Decor Art

Prankster This colored pencil drawing ‘Woman in a Red Kimono – 10-11-22’ answers the most frequently asked question of late. I thought this prank of the red kimono title given to monochrome drawings would be appreciated. However, there were many that took the bait and mailed me with regard to the total absence of red. To satisfy their whim down I finally made this drawing. Hmm, of course satisfying my own inner urge to return to colored pencils may be the cause as well. I always wanted to make something similar to a previous drawing, called ‘Julia – 11-09-18’. That one exceeded my expectations and the divisionalist result I found very exciting. In this one I skipped the cubist styling though. Hatching up As you can see the drawing was done in hatched strokes,deviating from the execution of the Louise Brooks drawing. Before 2015 I exclusively worked with hatching until I discovered Bristol paper allowing me to study smooth gradients. There was this one thing on my wish list...

Beautiful Italian Still Life painting by unknown artist in the style of Giorgio Morandi. Oil on panel, measuring 16 1/8 x 22 inches. ca. 1960s Artist board and fixtures are Italian.

Yaacov Agam Image externe-interne, 1964-1966 Acrylic on mobile coloured slats; artist's frame Signature on the reverse 54 x 148.6 cm 21 1/4 x 58 1/2 in

Title French Modernist Cannes Still Life Flowers Vase Blue Interior Oil Painting Key Details Artist: French Modernist, signed verso Title: Cannes Medi...

One of seven allegorical plates on the arts. Made by the company Porcelanas Bidasoa (Spain) in 1980 in fine white porcelain, with 24-carat gold edge. Limited edition of 5,000 example...

M.C. ESCHER (1898-1972) Intertwined Lizards, 2008 Facsimile after the original woodcut from 1938 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 4...

Vintage original poster for a Joan Miro exhibition of original lithographs. The Exhibition was titled "Les Fauves" and it took place at Le Vallauris in Paris from April 5th through M...

Ink & Nano Tape on 300 g Bristol paper, Framed, 45 x 45 x 3 cm Michael Aubanel is a French visual artist born in 1978 whose VOXEL series sits at the crossroads of architecture and a...

• Model created in 1979 by François-Xavier Lalanne, edited by Artcurial, cast in patinated bronze and brass • Part of Lalanne’s celebrated bestiary, a central theme in his sculptura...

Yayoi Kusama Flower, 1982 Lithograph with collage Hand signed, titled and numbered Edition 11/100 lower margin Blind stamps on left and right corners Image size: 22.3 x 15.5 cm Sheet...

Presented as part of Burton Morris’ solo exhibition Icons in Bloom at MASH Gallery, Jardin d’Or is a monumental work from the artist’s Sea of Roses series, where the single rose expa...

This painting was created from life, with the artist carefully observing the objects over several quiet sessions. A porcelain cat and a copper teapot — two seemingly unrelated form...

New Home (Brightly Colored Contemporary oil painting of an Interior with House Plants and red chairs) Painted by Fred Cohen in 2025 42 x 30 inches x 1.5 inches, custom light wood fr...

For me, an artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual and e...

Paper Size: 25.25 x 38.25 inches ( 64.135 x 97.155 cm ) Image Size: 25.25 x 38.25 inches ( 64.135 x 97.155 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Lithograph, 1966. Hand signed. Edition of 100 prints. Provenance: Galleria Giulia, Rome Bibliography: A. De Garrou Gnoli, Catalogo ragionato delle opere n. 489.

Beautifully lidded ceramic vase. Blue flowers complement the earthen brown.

Miguel Rasero (Spain, 1955) 'Vinas', N/A carborundum, chine colle on Heavy weight handmade paper 52.6 x 40.6 in. (133.5 x 103 cm.) Edition of 18 ID: RAS-301 Hand-signed by author

Printer’s ink from rubber stamp on vélin d’Arches Satine paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publi...

Medium: pochoir (after the watercolor). This charming pochoir was printed by Daniel Jacomet in a limited edition of 900 and published in Paris in 1959 by Editions XXe Siecle for "Le ...

"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...

This contemporary purple glass tabletop sculpture is by Cheryl Wilson Smith. Cheryl Wilson Smith is known for her uniquely beautiful glass work—its form, colour and texture are ofte...

