Decor Art

'Yellow tulips in a tall vase 1' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity,...

Melanie Sherman Vase with Koi and Blue Wave Hand Built & Painted Vase Year: 2024 Porcelain, Glaze, China Paint, Gold & Platinum Luster Fired: Electric Kiln, Cone 6 Approx. Size: 27 x...

This drawing is part of the current exhibition entitled "The fantastic story of the liquid mountain" at Claire Corcia Gallery in Paris. The liquid mountain is populated by living be...

I have been an artist for most of my life. Throughout my creative journey, I have had the pleasure of studying with many established artists. My current studies are under private men...

Mark Morrison (1895-1964) "Weather Prophet", Rooster. ca. 1940. Carved Granite. 7.25" wide, 10.25" deep, height is 19.25" Exhibition History: Whitney Museum, 1949 Annual of Con...

Anatole Krasnyansky, Ukrainian/American (1930 - ) - The Musicians, Medium: Serigraph on Canvas, Embellished with Marker, Edition: 21/21, Size: 22 in. x 28 in. (55.88 cm x 71.12 cm)

Mixed Media house paint on panel 48.50 x 17 in

2015, Unique Artwork Resin FiberGlass Painted & Varnished 39 2/5 × 39 2/5 × 39 2/5 in - 100 × 100 × 100 cm The artwork is dated, signed and numbered carved on base of the sculpture: ...

Olga Antonova’s subject is compositions of extraordinarily elegant, beautiful and whimsical cups, plates, teapots, vases and dishes, but there is something playful about these paintings. Stacked teacups are also amusing, having a kind of jaunty and upbeat personality of their own. Polka dots are as endearing to adults as to children, and everyone responds to the bling and sparkle of gold and silver while marveling at Antonova’s seemingly effortless ability to paint these radiant details. Olga Antonova "Cup Composition with Gold and White Cups...

Georges JOUVE (1910-1964) Earthenware zoomorphic pitcher, decorated with black and gray plumage on a white ground, black metallic interior, opening border animated by a green fillet....

Purvis Young (1943 - 2010) Collage 1994 - 1996, 1994-1996 Paint and wood construction on board 96 x 24 in Collage totem of found objects and paint

"Untied, Joyride" is an original metal, fabric, pebbles, wire, polyester fibre, plastic, paper, and enamel paint artwork by Kendal Murray measuring appro...

Raymond Bonilla's (US based) "Study for 'Before Grace'" is an original, handmade oil painting that depicts a quiet scene of baskets of produce with warm orange afternoon light. Abo...

Original Oil Painting by Olga Antonova . Olga Antonova (b. 1956, Volgograd, Russia) completed her classical art training at the Ilya Repin Institute of Painting in St. Petersburg, R...

When you look at this painting ''Cherry Blossom" by Dutch artist Sasja Wagenaar (1959) from a distance you see a perfectly painted image, but up close a generous paint streak is visi...

When you look at this painting 'Step into the Light" by Dutch artist Sasja Wagenaar (1959) from a distance you see a perfectly painted image, but up close a generous paint streak is ...

Etching and aquatint in colours on wove paper Edition of 250 + 30 AP's 73.7 x 106 cm (29 x 41.7 in) Condition on request

This Blue Dog work consists of a white background, 3 dogs, 1 each black & white, Red and blue. The black & white dog is sitting on a 2-toned brown overstuffed chair...

Through his impactful self-portrait in thoughtfully ornamented ceramic, makes an uncomfortable connection between the slavery of the past and the slavery of today: overconsumption, a...

Southern California native Courtney Simone seamlessly blends her passion for abstract art with the exploration of everyday beauty, resulting in exuberantly inspired abstract figurati...

When love breaks down - 2020 37x50cm, Edition 1/7 plus 2 Artist Proofs, Digital C-print, Based on an original Polaroid. Signed on the back and with certificate. Artist inventory ...

David Richardson Myth of Progress (AI) No. 8, 2023 Oil on canvas 61 x 48 in David Richardson’s paintings reinforce myth as the universal blueprint we all live by. His work is a visu...

KEJ is a French artist born in 1959 who lives & works in Paris, France. He is considered to belong to the movement of Figuration Libre & Outsider Art. His works are referenced in the...

Very fine original antique English botanical watercolour paintings depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, Eng...

