Cartoon Art

Medium: Watercolor over Graphite on Illustration Board Dimensions: 13.75" x 19.75" Signature: Signed Lower Left Patrick Block "Donald Duck and the Golden Helmet...

Chiho Aoshima Building Head - Chameleon 2006 Lithograph 24 1/4 x 29 in. Edition of 300 Signed and numbered in ink Accompanied with COA by Gregg Shienbaum Fine Art. Condition: This ...

Young girl holding her dog up to grab her hat on a tree branch. Cover for the March 1962 issue of the Calling All Girls magazine

Oil on Canvas 20 × 16 in 50.8 × 40.6 cm This is a unique work. This work includes a Certificate of Authenticity. Provenance: Owned by artist Free Shipping in US and Europe [Standard...

Oil on Canvas 28 × 22 in 71.1 × 55.9 cm This is a unique work. This work includes a Certificate of Authenticity. Provenance: Owned by artist Free Shipping in US and Europe [Standard...

This painting was inspired by the artists very first toy, a small blue giraffe, given to her as a day-old baby. It is something that has been around her whole life, and even though it is inanimate, there is a feeling of personification through the years of wear. Her brother as a baby would call giraffes “fa,” which is always a sweet memory she associate with this toy. Samantha Van Heest...

Art Sz: 17"H x 11 3/4"W Alexander Warren Montel (1921-2002)

Hand signed and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 150. All reasonable offers will be considered.

Two Knights

Wild is the Wind, painting, by Rodney Forbes, oil, canvas, dress, beach, blue Inspired partly by the ravishing David Bowie song and partly by a photo I saw of a team of men wrestlin...

Somersault, oil on canvas, painting, by Rodney Forbes, Australia, birds, cars

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Signed by the photographer

Alex Katz (b. 1927) Ada 7 — From the ADA Portfolio, 2022, (/100) Silkscreen in colors on Saunders Waterford High White HP 425 gsm paper 54 x 40.50 in (137.16 x 102.87 cm) Edition 14 ...

Neon Richie. Photography and digital face mounted on plexiglass. No frame needed. About the Artist: Born in Montreal in 1989, Cedric Sequerra has always been fascinated by the ...

This colorful and zany piece by Peter Max depicts a sky blue character called the "Cosmic Runner" in mid-sprint across the composition. 14" x 18.5" Screen print About the Artist: ...

Erik MADIGAN HECK (*1983, United States) Not Titled Yet, 2016 Chromogenic print Sheet 152.4 x 109.6 cm (60 x 43 1/8 in.) Edition of 9 plus 2 artist's proofs (#1/9) print only Origin...

Erik MADIGAN HECK (*1983, United States) Not Titled Yet, 2023 Chromogenic print Sheet 152.4 x 113 cm (60 x 44 1/2 in.) Edition of 9 plus 2 artist's proofs (#1/9) print only Original...

De-Extinctionizer (Lyuba) by BARC the dog (2022), pop art comic book style, acrylic on canvas, illustration, cartoon inspired character art, laboratory scene, ...

Tele-Trav (Summit) by BARC the dog (2022), pop art comic book style, acrylic on canvas, illustration, cartoon inspired character art, mountain top scene, snow,...

Teary Eyed by BARC the dog, acrylic on canvas pop art comic book animal character, illustration cartoon style painting Welcome to the world BARC the...

"Sk8" (2022) by street artist el toro 10 x 10 x .75" Acrylic on wood panel. Artist's signature character, "el toro," appears with a yellow beanie, skating on ...

"Wawa Run" (2022) by street artist el toro 10 x 10 x .75" Acrylic on wood panel. Artist's signature character, "el toro," appears with a yellow beanie, a Wawa...

Unstretched print on Canvas, shipped and rolled in a tube. Emilie Arnoux hails from Normandy, France. From a young age, she became fascinated by the oc...

Carmelo Niño Arlequin casi nocturno, 2012 Oil on canvas 145 x 125 cm 57 x 49.2 in. "Arlequin casi nocturno" is a painting by Venezuelan artist Carmelo Ni...

Technical Information: Alex Katz Straw Hat Vivien 2021 Silkscreen 80 x 44 in. Edition of 60 Pencil signed and numbered

Portrait photography Drew Tal's work combines photography with digital media to render highly stylized and realistic figurative imagery. Focusing on faces and dramatic close-up po...

Life is Good [Champagne] is a unique artwork by Brazilian artist Dario Del Toro. He is a self-taught painter whose career evolved from street art in the favelas to fine art exhibited in galleries worldwide. Del Toro draws inspiration from pop culture and the vibrant Bossa Nova music scene. In his latest series, entitled "Nova", Del Toro's artwork ranges in subject matter, featuring characters like Stewie Griffin of Family Guy...

Monday [Bathtub] is a unique artwork by Brazilian artist Dario Del Toro. He is a self-taught painter whose career evolved from street art in the favelas to fi...

Moon #7 - Ruud van Empel (Colour Photography) Signed, dated, inscribed with title and numbered on reverse Archival pigment print 33 x 23 1/2 inches Edition of...

After completing her prodigious series of illustrations for Lewis Carroll's Through the Looking-glass, a project spanning more than three years, Maggie Taylor continues to create whi...

Signed by the photographer

Gisella Loeffler "The Necklace and the Pot" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 15 x 15 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Color Lithograph Signed and Dated Lower Right Numbered Lower Left 22/100 Image Size: approx. 23 x 29 inches Framed Size: approx. 31 x 37.5 inches

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Football Players...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...