Constantin Terechkovitch Art

Still Life With Chicken, Oil on canvas singed and dated 1923, from the Collection of Bass Museum Of Art. Canvas size 14 1/5x17 1/4 framed 21 3/8 x 23 7/8 Edmund Pick-Morino was the ...

This charming 1945 travel poster by L. F. Dominique was created to promote tourism in the Île-de-France, the cultural and historical heart of the country. Produced for the French nat...

Pocket Bright Red Strawberry [2023] original Oil paint on canvas Image size: H:5 cm x W:5 cm Complete Size of Unframed Work: H:5 cm x W:5 cm x D:2cm Frame Size: H:15 cm x W:15 cm...

Lithograph on paper from the American Family Folio. Hand signed lower right by Norman Rockwell. Hand numbered 73/200 lower left. Image size: 26 x 20 inches. Frame size: 33 x 27 i...

Signed and dated "Fleurs Genève 1941 n°2", inscription on the verso. Dimensions with frame: 59 x 46 x 5 cm This expressive still life depicts a bouquet of flowers arranged in an orn...

Still Life with ham, oil on canvas signed a wonderful example of the artist's work, from the Collection of Bass Museum Of Art. Canvas size 16 3/4 x 22 1/5 framed 23 x 29. Edmund Pick...

Lithograph on wove paper, 1972. Signed by the artist in pencil, lower right. Inscribed "Ed. 250" in pencil, lower left. Published by Associated American Artists, New York. Catalog...

This artwork "Mother and Children" c.1970, is a colors lithograph on paper by American artist Edna Hibel, 1917-2014. It is signed and numbered II 3/10 Ed. 200 in pencil by the artist. The The artwork (sheet ) size is 34 x 23 inches, framed size is 40 x 29 inches. Custom framed in original wooden decorated grey/silver frame. It is in excellent condition. About the artist: Edna Hibel, a painter of sentimental pictures of children, has had a more than 60-year career as painter and lithographer and promoter of peace through exhibitions of her artwork. She was born in 1917 in Boston, Massachusetts. Her parents were Abraham and Lena Hibel, and she was raised in the Boston area and educated at Brookline High School where she met her future husband, Theodore Plotkin. She began to paint when she was nine years old and learned watercolor during summers at the shore where her family vacationed in Maine and Hull, Massachusetts. Hibel studied at the Boston Museum School of Fine Arts, from 1935-39, receiving a Sturtevant Traveling Fellowship to Mexico. In Boston, in 1966, she began lithography, continuing in 1970 in Zurich, where she still works every year. She has created lithographic works with up to 32 stones (or colors) on paper, silk, wood veneer and porcelain. The latter pieces are called lithographs on porcelain and result from a complicated process, that she keeps a secret, whereby she transfers stone lithographic color separations onto Bavarian hard paste porcelain. Hibel has created the "Arte Ovale" series and various plaques with this technique. She organized the Edna Hibel Museum of Art, in Jupiter, Florida, to display and promote her work and also created a United Nations stamp, "Mother Earth." In 1995, she was commissioned by the Foundation of the U.S. National Archives to commemorate the 75th anniversary of women receiving the universal right to vote. At the ceremony, Ms. Lucy Baines Johnson referred to Hibel as the "Heart and Conscience of America." In November, 2001, the World Cultural Council based in Mexico City gave her the Leonardo da Vinci World Award of Arts. Hibel's work has been exhibited in museums and galleries in more than 20 countries including Russia, Brazil, China, Costa Rica, and the United States, and under the royal patronage of Count and Countess Bernadotte of Germany, Count Thor Bonde of Sweden, Prince and the late Princess Rainier of Monaco and Her Majesty Queen Elizabeth II of England. Pope John Paul II gave her a medal of honor as did the late Belgian King Baudouin. She also received honorary Doctoral degrees including from Eureka College, and Northwood University of Florida, Michigan and Texas. She also has received many humanitarian honors for her charitable efforts for children's and medical charities. Her exhibitions "Golden Bridge" and " Peace Through Wisdom" were efforts to promote peace and cultural understanding between China, the United States, Yugoslavia and Russia, and a television documentary titled "Hibel's Russian Palette" was based on her trips and art shows in Leningrad, now St. Petersburg. In 2001, Edna received a Lifetime Achievement Award from "Women in the Visual Arts," an organization of artists in the South Florida area. Works in Permanent Collections: Harvard University Boston University Museum of Fine Arts, Boston Springfield Museum of Arts, Massachusetts University of New Hampshire Fleischmann Collection, Cincinnati Detroit Art Institute Milwaukee Art Museum Phoenix Art Museum La Jolla Museum, California Lowe Gallery, University of Miami, Florida Columbus Museum of Arts and Crafts, Georgia WarrenHall Coutts, Ill, Memorial Museum of Art, El Dorado, Kansas Palais des Nations,Geneva, Switzerland United Nations Headquarters, New York City Norton Gallery, West Palm Beach, Florida de Saisset Museum, Santa Clara, California Russian Academy of Art, St. Petersburg, Russia Hibel Museum of Art, Lake Worth, Florida One Artist Exhibitions: Shacknow Museum of Fine Arts, Plantation, Florida, 2000 Cornell Museum of Art and History, Delray Beach, Florida, 1999 (and 1993) Klutznick National Jewish Museum, Washington, D.C., 1999 The Museum of Printing History, Houston, Texas, 1999 (and 1998) Mitsukoshi Fine Art Gallery, Tokyo, Japan, 1995 (and 1994) Lyme Academy of Fine Art, Old Lyme, Connecticut, 1994 Grenchen Art Museum, and Galerie BrechbUhl, Grenchen, Switzerland, 1992 Soviet Union Academy of Art, and Exhibition Hall of the Russian Union of Artists, Leningrad (St. Petersburg), Russia, U.S.S.R., 1990 Northern Indiana Arts Association Gallery, Munste~ Indiana, 1990 Galerie Vindobona, Bad Kissingen,West Germany, 1988 The National Museum of Women in the Arts, Washington, D.C., 1989 St. Peter An...

