Graphics Art

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

"WB35" Photography 50" x 40" inch Edition of 10 by Giuliano Bekor "WB35" Year: 2012 Medium: Photography Print size: 50" x 40" Inches trim bleed Edition: 10 Artist proof: 2 Other si...

ENDLESS POWER PETROL PALACE (RED) screen print by Shepard Fairey with dimensions 18 inches by 24 inches. Edition 299 of 350, signed and numbered by Shepard Fairey. Energy awareness and renewable energy activism inspired collage style with beautiful red, black and cream block style with clean lines. A lot of shrewd advertising has been created to suggest that things we want are also good for us and society. Perfect examples are the ads celebrating the health benefits of liquor and cigarettes. My inclusion of the badge stating “with lung tonic” is a humorous nod to the absurd health claims historically made for harmful products. The claim that petrol provides an unlimited future is a snapshot of the overly-optimistic wish that oil is unlimited. Though oil is finite, our reliance on it is so extreme that the power wielded by those who control oil is virtually unlimited, a situation that inspired the title ‘Endless Power”. Oil and gas companies and the car manufacturers who profit heavily from gas powered engines used their power and influence to overturn a zero emissions law in the state of California, effectively delaying electric cars arriving on the market accessibly for ten plus years. It is dangerous for an industry to have that much power. Scientists hired by fossil fuels corporations represent the minority of the scientific community who claim oil stocks...

Artist: Robert Indiana Title: Polygon: Square Portfolio: The American Dream Year: 1997 Edition: 76/395 Medium: Original serigraph Framed Size: 24 1/2" x 23 1/2" Image Size: 15 1/8" x...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

Artist: Jack Graves III (American, 1988-) Title: "Princess Diana Icon V" Series: Icon *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Medium: Original Acrylic Painting on Canvas Canvas size: 40" x 32" Condition: The stretched canvas was custom built by the artist himself. In mint condition Notes: Diana, Princess of Wales (1961-1997), was a member of the British royal family. She was the first wife of Charles, Prince of Wales—the heir apparent to the British throne—and mother of Princes William and Harry. Biography: Jack Graves III is an American artist, born in 1988 in Jacksonville, Florida. He grew up surrounded by inspiration having an art dealer as a father, John Graves...

Kate Felton Hall lives and works in Suffolk, East Anglia. She works primarily in oil on linen and paints landscapes, still-life and portraiture. Kate’s floral paintings are all done from life. She captures the light, colour and beauty of each individual bloom with her own unique style. Her Thamesscapes and Harbourscapes are based on the horizon lines of the coastal communities of Suffolk and the Thames in London. Kate creates her flower paintings exclusively for ArtDog London. Kate studied at Reading University, she worked as an advertising Art Director in the Creative Department of Saatchi & Saatchi London, moved into Graphic Design, before going back into Fine Art. She created the original Childline identity with Esther Rantzen; Free John McCarthy...

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right Archivally framed with black float mount and bleached maple surround.

Kansei (trade name of Rinpa-school Edo Painter Ogata Kōrin, literal meaning: "Voice of The Mountain Stream") 2007 by Takashi Murakami Offset print, cold stamp and high gloss varnishi...

This 60" x 48" original floral oil painting called "Charmed" is one of the first in Tania's body of large format flower-inspired oil paintings. On a sprawling 60" canvas, hues of gr...

Book page 117 in Chagall Lithographe II (1957-1962). Reproduction of image from 1961. ‘Chagall Lithographe II' Andre Sauret, Paris, 1963. Text in French by Fernand Mourlot. The seco...

Image dimensions: 25.5cm x 30cm Framed dimensions: 42cm x 47cm Signed lower right. Webb has tremendous fun creating his Sweetpea paintings, playing with different colour palettes, t...

10" x 23" Unframed Limited Edition Giclée & Silkscreen on Paper of 75 Hand Signed by Tom Everhart 2018

"Flora" is one in a series of surreal paintings of the female figure featuring intricate patterning and hues of dark blue, bright yellow, lime green, pink, orange, and yellow ochre. ...