A classic Amy Florence still life with broad impressionist strokes creating an inviting space that makes you want to enter into her world. Framed Dimensions: 33.6 x 41.4 inches Artist Bio: Amy Florence is a London born artist working out of her studio in Florence, Italy. She trained at the Charles H...

Beautiful floral varnished with a semi-gloss finish, sides painted to match art, and wired to hang. :: Painting :: Contemporary :: This piece comes with an...

30 plates of floral designs from the Jugendstil period

Thoughts of a long, happy life greeted the young couple who gazed up from their bed on this canopy panel. Adorned with chrysanthemums and peaches, both symbols of longevity, the lyri...

KEJ is a French artist born in 1959 who lives & works in Paris, France. He is considered to belong to the movement of Figuration Libre & Outsider Art. His works are referenced in the...

Reflecting the role that ancestor worship played in Chinese culture, this Qing-dynasty painting depicts several generations of family, dressed in intrica...

"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...

Spectacular Specimen is an acrylic painting on 30 x 30" canvas, signed 'RENÉ LALONDE' lower left and framed in a contemporary black wood frame. It is difficult to categorize the vib...

Oil on canvas inspired by nature. My abstract paintings are all about creating excitement for the viewer through concentrated exploration. Each painting is inspired by nature, trave...

Multi Colored Butterflies on Gold background

An oil painting of a group of roses in a slender glass vase; a black background. Maryann Lucas lives and works in Sag Harbor. She is primarily self-taught but has also received ins...

PABLO PICASSO (1881-1973) Joueur de diaule et faune (A. R. 342) Terre de faïence plate, 1956, with the workshop numbering, aside from the edition of 100, with the Empreinte Origin...

Louis Durot was born in Paris on April 22, 1939. He was something of an enfant terrible, and managed to be expelled from various schools for bad conduct. His ambition, as stated to his parents, was to earn money without having to work, and for a time, he was an “escort-boy” for a Parisian Grande Dame. He did, however, manage to get a good education in spite of himself, and received his Baccalaureate degree from Lycee Louis Pasteur in 1956. In 1960, he enrolled in the Facultie de Sciences, where he studied mathematics. He terminated his math studies in 1963, and turned his attention to engineering, working for Equipel, where he was responsible for calculating and measuring resistance for prototype nuclear generators. Equipel became a research facility, and offered Durot the opportunity to study organic chemistry. Durot directed numerous research projects for Equipel between 1966 and 1972. During this time, in fact, starting in 1964, he made many friends in the art world, gathering together artists from a variety of disciplines to form an artists commune — the Freelane Studio. Among the members were jazz journalist Gilles Brinnon, and a young painter, Jean Ihallero — a friend of the painter Maxime Defert. Through them, he met the artist Francois Arnal, who was interested in Durots’ engineering expertise for his sculptures. They got on well, and worked together for two years. Also in this circle were the actress Micheline Presle and the actor Daniel Gelin. In 1968, Arnal and Presle created Le Festival de Theatre de Chateauvallon, and through this, Durot became friends with the noted film director Ulysse Reynaud. In 1966, Francois Arnal introduced Durot to the artist Cesar, with the idea that Durot’s talents as a chemical engineer would be useful. Durot spent a year helping Cesar to master the techniques of working with polyurethane foam, with Durot searching for ways to make this fragile and ephemeral substance more stable and permanent, and more amenable to control. Cesars’ first works in this medium were flat, due to the difficulty of controlling the foam, but he went on to create his famous “expansions”. In 1968, Durot conceived a project to create more three-dimensional sculptures following a simple and precise design. It was during this time that Durot made his first polyurethane sculptures — the Champignons and Plantes Carnivores. Also in 1968, he He opened his first technical studio at 35, rue Leon. In order to support this new endeavor,( he needed more space, equipment, time and money), he created La Societe Durgalith. 1971 saw the Durat’s first works exhibited at the Salon Batimat in Paris. With this exhibition, Durot was hoping to attract the attention of architects with whom he could collaborate. Between 1971 and 1974, Durot created sixty sculptures inspired by fantastical “alien” life, mushrooms, and carnivorous plants. In 1974, Durot”s Societie Durgalith ran into problems with the Italian firm that owned Batimat. Credit Lyonnaise seized his studio and many of his sculptures, and quite a number of them were destroyed. This same year, Durot worked with the architects Sloan and Lecouter on an inflatable structure for the Pavillion Franaise in Osaka. Unfortunately, the project was never realized. Durot continued to pursue his research on polyurethanes, and gained world-wide recognition for his developments in this field. In 1977, a “student prank” had un-expectedly bad consequences. Durot was employed as an engineer at L’Usine Francaise de la Monnaie (the French mint) in Pessac. He took three kilos of “blanks”, and used them for playing slot-machines. For this, he spent seven weeks in jail, which was ended by an amnesty granted by Mitterand in 1981. During Durot’s time in prison, he took up weight-lifting, and also designed his next generation of sculptures. The spirals, feet, lips, and a series of erotic chairs...

