Building Art

Pevero Golf Corse The Pevero Golf Course, Costa Smeralda, Sardinia, 1978. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collection Edition to 150 Photo by Slim Aarons ...

This piece, titled "The Meeting 29" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, an...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

London: Fine Art Trade Guild, c1900. Etching with drypoint on cream laid paper with a deckle edge 11 1/2 x 8 1/4 inches (290 x 208 mm); sheet 15 x 11 5/8 inches (380 x 294 mm), full...

By Giuseppe Vasi after Giovanni Piranesi: Etching and engraving with hand coloring in watercolor on laid paper with an E and R watermark, full margins. Minor...

Josh George's (US based) "Nighttide" is an original, handmade mixed media painting that depicts a city at night with a moody sky. About the Artist: Josh George is a contemporary r...

An extremely scarce impression from the artist's own collection. Etching on watermarked antique laid J Whatman Japon paper, 14 1/2 x 7 5/8 inches ( 368 x 195 mm), full margins. Signe...

'Basilica di St Maria Maggiore. Veduta della facciata principale' Tinted lithograph by Philippe Benoist (1813-1881). From a French series titled 'Rome dans Sa Grandeur', circa 1870...

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...

David Burdeny's photographs are marked by stillness, clarity, and an acute sensitivity to space. Often centered yet never static, his compositions bring human-made and natural forms ...

Kathleen Keifer is a leading force of the New California Realism. With a high level of technical virtuosity, Keifer creates a new sense of reality with textures and colors that seem ...

Artist: Giovanni Battista Piranesi, Italian (1720 - 1788) Title: Veduta delle Antiche Sostruzioni Portfolio: Vedute di Roma Year: 1776 Medium: Etching ...

Duane Bryers, American (1911 - 2012) - Horseshoe Cafe, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Size: 21 in. x 28 in. (53.34 cm x 71.12 cm...

Chromogenic Print by David Drebin Price for UNFRAMED limited edition print Certificate of Authenticity signed by the artist Ask us for framing options Print size: 30 x 45 inches (76...

Biblioteca Vaticana, Roma, 1996 C print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 The photographer is based in Florence, and is...

Title:Provençal Village Street Sunlit Houses Terracotta Roofs French Hilltown Scene Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): 6...

"A Monument to Soap" Chicago Industrial Architecture Drawing Skillfully rendered architecture drawing by Frank Tim Beatty (American b. 1899 d. 1984.) The scene depicts two skyscrape...

"San Marco Interior", original, unique painting, 60x80cm / 23.5x27.5in. See painting in different light conditions, in artificial and natural light. Shipped stretched ready for displ...

'January Light' depicts an historic San Francisco home with warm sunlight and shadows cascading across the window pane. The subtle and brilliant work of art is meticulously hand pain...

This is an Edward Stratton Holloway original oil on board “Philadelphia”. Signed . Condition of the painting is okay frame is very old and has lots of wear. Frames measures 22x16

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

An iconic black-and-white image from the 1980s in France, a rooftop vista from an 11th "arrondissement" (district) apartment window Paris Rooftops, 1988 by Roberta Fineberg is an 11"...

A capriccio with the Colosseum in Roma 17th century Italian school Circle of Viviano Codazzi (1604-1670) Oil on canvas Dimensions: h. 35.43 in, w. 51.18 in Modern 17th century style ...

Jurgen Kuhl Brandenburg Gate (Red, Teal Hues - Brandenburger Tor) Color Silk Screen Year: 2000s Size: 7.4×5.3in COA provided Ref.: 924802-1181 About ...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

A beautiful mid 20th century French naïf oil on canvas depicting a street in The Marais district of Paris, by Maurice Bonnin. The work is signed lower right and presented in a beai...

This captivating gouache on paper painting, dating from the early 19th century, offers a beautifully detailed view of St. Peter's Square in Vatican City, making it a likely relic of ...

A superb, dark impression of a well known scene by Arms. Etching with aquatint on watermarked handmade F.J. Head & Co. laid paper, 12 3/8 x 13 15/16 inches (315 x 354 mm), full marg...

Title: British Impressionist Watercolor of a Rural Village Scene By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15 inches (He...

Paris: Charles Hullmandel, circa 1850. Lithograph with engraving on white wove paper, 9 7/8 x 7 1/2 inches (250 x 190 mm), the full sheet. In good condition with some minor scattere...

The dimensions are for the image. There are large margins. Signed in pencil. A native New Yorker, Ann Nooney (1900-1970), recorded the urban scene while on the Works Progress Admini...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

La Piscine de mon Rêve Swimming Pool of my Dream Landscape Tempera Painting on Linen Canvas In Stock Paul Delmée (Brussels, 1944) received his education at the Academie des Beaux Art...

