Gem Art

Act of Occult at 02:00 am (Mystic Rose) 2023 Archival pigment print 32 × 24 in 81.3 × 61 cm Edition of 1 “To see ourselves we need a mirror and when we look at the mirror what do w...

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

This painting acts as a bridge between the past and the present, embodying the echo of primitive culture through modern art. Here we see symbols and signs carved into the stony surfa...

Original bronze sculpture by Lisa Gordon. Edition #8/12. Signed on base.

JENNY DAY earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fairbanks and a BA in Environmental Studies from the U...

"M&M MMDH" Photography 40" x 62" inch Edition 1/8 by Giuliano Bekor Original fine art photography by Giuliano Bekor Signed and numbered by the artist Title: M&M MMDH Year: 2022 Pri...

Artist: (Garo) Karapet Balakeseryan Medium: Cream Alabaster, Natural Stone, All one piece of work, One of a Kind Year: 2024 Style: Classic, Impressionism, Subject: Roses, Size: ...

Acrylic, Oil on Canvas Artwork on supported wooden frame. Ready to hang. Framing on request. 40x50cm About this artwork A lake inspired me in the mountains and water. This is my elem...

Finesse Bronze Sculpture Small Horse Green Patina Figurative Animal KOBE, pseudonym of Jacques Saelens, was a Belgian artist (Kortrijk, Belgium 1950 – Sa...

"Jungle" is an important, rare color lithograph signed by Carol Summers from the early years of his production. The image offers a landscape of a dark jungle, printed mostly in black ink. In the center, a blue pool of water is shaded by two trees. Summers' technique in this print renders a painterly quality to the image: the grasses and leaves of the scene are all created with playful, energetic swiping motions much like watercolor paint. This technique and the use of fields of color predict the style Summers would adopt in the coming decades, making this an important early work. 30 x 22 inches, artwork Numbered 14 of the edition of 27 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...

Eroina Sdraiata Bronze Sculpture Lying Down Wings Figurative Angel KOBE, pseudonym of Jacques Saelens, was a Belgian artist (Kortrijk, Belgium 1950 – Saint-Julien (Var), France 20...

2015, 8 Editions stainless steel polished and carved , painted & varnished. 31 1/2 × 29 1/2 × 39 2/5 in - 80 × 75 × 100 cm The artwork is signed by the Artist , carved with edition n...

I was born in Nice in 1955. In the 80’s, I discovered the world of metal and ornamentation in my father’s workshop where I learnt gold and silver plating and bronze restoration. After many years of practice and technical research dedicated to rehabilitating and re-composing objects, I engaged in an artistic way around 2010. The ornament that is torn from its original support then becomes the very structure of my sculptures. Bronze ornamentations assembled by extremely precise welding are the base material. Weighted with the nobility of the material joined to their own history, they support a fragmented memory and they bring me a precious help as well as a constraint. I got special inspiration from the Renaissance period. Vanitas are one of my favorite themes, typical of classical sceneries...

My paintings are layered bursts of energy inspired by nature’s movement, blending the here and now with memories. Forms and lines fall into a sea of emotion. Shapes and reflections d...

JENNY DAY is a painter who lives in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fa...

JENNY DAY is a painter who lives in Santa Fe, New Mexico. She earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fa...

This is a special, limited edition, aluminum gilded porcelain sculpture (edition of 5,signed by the artist) 13"x9"x9" This ceramic sculpture depicts a Near Earth Asteroid. Hand sc...

"Moon" from the famous Series "People", ceramic and acrylic on wood panel, D: 36 inches In Korean culture, the moon is a beacon of hope and wish. Blue Moon i...

Clustered and sensuous oblong forms in translucent red glass have a smooth polished surface like the fruit that surrounds pomegranate seeds. A single seed sits next to the cluster. T...