Cherryhead by Hunt Slonem Bunnies on Red Background with Diamond Dust Hunt Slonem is an American painter, sculptor, and printmaker whose work uniquely combines representational ima...

Trompe-l'oeil style still life oil painting on burlap with a pleasing monotone palette and a classical mediterranean composition. Featuring a contrived weathered background and gold ...

"Tea and Cookies" by Sarah van der Helm is an original oil painting depicting tea kettle, three fortune cookies, and a traditional Japanese motif in the b...

Oil on canvas

Capturing the moment in which the picador stabs the charging bull with his lance, Picasso creates an image of action and suspense in Pablo Picasso ceramic Picador...

Oil on canvas Andrea Vandoni is an Italian artist born in 1972 who lives and works in Novara, Italy. The artist studied and trained at the School of the Archaeologists and the Schoo...

Daffodil Sunset (Realistic Bright Yellow Daffodil Still Life in Blue Vase against Moody Sunset) Made is 2021, by Berkshire based artist Ann Getsinger oil on linen, 20 x 16 inches Si...

Signed on reverse Andrea Vandoni is an Italian artist born in 1972 who lives and works in Novara, Italy. The artist studied and trained at the School of the Archaeologists and the S...

Signed on reverse Andrea Vandoni is an Italian artist born in 1972 who lives and works in Novara, Italy. The artist studied and trained at the School of the Archaeologists and the S...

SADAO WATANABE (Japanese 1913-1996) GIRLS WITH LOTS OF QUAILS, 1965 鶉と少女 Hand colored stencil print on momigami textured paper. Signed and numbered in white. Edition 50, Image 17 x 2...

Acquiring a French mid-20th-century modern Impressionist view of book sellers along the Seine, with Notre Dame in Paris by Joseph Tretter is an opportunity...

Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, which ingeniously incorporated photographs. His artistic jo...

Artist: Karel Appel Title: Smiling Cat Suite: Cats Portfolio Year: 1979 Medium: Original lithograph in colors on Japon paper Edition: From the limited edition of LXV Size: 24 5...

Jean Cocteau (1889-1963) Signé Jean Cocteau.sample « Exemplaire d’auteur. « . Conçu en 1958. Partially glazed white earthenware plate. From an edition of 20. Littérature : Annie Guéd...

Blue White Outline Bunnies with Blue Diamond Dust

Lady carrying a bowl of tomatoes On a clear swirling base. Green dress , gold bodice, red scarf, sleeves in clear glass, hair in gold fleck. just over 11 inches high sculpture is uns...

Much of Bennett Vadnais’ subject matter comes from his surroundings in Manhattan and Brooklyn. With a strong background in plein air landscape painting, Vadnais finds an interesting ...

"Elegant Still Life of Many Cups, Some with Orange" Oil on Canvas, 24 x 30 Inches. Exquisite, complex and joyful still life composition of multiple cups stacked, in shades of blue,...

Yoshiro Ikeda Form with Two Cylinders (Ceramic Art, Handbuilt Ceramics, Organic Forms) Ceramic, Glaze Year: Unknown 11.25 x 10 x 4 inches Signed; bottom ...

'Large Calla Lily' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. In...

Represented by George Billis Gallery, NY & LA -- Humans are emotional creatures. Individuals feel a diverse range of emotions even during a short time or on a small occasion. Emotion...

The sculpture is signed below. Monika Zadurska-Bielak, Graduated from the studio of Prof. Franciszek Duszeńko at the Faculty of Sculpture of the Acade...

Oil painting on burlap with a striking composition of a Chinese porcelain bowl. Executed in an ancient fresco style, combining modern simplicity with age old rustic texture and techn...