Decor Art

Micah Evans Decanter Trio, 2015 Borosilicate glass Dimensions variable 17h x 3w x 3d in 11.5h x 3w x 3d in 9.5h x 3w x 3d in

Blossoming in Spring is an original contemporary pop art style tree painting by Nicky Chubb artist. The bight pink tones paired with the opulent gold background makes for a large lig...

Large Nature Triptych by Alex K. Mason of expressionist landsape, "After" is acrylic on three unframed canvases using reds, greens, blues, and yellow...

Signed and dated. On board.

Acrylic on canvas Shin Seung-Hun is a South-Korean artist born in 1979 who lives & works in Jeju Island, Korea. He is considered by critics as the new Korean Takashi Murakami. The ...

Blooming stones. 2012, oil on canvas, 50x70 cm Fantasy landscape with threes and stones in gold, brown, yellow colors Kristine Kvitka (1983) Kristine...

Coldplay - signed Limited Edition Oversize print COLDPLAY VIDEO BLUE APRIL 23 2005 LOS ANGELES BAND VIDEO STILLS Exquisite print of the superband Coldplay during a video shoot unframed signed and numbered by the artist. limited to 10 only this size. About the artist : Kevin Westenberg is famed - for his creation of provocative and electrifying images of world-class musicians, artists and movie stars for over 25 years. His technique of lighting, colour and composition has helped to produce his own unique visual style. Shortly after receiving an Architecture degree he moved to London where he’s been based since 1983. Westenberg is self-taught and learned his trade working for the UK inkies “New Musical Express” and “Melody Maker” mainly throughout the late 80’s and 90’s documenting amongst others all the UK ‘Britpop’ bands. The breakthrough came in 1993-1994 with the release of Sting’s Ten Summoner’s Tales and Mary J Blige’s Share My World. These two album covers changed the perception of the work worldwide and thus began a run of 20 years of commissions and choice opportunities. For the last 25 years, his musical heritage includes portraits of Radiohead, Thom Yorke, Coldplay, White Stripes, Jane...

Dolores Guinness 1961 - Slim Aarons Estate Stamped German-born socialite Dolores Guinness (1936 – 2012) in Porto Cervo on the Costa Smerelda, Sardinia, 1965. 16 x 16" inches / 41 x...

Floating Figure (Night) Horst Antes, German (1936) Lithograph, signed and numbered in pencil Edition of 47/150 Image Size: 15.25 x 21 inches Size: 20 x 25.5 in. (50.8 x 64.77 cm)

Encaustic on canvas Eter Merkviladze is a Georgian female artist born in 1999 who lives and works in Tbilisi, Georgia. She was graduated from Robert Schuman...

Oil on canvas Tsotne Kveselava is a Georgian artist born in 1999 who lives and works in Tbilisi, Georgia. He started working as an autodidact with papers at the age of 18 years old....

Rosehip. Oil on cardboard, 23x27,5 cm

This is one of a series of 6 signed and numbered prints created by the great French poster artist, Gerard Courbouleix, known as Razzia. This print measures 10.5" x 14.5" and is from...

Striking pair of mid-century oil paintings on board depicting elegant palm trees, rich in tropical charm and decorative appeal. Beautifully presented in sculptural bamboo frames with...

A wonderful still life by Hall Groat II., whose father is also a notable NY artist. It is painted on canvas mounted on a wood panel, ready for framing. Prou...

Original 1931 collotype created from Gustav Kilmt’s Italian Garden Landscape, oil on canvas, 1913. Published by Max Eisler and printed by Österreichischer Staatsdruckerei (Austrian State Printing Office), Vienna, in an edition of 500. In 1931, Max Eisler published the most notable posthumous collection of Gustav Klimt works to date. Using a complex gravure process, Klimt’s original...

An Angel appeared in the window after the rain. As a messenger of light.

