Decor Art

Robin has worked with clay since the age of eleven. Her sculptures have ranged in size from life sized sculptures to the diminutive porcelain pieces. She has been a resident artist a...

"Sun climbs kissing" is a landscape painting, by Maestro Nelli Kirman About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edi...

"Mickey Lagerfeld Pill Can (White)" resin, automotive paint, automotive gloss and metal sculpture by artist Skyler Grey. Skyler Grey © inscribed on back. Depicts Mickey Mouse as Karl Lagerfeld on side of can of pills. Can lid detaches to fit inside 23 x 25 x 25-inch wooden collector box (included.) Text on front of sculpture reads: "No 5 Chanel...

Rococo-Inspired Floral Watercolor watercolour on artist paper, stuck in black paper painting: 10 x 12.75 inches provenance: private collection condition: very good and sound conditio...

Melanie Sherman Large Corset Platter Porcelain, Glaze, ChinaPaint, Vintage Decals, Flocking Cone 6, oxidation + multiple cone 018 firings, handpainted 2016 Size: H 0.75" x W 16" Sign...

Film star Joan Collins relaxes with her pink poodle on her pink bed. Slim Aarons Joan Collins Relaxes, Estate Edition Chromogenic Lambda print 1955, Printed Later Slim Aarons Estate...

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...

Created in 1953, ceramic Picador A.R. 200 is a round plate of white earthenware clay with oxidized paraffin decoration (brown, green, white) in a stanniferous enamel bath...

A GENTLE AFTERNOON Size: 63 x 52 cm (including frame) Oil on canvas A cosy and charming mid-century interior setting composition, executed in oil onto canvas. The central focus of ...

Painted alla prima or wet in wet and finished in one setting. I believe in only using quality materials and varnish all my paintings for protection. This is...

'Violets" is a painting by the impressionist Maestro Ivan Roussev. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contemporary Edition : Unique, signed Weight: Approximately 2 kg. The painting is unframed. Frame: Optional Snow Pearl...

Living and working in Suffolk in the UK not far from the sea. Like many artists and creatives, he has been drawing, doodling, painting and playing around since early childhood. Havin...

Pair of bookend sculptures. Venice, 17th century. 15 x 15 x h 29 cm. Entirely in finely carved wood. - This item is sold with a certificate of authenticity with legal validity. -...

Pigment wood putty, acrylic, Dorland's wax medium on wood panel signature and year on verso Constructed paintings comprise the Concentric and Post Concentric Episode Series. They ar...

Color softground etching.

Model in Yellow in Paris Café, 1957 – Laroche's yellow skirt and sweater set was photographed by Mark Shaw in a Paris Cafe for the LIFE September 1957 artic...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

Jacques Martin-Ferrière (1903–2001) was a French painter and one of the prominent figures in the Neo-Impressionist movement. Born in Paris, he initially trained as an artist and was ...

Contemporary, Mexican, geometric, patterns

Unique and original painting, ready to hang. Campbell La Pun’s unique spray can paintings merge street art sensibilities with vibrant pop culture influences, transforming ordinary s...

Pair of large Chinese wood geese. Rare early 20th Century hand carved exotic wood and polychrome, heavy geese sculptures with beautiful earthy colors. ...

Cat and Cockerel by Georges Manzana Pissarro (1871 - 1961) Oil and gold on panel 65 x 94 cm (25 ⁵/₈ x 37 inches) Signed and dated, Manzana Pissarro 1925 This work is accompanied by ...

This beautiful Buddha sculpture is made of ceramic covered with glossy car paint. It is part of an edition of 25 and comes in other colors as well. Easy to h...

Hand printed by the artist. Numbered and signed in pencil.

Hughes Claude PISSARRO -- Bouquet aux fleurs rouges Oil on canvas Image: 60.3x73cm Frame: Signed, also signed and titled on verso Framed

Painted alla prima or wet in wet and finished in one setting. I believe in only using quality materials and varnish all my paintings for protection. My paintings are packaged careful...

Artist Name: Barbara Kwasniewska Title: Belles de nuit - ladies of the Night Year: 1969 Medium Type: etching Size-Width Size-Height: 22.5'' x 30" inches Signed Edition Size: Signe...

Mountain Landscape (Diamonds) 36.0 x 36.0 x 2.0, 8.0 lbs Acrylic paint on archival paper Hand signed by artist Artist's Commentary: "This work explores the idea of multiple imag...

Designers have an wide reach through out the world but have yet to reach the depths of the ocean. Artist Jeff Conroy has created this Gyotaku print of large ray entitled simply "Channel Quilted Black Caviar Ray" to fill that void. To achieve this remarkable painting, the artist applies sumi ink to a sting ray he caught himself on Florida's Gulf Coast, then "prints" it onto Marbled Mulberry paper - a soft, handmade paper. He then embellishes the details with watercolor to give extraordinary dimension and interest to its overall aesthetic. The artwork is framed as shown. Jeff Conroy Chanel Quilted Black Caviar Ray sumi ink and watercolor on mulberry paper 37h x 25w in 93.98h x 63.50w cm FRAMED DIMENSIONS 42.50h x 30.75w x 1d in 107.95h x 78.11w x 2.54d cm JEC083 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings of calligraphy, which then gave rise to printing . This tradition dates back to the mid-1800s and was used by fishermen to record their catches, but has also become an art form of its own. Prints were made using Sumi ink and Washi paper. It is rumored that Samurai would settle fishing competitions using Gyotaku prints. This original form of Gyotaku is still utilized today, and can be seen hanging in fish and tackle shops all...

