Text Art

Marc Chagall's Drawing with Flowers (1969), signed and dedicated to Max Brun, is an intimate testament to their close friendship. This unique pen drawing, measuring 32 x 24 cm, holds...

Fingerprints were once used as a symbolic action of pride, but in our society they have become a passive action—we are fingerprinted. We can use our fingerprints to unlock the data ...

Partial Gilt Gold and Sterling Silver Megillah with a Superior Illuminated Parchment Scroll of the Esther Megilah. Beautiful artistry clearly evident in this limited edition Megillah...

Engraving on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'Âge de Soleil, 1950. Published by Robert J. Godet, Paris; rendered by ...

Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink, 13 3/8 x 8 3/4 inches (340 x 222 mm). Toning, handling creases and minor sca...

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Les amants de la Tour Eiffel (The Lovers of the Eiffel Tower), from the folio Couleur amour, 13 Aquarelle...

Keith Haring Tony Shafrazi Gallery New York circa 1983: Rare original Keith Haring artist biography sheet & timeline produced by...

And Then and then and then and then and then (Yellow), 1999 by Takashi Murakami Offset print, in silver ink signed and numbered by the artist 26 4/5 ...

"I LOVE YOU" made with red and gold balloons on a black background. Several layers of paint, using traditionnal tools, :: Painting :: Photorealism :: This piece comes with an offici...

edition 1/5 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Federica Patera & Andrea Sbra Perego, bridge language and cosmogony. Starting from a single linguistic element like a verbal root, they trace its evolution around the world and throu...

Softcover book Containing a signed and dated drawing by Salvador Dalí First edition and in the French language 8 3/4 x 12 inches Published by Draeger Éditeur, 1974

Amsterdam: Francois Halma, circa 1700. Engraving on laid paper, 13 x 7 3/4 inches (350 x 197 mm); sheet 15 3/4 x 9 3/4 inches (400 x 248 mm), full margins. In very good condition wi...

"Drugs" by Danny Heller draws inspiration from a pharmaceutical store on a busy avenue corner in NYC. See second image for the real life referenced location. My latest series openi...

Jean COCTEAU (1889-1963) Spain, Captivating Flamenco, 1971 Original Lithograph Signed in the plate Limited edition of 200 unnumbered copies INFORMATION: Original lithograph publis...

Kerry James Marshall MOCA LA Street Banner (Museum of Contemporary Art, Los Angeles), 2017 Silkscreen on Vinyl 95 × 34 inches Original Gigantic Flagpole Banner exhibited on the stree...

After David Loggan (1634 - 1692) Christ's College, Cambridge Engraving 40 x 46 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engrave...

Chidy Wayne (b. 1981, Spain) is an artist based in Barcelona. Over the years, he has established himself as a recognized figure in the art world, developing a personal artistic langu...

Program for A Bas Le Progres. By Edmond de Concourt 1894. Four-color lithograph. 12 3/4 x 9 7/8" 25 April 1894. Signed in the stone. Rare. Ibels’ images were powerful and heavily ...

This exquisite lithograph by David Hockney (born 1937), titled Letter J, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

This lithograph in colours is hand signed by the artist in pencil "Niki de Saint Phalle" in the lower left margin. It is also inscribed in pencil “E.A”, in the lower left margin. It ...

4 Drawings included Markers & acrylic on paper Shipped well protected, unframed

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Edition out of 12

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

Pascal Jarrion was born in 1961 in Perpignan, France, a region known for its Catalan culture as well as its influence on artists before him, including Picasso, Van Gogh, and Maillol....

Kerry Smith Kurt Cobain Journals #11 Mixed Media on torn canvas Year: 2022 Size: 27x18in Framed: 32x24in Signed, dated by hand COA provided Ref.: 924802-1619 -----------------------...

Albert Marquet Boats in Tunisia, ca. 1920 Ink on paper 5 7/10 × 5 1/5 in l 14.5 × 13.3 cm Hand-signed by the monogram lower right

Two colour lithographic print on 300 gsm Somerset paper Edition 199 of 300 76 x 60 cm (29.9 x 23.6 in) 87 x 70 x 3 cm, 34.3 x 27.6 x 1.2 in Signed, numbered and dated on the front Ar...

Original and unique artwork by Hunt Slonem. Oil on wood Painting is framed, as seen in the images. Framed dimension 14 x 12 inches (35.6 × 30.5) Signed Verso, titled and dated. Plea...

