Brick Art

Historical Photo - Castle is a black and white vintage photo, realized in the early 20th century.  It belongs to a historical album including historical moments, royal families, and...

Uses and Customs - Virgil's Tomb in Naples is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History...

Arch is original Hand-colored etching, realized by Luigi Rossini (1790–1857) with description on the lower. In good conditions with some folding. Image Dimensions: 25 x 18 cm The ...

Rosemary Ellis Windows XIV Original proof photograph for Windows in the Outlooks and Insights series published by Bodley Head, by Rosemary & Charlotte Ellis. Silver Gelatin Photograp...

Altra Veduta presa sotto il grand' Arco dell'interno dell'Emissario di Albano is an original etching belonging to the series "Le Antichità di contorni di Roma” (…)". Beautiful proof...

The King Pelé, Flag Portrait by Mr. Brainwash. Contemporary screenprint, numbered 27 from an edition of 75. Wonderful collaboration with the legend, Pele. A one-color screenprint on ...

Archival pigment print Signed and numbered, verso 22 x 17 inches, sheet (Edition of 15) 38 x 27 inches, sheet (Edition of 9) From the series, "The Space Between" This photograph i...

Charles Ford's work is in the permanent collection of the Museum of the City of New York. His "City Paintings" have a very realistic color palette, very true to life. His colors are...

"The Wall" by Dwight Davidson is an original, handmade glazed stoneware sculpture that depicts a herd of cows attempting to pile up and climb over a brick wall.

City Watercolor Original Painting Artist: Lin Qingyi Title: Impressions of an Ancient House Medium: Watercolor on Paper Year: 2024 Style: Impressionism Dimensions: 7.5" x 3.5" x 0.1"...

Debbie Harry photograph New York, 1977 by Fernando Natalici: Cooler than cool... Debbie Harry, New York, 1977, photographed on the set of "The Foreigner" by celebrated New York unde...

Chelsea Manhattan Street Art photographed in 2012 at the famed Comme Des Garcons, New York flagship store, by celebrated New York downtown photographer Fernando Natalici. C-Print on...

An original oil on panel by American female artist Catherine Koenig created in 1941.

This evocative vintage 1965 oil painting beautifully captures the timeless charm of a European village cityscape, complete with layered rooftops, classic homes, and hillside apartmen...

Title: Bucket With Dripping Red Medium: Oil on canvas Size: 27 x 23 inches Frame: Framing options available! Year: 2000 Circa Artist: Unclear Provenance: Direct from the art...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Gavin Pomeroy (born 1929) Keble College...

Pojdziesz Ponad Sadem - Vintage Poster is a vintage poster realized by Unknown Artist, in 1974s. Mixed colored offset print. The artwork represented a Polish film poster. Director...

Up for sale is a beautiful original painting by Valentine Thomas GARLAND (1868-1914). Garland was a painter of animal and genre subjects, working in both oil and watercolor. He was ...

Historical Photo of Prison Carinola is a vintage black and white photograph realized in the 1970s. Good conditions.

The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove ...

Black and White, American, Urban, Landscape, Figurative, suburban, black & white, b&w, sign, letters, bikini, bikini bash, high contrast, vignette, sign, suburban, wall, america, L...

The Billboard series by photographer Eduardo Rezende unfolds as a visual dialogue between art and urban architecture — a fusion that challenges the monotony of metropolitan life. Kno...

Lithograph realized in 1980s. Hand signed and numbered. Edition of 100. Excellent condition.

Shadows cast shepherd's hooks over three crosses at El Santuario de Chimayó, the church of miracles in Chimayó, New Mexico. This beautiful fine art photograph is a standout in a...

London: J. Taylor, 1820. Etching with aquatint and engraving with hand coloring in watercolor on cream wove paper with a gilded edge, 10 x 12 inches (254 x 306 mm), the full sheet. ...

Charles Ford's work is in the permanent collection of the Museum of the City of New York. Another wonderful painting by Charles Ford that shows the great lighting and shadows of New ...