The center of this artwork depicts various flowers on the foreground, contrasting with the dark sky of the rural landscape in the background. This scene is framed with several mozaic-like rectangular areas. The ensemble is painted over a bucolic landscape with a clear sky and a field of dandelions in the foreground. The French name of the artwork is an untranslatable wordplay with "chant" (song) and "champ" (field). This artwork is not framed. Henriette Gorbitz...

sepia toned silver gelatin print, edition 8 of 25 8 x 8 inches unframed, $1000 including frame sepia photography, still life, furniture still lif...

Morgan Library II New York 70 x 87.5 inches ed. of 5 $11,000 signed and numbered on label, verso Paper is trimmed to the image: actual image size listed n Morgan Library II, Rein...

Bea Sarrias is an artist from Barcelona who has created her pictorial artwork in this city, drawing inspiration from the topics and places that have given birth to the most significa...

This painting is dedicated to the island of Mainau. "Impression of a Paradise Island" is a flash of lig...

Bad Hare Day (Vase) is a lithograph on paper, 9 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 85/275 (there wer...

A mesmerizing portrait of architectural elegance and intellectual grandeur, Reinhard Görner’s Uris Library, Ithaca immerses viewers in the ornate beauty of Cornell University’s iconi...

Italian Renaissance is an artwork realized in 1898, by the artist Karl Schaupert. Lithograph on paper.

'Chittering and Chattering I' Linoleum Block Print, Edition 10, 11 5/8 x 11 5/8 Inches, is one of a series of 6 related prints in this size in varying shades of blue. Sold indiv...

Floral vintage tapestry abstract decor Red flowers still-life. Artist: Katarina Joys Title: Red bloom Technique: acrylic on canvas Painted in London, UK, in 2025 Dimensions: 95x85...

This large-format reproduction features a celebrated 1929 advertisement by Robert Falcucci for Veuve Amiot, a striking example of early 20th-century French commercial art. Published by The McGaw Group LLC, the image captures the elegance and dynamism of the Art Deco era. Falcucci, known for his theatrical compositions and refined sense of movement, presents a glamorous and stylized figure that embodies the sophistication and celebratory spirit associated with champagne advertising of the period. The sweeping lines, rich colors, and rhythmic composition reflect the influence of Art Deco design, where luxury, modernity, and visual impact converge. Though a later reproduction, the scale and quality of the printing give the piece a strong decorative presence, making it particularly well suited for interiors seeking bold, vintage-inspired imagery. A visually striking and timeless work, ideal for collectors of vintage advertising, Art Deco design, and classic French poster...

This artwork titled "Liliana" c.1990 in an original color serigraph by Bolivian artist Marion Ferrer (Mario) Cespedes, b.1942It is hand signed, titled and numbered 157/290 in pencil ...

Countessian Barry Nelson, British/American (1937) Date: 1983 Etching with Aquatint on Arches, signed, titled, numbered and dated in pencil Edition of AP Image Size: 29.5 x 20.25 inch...

Steven Wolfe Untitled (Bookends), 1990 Stamped: SW 1990 2/3 Painted Bronze 6 1/4 x 7 x 4 inches Edition 2/3 Steven Wolfe crafted sculptures and drawings of remarkable skill and vis...

B.B. LA FEMME September, 1981 Event Poster 22 x 30 in. Unframed Publishing Information: Boulevard Gallery, Encino, California Good Condition

Dharma Prayer Book Manuscript Folio Ink and gouache on handmade paper, 1875-1925) Miniature depicting Tibetan deity Script is Tibetan. Miniature Size: 2 3/8 x 1 ½ inches Part of a se...