Original textured acrylic painting on canvas. Hand signed on front and titled on verso by Evelyn Walg. Canvas size: 36 x 36 x 1 inches (stretched). Artwork is in excellent conditi...

THis artwork "Pink Lady" 1989, is an acrylograph on hand made paper by noted Mexican artist Byron Galves, 1941-2009. It is hand signed, dated and numbered 64/150 in white pencil by the artist.The artwork size is 28.5 x 15.5 inches, paper sheet size is 32 x 23.85 inches, framed size is 44 x 36 inches. Beautifully custom framed in a wooden silver frame, with dark purple backing and bevel. It is in excellent condition, the frame have some small minor restorations, barely visible. About the artist: Byron Gálvez (October 28, 1941 – October 27, 2009) was a Mexican artist who was primarily known for his painting but also created sculpture, including monumental works. He was born in rural Hidalgo state, to a father who played jazz music and read literature, a rarity in 1930s rural Mexico. However, it exposed Gálvez to culture, even though this led to an interest in visual art rather than musing or writing. He went to Mexico City to study art at both the undergraduate and graduate level, but never completed his degrees, opting instead to begin career after his coursework. Before his first individual exhibition, his work was criticized by Justino Fernández, but all of the paintings were sold in advance to foreign buyers including American actor Vincent Price, who called Gálvez a “Mexican Picasso.” Gálvez then managed to replace the forty five paintings for the exhibition in a week. Since then he had individual and collective exhibitions in Mexico, the United States and other parts of the world. He concentrated on painting, which he is better known for, in the 1970s and 1980s, but moved on to sculpture, including monumental works later in his career. Recognitions for Gálvez's work include membership in the Salón de la Plástica Mexicana, a retrospective at the Palacio de Bellas Artes and two books published about his life. Gálvez was born in Mixquiahuala, Hidalgo and described his childhood as happy, and would not have changed it. His father, Roberto Gálvez, was a farmer and merchant, who was a music and literature enthusiast, a rarity is 1930s rural Mexico. His father played the violin in the town's jazz band, which had almost all classical instruments, making it similar to bands in New Orleans. They even composed new pieces. The artist was named after Lord Byron, and his brothers, Eliot, Aníbal and Dante, after his father's reading preferences This meant that Gálvez grew up in an environment that encouraged the enjoyment of the arts. However, instead of music or literature, Gálvez stated that his earliest memories related to his attraction to art and that he always wanted to be a painter. The difficulties of farm life convinced him that he needed an education and would have to move to Mexico City in order to go to school. At age sixteen he left home for the capital to study painting at the Escuela Nacional de Artes Plásticas, not knowing what the study would entail. It was far more rigorous than he expected, with thirteen-hour school days leaving only weekends to earn money to live on.[3] He did his undergraduate studies from 1958 to 1962, then continued with the graduate courses from 1962 to 1964, specializing in painting. He did much of his studies under teachers such as Luis Nishizawa, Fernando Castro Pacheco, Francisco Moreno Capdevila, Santos Balmori, Antonio Rodríguez Luna and Antonio Ramírez. The last teacher taught him to love his studies above all else and he submitted himself to the academic rigor. This led him to become attracted to the Cubism of Picasso, and felt that the artist has opened roads which could be taken and widened. Although he specialized in painting, his interest in sculpture was also evident at this time as he was a founding member of a metal sculpture workshop at the institution along with Armando Ortega and Baltazar Martinez.[2][5] Although he completed his coursework, he did not finish the other requirements needed for the degree, instead opting to start his career. Gálvez married once to art dealer Eva Beloglovsky.The couple first met in 1973, but did not meet again until two years later, when Beloglovsky bought one of his paintings and sold two more through her art gallery. At first it was a working relationship, and then evolved into a romantic one. During their marriage, they worked on a number of projects together such as multi-media presentations and charity benefits. The couple remained together until Galvez's death. Although he began and developed much of his career in Mexico City, in his later life, the artist moved back to his rural hometown. Gálvez constructed a house and studio on the edge of a ravine in which flows the Moctezuma River. The structure has glass walls positioned for maximum light and a privileged view of a local landmark, a hill called El Elefante. Gálvez's work included painting, sculpture, etching, lithography, and drawing.