"Anthunium" is an original color serigraph by Hunt Slonem. The artist signed and dated the piece in the lower right and wrote the edition number, AP 3/30, in the lower left. This piece depicts a still life with patterned pillows and plants. 19 3/4"x 24 1/8"image 22"x 30"paper 29 1/8" x 33 1/2" frame Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards. Hunt Slonem’s oil paintings...

This bright and colorful floral painting, "Out of the Blue", is a 30x48 still life oil painting on canvas by Maryann Lucas. Featured is a top...

America Martin "Dance In The Soft Golden Wind I" Oil & Acrylic on Canvas 40 x 40 in. Exploring the identity of both her namesake and country, LA-based America Martin draws inspirat...

It has makings of A jigsaw feel. And the shapes Are anonymous. :: Painting :: Surrealism :: This piece comes with an official certificate of authenticity signed by the artist :: R...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Pink Panther inspired, great colors, acrylic and spray on canvas, great art work, exhibitions in the best Art Galleries in France, USA and Mexico. :: Painting :: Pop-Art :: This piec...

Edition of 40. Archival Fine Art Giclée Print available 75 cm x 60 cm : £800 Hugh Turvey is a British artist and photographer who uses x-ray technology t...

Lithograph on Saunders Waterford, St Cuthberts Mill paper. Paper size: 21 x 29 inches. Inscription: Hand signed and numbered, A.P., as issued. Notes: Published by Atelier Dumas Inc.,...

Acrylic & watercolour on marouflaged paper with wooden panel

Molly Lamb Bobak, Canadian, 1920 – 2014 Flowers of the Field Watercolour 22 x 15 in signed framed Molly Bobak Biography (1922 - 2014) RCA It could be said that Molly Lamb Bobak was destined to be an artist. She was born on Lulu Island, near Vancouver, British Columbia, on February 25, 1920. She grew up in a bohemian enclave. Her father, Harold Mortimer Lamb, was a photographer and art critic. In 1926, her father opened a commercial art gallery in Vancouver, exhibiting painters, sculptors, and photographers. In 1938, Bobak attended art school at the Vancouver School of Art and studied under Jack Shadbolt, where she learned to improve her drawing and composition skills. While working at the Yellow Point Lodge during the summer of 1940, Lamb kept a diary filled with text and caricatures and drew everyone that she encountered. Bobak joined the Canadian Women’s Army Corps in 1942. While serving, she found endless material to paint and included these paintings in her personal journal, which was later published and titled “W110278: The Personal War Records of Private Lamb, M”, which included 147 folios and fifty single sheet sketches. After being stationed in Alberta and Quebec, the military recognized her artistic abilities and invited her to attend a drafting course in Toronto. After finishing the course, Lamb tried to become an official war artist. In 1942, Lamb was sent to Ottawa where she drew at the Trades Training offices where she designed posters and Christmas cards. Three of Bobak’s drawings were purchased by the Art Gallery of Ontario in the same year. In 1944, “Meal Parade, Hamilton Trades School” (n.d) tied for second prize at the National Gallery’s Canadian Army Art Show, which helped her receive the appointment as a war artist––the only woman who earned this designation. As women were not allowed on the active war front, Bobak was transferred to London, England, six weeks after Victory Day to document the aftermath of the war. After leaving the military, Bobak settled with her husband Bruno, in Vancouver. After the move, Bobak had little time to paint as she was teaching night courses at the Vancouver School of Art and tending to her children. After earning a French scholarship in 1950, Bobak, her husband, and their two children traveled to Paris where she experienced the works of modernist painters like Cézanne and Matisse. Cézanne’s work in particular influenced Bobak’s art, which can be seen in the geometric organization of “A Bakership, Saint-Léonard” (1951) and “The Saint Ives Train...

"En Se Balançant le Long du Chemin" Acrylic and Marker on Canvas Year: 2024 Size: 15.74 x 15.74 x 0.78 inches Signed and titled by hang COA provided *On Stretcher Frame Ready to han...

