with a celebration of gay iconography, bri...

Artist: Dan May (American, 1955-) Title: "Devil" *Signed and numbered by May in pencil lower left Year: 1999 Medium: Original Linocut on white Hosho handmade paper Limited edition: 2...

Derby Spectator A spectator looking through binoculars at the Derby horse races, Epsom, Surrey, June 1923. (Photo by Hulton / Getty Archive) Silver gelatin fibre print 20 x 24" p...

Skeleton is an etching realized in 1771 by Louis Legrand (1723-1807). Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descri...

Kabuki is an original artwork realized in 1862. Breast portrait of the actor Sawamura Tanosuke in front of a dark blue background, as Kanehira's daughter, in the inset portrait of B...

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...

Artist: Peter Max (1937) Title: Galaxy Lady Year: 1972 Edition: T.P.; 300, plus proofs Medium: Silkscreen on wove paper Size: 16 x 18.5 inches Condition: Good Inscription: Signed by ...

Silkscreen on vélin papier Ingres de chez Arjomari-Prioux paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Nous croyons en l'...

Jeffrey Morgan (British, b.1942) EVERYONE Pencil and watercolour with collage 25.1/4 in. (64.2 cm.) circular A 1960s pop art design for a tin tray Jef...

Henri Matisse, French (1869 - 1954) - Portrait Studies, Medium: Etching on BFK Rives, Image Size: 13.5 x 8.75 inches, Size: 19.75 x 12.75 in. (50.17 x 32.39 cm), Provenance: From th...

In continuing with representing fine artists that are connected to the music industry we are please to announce that we are the only gallery in the United States representing the oil on canvas paintings of acclaimed British artist George Underwood. That is great news for collectors based in the United States. They do not have to pay any import fees or international shipping costs or any international tariffs which are costly. So this is a great opportunity to purchase a work of art by this acclaimed British artist. His paintings have been described as Magical with a touch of Fantasy. When David Bowie, a life long friend of George Underwood, was asked about the paintings of George Underwood, Bowie said "George has, over the years, refined his work to the point where I would put him among the top figurative painters coming out of the UK.... There's a sublime isolation surrounding his subjects that really touches the viewer, the figures being both heroic and vulnerable simultaneously". George Underwood, a life-long friend of David Bowie, were in early bands together and Underwood was asked by Bowie to created the classic cover artwork for David Bowie's "Ziggy Stardust" album and also for David's "Hunky Dory" album. George felt that his friend artist Terry Pastor would better create the hand colored airbrush look for the album covers so he had Terry create the cover artwork. A fun fact is that David and George were both in the same art class taught by Peter Frampton's Dad when they were youngsters and they remained great friends throughout David's life. I have included some images of Bowie and George Underwood over the years in this listing to show the close relationship they had since they were young lads. This oil painting by George Underwood is titled "Another Dress Rehearsal...

Domenico Maria Canuti (Bologna 1626 - 1684) Title: Toilet of Venus with Cupids and Satyrs Medium: Oil on canvas Dimensions: without frame 79 x 98 cm - ...

Artist: MGM Studios Title: Pink Panther, Supporting Characters Year: 1993-1995 Medium: Original, hand-painted production animation cel with laser color background, plus pencil drawin...

A wide Cotswold landscape of harvest time above the Windrush valley. Rupert Aker is a Cotswold based artist based in Painswick, Gloucestershire. He says "I walk the valleys and hil...

A thwarted lover cannot conceal her shame so she jumps into the lake to become a fish but her beauty cannot be hidden - thus the legend of the mermaid is born. Here, Bruno Surdo bri...

Georges MEUNIER Starlight Soap, 1900 Original Lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate ...

Derby Spectator A spectator looking through binoculars at the Derby horse races, Epsom, Surrey, June 1923. (Photo by Hulton / Getty Archive) Silver gelatin fibre print 16 x 20" p...

Painting oil on canvas measuring 80 x 62 cm without frame and 105 x 82 cm with a contemporary frame by the painter Ernest daret, depicting the myth of Diana and Actaeon. According t...

Artist: Hunt Slonem Title: Lobster Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 250; AP 30 Image: 19 x 19 inches Paper Size: 22 x 30 inches

Harvesting Young Cedars is a lovely original woodcut print from the work of the famous Japanese master Utagawa Hiroshige from an early 19th century edition. It represents an agricult...

Jean Dupas (French, 1882-1964) The Triumph of Venus charcoal on paper signed and dated '33/JEAN DUPAS' (lower right) 25 x 31.1/8 in. (63.5 x 79 cm.) Dupas was born in Bordeaux. He...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Japanese woodblock print of a woman kneeling by the river. She is holding a stick making it appear like she is fishing with it. The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Utagawa Kuniyasu...