Trees in the Field Mixed meia on masonite panel, 1967 Signed on the right edge oif the image (see photo) One from a series of similar examples, all with caligraphic trees and figures surrounding the composition. Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Condition: Excellent Image size: 12 5/8 x 10 inches Board size: 20 x 16 inches Frame size: 21 x 17 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans, Joseph Delaney, J. Brooks Dendy, III, James Denmark, Reginald Gammon, Moses Paul Groves, Lester Gunter, Byron Hall, William Charles Henderson, II, Leon Hicks, Nigel L. Jackson, Kenneth Vrook Johnson, Cliff Joseph, Philip Martin, Kenneth Matthews, Richard Mayhew, Dindga McCannon, Alexander S. McMath, Ademola Olugebefola, William Payne, James Phillips, Kenneth Radcliffe, Junius Redwood, Enid Richardson, Gregory Ridley, Jr., Haywood (Bill) Rivers, Donald J. Robertson, Philippe G. Smith, Ann Tanksley, Bob Thompson, Russell Thompson, Robert Threadgill, Lloyd Toone, Bennie White, Timothy Wilkins, Walter H. Williams, Ed Wilson, Frank W. Wimberley, Hale Woodruff. Sq. 8vo, stapled tan wraps, lettered in brown, illus. of wire sculpture by James Denmark.. BOSTON (MA). Museum of the National Center of Afro-American Artists. Afro-American Artists: New York and Boston. May 19-June 23, 1970. 92 pp. exhib. cat, 67 b&w illus. of work by 69 artists, exhib. checklist. Intro. by Edmund B. Gaither. Important early exhibition. Includes Emma Amos, Benny Andrews, Ellsworth Ausby, Malcolm Bailey, Ellen Banks, Romare Bearden, Robert Blackburn, Betty Blayton, Ronald Boutte, Lynn Bowers, Frank Bowling, Marvin Brown, Calvin Burnett, Dana C. Chandler, John Chandler, Barbara Chase-Riboud, Ed Clark, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Henry DeLeon, Stanley Pinckney, James Denmark, Reginald Gammon, Felrath Hines, Alvin C. Hollingsworth, Bill Howell, Zell Ingram, Gerald Jackson, Daniel L. Johnson, Milton Johnson, Ben Jones, Lois Mailou Jones, Tonnie O. Jones, Cliff Joseph, Harriet Kennedy, Hughie Lee-Smith, Norman Lewis, Tom Lloyd, Al Loving, Richard Mayhew, Edward McCluney, Jr., Algernon Miller, Joe Overstreet, Louise Parks, Stanley Pinckney, Jerry Pinkney, John W. Rhoden, Bill Rivers, Mahler Ryder, Raymond Saunders, Thomas Sills, Al Smith, Vincent D. Smith, Richard Stroud, Alma Thomas, Bob Thompson, Lovett Thompson, Russ Thompson, Lloyd Toone, Luther Vann, Paul Waters...

Stencil, 1959 Publisher : Pierre Matisse (New York) Printer : Mourlot (Paris) Image dimensions : 43.30 cm. x 35.70 cm. (17.05 in. x 14.06 in.) Paper dimensions : 43.30 cm. x 35.70 cm...

American Impressionist Genre Figure Oil on Canvas Framed in gold leaf frame Excellent condition signed "K.A. Buehr" lower left Exhibited 24th Annual Exhibition, Art Institute...

Medium: lithograph (after the watercolor sketch). Printed in 1955 at the Mourlot Freres atelier, this composition is from George Braque's Intimate Sketchbooks (Carnets Intimes). Braq...

Peter Max "Angel with Heart" 2018 Peter Max Studio Number: SN#836765 Medium: Acrylic Sculpture Dimensions: 14 x 9" x 4.5" Signed "Max" on front Signed and Dated in Pen on Base O...

This piece is a pot made by an unknown artist in Pre-Columbian Peru. It takes the shape of an owl and has a circular handle with the opening on its back. This pot is a light beige an...

Henri Le Sidaner 1862-1939 French La table sur la terrasse au clair de lune, Villefranche-sur-Mer (The Table on the Terrace in the Moonlight, Villefranche-sur-Mer) Signed "Le Sida...

Artist Comments
A glass vase holds a bouquet of white flowers, their petals standing out against the gray backdrop. The water distorts the stems, adding an intriguing effect....

Interior with fruit (Interior con frutas). Expressionist Colorful Oil on wood panel Still life with view in the background, Author: Aracely Alarcón. Me...

