Decor Art

Blue Plates are food safe. Daphne Sweet is a contemporary artist based in Butte, Montana, whose work intertwines personal narrative, mythology, and the landscapes of the American W...

I dissolved these figures through a dynamic form the same way as liquids are spilled on a table. The outcome is an almost floral shape which I then printed in dark blue/ purple. The ...

Silkscreen, 1989 Edition : 74/100 Publisher : Pesti Mühely, Budapest 70.00 cm. x 57.00 cm. 27.56 in. x 22.44 in. (paper) 56.50 cm. x 45.00 cm. 22.24 in. x 17.72 in. (image) Handsig...

A rare discontinued Ceramic Vase from Supreme's 2018 Release Schedule. The Supreme Alphabet Vase White is a stylish and functional home decor item that is perfect for any Supreme fa...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

Sculpture unique piece combining resin, acrylic, collages, and varnish by Pinkhas Hand-signed on the side of the sculpture Titled and dated under the sculpture Perfect condition ...

Size: 100×100 cm (overall size with stretching 110×110 cm) Year: 2026 Materials: acrylic on canvas Shipping: rolled This artwork is part of the Self-Discovery series, which explores...

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 ...

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...

Offset lithograph on heavy paper, published by Pace Columbus in the 1970s. This work depicts Jacqueline at the Easel, one of Pablo Picasso’s intimate portrayals of his beloved muse a...

To see our other views of London and our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller". Julian Trevelyan (1910-19...

Silkscreen Edition 49 of 100 51.3 x 51.3 (20.2 x 20.2 in) Signed, numbered and dated on the front Mint. Minor imperfections may appear due to the production process

Original collotype created from Gustav Klimt’s Farm Garden With Sunflowers, painted in 1913. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

Louis Ferrand (1905–1992), "Vase of Flowers," oil still life on hardboard, signed and dated "L. Ferrand 61" in the lower right corner. Born in Belle-Île-en-Mer in 1905, Louis Ferra...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

Artist Comments
The artwork draws inspiration from the fearless squirrels in artist Jessica JH Roller's neighborhood. These bold little scavengers seem empowered to claim any a...

"Twin Cacti" is an original contemporary botanical acrylic painting by French artist Natalya Mougenot, created in her expressive language of color, authenticity, and emotional truth....

Artist: Alex Katz Title: Black Brook Medium: Aquatint in Colors on Wove Paper Sheet size: 30 3/8 x 66 7/8 Inches Edition: Publisher's Proof 1/4, aside from the standard edition of 50...

Part of Ser Uang Huang’s Travelers Series. Huang has a gift for capturing fleeting yet profound moments from everyday life, and Midst of Waiting is one such example. Waiting is an in...

Medium: silkscreen. Printed in 1984 for "Ficciones" and published by The Limited Editions Club in an edition of 1500. Size: 8 x 7 3/4 inches (203 x 198 mm). Not signed. Condition: t...

'Hydrangeas' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Inter...

OPEN DOORS TO SUMMER Size: 58.5 x 49.5 cm (including frame) Oil on canvas A wonderfully serene mid-century interior scene that captures the quiet pleasure of a sunlit room opening o...

Keith Haring Pop Shop II (Littmann 97) is the third print in the artist's Pop Shop II portfolio of 1988. This series of prints was a continuation on the "Pop Shop" portfolios which e...

Artist proof, printed on contemporary filigree paper, large margins, representing an antique marble vase , whose details are described in the ending note . The piece is dedicated to ...

My paintings and sculptures bridge ancient and modern sensibilities. The subjects are often classical figures and portraits, but my use of materials is pure expressionism. I am mos...

Breon O'Casey British, 1928-2011 Moon, 1999 linocut 50 x 65 cm 19 3/4 x 25 5/8 in signed, dated and numbered in pencil, edition of 15 Born in London 1928, Breon O’Casey was the son ...

Dive into a breathtaking, light-filled tribute to nature with this masterful impressionistic canvas titled "LILY". The composition captures a tranquil lily pond at sunset, where scat...

Provenance Acquired by the gallery directly from the artist Signed "Tim Solliday" on lower right. Description Solliday creates an homage to Old California ranchero life, the Hacienda, and its Mexican roots. The fiesta colors of red, yellow, turquoise and orange bring to mind a celebration of western heritage and culture. The subject focuses on the traditions of farming, weaving, pottery, and craftsmanship—skillfully portrayed in the handling of textures ranging from smooth peppers to a woven wool blanket...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

Artist: Alexander Shandor Title: Field Silence Medium: Oil on Canvas Year: 2026 Style: Impressionism Dimensions: 27.5 x 20" x 1" inch (70 x 50 x 2cm) Presentation: Unframed, Gallery...

Contemporary Porcelain Art Cup, Painted, 5.5 x 5.5 x 2.5 inch, by Irina Zaytceva Irina Zaytceva was born in Moscow in 1957. She graduated from Moscow Art Institute ( Poljgrapfichesk...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) Signed bottom right Watercolour on paper, unframed Painting: 4.5 x 6.25 inches. Delightful early 20th century...

Artist Statement, “My career in Film and Television design enabled me to travel extensively in Europe and the West Indies. During these projects I was able to draw and paint many of...

turned wood "I think of my wood turning as a way to reveal the beauty and texture found in the wood. The wood I use comes from trees, which are native to the southeastern United Sta...