Artist Comments
Vases and pots support an array of textured wildflowers, standing out against a rich, dark background. A freeform stripe pattern on the tablecloth adds rhythm a...

2015 Colour offset lithograph on 250 gsm glossy wove paper 70 x 50 cm Edition of 500 Signed and dated in pen by Tracey Emin Published by Emin International Tracey Emin (born 1963) ...

This striking early 20th-century poster promotes the transatlantic routes of the Cunard Line, one of the most prestigious maritime companies of its time. Advertising travel between Liverpool, New York, and Boston via Queenstown (now Cobh, Ireland), the image captures both the grandeur of ocean liners and the emotional intensity of departure in the age of steam. At the center of the composition is a colossal ocean liner, viewed from a low angle that magnifies its scale and presence. The ship’s dark hull stretches across the frame, punctuated by rows of illuminated portholes, while four towering smokestacks release clouds into the sky. This perspective transforms the vessel into a symbol of industrial power and technological achievement—an embodiment of modern progress at the dawn of the 20th century. In the foreground, a dense crowd gathers along the dock, rendered as a mass of small, indistinct figures. Their presence introduces a human dimension to the scene, evoking the emotions tied to transatlantic travel: farewells, hope, anticipation, and uncertainty. The contrast between the monumental ship and the anonymous crowd reinforces the idea of migration and movement on a grand scale. The poster’s composition is carefully structured to guide the viewer’s eye. The diagonal line of the ship’s hull creates a sense of motion, as if the liner is about to depart. The typography at the bottom—bold and clearly legible—anchors the image, emphasizing the Cunard name while listing the key destinations. This combination of visual drama and informational clarity reflects the effectiveness of early travel advertising. The color palette is rich yet restrained, dominated by deep blues, blacks, and warm industrial tones. These hues contribute to the atmospheric quality of the scene, suggesting early morning or evening light at the harbor. Subtle details, such as the reflections in the water and the architectural elements of the port, enhance the realism and immerse the viewer in the setting. During this period, transatlantic travel was not only a practical necessity but also a powerful cultural experience. Shipping lines competed to present themselves as reliable, modern, and prestigious. Posters like this one played a crucial role in shaping public perception, turning ocean liners into icons of opportunity and connection between continents. Ultimately, this Cunard Line poster...

"The Toreador" Pierre Ambrogiani (France, 1905-1985) Oil on canvas Circa 1950's  28 1/4 x 20 3/4 (31 1/4 x 23 3/4 frame) inches Signed bottom right corner If the artists Diego Veláz...