Decor Art

Artist Comments
Artist Jessica JH Roller depicts the objects arranged on her dining room table in this folk art painting. A glossy yellow vase and candy dish, along with a pear...

Artist: Vahe Yeremyan Work: Original oil Painting, One of a Kind Medium: Oil on Canvas Year: 2025 Subject: Piece of Garden SIZE: 23" x 43" x 1''inch Unframed, Stretched on the wooden...

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

Tender Morning is a luminous still life that captures the quiet atmosphere of the early day. Delicate pink flowers arranged in a deep blue vase are touched by soft morning light, fil...

This 16" x 20" oil painting on canvas by Oklahoma-based artist James Cobb is a still-life composition aptly titled "Pomegranates and Tea." Much of the composition is painted with a c...

Chinese Blue Vase with a glimpse of Harpers painting People Watching in the background. This is a bold and vibrant impressionist still life painting from...

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...

• 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 ...

Robin Cole's (Us based) "Beginnings" is an oil painting that depicts a window partially blocked with a white curtain, with the contending light and shadows making patterns on its for...

French School, indistinctly signed/ dated 1898 signed and dated oil painting on canvas, unframed painting: 13 x 9 inches provenance: from a private collection, France condition: over...

This indoor table top bronze sculpture features a relaxed and contemplative man sitting on an overturned canoe. Roch Smith is a Canadian artist whose sculptural work explores ideas ...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

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...

Signed pointillist still life oil on canvas circa 1910 by American impressionist painter Lillian Burk Meeser. The work piece includes a green bowl filled with dahlias in yellows and ...

In her new works, Ruth Vidal explores the material possibilities of ceramics, working with the pieces before firing them using different materials such as rabbit-skin glue, tradition...

CWhen an artist works with more conventional still life subjects, they focus primarily on the formal properties of the painting, such as color relationships, form, proportions, and o...

An exceptional Corinthian capital with smooth leaves in granite, foregoing the intricate carving of the classical acanthus in favor of a much more geometric, clean, and stylized fini...

Medium: pochoir (after the lithograph). Printed by the atelier of Daniel Jacomet, and published in Paris in 1955 by Heinz Berggruen. The image measures 5 1/4 x 3 3/4 inches (130 x 90...

A beautiful mid 20th century French post impressionist oil on canvas still life depicting daisies in a white and blue jug. Lovely quality and condition French still life. Indistinctl...

Accompanied by certificate of authenticity This work is offered by CLAMP in New York City

Sophisticated shades of grey and white still life with vases, shell, box and marble. Wonderful complex patterns throughout the oil painting on canvas. In excellent condition. Signed ...

"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...

"HEART" cardboard, oil, 38x33.5 cm. 1990 Explore a striking surrealist vision from the artist's early period with this poignant composition titled "HEART". The artwork depicts a rea...

Signed oil on canvas pointillist landscape circa 1980 by French painter Jean Vollet. The work depicts a view of a flooded River Loing - a tributary if the River Seine that runs throu...

Color lithograph on wove paper with full margins and deckled edge Pencil signed and numbered 42/125, with publisher's blind stamp Published by Atelier Ettinger, Inc. New York (There ...

Lithograph realized after Fernand Léger in 1959, on Moulin Richard de Bas paper. Monogrammed in the plate. It belongs to the suite "Contrastes", printed by Daniel Jacomet and publi...

Blue Vase Expressions in White, by Lu Haskew Oil 24x18" image size Floral Still Life Painting This painting is unframed, canvas on gator board, the price reflects that it is unframe...

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

Decorative motifs is a vintage chromolithograph print realized by an anonymous artist in the early 20th Century. Good conditions. The artwor...

• 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 ...

Mary Frank Untitled 3-D Cast Paper Collage, 1985 3D Cast Paper with Deckled Edges Hand signed, numbered 78/85 and dated by the artist on lower left front 21 3/4 × 28 1/2 × 1 3/4 inch...

American model Jean Patchett photographed in Paris wearing a Jean Dessès evening gown. American Vogue magazine April 1, 1950. Paris Drama, 1950 C print Estate stamped and numbered e...

I painted this piece in oil to capture the freshness and brightness of spring sunlight. Have you noticed how it shimmers on an early morning? These blooming daffodils radiate renewal...

Artist: Ellsworth Kelly Title: Black Variation 3 Medium: Lithograph with Intaglio on Rives Paper Year: 1975 Image Size: 29" x 29" Sheet Size: 39.75" x 39" Edition: A.P. IX (aside fro...