[4] For Galvez, art was spiritual and disconnected with physical logic, when only aesthetics mattered. Female figures are common, and often are sensual. He work has been influenced by the Cubism of Picasso and Georges Braque, by African and Oceanic folk art and by pre-Columbian sculpture. He preferred large scale works often bigger than seven by seven feet. He painted while listening to classical, jazz and occasionally, rock music. Galvez's work experienced periods in which different artistic currents dominated including expressionism, abstract art and mixtures of the two. In his work, he tried to achieve a balance between figurative and abstract expression. The first stage of his painting was figurative expressionism, then abstract expressionism, under strong influence of Carlos Mérida, Rufino Tamaho, Santos Balmori, Kandinsky, Wifredo Lam and Picasso, along with some from classical painters such as Rembrandt and Caravaggio. Then for some time, he practiced abstract art, but then felt the need to draw human bodies again, especially female ones because he felt it allowed him better expression. Around 1980, he moved on to geometric figurativism, marked by the “Woman” exhibit at the Museum of Modern Art. This has also been describes as “pure chromatic constructivism. He considered himself primarily a sculptor and painted in that fashion. The work of Byron Galves is held in numerous corporate and private collections Galvez died at age 67 at Inglés Observatorio Hospital from a heart attack. His ashes were deposited a year after his death to the side of one of the sculptures at his home in Mixquiahuala. During his career, he exhibited individually and collectively in over sixty venues in Mexico, various cities in the United States, Europe and Latin America. In 1964, he had his first individual exhibition at the ENAP Gallery, after showing in collective exhibitions at the Palacio de Bellas Artes and private galleries along with more prominent painters such as José Chávez Morado, Alfredo Zalce, José Clemente Orozco, Diego Rivera, Carlos Orozco Romero and David Alfaro Siqueiros. Before the opening of this exhibit, his work was severely criticized by art historian Justino Fernández. Despite this, the paintings for the exhibit were bought in advance, most by American actor Vincent Price, who called Gálvez a “Mexican Picasso.” The paintings were taken out of the country one week before the exhibit, but Gálvez was not concerned about not having paintings for the show, rather he was satisfied about his work being recognized and supported.He managed to create forty five more paintings in the remaining time in order to have the exhibit. After this individual exhibit, Gálvez had over 55 more over he career, along with participated in other 75 collective exhibits. Important exhibits include the Solar 68 collective exhibition at the Palacio de Bellas Artes (1968), the Sterenberg Galleries, Chicago (1972), Eye Corporation in various US cities (1973), Polyforum Cultural Siqueiros (1978), Museo de Arte Moderno in Mexico City (1982), Harcourts Contemporary Gallery in San Francisco (1983, 1990), Art-Forum Gallery in Mexico City (1984), Bishop Gallery in Phoenix (1989), Merryl Chase Gallery in Washington, DC (1991, 1992), Suhan Galleries in San Diego (1992), Misrachi Gallery (1994) and San Francisco Theater in Pachuca (1995) .[4][2] After his death, the Secretaría de Relaciones Exteriores sponsored an exhibition of his work in Tainan, Taiwan in 2011. His works can be found in major collections in both Mexico and the United States. The strongest demand has been for his figurative work especially that produced later in his life. Gálvez also created murals and sculptures, both small and monumental. His first mural was sculpted done in 1968 in Los Angeles. However, most of his monumental work was produced later in his career as he concentrated on painting in the 1970s and 1980s. These include a mural at the National Conservatory of Music in Mexico City (1970), a thirty-foot high sculpture in Unidad Morelos in Mexico City (1971), a hand hammered copper triptych for a private residence in Mexico City (1984), a sculpted door for a private residence (1985), a sculpture for a private home in New York (1986), Reclined Torso at the Hotel Nikko Mexico (1998), Torso I a five-foot high sculpture for the city of Pachuca (1999), Torso II a nineteen foot high sculpture at the Altiva Building, Mexico City (1999), Millenium, a bronze sculpture/fountain at the highway entrance to Pachuca (2000), a sculpture garden for Mixquiahuala, Hidalgo (2005) and the master plan and central mosaic for the David Ben Gurion Cultural Park in Pachuca (2007). The park project, the last before his death, included not only the creation of the central mosaic, the largest pedestrian mural in the world at 345,000f, but also the design of the 65-acre park itself. His other activities included the teaching of drawing at his alma mater, the creation of a program for the radio ministry of Mexico in 1973, participation in a documentary about lithography in Mexico in 1980 and the creation of several special programs for the office Radio...