Equestrian statue of Bartoloméo Colleoni Captain General of Venice Work on panel Golden wooden frame 29 x 30.5 x 7 cm

Title: Miniature Watercolor of Kingswood Methodist Church in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 2.75 inche...

'New Orleans Streetscape" is an original watercolor painting by William Collins. It features a view of a street in New Orleans,. Tall houses with large...

The Arc de Triomphe, Paris French Impressionist, circa 1890-1900 indistinctly signed oil on canvas, unframed canvas : 20 x 24 inches Provenance: private collection, France Condition...

Artist Comments
Typical small old church in the Texas Hill Country. Easter time brings blankets of wildflowers throughout the Hill Country, and none more noteworthy than the bluebonnets. There is also some Indian paintbrush...

Everett Shinn Washington Square Arch, 1948 Signed and dated lower right Watercolor and graphite on board 5 1/4 x 7 1/4 inches Provenance Private collection, New York Everett Shinn...

Oil on canvas with frame. Total size with frame 87x69 cm Roberto Gherardi is an Italian-Geneva painter born in 1933 in Ascensione in northern Italy,...

Gerald Berghammer - Black and white cityscape photography. A historic building viewed from a wide park with tall, trimmed trees lining a pathway leading to it. Archival pigment ink ...

Signed and numbered on the front of the mount by Ansel Adams. Stamped and titled on the back of the mount. From Portolio VI-4; 55/110. Printed in 1974.

Artist Comments
A rustic barn stands covered in snow, its deep red walls contrasting with the icy blue landscape. The sky glows warmly. Inspired by a scene from the televisio...

This artwork "Landscape with Barn, California" c.1950 is an oil painting on canvas by noted California artist Clifford Holmes 1876-1963. It is sign...

Michel Delacroix A La Manille Original lithograph Hand signed in pencil lower right Edition EA lower left Image size: 48 x 57 cm Sheet size: 56 x 76 cm A La Manille is a very earl...

Piazza di Spagna is an artwork realized in 1979, by the Italian Artist Michele Cascella. Colored lithograph on paper of the Portfolio "Landscape", 1979, with six original lithograph and the poems of Franco Simongini titled "Twenty Landscapes 1953-1960" Hand-signed on the lower right in pencil and numbered edition of 29/125 ex. Lower right blind stamp of the Printer Graphis Art, Livorno The state of preservation of the artwork is very good. Michele Cascella (Ortona, 7 September 1892 - Milan, 31 August 1989) was an Italian twilight painter and landscape painter. Over the course of his long artistic life which spanned almost eight decades of intense activity, Cascella has been able to maintain a unique, unmistakable style which is practically immune to the contamination of the pictorial currents and avant-gardes of the twentieth century. His works, including canvases, panels, pastels and drawings, are exhibited in numerous Italian and international museums, including the Victoria and Albert Museum[1] in London, the Galerie nationale du Jeu de Paume in Paris, the National Museum of History and Art in Luxembourg, the Musée d'Art Moderne in Brussels and the De Saisset Art Gallery of the University of Santa Clara in...

Etching with drypoint on cream laid paper with a deckle edge, 7 7/8 x 13 1/8 inches ( 200 x 334 mm), full margins. Signed and numbered 27/100 in pencil in the lower margin. With two ...

Artist: Louis del Bianco (French b.1925), signed Title: Provence Medium: oil painting on canvas, unframed Size: painting: 18 x 24 inches ...

Andreas FEININGER New York Skyline at Night, 2008 Offset original vintage poster On paper 68 x 74 cm (c. 27 x 29 in) Original poster for artist's exhibition in Fundation Juan March ...

“CITY RISING” was painted in circa 1990 with acrylic on canvas. The stretched canvas size is 41.50 x 33.50 inches. The artist's initials “M. D. C.” are in the lower right. This pain...

Musei Vaticani XIV, Scala Simonetti 2011 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 Massimo Listri is based in Florence, and ...

'Chiesa di St Maria-Sopra-Minerva. Veduta delle braccia di Croce' Santa Maria sopra Minerva is one of the major churches of the Roman Catholic Order of Preachers (better known as t...

Original India ink, watercolor and gouache artwork of a small harbor on the island of Mykonos in Greece but the Greek artist Manos Sofianos. Signed by the artist lower right. Conditi...

'Rhapsody in Blue' depicts a historic San Francisco apartment building with warm sunlight and shadows cascading across the facade of the lavender buil...