Fereydoon Omidi - Iranian painter born in May 1967-Roudbar-Iran went to art school in Graphic design. In my youth, I began to learn different skills of painting. I went to Azad University, central branch of Tehran in 1989 to continue my education in painting, and since then, I have tried to show my own experience in painting. I received my master degree in painting in 1998, and since then, I have been teaching at the university and along with my own painting. I love painting and enjoy other arts. Because art can path to a better life, a new quality and refinement of the human spirit which leads to a better quality of one’s life. I can picture my thoughts and imaginations, and since I am an experimentalist, how to use tools and mediums has always been a major concern. Coincidence , is something that I welcome in my works and I love to create an art work which is more exciting, enjoyable and entertaining, and I firmly believe that speed would affect the performance with more special quality. I have always noticed the new methods of Calligraphy...

Jar with lid Stoneware with volcanic ash glaze

Female figure, vase, foliage, florals; acrylic ink, flashe and pastel on 300g Arches hot press paper; custom framed, shallow shadow box frame. Deep blue, marigold yellow gold. Fra...

Still Life with Net Curtain is a unique monoprint by Rosemary Farrer. The simplistic shapes and contrasting colours give the work a layered effect. The prints are in no way copies of...

The Chagall mezuzah collection is a limited edition art project celebrating the art of one of the most iconic Jewish artist in history. This edition, ...

There is a place that is very dear to me and my family;a cottage by the sea left to my mother by my granmother and in turn to me and my siblings. It over looks the bay of St Micheal...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Reuben, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Kansei: Like The River's Flow 2010 by Takashi Murakami Offset print, cold stamp and high gloss varnishing with silver ink signed, numbered and stamped by the Artist 27 7/8 in diamete...

Josef Levi, American (1938 - ) - Still Life with Pisanello, Year: 1979, Medium: Screenprint on Arches, signed, titled, dated and numbered in pencil, Edition: AP 4/16, Image Size: 1...

Cleon Peterson "Trump 2017 (Black/Gold)" - Limited Edition Screenprint Artist: Cleon Peterson Title: Trump 2017 (Black/Gold), 2017 Edition: Limited Edition of 175, Hand-Signed and Nu...

JENNY DAY earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fairbanks and a BA in Environmental Studies from the U...

ROBERT KENNETH WHITE – "TRANQUILITY" ⚜ Oil on canvas ⚜ Hand signed lower left ⚜ Frameless display ARCHITECTURAL GARDEN STUDY IN SUNLIT STILLNESS In Tranquility, Robert Kenneth White captures a moment of quiet illumination in a Mediterranean-style garden. A classical terracotta urn rests amid wildflowers and trimmed hedges, framed by palm fronds, stucco walls, and pale blue shutters. The painting balances bright floral textures with deep shadow, inviting viewers into a peaceful courtyard retreat. As the artist reflects, “This painting was inspired by the timeless beauty of southern France, and the wonderful homes that one finds there.” That inspiration shines through in both the subject and atmosphere—an evocation of warmth, elegance, and enduring charm. Known for his mastery of architectural scenes and natural light, White renders this composition with both structural clarity and painterly softness. The glowing focal point and contrasting cool shade exemplify his skill at evoking calm and stillness through light and design. WHY COLLECT THIS WORK? ✓ Original oil by Robert Kenneth White, acclaimed for garden courtyards and architectural realism ✓ Mediterranean palette with vibrant sunlight and lush foliage ✓ Ideal for collectors of classical realism, garden subjects, or decorative architectural studies ✓ Compact horizontal scale, perfect for home or hospitality interiors ARTWORK DETAILS: ▸ Title: "Tranquility" ▸ Artist: Robert Kenneth White ▸ Medium: Oil on Canvas ▸ Year of Creation: 2021 ▸ Signature: Hand signed lower left ▸ Country of Origin: United States ▸ Dimensions: — ◼︎ Canvas Size: 18.125 x 30.125 inches ▸ Condition: Excellent ▸ Framing: Frameless Display – Ready to hang or frame INCLUDED DOCUMENTATION ✓ Certificate of Authenticity ✓ Artist Biography Document THE ARTIST: Robert Kenneth White is a contemporary American realist known for his luminous courtyard scenes, tonal landscapes, and sunlit interiors. Drawing on the traditions of American and European realism, his work recalls the influence of artists like John Singer Sargent, Joaquín Sorolla, and John Register...