Barron Theater, Pratt, KS by Peter Brown is a color archival pigment print depicting the front of the Barron theater along a street. The movie theater's sign promotes a bargain show and the premiere of Ghostbusters 2. The theater sits in between two stores, the Ladies' Nook to its left, and the Total Image Salon to it's right. The stores appear closed, with covered windows and empty parking spaces out in front. Edition of 25 Signed and dated by Peter Brown 16 x 20 in. *Images and video show print in size 16 x 20 in. Available in additional sizes, limited to a single edition of 25 prints: 16 x 20 in. $2300 20 x 24 in. $2900 28 x 35 in. $4600 32 x 40 in. $5800 36 x 45 in. $6300 Peter Brown attended Stanford University (BA English, MFA Photography) and has taught in the art departments at Rice and at Stanford. He has exhibited and published his work widely. His photographic awards include the Dorothea Lange – Paul Taylor Prize (with Kent Haruf) from the Duke Center for Documentary Studies; an Alfred Eisenstaedt Award for a photo-essay published in DoubleTake; an Imogen Cunningham Award for his portfolio Seasons of Light; a graduate fellowship from the Carnegie Foundation; an Artist’s Fellowship from the National Endowment for the Arts; an Artist’s Grant from the Cultural Arts Council of Houston and a publication grant from the Graham Foundation. His book On the Plains won the Fred Whitehead Award from the Texas Institute of Letters. He presently is photographing the Llano Estacado of Texas and New Mexico under a grant from the Southwest Collection at Texas Tech University and the central high plains in a collaboration with the novelist Kent Haruf. His book with Haruf, West of Last Chance, will be published by W.W. Norton in January 2008. His photographs are in many public, private, university and corporate collections, including those of the Museum of Fine Arts and the Menil Collection in Houston, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Los Angles County Museum of Art and the J. Paul Getty Museum in Los Angeles, the Amon Carter Museum in Fort Worth, the Santa Barbara Museum of Art, the Stanford University Museum of Art, the Rice University Collection, The Humanities Research Center at the University of Texas Austin, the Sheldon Museum at the University of Nebraska, the Spencer Museum at the University of Kansas, the Snipe Museum at Notre Dame, and the University of Kentucky Museum of Art, among many others. His work has been exhibited in one man and group shows in museums and galleries in this country and abroad. Among others: The Museum of Modern Art in New York; The Museum of Fine Arts and the Contemporary Arts Museum in Houston; The San Francisco Museum of Modern Art; The Amon Carter Museum in Fort Worth and the Los Angeles County Museum of Art. His first book Seasons of Light, consisted of photographs of interior scenes with Brown’s short prose pieces, and was published with an afterword and poetry by Denise Levertov by Rice University Press in 1988. It was excerpted in American Photographer. His second, On The Plains, dealt with the open landscape and small towns of the western plains. Published with an introduction by Kathleen Norris by W.W. Norton, On the Plains was excerpted in DoubleTake, LIFE, The New Yorker, Aperture and Texas Monthly. His forthcoming book West of Last Chance, will be excerpted in Harpers, Texas Monthly and 5280. His work has also appeared in Dwell, House and Garden, Landscape Architecture, Duke, Stanford, Popular Photography, American Photographer, FotoMetro, Southwest Art, American Cowboy and other magazines - as well as on the covers of books by Annie Proulx, Jane Smiley...

Burritos, Tahoka, Texas by Peter Brown depicts a red brick building on a street corner, with "BURRITOS" painted in white above the white door. Edition of 25 Signed and numbered in black ink on print margin. Paper size: 20 x 24 in., Image size: 16 x 20 in. Series: Hometown Texas Available in additional sizes, limited to a single edition of 25 prints: 16 x 20 in. $2300 20 x 24 in. $2900 28 x 35 in. $4600 32 x 40 in. $5800 36 x 45 in. $6300 Peter Brown attended Stanford University (BA English, MFA Photography) and has taught in the art departments at Rice and at Stanford. He has exhibited and published his work widely. His photographic awards include the Dorothea Lange – Paul Taylor Prize (with Kent Haruf) from the Duke Center for Documentary Studies; an Alfred Eisenstaedt Award for a photo-essay published in DoubleTake; an Imogen Cunningham Award for his portfolio Seasons of Light; a graduate fellowship from the Carnegie Foundation; an Artist’s Fellowship from the National Endowment for the Arts; an Artist’s Grant from the Cultural Arts Council of Houston and a publication grant from the Graham Foundation. His book On the Plains won the Fred Whitehead Award from the Texas Institute of Letters. He presently is photographing the Llano Estacado of Texas and New Mexico under a grant from the Southwest Collection at Texas Tech University and the central high plains in a collaboration with the novelist Kent Haruf. His book with Haruf, West of Last Chance, will be published by W.W. Norton in January 2008. His photographs are in many public, private, university and corporate collections, including those of the Museum of Fine Arts and the Menil Collection in Houston, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Los Angles County Museum of Art and the J. Paul Getty Museum in Los Angeles, the Amon Carter Museum in Fort Worth, the Santa Barbara Museum of Art, the Stanford University Museum of Art, the Rice University Collection, The Humanities Research Center at the University of Texas Austin, the Sheldon Museum at the University of Nebraska, the Spencer Museum at the University of Kansas, the Snipe Museum at Notre Dame, and the University of Kentucky Museum of Art, among many others. His work has been exhibited in one man and group shows in museums and galleries in this country and abroad. Among others: The Museum of Modern Art in New York; The Museum of Fine Arts and the Contemporary Arts Museum in Houston; The San Francisco Museum of Modern Art; The Amon Carter Museum in Fort Worth and the Los Angeles County Museum of Art. His first book Seasons of Light, consisted of photographs of interior scenes with Brown’s short prose pieces, and was published with an afterword and poetry by Denise Levertov by Rice University Press in 1988. It was excerpted in American Photographer. His second, On The Plains, dealt with the open landscape and small towns of the western plains. Published with an introduction by Kathleen Norris by W.W. Norton, On the Plains was excerpted in DoubleTake, LIFE, The New Yorker, Aperture and Texas Monthly. His forthcoming book West of Last Chance, will be excerpted in Harpers, Texas Monthly and 5280. His work has also appeared in Dwell, House and Garden, Landscape Architecture, Duke, Stanford, Popular Photography, American Photographer, FotoMetro, Southwest Art, American Cowboy and other magazines - as well as on the covers of books by Annie Proulx, Jane Smiley...