Andy Warhol (1928-1987) Cuvaison Chardonnay (circa 1980) Screenprint in colors on museum board 10.25 x 12.5 in (26 x 31.8 cm) Unsigned Authenticated by the Authentication Board of ...

Purvis Young (1943 - 2010) Drawing from the 1990's #468 mixed media on paper 10.50 x 8 in

Lithograph on wove paper, realized in 1838. Signed and dated in the plate. Image 19.5x28 This finely executed lithograph by Auguste Raffet depicts two Hungarian fishermen on the b...

John Heartfield’s Qui lit la presse bourgeoise devient aveugle et sourd, plus de bandages abrutissants (Whoever Reads the Bourgeois Press Becomes Blind and Deaf—No More Stupefying Ba...

Medium: original lithograph. Printed in 1960 and published in Paris by Maeght for Derrière le Miroir (issue number 120). Sheet size: 15 x 22 inches (378 x 558 mm). There is a center ...

Original drawing with pencil by the Master Hand signed , dedicated and dated by the artist Unique piece Professionally framed Provenance ; Catalogued auction french auction...

A lovely and curious composition, circa 1780. Ink and wash on tissue thin Japon paper, adhered to period cream laid paper, 5 1/4 x 3 3/8 inches (132 x 84 mm), the full sheet. With ...

Six color screenprint and photoscreenprint. Signed and numbered out of 125 in pencil by Kitaj in the top right corner. Printed at Kelpra Studio, London and published by Marlborough ...

Pablo Picasso, Spanish (1881 - 1973) - La Fosse Commune, Year: 1947, Medium: Etching on Arches, Image Size: 10 x 8.75 inches, Size: 11 x 17.75 in. (27.94 x 45.09 cm), Reference: Blo...

Copper-line engraving by Mathys Pool (1676-1732) after Picart and Charles Le Brun (1619-1690). 1718. Depicts a ceiling design commissioned for the Hot...

The humor in Jerry Meyer's pieces taps into and gives voice to these worries, which are never too far from our awareness. “We have an incredible ability not to be in the moment…Hop...

Born in Yorkshire, England in 1964, Harland Miller is a critically acclaimed writer and artist. In both endeavors, books are central to Miller's practice. After exhibiting art thr...

Medium: original lithograph. Printed in 1982 for the art revue Derriere le Miroir (issue number 250, dedicated in homage to Aime and Marguerite Maeght) and published in Paris by the ...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Le Coq (The Rooster), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edition published by Fernand Mourlot, Paris, and printed by Mourlot Freres, Paris, on October 20, 1966. The work conveys the heightened emotional tension and expressive force characteristic of Soutines painterly vision, capturing in lithographic form the dynamic structure and psychological immediacy that define his mature still lifes. Executed as a lithograph on velin d'Arches paper, this work measures 26 x 20 inches. Unsigned and unnumbered as issued. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Chaim Soutine (1893–1943) Title: Le Coq (The Rooster), from the folio Soutine, I, Collection Pierre Levy Medium: Lithograph on velin d'Arches paper Dimensions: 26 x 20 inches Inscription: Unsigned and unnumbered as issued Date: 1966 Publisher: Fernand Mourlot, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Soutine, I, Collection Pierre Levy, 1966 Notes: Excerpted from the folio (translated from French), This album, the first of a series dedicated to Mr. Pierre Levys collection, was printed in DL examples on Arches velin. Printing was finished on October 20, 1966 by Mourlot for lithographs of the canvases of Soutine, and by Fequet and Baudier for Waldemar Georges unpublished text. Fernand Mourlot, Paris 1966. About the Publication: Soutine, I, Collection Pierre Levy, published in 1966 by Fernand Mourlot, Paris, is the first album in the important series devoted to the Pierre Levy collection, one of the most significant private collections of twentieth century French painting. Conceived as a scholarly and visual record, the album was designed to present key works by Chaim Soutine in lithographic form at a time when renewed international interest in the artist was expanding. Created in collaboration with Mourlot Freres, the foremost lithographic atelier in France, the publication reflects the printers commitment to translating Soutines canvases into richly tonal lithographs that preserve the emotional intensity and structural drama of the originals. Issued in a single edition on Arches velin, the album stands as an essential document of postwar art publishing, illuminating the historical partnership between artist, collector, and master printer, and contributing to the larger historiography of modern French Expressionism and museum quality print albums of the mid twentieth century. About the Artist: Chaim Soutine (1893–1943) was a Belarus-born French Expressionist painter whose explosive brushwork, emotionally charged distortions, and uncompromising commitment to depicting the psychological intensity of human experience have secured his place as one of the most vital and transformative figures in twentieth century art, creating his legacy within the same revolutionary modernist environment defined by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray; after leaving his impoverished childhood in Smilavichy and arriving in Paris in 1913, Soutine immersed himself in the School of Paris circle at La Ruche—an incubator of international avant garde talent—where he developed formative friendships with Amedeo Modigliani, Marc Chagall, Jules Pascin, and other pioneering artists whose daring approaches inspired him to push color, gesture, and form into new emotional territories. His portraits of cooks, choirboys, servants, and village residents; his tempestuous landscapes of Cagnes, Chartres, and Ceret; and his deeply visceral still lifes—most famously his monumental depictions of slaughtered carcasses—reveal a singular ability to transform ordinary subjects into raw, pulsing, almost metaphysical dramas, building on the influence of Rembrandt, Goya, Velazquez, and El Greco while departing radically from academic restraint. His paintings vibrate with psychological tension, their twisted perspectives, molten colors, and trembling outlines capturing an inner world marked by anxiety, longing, resilience, and profound empathy. Soutines originality profoundly shaped the evolution of modern painting: Francis Bacon cited him as one of his greatest influences, Willem de Kooning and the Abstract Expressionists admired his gestural ferocity, and later artists—including Frank Auerbach, Leon Kossoff, Lucian Freud, Jenny Saville, and Adrian Ghenie...

