Crypt Art

A charming late 19th century oil by W.D. West depicting mother and child attending church. Presented in a stained oak frame with a gilt inner edge. Signed to the lower right. Inscri...

Oil on Board realized by Jules Victor Génisson (1805-1860) in the mid-19th Century. Hand signed lower left. Good condition.

'Upper Fountain of Siloam', tinted lithograph after David Roberts RA. Signed in stone lower right. Printed title below the image. Roberts travelled t...

A charming study of two figures sketching old abbey ruins. Unsigned. Presented in a gilt frame. On paper.

Artist: Fermin Santos Alcade Title: Catedral de Toledo, Espana II Year: Circa 1960 Medium: Oil on canvas board Canvas board size: 28.5 x 21.25 inches...

St. Francis of Assisi Italian School, circa 1500 oil paint on copper, unframed copper: 6.75 x 10 inches provenance: private collection, Loire Valley, France condition: for a work tha...

Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...

Jacques Muller (Utrecht 1630 - 1680) Signed: 'J. Muller f(ecit).' Pupil of Abraham van Cuylenborch (Utrecht, 1620 - 1658) Diana and the nymphs bathing in a cave Second half of the ...

Ramon Tusquets Maignon (Barcelona, 1837 - Rome, 1904) Interior of the Basilica of San Marco in Venice Oil on canvas, 86.5 x 69 With frame 99 x 81 cm Signed to the lower left The...

In 2015 I visited many ancient olive groves in Italy. The Province of Lecce is known for having the oldest trees. The groves, only accessible by stone paths or mule tracks, give a se...

French painter (18th century) - Joseph in prison. 84 x 105 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pic...

Balcic 2 Gothic Arches 27.5 x 27.5in / 70 x70cm Shipped stretched, as it is, ready for hanging , framed

Title: British Impressionist Watercolor of an Atmospheric Stone Archway Passage By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 ...

Algerian women in an interior. Oil on panel. Signed. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck w...

This striking vintage 1939 original painting, titled Man In His Search for God, is a powerful piece from Charles Bunnell’s renowned Black and Blue Series. The artwork is painted in i...

Interior courtyard scene by Mary Scott (American, late 19th/early 20th C). Two large stone columns support an arch, framing the composition. Between the columns, some of the courtyard can be seen, including a tree and the edges of a grassy area. Across the courtyard, there is a small desk and chair...

Pierre-Antoine Demachy (Paris 1723 - 1807) Architectural capriccio oil painting on canvas 92 x 70 cm Criticism and expertise of Prof. Giancarlo Sestieri (Rome [...] With regard to ...

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...

In this piece, I've explored the dance between light and shadow, crafting an intimate journey through an architectural passage that beckons with history and mystery. Employing oil on...

Rose-Colored Dream - 2018, 60x72cm, Edition of 5 plus 2 Artist Proof, 20x24cm, Digital Print based on an original Polaroid on Hahnemühle photo rag paper, not mounted. Signed on ...

"Concert" Early 20th Century WPA Modernism American City Landscape Scene Ashcan The size of the canvas 28 3/4 x 43 1/4 inches. The painting comes directly from the artist's estate. It is signed lower right as well as signed, titled and dated verso. We have available more than two dozen paintings and works on paper from the 1930s - 80s that come directly from the Loew estate. BIO Michael Loew (1907 – 1985) was the son of a New York City baker. After high school, he was an apprentice to a stained-glass maker, and from 1926-1929, he studied at the Art Students League. In 1929, he traveled to Paris, North Africa, Germany, and Italy with a group of artists. When he returned to New York City in 1931, the Great Depression hit Loew unexpectedly, and for the next two years he paid his apartment rent with his paintings. In 1935, he found work with the WPA where he painted murals and partnered up with longtime friend Willem de Kooning in 1939 on a mural for the Hall of Pharmacy at the New York World’s Fair. Their friendship lasted for the rest of their lives. In the mid-30’s he painted in Mexico and the Yucatán documenting the construction of a U.S. Naval airbase on Tinian Island. It was from this airbase that the Enola...

This oil painting called The Old Stone Stairway by Ferdinand Fagerlin offers an intimate glimpse into a quiet interior space, where the stillness of...

Jean La Forgue (French 1901-1975) signed watercolour on paper, mounted in a card frame card frame: 29 x 23 inches painting: 24 x 18 inches provenance: the artists estate, France cond...