The Billboard series by photographer Eduardo Rezende unfolds as a visual dialogue between art and urban architecture — a fusion that challenges the monotony of metropolitan life. Kno...

Lithograph realized in 1980s. Hand signed and numbered. Edition of 100. Excellent condition.

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

Procession of Nuns, Rangoon, Burma, 1994 Signed by Steve McCurry 19 × 23 inches / 50 × 60 cm - paper size Edition of 90 With hand signed, dated ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. Ted Adams’ first solo show at the Robin Rice Gallery juxtaposes surrealism with the documentary art form. What differentiates Mr. Adams’ work from traditional photojournalism is his keen eye for capturing the irony in the events that unfold before our eyes. It is the found objects in everyday life to which Adams is most attuned. He creates a subtle mood and visual mystery that conveys meaning not only from the image itself but also through imagining what exists just beyond the frame. "I see photography as a way of cropping the world—selectively taking things out of context—which often results in stripping the meaning out of the original subject matter, or at least making the image open to interpretation. It’s the opposite of traditional photojournalism whose intention is to create ‘narrative’ and context rather than discard them." While he has exhibited artistic photography in a variety of genres, in the past five years he turned his artistic eye inward to reflect a more autobiographical tone. While some people compare his work to that of Robert Frank, Adams finds himself more and more influenced by Larry Clark whose career was built on pictures drawn from his own life and drug-addled friends rather than a specific documentary mission. The unique presentation of this collection of twenty-three silver gelatin prints enhances the voyeuristic sensibility of Mr. Adams’ work. Each photograph is jewel box in size, measuring 4" x 6" to invite the viewer in to make an intimate appraisal. The craftsmanship of the wide, dark wood frames hearkens back to late 19th-century Shaker design—yet the aesthetic is boldly contemporary, providing a strong backdrop to draw the viewer’s gaze directly to the subject matter. This artisanship extends to the printing where Adams exhibits his skills in traditional darkroom processes. He shoots mostly with Leica and Nikon 35mm film cameras...

Konrad Kucza-Kuczyński was born on January 2, 1941, in Czerwony Dwór near Vilnius. He is a Polish architect, professor of technical sciences, publicist, and artist. In 1964, he gradu...

Konrad Kucza-Kuczyński was born on January 2, 1941, in Czerwony Dwór near Vilnius. He is a Polish architect, professor of technical sciences, publicist, and artist. In 1964, he gradu...

A feat of superrealism masterfully done using watercolor, a notoriously difficult medium. (I apologize for the reflections on the glass - I took a couple of shots at a slight angle t...

Title: British Watercolor of a Rustic Mediterranean Courtyard with Flower Sellers By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Signed: Yes Dime...

Date: 1952 Medium: Oil on Canvas Dimensions: 30.00" x 24.00" Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, May 10, 1952. The Post describe...

Oil on canvas

Stevie Wonder photographed during a rehearsal session in Los Angeles in 1974. Taken with a 16mm lens. The photograph is made up of two archival pigment photos that are cut into st...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...

Bernard Brussel-Smith, 'City Scene I', wood engraving, 1949, edition 100. Signed, titled, and numbered '93/100' in pencil. A superb, richly-inked impression, on white wove paper, wi...

