Decor Art

Art print on heavy paper After the original from 1915 In great condition

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Waters" is a handmade cyanotype print portraying fresh ripples movements in a Greek Islands cove...

The little that is know about the painter and printmaker Stewart Wheeler indicates that most of his career was spent in Philadelphia, Pennsylvania. And...

Offset lithograph in colours on wove paper Edition of 300 68 x 68 cm (26.8 x 26.8 in) Signed and numbered on the front Artwork in excellent condition. Barely visible minute crease in...

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 ...

Roses and Blues (Rosas y azules), oil on panel, Expressionist Still Life. Dimension art: 27 x 22 cm. Dimension framed 51 x 46 x 4.5 cm. Small Expressionist still life...

Hotel Chelsea, New York. Room 822, 2011 Photographs from the photography book entitled Hotel Chelsea (publisher pointed leaf press 2013). C-print archival Size: 40 H x 60 W in. Edit...

Artist: Quinn, Marc Title: Untitled 05 Series: Eye of History Date: 2013 Medium: Color Etching on 350gsm paper Unframed Dimensions: 35.9375" x 35.5625" Signature: Signed by...

Fine art inkjet print on special paper rag Ask us for framing options Hans Withoos career spans more than twenty years worldwide. After graduating from the Art Academy. He specializ...

Medium: original lithograph. Printed in 1966 for the art revue Derriere le Miroir (issue number 160) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). Published ...

Joan Miro Femme dans la nuit (Woman in the Night), Plate IX From: Constellations, 1959 Lithograph in colours with pochoir From the edition of 350 Sheet size 43.1 x 35.5 cm Printed b...

Fine art inkjet print on special paper rag Ask us for framing options Hans Withoos career spans more than twenty years worldwide. After graduating from the Art Academy. He specializ...

Medium: original woodcut. Printed in 1947 in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maeght. Image size: 8 1/4 x 6 1...

Acquired by the gallery directly from the artist

Title: French Impressionist Oil Painting of a Street Scene with Figures By Fanch Lel (French b. 1930) Size: 7.25 x 5.5 inches (height x width) Signed: Bottom left Oil painting on boa...

Flowers in the Window Sill French impressionist artist, mid 20th century oil on on canvas, unframed canvas : 22 x 18 inches Provenance: private collection, France Condition: very goo...

Artist: Slonem, Hunt Title: Trail Mix Date: 2024 Medium: Oil on wood Unframed Dimensions: 27.5" x 17.5" Framed Dimensions: 33" x 23" Signature: Signed verso Edition: Unique

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 11.81 x 9.05 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

"A Rose with Dahlias" 16" x 12" is an oil on panel painting by European /Croatian artist Tina Orsolic Dalessio who is classically trained. This is part of her new 2024 series of...

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...

Title: French Still Life with Teapot Bottle and Cup in Earthy Blue Tones by Fanch Lel (French b. 1930) Signed: Yes Size: 14.5 inches (height) x 10.75 inches (width) Oil pastel painti...

The first Playboy Club in London opened in 1965, following legalisation of gambling in the United Kingdom. Herrmann was dispatched by the Sunday Times to take fly-on-the-wall documen...

Melanie Sherman Vintage Moth III (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster Year: 2025 Size: 4.5 x 6 x 0.5 inches S...

This original 1947 poster was created for the exhibition of Henri Matisse’s legendary art book "Jazz", published by Tériade. Held at the renowned Pierre Berès gallery in Paris from D...

Title: French Gouache Study of Hopi Kachina Mask and Taos Pueblo Textile by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, ...

Floral Still Life, oil on board. Signed lower right.

Primavera II 49 x 50 cm Framed in a black wooden frame: 52 x 62 cm Oil paint on wood panel Dutch artist, painter, Adriana van Zoest, lives and works in Warmenhuizen, in the North of...

Boomerang, 1974 Lithograph in colors on Arches paper Published by Transworld Art, New York, printed by Mourlot, Paris 29.5 x 43.3 inches Signed in pencil, "A.P." apart from the edit...

This original piece by Luke O'Sullivan is made from wood that the artist has silkscreen printed onto with his original drawings and patterns, which he then cut and assembled into a t...

Hera II is a figurative bronze sculpture in a relaxed pose by Nando Kallweit. Modelled on modern youthful postures but with a nod to the importance of heritage through the stylised ...

Red Tulips in a Vase by René GUINAND (1892-1983) dated verso oil on board, unframed Board: 20 x 16 inches Provenance: private collection, France Condition: couple of minor scuffs bu...

Swan Thing By David Shrigley David Shrigley is a British artist known for his distinctive and often humorous approach to contemporary art. His work spans a variety of mediums, inc...

Artist: Oksana Kalenyuk Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on canvas Year: 2016 Style: Impressionism Title: Morning Flowers...

Each 20 x 20 inch canvas is framed in a separate 2 inch deep solid wood floater frame, increasing the dimensions to 21. 5 x 21.5 inches. Total span together is 44 x 22". Hung with...

Roberto Lugo clay and glaze 9.5 x 5 x 8" Created in collaboration with Charlie Cunningham Roberto Lugo's artwork was recently featured at Design Miami and the artist had an exhibition at the MET in New York City. Lugo has a BFA from the Kansas City Art Institute and an MFA from Penn State. His work has been featured in exhibitions at the Crystal Bridges Museum of American Art, Houston Center for Contemporary Craft, and the Museum of Arts and Design in New York, among others. He is the recipient of numerous awards, including a 2019 Pew Fellowship, a Cynthia Hazen Polsky and Leon Polsky Rome Prize, and a US Artist Award. His work is found in the permanent collections of the Los Angeles County Museum of Art, Philadelphia Museum of Art, The High Museum...