Rainbow Apartments, Italian architecture photograph from Richard Heeps series A Short History of Milan. A Short History of Milan' began in ...

Picturesque Village by Max Toutain (1935-2006) oil painting on board, unframed board : 16 x 20 inches Provenance: all the paintings we have by this artist have come from the artists ...

A classic Richard Haas (born 1936) New York City view. Signed in pencil lower right. The fact that it is signed within the image, the drawn-upon area, leads me to think the artist wa...

Mediterranean Church Square with Figures Spanish Impressionist Oil Painting Artist: Joan Roig i Soler (Barcelona, 1852–1909) Title: Mediterranean Church Square with Figures Medium: Oil on canvas Dimensions: 36 × 32 cm / 14.2 × 12.6 in Framing: Unframed Signature: Signed lower right Period: Late 19th to early 20th century Country of origin: Spain Style: Catalan Luminism, Impressionism, Mediterranean painting Subject: Church square, village architecture, figures, religious procession Condition: Good antique condition, with age-related wear and surface texture consistent with its period. Please examine the photographs carefully, as they form an integral part of the condition description. Description An exceptionally atmospheric Mediterranean village scene by Joan Roig i Soler, one of the founders and leading representatives of the Sitges Luminist School. The composition depicts a sunlit church square animated by a gathering of villagers dressed in traditional clothing. Several figures appear to carry baskets or offerings, suggesting a local religious celebration, market day or procession taking place outside the church. Whitewashed houses, balconies, green shutters and warm ochre façades frame the scene, creating an evocative image of everyday life in a historic Spanish coastal town. Roig i Soler constructs the view through loose, confident brushwork and a luminous palette of pale blues, creams, rose, ochre and muted green. The broad foreground and diagonal shadows guide the eye towards the group assembled beside the church entrance, while the vivid Mediterranean sky gives the entire painting a radiant, open-air atmosphere. The contrast between the sunlit architecture and the compact crowd demonstrates the artist’s ability to combine landscape, urban architecture and costumbrista figure painting. Rather than describing every individual in detail, Roig i Soler uses rapid touches of colour to create movement, light and social energy. The result is spontaneous and highly decorative, yet also historically evocative. Works showing populated streets and village squares are especially desirable within Roig i Soler’s production, as they unite his celebrated treatment of Mediterranean light with a vivid record of Catalan and Spanish daily life. Its intimate format also makes the painting particularly suitable for a salon wall, study, library or carefully assembled collection of European Impressionist art. Artist biography Joan Roig i Soler was born in Barcelona in 1852 and became one of the most important Catalan landscape painters of the late 19th century. He studied at the Escola de la Llotja in Barcelona and trained under Modest Urgell, one of the leading Spanish landscape painters of his generation. After travelling through France and Italy, Roig i Soler settled for extended periods in Sitges, where he worked alongside Arcadi Mas i Fondevila. Together they became central figures in the development of the Sitges Luminist School, a pioneering movement devoted to plein-air painting, Mediterranean light and direct observation of nature. The Sitges Luminists moved away from academic historical painting and focused instead on beaches, ports, village streets, churches and everyday life. Their experiments with natural light anticipated important aspects of Catalan Modernism and helped establish Sitges as one of the principal artistic centres of Spain. Roig i Soler painted throughout Catalonia and the Balearic Islands, including Sitges, Barcelona, Blanes, Tossa de Mar, Cadaqués, Camprodon and Mallorca. His work is admired for its luminous colour, animated brushwork and sensitive depiction of Mediterranean architecture and coastal atmosphere. He participated in major exhibitions in Barcelona, Madrid, Zaragoza and Paris and served as a jury member at the 1888 Barcelona Universal Exposition. His paintings are represented in important public collections, including the Museu Nacional d’Art de Catalunya and the museums of Sitges. Artistic inspiration The luminous treatment of architecture and atmosphere recalls the Mediterranean clarity of Joaquín Sorolla, while the lively arrangement of figures and spontaneous plein-air brushwork evokes Pierre-Auguste Renoir and Camille Pissarro. The elegant observation of everyday urban life also connects the work with John Singer Sargent and the Venetian street scenes of Maurice Prendergast, filtered through the distinctive light and vernacular architecture of Catalonia. Joan Roig i Soler, Spanish Impressionist painting, Catalan Luminist painting, Mediterranean village painting, Spanish church painting...

Mid Century Figurative Landscape -- Aptos Village Apple Shed and Market Charming mid century figurative landscape of Aptos Village Apple Shed and Market by listed California artist ...

Wonderful iconic vintage gold country landscape of wood barn with golden grasslands surrounded by blue mountains by N. McCarroll (American, 20th Century),...