Screen print by Antonio Saliola. Hand signed in pencil lower right. Very good condition.

'Petits Hotels. Boulevard Berthier 45 et 47, a Paris. Elevations, Coupe et Plans, par Mr Boland, Archte.' French architectural chromolithograph. From 'La Brique Ordinaire', by J Lac...

The painting depicts an old courtyard in St. Petersburg in winter. It is a closed courtyard-well, from which the exit to the outside is through an arch on the right. Behind the iron ...

Original oil painting by Richard Combes featuring a Bombay Sapphire sign. Richard Combes (b. 1963, Manchester, England) trained as an architect in the...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone streets with puddles in Tribec...

Signed lower right, 'Peter Baczek' (American, born 1945) and dated 1983; additionally titled, lower left, 'Industrial Complex' with number and limitation, lower center, '14/80'. Pape...

Mitchell Funk's photograph of a Red Brick Factory in Long Island City is as much about color-field theory as it is a document of a brightly painted factory facade. Additionally, Fun...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'Ametsuchi', 2013 Lambda print Medium Sheet 64 × 80 cm (25 1/5 × 31 1/2 in.) Large Sheet 148 x 185 cm (58 1/4 x 72 7/8 in.) Ed...

I don't like it (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. A...

Fransioli was born in Seattle, Washington, and received a degree in architecture from the University of Pennsylvania in 1930. He worked with John Russell Pope on plans for the exhibition galleries at the National Gallery of Art in Washington, D.C., which he pinpointed as the beginning of his interest in painting. World War II interrupted a promising career in architecture. Fransioli served in the Pacific Theatre from 1943 until 1946, and was among the first American soldiers to survey Hiroshima after the atomic bomb’s detonation in August 1945. He returned to civilian life and took up painting, basing himself in Boston, but working up and down the eastern seaboard. Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, their forms squarely defined by stark light and long shadows. Saturated color permeates every corner of his canvases, from vibrant oranges and greens to smoky terra cottas and granites. Even the trees that line Fransioli’s streets, parks, and squares are sharp and angular, exactly like those in an architect’s elevation rendering. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for parked cars and an occasional black cat scurrying across the pavement. People make rare appearances in Fransioli’s compositions, and never does the entropy of a crowd overwhelm their prevailing sense of order and precision. People are implied in a Fransioli painting, but their physical presence would detract from the scene’s bleak and surreal beauty. Magic Realism neatly characterizes Fransioli’s artistic viewpoint. The term was first broadly applied to contemporary American art in the 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. As exhibition curator Dorothy Miller noted in her foreword to the catalogue, Magic Realism was a “widespread but not yet generally recognized trend in contemporary American art…. It is limited, in the main, to pictures of sharp focus and precise representation, whether the subject has been observed in the outer world—realism, or contrived by the imagination—magic realism.” In his introductory essay, Lincoln Kirstein took the concept a step further: “Magic realists try to convince us that extraordinary things are possible simply by painting them as if they existed.” This is Fransioli, in a nutshell. His cityscapes exist in time and space, but certainly not in the manner in which he portrays them. Fransioli—and other Magic Realists of his time—was also the heir to Precisionism, spawned from Cubism and Futurism after the Great War and popularized in the 1920s and early 1930s. While Fransioli may not have aspired to celebrate the Machine Age, heavy industry, and skyscrapers in the same manner as Charles Sheeler, his compositions tap into the same rigid gridwork of the urban landscape that was first codified by the Precisionists. During the 1950s, Fransioli was represented by the progressive Margaret Brown...

Presences is an original print realized by Franco Fontana in 1981. Offset print from Rondanini Galleria D'arte Contemporanea, Rome. Colored poster from a photograph by Franco Fonta...

"PAK" is an original charcoal drawing on paper by Stephanie Buer measuring 16”h x 22”w when framed. This piece ships ready-to-hang in the pictured frame. Stephanie Buer, now based i...

This painting titled "Detroit Pixels I" is an original artwork by Jessica Hess made of acrylic and oil paint on panel. This piece measures 12"h x 12"w. A graduate of the Rhode Islan...

Work on wood Plaster molding frame and gilded wood 36.5 x 28.5 x 4.5 cm

'In which Time and Tide Strip Back The Layers of love' Limited Edition (1 of 25) Archival Photograph. Unframed. _________________ Crystal Cove, Orange County, California, an empty beach cottage...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Dent Prompte, Dix poèmes inédits illustrés par Max Ernst, ...