William Morris (American, b. 1957) Petroglyph Vessel Blown glass Signed on bottom 26 x 20 x 7 inches William Morris was born in Carmel, California in 1957. He is an American glass a...

Emma Maiden has exhibited her sculptures throughtout the UK since the mid-1990s, with shows including The Fine Art Society, London; the RWA Bristol; West Wales Arts Centre, Fishguard...

“Cloudy Breezeblocks” is a unique handmade monotype cyanotype diptych inspired by Miami Art Deco architecture. Repeating geometric forms echo breezeblock facades, while soft cyan gra...

Blue Landscape is a unique original artwork by Italian contemporary artist Marilina Marchica. Created with oil on cotton canvas, this atmospheric composition evokes the meeting of se...

Still Life Composition by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 10.75 x 18 inches Provenance: all the paintings we have by this a...

Signed oil on artist's board riverscape circa 1910 by Belgian neo-impressionist painter Jenny Montigny. The piece depicts a view of the River Lys in winter as the sun sets. The river...

• 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 ...

This exquisite lithograph after Maurice Utrillo (1883–1955), titled Vin d'honneur (Wine of Honor), from the folio Vins, Fleurs et Flammes (Wines, Flowers, and Flames), originates fro...

'Orange Poppies No.3' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

Elizabeth Zanzinger's (US based) "Market Flowers VI" is a masterfully created realistic oil still-life. This painting measures at 12 x 10 inches, and is framed in a thin black frame...

Still Life of Flowers Huguette Ginet-Lasnier (French 1927-2020) signed and inscribed verso framed oil painting on canvas framed: 20 x 17 inches canvas: 16 x 13 inches. All the painti...

Signed, numbered, and stamped on the base: Edition Picasso, 64/200; Madoura Plein Feu; Edition Picasso White earthenware, decorated with engobe, knife engraving under partially brus...

Title: Flowers and Fruit II Medium: Oil on canvas Size: 23 x 19 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: Thi...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº2 + Year: 2022 + Edition Size: 24 + Stamped and...

Pink Flower Carpet (Zuma Beach) - 1999 43x59cm, Edition 4/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signed on back and Certificate. Artist Inventory #22...

A vibrant, figurative, romantic watercolor folk art piece for discerning collectors. Lovers In The Field by George Chemeche, Israeli/American (1934) Signed lower left Date: 1973 Wa...

The landscape in the garden (series of pictures in a semicircle) will give you a different perspective of the paintings. Hope you enjoy the pictures and collect them for your beautif...

Vicki McKenna's "Study in White" is a still-life color photograph that celebrates the subtlety of color, form, and texture of everyday kitchen items in shades of white on a window si...

“Polynesia, La Mer” features a patterned assembly of cut-out forms that evoke a sense of aquatic life and oceanic elements. Matisse’s use of abstracted forms suggests a relationship ...

"Longing (añoranza) is a sculptural group formed by four elements and cast in bronze, which arise, grow and expand to generate what is a metaphor of life, and through longing finding...

"Peonies and Apples On The Table" is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant r...

Warthog Divining Figure. Kuba, DRC. Late 19th century. Carved wood with palm oil patina, 12.5 incehes (l), 3.25 inches (h), 2 5/8 inches (d). Loss evident at tip of right ear and on snout. Provenance: Ex. collection Martin and Faith-Dorian Wright; J.J. Klegman; Angelo Caggiula-Carulucci, chief magistrate in Belgian Congo for King Leopold...

This Danish still life painting presents a harmonious arrangement of everyday vessels, rendered in bold, confident brushstrokes and a rich color palette. A green teapot with ornate d...

Hunt Slonem "Silver Ascension Melting" Butterflies on Metallic Blue Background A group of butterflies on a textured silver background Canvas 93 x 134 inches Unframed (framing options...

Oil on canvas Signed, recto This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of California, Berk...

Peter Max, German/American (1937 - ) - Peach Lady, Year: 1973, Medium: Lithograph, signed and numbered in pencil, Edition: 224/300, Image Size: 22.25 x 17.25 inches, Size: 26 x ...

Anneke Bogardus "Poppy №4" 2023 Entirely hand sculpted. Raku fired. 5 3/4” tall, 12” around Raku firing is an ancient Japanese ceramics technique. The Raku technique is essentiall...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

This Manolo Valdes etching with unique color collage is the 34th edition of 50.