In Koons’ hands even the most familiar, everyday items transcend commonality to become true icons manifesting the essence of American popular culture. Balloon Rabbit (Violet) - Jeff Koons, 21st Century, Contemporary, Porcelain, Sculpture, Decor, Limited Edition Limoges porcelain with chromatic metalized coating Edition of 999 Signed and numbered In mint condition, as acquired from the manufacturer In the original box designed by Jeff Koons, accompanied by a Certificate of Authenticity Inspired by a twisted rubber balloon rabbit, Balloon Rabbit (Violet), is a highly reflective red porcelain limited edition. Incorporating the vocabulary of his iconic Celebration sculptures, Balloon Rabbit, along with two other animals, Balloon Monkey and Balloon Swan, marked a spectacular new chapter in Jeff Koons’s oeuvre. “One of the things that I’m most proud of is making work that lets viewers not feel intimidated by art, but feel that they can emotionally participate in it through their senses and their intellect and be fully engaged”. — Jeff Koons The idea for a Balloon Rabbit sculpture came to Jeff Koons from his upbringing in south-central Pennsylvania. At special times of the year, people would decorate their front yard with reindeer at Christmas and inflatable rabbits at Easter. As his neighbors wished t give pleasure to other people with these decorations, the artist is proud to make art that is not intimidated for the viewers. JEFF KOONS Jeff Koons (born 1955) playfully tests the boundaries of commerce, celebrity, banality and pleasure, turning banal commercial or everyday objects into art icons by using seductive materials, a shift of scale and a contextual displacement. He rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era. Koons turns banal commercial or everyday objects into art icons by using seductive materials, a shift of scale, and a contextual displacement. Jeff Koons’s “Balloon Dog” (featuring his enormous iconic chromium stainless steel dogs); his large-scale vinyl “Inflatables”; or the giant “Split-Rocker” all follow this principle. For instance, Jeff Koons in “Puppy” engaged the past and the present, referencing the eighteenth-century formal garden, while adding the most sugary of iconography. “It’s basically the medium that defines people’s perceptions of the world, of life itself, how to interact with others. The media defines reality.” —Jeff Koons Originally licensed as a commodities broker, Koons decided to become an artist in the late 1970s and moved from Wall Street into a factory-like studio in SoHo with hundreds of assistants. Since then, he has produced different iconic series, like the “Pre-New”, a series of domestic objects in strange new configurations, and “The Equilibrium” series, consisting of basketballs floating in distilled water tanks. The “Banality” series, which includes Jeff Koons´s “Michael Jackson and Bubbles” and “Woman in Tub”, among others, is characterized by oddly eroticized, comic, and kitsch images. However, it is indeed Koons’s “Made in Heaven” series that is his most provocative and controversial work, in which he examines the place of sexuality in visual culture. Koons is widely regarded as one of the most important, influential, and controversial contemporary artists. He constantly tests the boundaries between art and commerce...

Created in 1947, this early Picasso ceramic is the second that artist ever produced. It is in wonderful condition and presented in a fine black wood fra...

JENNY DAY earned an MFA in Painting and Drawing from the University of Arizona, a BFA in Painting from the University of Alaska Fairbanks and a BA in Environmental Studies from the U...

Set of Three Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper stuck on thick paper, unframed measurements: 10 x 6.75 inches condition: the overall condition is very good, minor creasing to the corners/ edges, very minor staining. provenance: private collection, France We are honored to introduce to you an incredible and unique collection of original jewelry design artwork. We have over 100 similar original works - some offered as pairs, some individually. For the collector of jewelry they offer the ultimate accessory for their home. Equally, these would look stunning framed together in a jewelry or fashion store or even a vintage bistro or hotel! Discover the timeless elegance of original French vintage jewelry design artwork by the illustrious Paul Touzet, a master jeweler whose craftsmanship has left an indelible mark on the world of haute joaillerie. Born on January 12, 1917, Touzet's journey into the art of jewelry began at the tender age of 13, training under the prestigious Mauboussin in Paris. His talent and dedication quickly set him apart, and by November 17, 1944, he had officially registered his business, soon after obtaining his hallmark—a distinctive "P.A.T. / a bicycle wheel butterfly"—on December 7, 1944. Paul Touzet's artistry is celebrated for its collaborations with iconic houses such as Van Cleef & Arpels, Boucheron, and Sterlé, reflecting the highest standards of French luxury. His exclusive designs have graced the likes of legendary figures, including the beloved singer Charles Aznavour, for whom he crafted exquisite pieces. Touzet's craftsmanship even reached royal circles, with bespoke tuxedo buttons personally delivered to Prince Rainier of Monaco and stunning jewelry designed for his wife, Princess Grace of Monaco (Grace Kelly). Each piece of Touzet's original design artwork...