Nudes is an etching realized by Paul Emile Colin in the Mid-20th Century. hand-signed. Numbered.Edition, 1/30. Good conditions with slight foxing. The artwork is realized through...

Already in the collection of Emperor Rudolf II in the first decade of the 17th century this composition was famous. The original is by Parmigianino and Rudolf's court painter Joseph Heintz...

Original oil on canvas painting of a bucolic seaside picnic with a mother and her young children. Signed by the artist, F. G. Grust lower left. Condition is very good. The painting is housed in a period style gold leaf frame in fine condition. Overall framed measurements are 31.5 by 41.75 inches. Provenance: A California estate. F. G. Grust was a Dutch painter born in 1889 who was best known for his domestic interior and exterior scenes of a mother with her young children. He is the son of artist Theordor Grust (1859 - 1909), who also painted Dutch genre...

Flowers / Bouquet / Flora 29.75 x 29.75 inches framed Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale...

Reza Yahyaei (born 1948, France). Reclining nude female against bold color strokes. Matisse like simplicity of lines. A very striking piece, unframed...

Scenic Spots in Kyoto is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 1...

Nude Burden is an original zincography artwork realized by Mino Maccari. Included a white Passepartout: 49 x 34 The state of preservation is very good. The artwork represents a ma...

Incredibly realistic and charming early 20th century oval portrait of a young child. Oil on board signed and dated top left. Cannot make out signature. Date looks to be 1915. Wonderful frame looks to be original to the painting. It measures 25 3/4 inches high by 21 3/4 wide. One of the finest child portraits...

Flemish school from the beginning of the 17th century (Circle of Martin DE VOS) Drawing Pen and wash 38 x 32 cm (58 x 52 cm with the frame) Inscription "Martin de Vos" Excellent cond...

Colonial School, Mexico, XVIII Century "Virgen del Carmen" Oil on canvas 70 x 40 in

Jean Grimal is a true 20th century discovery. This breathtaking piece is a gorgeous example of his mastery as an artist. He beautifully creates chiaroscuro in this painting. The way the light touches the edges of the Chinese bowl and the grapes is an example of his skill in representing light. Jean Grimal (1942-1998) was born in the town of Tulle, France in 1942. Jean’s family moved to Paris when he was 8 years of age. After receiving a classical French education with studies in Latin and Greek, Jean Grimal entered the University to receive his Baccalaureate. He then attended Claude Barnard School for three years, when he received his Art Degree.  Upon completion Grimal taught art for seven years.  As Grimal’s own interest in formal painting and art began to possess him, the artist’s destiny changed.  In 1967 Jean Grimal stepped aside from teaching and pursued a career in professional painting and working as an illustrator in advertising.  As an advertising illustrator, Grimal worked with Lise Goldfard for more than 25 years at Studio 44 where they collaborated with major and important accounts, such as: Air France, Christofle, Peugeot, Lacoste, to name a few. At the same time he began presenting his formal paintings to galleries in Paris and Cannes, France and in London and Windsor, England.  Much to his surprise, Grimal found that his paintings were sought after by major art galleries and collectors throughout Europe.  After a number of years of being an important and successful art illustrator for these major accounts, he found himself having to choose between the two.  Fortunately for collectors, he chose to dedicate his life to the classical style of painting.  Jean looked at the simplest things in life through a microscope, where he could take the simplest object and depict the age of the fruit or the leaf. Jean Grimal received great pleasure from his work and painted for over thirty years.  As his style matured and became ever more perfect Jean Grimal truly reached the pinnacle of his career.  The artist’s methods were particularly distinguished when measured against his peers.  Grimal’s painting skill was distinctive and exceptional. Jean Grimal was known for his realistic trompe l’oeil and still life paintings.  The artist would carefully arrange the objects to form a satisfying composition.  By painting every shadow, highlight, and reflection within each composition Grimal brought mundane subjects to life.  His tight rendering combined with his attention to light and detail allowed him to blur the lines between illusion and reality, truly making his works one of a kind.  Grimal’s trompe l’oeil paintings consist of intricate compositions of cards, envelopes, photographs, paper of different materials and weights, backs of canvases, images of other artists’ works, kitchen utensils, pistols, and more.  Grimal had a talent for mastering these illusions that deceive the eye in his trompe l’oeil paintings.    No matter what genre Grimal was painting, tight, unperceivable brushwork characterizes his work.  The artist painted every crease and crinkle, every shadow and highlight, every detail.  By doing so, he was able to capture each individual surface texture of the objects in his paintings.  Grimal was also fabulous at depicting light in his paintings- often contrasting strong lights with strong darks, creating chiaroscuro modeling.  His still life paintings are reminiscent of Dutch seventeenth century...