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

Thierry Noir Achtung Baby, 2021 Signed, titled, and dated 'THIERRY NOIR 2021 ACHTUNG BABY' on the reverse Enamel and urethane paint on Trabant 601 bonnet in Duroplast 85.5 x 125.5 x ...

This delicate contemporary botanical drawing is made with handmade walnut ink and 23K burnished shell gold on a prepared panel. The exploration of ephemerality, and the fragility of ...

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...

Coffee with Croissant 70x70 cm ( it will be delivered with frame, size frame included is 74x74 cm) Acrylic paint on canvas Dutch artist Heidi Von Faber lives and works in The Hague....

Pablo Picasso Hibou, 1954 AR 253 Inspired by one of the most celebrated ceramic works of Pablo Picasso, this striking Hibou vase, 1954 (AR 253), capture...

WERNER DREWES (German-American 1899-1985) TREE AT NIGHT, 1964 (Rose 241) Color woodcut Signed titled, dated and numbered 40 /210 all in pencil below image. Image 11 1/8 x 15 7/8 inc...

The poster titled Marathon was created for Robert Rauschenberg's 1981 exhibition at Ace Gallery in Canada. This work, like much of Rauschenberg's art, refl...

Artist Statement I absolutely love working with clay. Creating forms with a chunk of moist earth is a tangible way to cultivate beauty and delight. Through my work, I hope to touch ...

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 ...

One of a kind , dressed statue of the crowned Virgin Mary. The sculptural mastery of the piece is remarkable, with an impressive sweetness and solemn expression. It is presented in a...

Contemporary, geometric abstract drawing created with Judge's unique powered pigment technique. Primavera Pop 32 is a mandala shape composed of careful lines and dots in an intricate...

Donald Judd Untitled (Schellmann 265/266), 1992-1993 Woodcut on Japanese Echizen Kozo paper Signed and numbered to verso: 1/30 Judd (concealed) Sheet size 59 x 79cm Frame size 65 x 8...

Untitled (Surrealist Composiition) Lithograph with hand coloring, 1945 Signed and dated lower right (see photo) Numbered 10/12 lower left (see photo) fragment from 6X litho In 1945, ...

"A vibrant tapestry of color and texture, celebrating pure abstraction with a dynamic, tactile rhythm." Pierre Coquet (1926–2021) Abstract Composition Oil on board, 44 x 64 x 2 cm (...

Heidi von Faber Stack of Dishes II Acrylic on linen 100 x 80 cm ( framed/ included in price 105 x 85 cm) Dutch artist Heidi Von Faber lives and works in The Hague. The Stillllifes...

Lilies and the Blue Vase Signed by British artist 'Arthur Pass' C.1995 signed, oil painting on board framed Painting framed H24.5 x W21 inches Elegant still life painting of flowe...

Artist: Alex Katz Title: Gloria 10 Medium: Etching on Zerkall Ingress paper Date: 2005 Portfolio: 2005 Gloria Edition: 25/100 Frame Size: 15" x 15" Sheet Size: 12" x 9" Image Size: ...

Care Series Becoming This work reflects the state of a woman who nourishes the world around her simply through her presence. She does not act — she radiates. Her calm becomes a sourc...

Periodically I create nude paintings, but a half-naked body is more interesting). The artwork is done in mixed media. Dutch acrylic paints Amsterdam and It...

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 ...

Title: Small Flowers 1 Medium: Oil on canvas Size: 11.5 x 11.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This...

"The Sirens (Souvenirs of a Sailor)" (2022) by Anne-Louise Ewen is a contemporary figurative still life that layers classical imagery, lush botanical forms, and decorative pattern in...

Hunt Slonem, American, included in 250+ museum collections Unique oil on canvas painting, signed and dated verso Inspired by nature and his 60 pet birds, Hunt Slonem is renowned fo...

This painting depicts an impressionistic scene of Pink Peonies in a glass Vase, a poetic piece with beautiful details. With marks similarly captured by the French impressionists, rem...

René Lenig Original Handsigned Lithograph Dimensions: 76 x 54 cm Edition: HC XXI/XXX HandSigned and Numbered Ecole de Paris au seuil de la mutation des Arts Sentiers Editions René Lenig was one of the great painters of the “Ecole de Paris” and of the second mid twenty century.