Andy Warhol Untitled from Kiku portfolio Screenprint in colours, 1983, signed in pencil, from the edition of300 (total edition includes 30 artist's proofs), on BFK Rives wove pap...

'Flame Vine Screen', by Gary Bukovnik. Watercolor on mulberry, 14 1/4 x 68 inches, 2019. Hand painted folding screen created with watercolor on mulberry paper within a minimal dark w...

Brad Davis has exhibited at The Museum of Modern Art in New York, the New Museum of Contemporary Art in new York, the Hudson River Museum, the Univ...

acrylic painting on the canvas inspired by african, mexican and contemporary art directions. CANVAS 170 express african-like figures on background highly inspired by Matisse's collag...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, femi...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE, once an order is placed we will arrange the VAT of 20% to be reduced to 5% Bouquet de roses by H. Claude Pissarro (b. 1...

Unsigned Graphite and colored pencils on laid paper

"Regal Glory" is a stunning, bright painting with fuchsia, pink, purple and white tropical flowers and flora, in the centre of a rich golden background. "Elation I, II, III & IV" mak...

Inspired by beautiful forms in nature. Collage with fibres of a banana tree. :: Painting :: Abstract Expressionism :: This piece comes with an official certificate of authenticity si...

acrylic painting on the canvas inspired by african, and contemporary art directions. CANVAS 192 expresses abstract mexican-like figures with combination with japan elements. Painting...

A vision of tropical yellow flowers surrounded by large blue/green leaves. :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the ...

David is a woodcut on paper from Marc Chagall's Poèmes portfolio, published in 1968. The image size is 13 x 10 inches and the art is framed in an ornate, gold-tone frame. Unsigned as...

A circus of sorts Anonymous performers Reaching for the sky :: Painting :: Surrealism :: This piece comes with an official certificate of authenticity signed by the artist :: Ready...

"Delightful gathering" is an american realist still life painting of colorful flowers in a ceramic vase. Edwina Lucas was born and raised on Long Island, New York. The arts have alw...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Tess Michalik Floral Escapades 1 & 2, 2025 Oil on yupo 38 x 25 in. (mic032)

Takashi Murakami New Day Self Portrait 2011; Silkscreen 31 1/2 x 31 1/2 inches From the edition of 100 Published by Kaikai Kiki Co., Ltd., Tokyo Signed in pencil Unframed

Signed, titled and dated on the verso. Acquired directly from the artist. Painted on the sides. No frame needed. Free shipment worldwide. Working on a variety of perceptual levels, ...

This is my new favorite Dotography style of 2017, to be followed up in 2018 for sure. Simple colored dots arranged to show the Las Vegas Strip at night. The artwork is an 11-color fi...

Archival pigment ink print on canvas Edition of 12 Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in Int...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

This painting on Fabriano paper, titled Bouquet with Orange Background is one of Chantzaras latest series of pop art style and classical colorful influences of this still-life flower painting. The colors are bold and playful. The silver wood box...

Print Sz: 19 1/2"H x 15 1/2"W Frame Sz: 21 1/2"H x 17 5/8"W w/ gilt wood frame w/ Meadowbrook Hunt Club, Baldwin Club, Rockaway Hunt Club, Fort Neck Polo Club, Piping Rock, Roslyn ...

Real Cubism This pastel Golden Cubism – 21-02-21 is the first real cubist drawing in my Golden series. After my last pastel drawing Lakshmi – 16-02-21 I realized I only made pastels in my Roundism style. The last one in that style was ‘Golden Lilac – 07-02-21’. What if I would return to the initial form of cubism I employed back in 2014. Besides that, once in a while my preference is to put the stress on angular forms rather than round ones. Variety is the spice of life...

Artist Name: Barbara Kwasniewska Title: Belles de nuit - ladies of the Night Year: 1969 Medium Type: etching Size-Width Size-Height: 22.5'' x 30" inches Signed Edition Size: Signe...

Publisher GKM. Unframed. Edition of 120 ex. Signed and numbered. Free shipment worldwide. Arman explores reality. He strives to transform and sublimate artefacts into works of art....

Acrylic & watercolour on marouflaged paper with wooden panel