Pair of Two Gold Rings with Diamond Pendants Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed l...

"*69" is an original piece by Sarah Detweiler is made from curly phone cords, repurposed decoration-only chandelier, spray paint. This piece measures 36”h x 15”w x 15”d. Watching he...

Annieo Klaas Oak (Tissue) 2024 Oil on Canvas 30 x 30 inches (76.2 x 76.2 cm) Signed lower right COA provided *On stretcher frame - gallery wrapped - ready to hang Annieo Klaas sees...

Rosa Portugal marble torso of a woman. Unsigned. Late 20th century. In excellent condition. American School. 18.5 inches high by 10 wise by 7 inche...

Light Refraction #41, 2015 by Natasha Zupan Oil, fabric, medium, on canvas Size: 9.5 in. H x 7.5 in. W x 3 in D. ____________________________________ ...

Set of six Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed measurements in left ...

Set of six Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed measurements in left ...

Untitled (Paradise) - 1999, 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20461. No...

I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something th...

Brain Diseases  is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843. Signed on plate on the...

Radiant Gold Earring Duo Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed left design overall pa...

Set of six Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed measurements for all six: 10 x 6.5 inches condition: the overall condition is very good, minor creasing to the corners/ edges, very minor staining. provenance: private collection, France We are honored to introduce to you an incredible and unique collection of original jewelry design artwork. We have over 100 similar original works - some offered as pairs, some individually. For the collector of jewelry they offer the ultimate accessory for their home. Equally, these would look stunning framed together in a jewelry or fashion store or even a vintage bistro or hotel! Discover the timeless elegance of original French vintage jewelry design artwork by the illustrious Paul Touzet, a master jeweler whose craftsmanship has left an indelible mark on the world of haute joaillerie. Born on January 12, 1917, Touzet's journey into the art of jewelry began at the tender age of 13, training under the prestigious Mauboussin in Paris. His talent and dedication quickly set him apart, and by November 17, 1944, he had officially registered his business, soon after obtaining his hallmark—a distinctive "P.A.T. / a bicycle wheel butterfly"—on December 7, 1944. Paul Touzet's artistry is celebrated for its collaborations with iconic houses such as Van Cleef & Arpels, Boucheron, and Sterlé, reflecting the highest standards of French luxury. His exclusive designs have graced the likes of legendary figures, including the beloved singer Charles Aznavour, for whom he crafted exquisite pieces. Touzet's craftsmanship even reached royal circles, with bespoke tuxedo buttons personally delivered to Prince Rainier of Monaco and stunning jewelry designed for his wife, Princess Grace of Monaco (Grace Kelly). Each piece of Touzet's original design artwork...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Maquette For Man And Eagle. Bronze With Gold Brown Patina. Signed And Numbered 1/7 Lower Left. Size 8.7 inches x 10.2 inches ( 22cm x 26cm ). Depth 2.8 inches ( 7cm ). Weight 7.1lb ( 3.24KG). Available for sale; this original bronze plaque with raised relief is by Dame Elisabeth Frink and was conceived and cast in 1967. The maquette is presented and supplied unmounted. There is the option to hang the plaque from 2 rings applied to the rear when in previous ownership. This vintage bronze plaque...