Tennis themed bookscape

New York Graphic Society, 1980. Printed in Italy In Good Condition Measures 33 in x 24 in

Henri LE SIDANER (1862-1939) The Pink Tablecloth, 1928 Original drypoint etching Signed in the plate On vellum, 28 x 20.5 cm Very good condition, minor flaws at the edges of the page

Edition 5 JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and fine British sense of humour, 
he addresses stereotypes of modern society and his work, both playful and profound, stimulates us to question conventional social conceptions. JAY-C is a barometer responding to the world around us. Having had his first solo exhibition in 2018, in the same year he did a collaboration with BoConcept on their iconic Imola chair...

Sloe Blossoms is a 14" x 10" oil on panel painting by European /Croatian artist Tina Orsolic Dalessio who is classically trained. This is part of her new 2024 series of still-life ...

In this contemporary oil painting on canvas, a bright and inviting interior scene is set with a still life arrangement of flowers in a green bottle, painted patterned china and fruit...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Heidi von Faber (Dutch artist) Tea Towels 70 x 70 cm (framed, included in price 75 x 75 cm) Acryl on canvas In the paintings of The Hague-based artist Heidi von Faber, light plays ...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. 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: 8 x 11 in Frame: 17 x 19 in 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 non-western 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...

Medium: original lithograph. Printed in 1966 for the art revue Derriere le Miroir (issue number 160) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). Published ...

Artist: Florence Grace Putterman, American (1927 - ) Title: Homage a Dito Year: 1982 Medium: Woodcut, signed in pencil Edition: TP Size: 27.5 x 39 in. (69.85 x 99.06 cm)

A brightly colored, Mid-Century, watercolor and charcoal on paper image of a boy by notable artist Margo Hoff, titled "Sun Child". Image size: 31" x 22". Framed size: 34" x 25". ...

This beautiful still life is by the Montana/Idaho artist Maia Leisz. Leisz studied art extensively in the south of France and the influence of that region i...

Paper Size: 29.5 x 21.75 inches ( 74.93 x 55.245 cm ) Image Size: 29.5 x 21.75 inches ( 74.93 x 55.245 cm ) Framed: No Condition: A: Mint Additional Details: This serigraph titled "...

Edition Signed : Lalanne FXL Numeroted : 8/8A With the Coubertin foundry mark : FC

French school 18th Century, A mytholological scene with a couple, Pen and brown ink, brown ink wash on paper 11.5 x 11.5 cm, diameter of the main scene : 10,5 cm in a modern frame under glass : 33.5 x 33.5 cm This drawing by a particularly talented 18th-century artist - as yet unidentified - is notable for its mastery of pen and wash...

JAVIER CALLEJA - Pop Top' Planter Pot (White Eyes) Date of creation: 2021 Medium: Ceramic, crystal Edition: 100 Size: 17 x 21 x 18 cm Condition: In perfect conditions, brand new The ...

JAVIER CALLEJA - Pop Top' Planter Pot (Pink Eyes) Date of creation: 2021 Medium: Ceramic, crystal Edition: 100 Size: 17 x 21 x 18 cm Condition: In perfect conditions, brand new Condi...

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

Block 5 is a unique acrylic on canvas painting by contemporary artist Ramon Enrich, dimensions are 46 × 39 cm (18.1 × 15.4 in). The artwork is signed, sold unframed and comes with a...

Yozo Hamaguchi, Japanese (1909 - 2000) - XIV Olympic Winter Games, Year: 1983, Medium: Poster, Size: 33.5 x 24.25 in. (85.09 x 61.6 cm)

Literature: Bazetoux, Henri Lebasque Catalogue Raisonne (Neuilly, 2008), vol. 1, p. 223 (no. 820) (illus)

This white ceramic vessel’s organic shape was inspired by nature. The ethereal ceramic work of Paula Murray is valued for its timeless beauty. The Canadian artist’s work is often in...

Artist: Peter Tovpev Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2023 Style: Post Impressionism Title: The table is set Size: 25.5" x 3...

Artist: Victor Vasarely Title: Profound Works VIII Year: 1973 Not signed or numbered, as published Dimensions: 12 in. by 12 in. Framed Edition: From the Rare Limited Edition Publisher: Editions du Griffon Neuchatel Suite: Profound Works Medium: 3D, Serigraph on Acitate Over Serigraph on Paper Condition: Excellent Victor Vasarely (French/Hungarian, 1906–1997) is known as the father of the Op Art movement. As a painter, he created intricate abstractions that suggested depth and dimensionality using a variety of optical illusions, with surfaces seeming to bulge out of the canvas. His works present color, form, and pattern as a single interconnected element—a concept that was critical to the foundation of the Op Art movement and the focus of his mature works. Vasarely initially studied medicine at the Budapest University in his early 20s, only to abandon his medical studies to attend to the Muhely Academy, the center of the Bauhaus movement in Budapest. While there, he was profoundly influenced by the work of color theorist and artist Josef Albers, as well as the Constructivist methods promoted by artists such as Wassily Kandinsky. While Vasarely’s earlier work was concerned more with color theory, during the 1950s and 1960s his work became more focused on the optical potential of the two-dimensional surface. He began to use complex and colorful patterns to actively engage the viewer’s eye, and to convey a sense of kinetic energy across the two-dimensional surface. Vasarely’s work was heavily influenced by his time spent at Breton Beach of Belle Isle...