Bob Cato, American (1923 - 1999) - Still Life from the Nantucket Series (Blue), Year: circa 1970, Medium: Screenprint on Somerset, signed and numbered in pencil, Edition: 56/75, Im...

TECHNICAL INFORMATION Josef Albers MMA-1 1970 Screenprint 24 7/16 x 24 3/8 in. Edition of 100 Initialed in pencil, dated, numbered and titled Accompanied with COA by Gregg Shi...

An equestrian sitting white horse sculpture, crafted with exquisite precision and care. Handcrafted from clay, this sculpture stands as a testam...

"Protected Spirits" is a sculpture carved from Opal stone signed Picket, who is part of the Shona tribe in Zimbabwe. It depicts two abstracted figures, presumably spirits, seeming to float upwards. 38 1/2" x 13 1/2" x 7 1/4" Picket Mazhindu Bumhira was born 1968 in the Seke communal lands about 5 km. from Harare, Zimbabwe. Picket had a passion for art from childhood and during his school days he loved drawing and painting. He was very inspired by sculpture of the late John Takawira, one of Zimbabwe's first generation of Shona sculptors, whom he met when Picket went to Chapungu. They then agreed to work together. Later he started to sculpt on his own. Some of his works made the headlines in the newspapers, including "Spirit of Love," which was exhibited in Victoria Falls during Arts Gala. He exhibited in the UK and in Germany. He was among the sculptors who went to China for an exhibition at the Poverty Reduction Summit. Picket likes working on springstone and opal and especially enjoys making abstracts. Shona artists and crafts people have been working in different media for generations. These include paintings, pottery, basket ware, wood carvings, and sculpture done in metal as well as the stone carvings. While there is not a long standing tradition of sculpture in what is now Zimbabwe (formerly Southern Rhodesia), stone carvings dating from the 15th century were seen in Great Zimbabwe, an excavated temple near Bulawayo. Most of the artifacts from this location have been moved to museums in Cape Town, South Africa or London. It is generally agreed that Zimbabwean stone sculpture...

CARLO RAMPAZZI (b. 1949) Seating Group 2007 Sofa covered in green mohair velvet, supported by a bronze structure slide; Armchairs with shell artisan decoration, with green Haute Cout...

This beautiful poster by Marcello Nizzoli features a black background, with a bright red Campari bottle and glass in the center of the poster. The desig...

"Orange Leaves" (2000) by Kate Breakey is a limited-edition archival pigment print that is hand colored using pencil and pastel that depicts a vase of wilted plants with orange leave...

Hat, Edition 100/100. Lithograph [5 plates, 5 colors, 5 runs], Collage. Image: 15.5 x 22.5 cm. Sheet: 27 x 33.5 cm. Framed 37 x 45 cm. Published in 1982 on on Velin d' Arches paper b...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

'A Glass or Two I' by Miguel Angel Nunez is an incredible example of the artist being able to capture the stunning details and light with the up most precision. Depicting an open red...

A mesmerizing portrait of architectural elegance and intellectual grandeur, Reinhard Görner’s Uris Library, Ithaca immerses viewers in the ornate beauty of Cornell University’s iconi...

Aparici's work is characterized by simplicity, since most of his pieces bring together few elements, resulting in very elegant compositions with simple lines, which together with his...

"Silver Ascension Tues' 2021 by Hunt Slonem. Oil on canvas, 40 x 40 in. This vibrant silver painting by Hunt Slonem features an array of butterflies along with his signature cross ha...

Artist: Bill Sullivan Title: Flowers Medium: Serigraph Signed: Hand Signed Edition: Edition of 200 Measurements: 22" x 30" Condition: Excellent. This piece has been stored in a ...

Autumn Skies V by Suzanne Winn.  A larger painting inspired by the colours and rich light of autumn. The glow of the setting sun across the harvested fields picks up the most wonderf...