Black and white fine art cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to order in limited ed...

The Catacombs is a black and white vintage photo, realized in 1975 .  The photo depicts the jewish catacombs in Villa Torlonia, in Rome. Good conditions and aged. It belongs to a ...

In the Bazaar II, 1834-1855, by Theodore Frere (1814-1888) Oil on wood 7 x 5 inches unframed (17.78 x 12.7 cm) 10 ⅝ x 9 inches framed (26.9875 x 22.86 cm) Signed on lower right Desc...

Marta Rynkiewicz is a young Polish artist born in 1983. She studied painting with Professor Henryk Czenik and graphic arts with Professor Jerzy Krechowicz, at the Faculty of Paintin...

Villeneuve cloister in Avignon is a watercolor on paper, realized by Leon Boulier, 1941.  26 x 35 cm. Titled lower  left side. Hand signed on the back. Good conditions

Twentieth Century Landscape with Nude - Cecilia in the grounds of a Villa at Lake Orta in Italy. Original Signed Watercolour of one of his most favourite Models. I have long since ...

Veduta della Spelonca, detta il Bergantino is an original etching realized by G. B. Piranesi in 1762. Image Dimensions: 43 x 63 cm Very good condition. Ref. Ficacci., p.442

The Flower Seller, a late 19th century figurative oil painting of a barefoot female figure in period dress standing outside of a doorway selling nos...

"Interior of a House" is an original pencil, china ink and pastels drawing on ivory paper by Anonymous Artist of XIX Century. In very good condit...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, 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. John Bluck after Frederick Mackenzie (1788 - 1854) East Side of St Erasmus' Chapel, Westminster Abbey (1812) Hand-coloured aquatint 28 x 19 cm Published by Rudolph Ackermann...

Oil on canvas, signed lower right Image size: 28 x 36 1/2 inches (71 x 93 cm) Orientalist Gilt frame George Edward Robertson George Edward Robertson (born 1864) painted portraits, ...

Rebecca Skinner’s “Workspace” was photographed at an abandoned lace factory and is part of a series documenting the loss of industry in America. A desk and chair sit in a vast space....

THIS WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...

Randy Peyton (1958 - present) San Antonio Artist Image Size: 16 x 12 Frame Size: 19 x 15 Medium: Oil on Canvas " San Fernando Cathedral Moonlight" Biogra...

Hand printed by artist. Loose print. Cannot be rolled. Framing and matting available for an additional fee.

Daud Akhriev's (EUR and US based) "Corridor, Montereggi" is an original, handmade oil painting that depicts an interior setting adorned with fine wood fur...

Adrien Dauzats (1804 - 1888) Tomb of Edward the Confessor at Westminster Abbey Oil on canvas 76 x 88 cm Provenance: Dauzats sale, n°82 (1 - 4 Feb 1869, Paris, Drouot), its sales stam...

"Time Travel" Photography 40"x30" inch Edition 3/24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2019 ABOUT Rob Woodcox Rob Woodcox is a fine art and fashion photographer currently living between Mexico City, Los Angeles and New York City. Rob's surrealistic contemporary style has developed into a dedication for advocacy and making strained voices heard through visual storytelling. Rob has produced projects raising consciousness and conversation around the US foster system and adoption, queer identity, body neutrality, racial diversity and environmental justice. Within any given concept lies not only a captivating visual, but a deep and powerful narrative that inspires the viewer to appreciate and contemplate. Rob creates from a unique perspective, finding hope in the human connection and the will to overcome existing constructs within our complex societies. In 2020 Rob produced and released his first photographic art book “Bodies Of Light”. Rob continues to rise in the global art scene. Selected Exhibitions: 2021 Bodies Of Light (Solo Exhibition), Liquidity Wine Gallery, Okanagan Falls, BC Canada; 2020 Bodies Of Light (Solo Exhibition), Space Place Gallery, Nizhny Tagil, Sverdlovsk Oblast, Russia; 2020 Bodies Of Light (Solo Exhibition), 500px Gallery, Toronto, ON Canada; 2020 Bodies Of Light (Solo Exhibition), Warehouse, Miami, FL USA; 2020 Bodies Of Light (Solo Exhibition), Warehouse, Detroit, MI USA; 2020 Bodies Of Light (Solo Exhibition), Private Residence, New York, NY USA 2020 Bodies Of Light (Solo Exhibition), Warehouse, Portland, OR USA; 2020 Bodies Of Light (Solo Exhibition), Private Residence, Los Angeles, CA USA; 2020 Bodies Of Light (Solo Exhibition), Jardín Juarez, México City, México; 2019 Bodies Of Light (Solo Exhibition), The National Museum of Serbia, Belgrade, Serbia; 2019 ClearChannel France, 800 Screen Public Gallery Display, Paris, France; 2019 Paris Photo...