Set of Two Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed measurements: 4 x 6.5 inches condition: the overall condition is very good, minor creasing to the corners/ edges, very minor staining. provenance: private collection, France We are honored to introduce to you an incredible and unique collection of original jewelry design artwork. We have over 100 similar original works - some offered as pairs, some individually. For the collector of jewelry they offer the ultimate accessory for their home. Equally, these would look stunning framed together in a jewelry or fashion store or even a vintage bistro or hotel! Discover the timeless elegance of original French vintage jewelry design artwork by the illustrious Paul Touzet, a master jeweler whose craftsmanship has left an indelible mark on the world of haute joaillerie. Born on January 12, 1917, Touzet's journey into the art of jewelry began at the tender age of 13, training under the prestigious Mauboussin in Paris. His talent and dedication quickly set him apart, and by November 17, 1944, he had officially registered his business, soon after obtaining his hallmark—a distinctive "P.A.T. / a bicycle wheel butterfly"—on December 7, 1944. Paul Touzet's artistry is celebrated for its collaborations with iconic houses such as Van Cleef & Arpels, Boucheron, and Sterlé, reflecting the highest standards of French luxury. His exclusive designs have graced the likes of legendary figures, including the beloved singer Charles Aznavour, for whom he crafted exquisite pieces. Touzet's craftsmanship even reached royal circles, with bespoke tuxedo buttons personally delivered to Prince Rainier of Monaco and stunning jewelry designed for his wife, Princess Grace of Monaco (Grace Kelly). Each piece of Touzet's original design artwork...

Timeless Love: Twisted Gold Heart Pendant Duo Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper unframed l...

Set of six Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed measurements in left ...

Phases is a unique pastel, archival board drawing by contemporary English sculptor Oliver Ashworth-Martin, dimensions including oak frame are 75 × 75 cm (29.5 × 29.5 in). This drawin...

Jacopo Scassellati was born in Sassari (Sardinia) in 1989 where he still resides today. His family is originally from Umbria. Very early on, he displayed a strong predisposition for ...

John Schieffer graduated in 1995 from the Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Merce...

Sapphire Star: Gold Ring with Midnight Blue Gemstone Cluster Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing p...

Set of six Silver Rings Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed measurements in left ...

This is an Douglas Brett sculpture “butterball” signed and numbered . In good condition. Measures 15x11x11 150 made

The Elegance of Tied Silver Ring With Blue Emerald Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unf...

WILD KONG Is a signature Richard Orlinski piece. It declares itself invincible with its open mouth and fearsome teeth as it beats its chest with mighty fists. But the ferocious beast...

Marble free form sculpture by Chrissy Harris. Composition is cipollino green marble from Greece. Signed on base of marble sculpture. American School....

Clustered and sensuous oblong forms in translucent red glass have a smooth polished surface like the fruit that surrounds pomegranate seeds. A single seed sits next to the cluster. T...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork entirely made in France: from th...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Lithograph on grand vélin d'Arches pur chiffon spécialement fabriqués paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Œdipe ...

Grażyna Rigall is a painter, illustrator, author of stage designs and music videos. - The artist is interested in the merging of the world of fauna and flora with the world of man, p...

Title: Full Buket Series II 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:...

Angelo Canevari’s Bucranium is a 34 x 19 inch mix media surrealist sculpture. It is made of metal, resin, green automotive paint, and cardboard. It is a surrealist interpretation of the carved decoration, representing ox-skulls, commonly used in Classical architecture for the friezes of Doric temples. The same motif was also later used on Renaissance, Baroque and Neoclassical buildings. Canevari's contemporary interpretation is evident in the medium he chose to shape this artwork and yet it maintains the same commanding and monumental presence of the classical monuments that have inspired it.. The use of metal and wires to develop a tridimensional sculptural quality, as well as the expressionistic outcome of the imagery, has echoes in some contemporary African sculpture...

The artwork on paper will be sent unframed to you. Untitled 03, From the Series "Iron Stove" Maciej Olekszy was born in 1982, Poland. Graduated from the Academy of Fine Arts in Poz...

Color Boundaries #40, 2018 by Natasha Zupan From the series Color Boundaries Oil, fabric, medium, on canvas Size: 9.5 in. H x 7.5 in. W x 3 in D. Unique ____________________________...

Volodymyr Mykytenko - Tree of Life (2022) Tree of Life-a tree in the middle of the Garden of Eden, the fruits of which give eternal life, planted by God along with the Tree of the k...