Vintage Still Life Oil Painting by W. Adam C.1970 Original oil on canvas Dimensions 20" wide x 24" high The frame measures 27.25" wi...

Paper Size: 11 x 9.25 inches ( 27.94 x 23.495 cm ) Image Size: 11 x 9.25 inches ( 27.94 x 23.495 cm ) Framed: Yes Frame Size: H: 12 x W: 10.25 x D: .875 in. Condition: A: Mint Addit...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Glasgow School of Art Wallpaper design Gouache 33 x 48 cm An Arts and Crafts ...

Elegant Grand Tour Urn, Neoclassical style, hand-carved from intense Italian Breccia marble with ochre and gray veining, 19th century. With a Neoclassical profile, the urn is presen...

Sietse W. Jonker Together in te Light 17 x 27,5 cm (size with custom made frame-included in price- 27 x 38 cm) Oil on wood *Together in Light* is a quiet, contemplative still life ...

Artist: Slonem, Hunt Title: Blue Ascension Rain Drops Date: 2026 Medium: Oil on canvas Unframed Dimensions: 48" x 48" Framed Dimensions: 50" x 50" Signature: Signed by Artist ...

Mid Century Still Life, Fruit with Blue Bottle, Green Bowl and Jug Mid century minimalist still life by Jon Blanchette (American, 1908-1987). A cool palette of blues, greens, and wh...

This poster by Jonas Wood, titled Robot and Bear, was created in conjunction with the artist’s exhibition at Gagosian Gallery in Fall 2024. Showcasing Wood’s distinctive visual langu...

• Picasso began working with ceramics in 1946 at the Madoura workshop in Vallauris, marking the beginning of an important and highly productive chapter in his career. What initially ...

Ingrid Smuling is a new face for Galerie Bonnard, from November 2017 we have her work in our gallery. This new artist at Galerie Bonnard has long since ...

Ryan Snow is an environmental artist creating visual meditations through abstract painting, analog photography and digital media. His field process explores the tranquility of mind a...

This still life painting is a masterful composition of texture and color. In the center of the composition is a bright blue vase, decorated with oriental floral patterns, in which st...

This is an exclusive handprinted limited edition cyanotype. "Calming Sea Ripples" is a handmade cyanotype print portraying the subtle movements and abstract ripples of the open sea. ...

This small, cute painting shows a bouquet of Orange Tulips in a glass vase. The vibrant, warm color palette of the mane subject is beautifully complemented by soft grey background. ...

This original oil painting, representing a central part of the series "The Silent Pulse of Decadence", focuses on the narrative dialogue between silent objects and the fleeting moments of nature. The composition captures delicate pink rose petals interacting with the deep vibration of a rounded blue vase, transforming a classical motif into a psychological mirror. Executed in a complex technique through multiple fluid layers directly on premium linen canvas, the artwork features a rich texture with a signature optical haze and a soft atmospheric glow across the surface. Designed with a sense of spatial balance, the painting organically complements high-end modern interior styling, architectural design projects, and private fine art collections. Infused with the conceptual sound frequency of 432 Hz resonance, the rich, textured surface functions as a vehicle for meditative calm and structured silence. For premium space visualization, this vertical oil painting is perfectly scaled above a white or marble classic fireplace, a luxury gold console table, and looks exceptional paired with a modern white sofa, a luxury leather armchair...

• An authenticated work This work is authenticated by Paloma Ruiz Picasso and Diana Widmaier Ruiz Picasso, who issued a certificate of authenticity on October 7, 2024. • A dated wor...

Pen and sepia ink on cream laid paper, 8 3/4 x 5 3/8 inches (222 x 136 mm). Scattered paper tape repairs on the verso in the area of the upper left corner, and along the right sheet...

In "Nostalgia" a 21st -century Nigerian painter uses an impressionist technique the brushwork clearly visible —to evoke the haziness between wakefulne...

Any Port in a Storm II is a lithograph on paper, 9.25 x 9 inches image size. From the edition of 395, numbered LIII/C (there were also 275 Arabic and 20 AP), framed in a contemporary...

"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...

Artist: Keith Haring (American, 1958-1990) Title: "Keith Haring for Emporium Capwell (South of Market)" *Signed by Haring in the plate (printed signature) lower right Year: 1985 (Fir...

Medium: silkscreen. Printed in 1984 for "Ficciones" and published by The Limited Editions Club in an edition of 1500. Size: 8 x 7 3/4 inches (203 x 198 mm). Not signed. Condition: t...

Pierre Coquet - Still life with bottles and an old iron Reference number F287 This is a oil on canvas and wear the stamp of the signature in the bottom right. The painting is not fra...

Internationally acclaimed watercolorist Gary Bukovnik has devoted his career to celebrating the beauty, abundance, and vitality of the natural world. Renowned for his exuberant flora...

Paper Size: 31.25 x 42 inches ( 79.375 x 106.68 cm )Image Size: 26.75 x 40 inches ( 67.945 x 101.6 cm )Framed: No?Condition: B-: Good Condition, Signs of Handling and Age Supplementa...

Théo van Rysselberghe (Belgian, 1862–1926), Tulipes, oil on canvas, tondo, signed with the artist's monogram lower right, painted circa 1905 — a Neo-Impressionist tulip bed...