Archival Pigment Print 28" x 22.5" (framed) Edition size: 15 In 2013, Chicago based artist Susan Aurinko went on a photographic expedition to France. While in the Loire...

"Jesus Christ in front of his accusers" is an modern, romantic painting by the Bulgarian artist Maestro Zhivko Zheliazkov, About the artwork: TECHNIQUE: oil painting on canvas ST...

Like G.B.Piranesi, Rossini, well know as the “Piranesi’s heir”, trained as an architect and his etchings have the same tendency to emphasize the massive structure of the Ancient Rome...

Early 20th Century oil on canvas painting of a garden by M Lagrosk. The painting is signed bottom right. Interestingly to the back stretcher there is a trade stamp for 'Montmartre, B...

Jean La Forgue (French 1901-1975) watercolour on card, unframed painting: 23 x 20 inches provenance: the artists estate, France condition: very good an...

"Time Travel" (FRAMED) Photography 50" x 40" inch Edition 1/12 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2019 Other sizes available ABOUT Rob Woodcox Rob...

Hand printed by the artist in 2002 Gifted by Roman Loranc Rare print!! From the same church as Franciscan Church and Absolution. Would make a great pairing. Roman Loranc is no longe...

This painting was inspired by Semiramis, who was the queen of the Assyrian empire in the 9th Century BC. Semiramis was famous for building the walls of Babylon and restoring the emp...

Georges-Antoine Rochegrosse French 1859 - 1938 The Palace Courtyard Oil on canvas, signed lower left Image size: 26 ¾ x 19 ¾ inches (68 x 50 cm) Ornate orientalist gilt frame (Image ...

Courtyard with Arched Colonnades and Fountain Simone Forge 1930's French Impressionist oil on board unframed board: 16 x 13 inches Provenance: private collection Condition: great c...

Artist: Fermin Santos Alcade Title: Catedral d Toledo, Espana Year: Circa 1960 Medium: Oil on canvas Canvas size: 29 x 21.5 inches Framed size: 35 x 27.5 inches Signature: ...

The Battle Of Sluys (1340), oil on canvas, 16th/17th Century Rare account of the opening engagement of The Hundred Years War (1337-1453) Fine huge antique history painting depictin...

Paul Lecomte (1842-1920) Mother and daughter at a fountain Signed on the lower left Oil on canvas transfered on cardboard 25.5 x 34 cm In good condition In a modern frame : 44 x 52 ...

14" x 18" Unframed Limited Edition Archival Photograph of 15 Hand Signed by Simeon Posen

14" x 18" Unframed Limited Edition Archival Photograph of 15 Hand Signed by Simeon Posen

"A beautiful white horse underneath a stone arch in an ancient building A black and white image of a white horse underneath an ancient stone arch looking away from the camera This powerful global series explores horses in diverse settings and offers a nuanced and captivating look at their grace, strength and lasting cultural impact. Offered in a limited edition, these works are printed on Hahnemühle FineArt Baryta paper, which sets the standard for image definition and color depth. Each print includes an embossed certificate of authenticity and is signed and numbered. All images are printed in-house on Hahnemuhle Fine Art Baryta paper and come with a Certificate of Authenticity. For your convenience, all images are printed with a 3” paper border; this is not included in the listed sizes. ABOUT DREW: Photographer & filmmaker Drew Doggett creates print series featuring the extraordinary stories of diverse cultures and communities seen through a fashion-inspired lens. Through both intimate and expansive perspectives, he reveals his subjects in vivid detail. Drew's work is in public and private collections around the world, notably the Smithsonian Institute. He has received over 100 awards and honors for his photography and short films; in 2020, he was named number one in the US and fourth globally for black and white photography by One Eyeland. ""Related Tags: Horse Western Cappadocia Desert Church Black and White Cathedral Doors...

C.W. Mundy's "Paris, La Seine & The Eiffel Tower" (2024) is an original, handmade oil painting of Paris, with the Eiffel tower out of focus in the distance. About the Artist: C.W....