Frank Stella b.1936 Mysterious Bird of Ulieta (from the Exotic Bird series) 1977 screenprint and lithograph in colors on Arches 88 sight: 33 h × 45¼ w in (84 × 115 cm) Signed, dated...

Minimal, radical, and unmistakably visceral, this circa 1970 original exhibition poster for Lucio Fontana captures the conceptual power of his groundbreaking Concetto Spaziale series...

Complete portfolio of 4 silkscreens on coventry archival rag paper. Each silkscreen is hand signed and numbered. Red portfolio binder also included. From the edition of 82. Each si...

Cy Twombly (1928-2011) Virginia/ New York / Italy Image Size: 16 x 11 Visible inside matboard is 12 x 11 Frame Size: 21.5 x 19 Medium: Photograph Edition 1/12 Signed with the editi...

A finely detailed engraving with hand colouring by Samuel (1696-1779) and Nathaniel Buck (c.1695-c.1775) depicting St. Osyth's Priory in Essex. Signed within the plate. On laid.

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Cockersand Abbey" (Plate 148) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles...

Medium: original lithograph. This lithograph was printed in 1957 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Offset lithograph with hand-colouring, 1959, on wove paper, from the edition of unknown size, with the offset lithographic title page printed in black on the reverse as issued, with the inkstamps of The Estate of Andy Warhol and Andy Warhol Foundation for the visual Arts on the reverse, 44.3 x 57 cm. This work was part of an unbound set of works kept by The Warhol Estate and comes directly from the Estate. ‘Wild Raspberries’, circa 1959, is a portfolio of uniquely hand-coloured offset lithographs displaying Warhol’s signature...

Medium: lithograph. From the "In Memory of My Feelings" portfolio, printed in 1967 on Mohawk Superfine Smooth paper in a limited edition of 2500 and published in New York by The Muse...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

A 1928 caricature of Irish politician Alexander Green by artist Isa M. Macnie. Inscription on drawing reads: "For my Irish friend Richard Madden, Alex Greene, 20 October 1928, Alex...

Medium: silkscreen. Printed in 1984 for "Ficciones" and published by The Limited Editions Club in an edition of 1500. Size: 8 x 7 3/4 inches (203 x 198 mm). Not signed. Condition: t...

Guignet was born in Annecy and grew up in the city of Autun. He was a friend of Hippolyte Michaud. He was a rather popular orientalist painter in h...

A portion of each sale will be donated to the ACLU + NAACP JoAnne Artman Gallery proudly introduces America Martin’s new series "I See Heroes Everywhere." Addressing the theme of h...