Robin has worked with clay since the age of eleven. Her sculptures have ranged in size from life sized sculptures to the diminutive porcelain pieces. She has been a resident artist a...

Niño con pájaros from Rufino Tamayo 16 aguafuertes 1976. Color etching on Guarro paper. Hand signed and numbered in crayon by the artist. HC edition. Published by Ediciones Poligra...

'Eye Witness' is an original opal serpentine sculpture signed by the Zimbabwean artist Josphat Makenzi. Makenzi was trained in the contemporary Shona stone carving tradition, and thus his works take on themes from African as well as from European art history. His sculptures of the human face have the abstracted qualities of traditional African sculptures and masks...

A fantastic hand drawn retro style original screenprint, from an edition of 90 on 300mg paper. 5 colour print. Print has a white border. Print size 50cm x 70cm All prints numbered...

FRANK BRANGWYN ( U.S./U.K./Belgium, 1867-1956) watercolor, gouache, and charcoal on paper, "The Scourging of St. Alban," study for the mural painted for Christ's Hospital, West Horsh...

Olga Antonova’s subject is compositions of extraordinarily elegant, beautiful and whimsical cups, plates, teapots, 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...

This work of art was done with 14,570 delicately placed pins upon hanging ropes. The concentration of pins is what makes the tiger appear. They are all firmly inserted with resin which makes them stay in place. On the back side the pins were all trimmed so they don´t overpass the cotton ropes. This piece is extremely flexible while installing for it can be either hung from above and delicately separate two places or hung on walls with three screws that will hold the copper tube. It decorates places in a beautiful way for the colors are very neutral. Design Art Interior Spaces Gallery Unique Yarn Sculpture on Wall...

This contemporary, expressive, and vibrant floral painting depicting pink roses was created by French artist Natalya Mougenot (born in Kazakhstan, 1981, and living in France for the ...

Within the current of contemporary art it seems that constructivism is on the boom, probably influenced by a very minimalist decoration, this movement has changed a little its patter...

ED RUSCHA (1937-Present) Organic screenprint, signed, dated and numbered to lower left ‘28/125 E. Ruscha 1970’. This work is number 28 from the edition of 1...

XXe 33 x 11 cm Ceramic Unique Piece, signed

Henry Tenré received a solid training in Gustave Boulanger and Jules Lefebvre’s studio at the Julian Academy from 1875 to 1885. Then he studied under the multi-medallist landscape pa...

French centerpiece from the first half of the 20th century. Finely chiseled terracotta object with masks (faces with different expressions, see photo) and figures of lateral cherubs ...

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...

Jeff Koons -- Cracked Egg (Red) Aluminium multiple with red glaze, 2008 From the edition of 1,000 Published by the Los Angeles County Museum of Art, Los Angeles, as an invitation f...

PABLO PICASSO (1881-1973) Centaure et visage (A. R. 188) Terre de faïence pitcher, 1953, numbered 50/125, with the workshop numbering, incised 'Edition Picasso' and 'Madoura', par...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

Ruan Hoffmann uses ceramic earthenware as his preferred medium. Ruan Hoffmann chooses familiar objects such as plates as his canvases, however the resulting works are not presented a...

Motherhood by Baltasar LOBO (1910-1993) A bronze group with a brownish green patina Signed at the lower front " Lobo " Cast by " Susse Fondeur Paris " (with the foundry mark) Number...

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...

The owners of this work of art were likely the only two people in the world lucky enough to have access to its beauty. The experience of art itself can be an intimate one, and this bed canopy, hand-painted 100 years ago by an artist in Canton, was more intimate than most. It brings to life symbols of prosperity and good fortune for a married couple...

"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...

Painted alla prima or wet in wet and finished in one setting. I believe in only using quality materials and varnish all my paintings for protection. They do come unframed. Due to dif...

Acrylic on Korean paper

André Masson, French (1896 -1987) - Place de Concorde, Year: 1962, Medium: Lithograph, unsigned, Image Size: 15 x 11.5 inches, Size: 15.25 x 11.75 in. (38.74 x 29.85 cm), Descrip...

André Masson, French (1896 -1987) - Place de la Concorde, Year: 1962, Medium: Lithograph on Japon, signed and numbered in pencil, Edition: VI/X, Image Size: 15.25 x 11.75 inches,...

Jebena is a clay coffee pot in which coffee is brewed in and served to family and friends. This ceremony is done in Eastern Africa especially in Ethiopia and Eritrea and is one of th...

Bag of Tricks is a lithograph on paper, 9 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 61/275 (there were also 100 Roman and 20 AP). Frame...

Artist: Kiyoshi Saito – Japanese – (1907-1997) Title: Katsura, Kyoto (L) Year: 1964 Medium: Woodblock Image size: 18 x 24 inches. Sheet size: 21.5x 28.5 inches. Signature: Signed, ...