Robert Indiana Furniture

Robert Rauschenberg American, (1925-2008) Deposit, from America: The Third Century, 1975 Screenprint in colours with hand-colouring, on wove paper, ed. 45/200, co-published by APC Ed...

John Dugdale (American, b. 1960). Turbulent Dream, NYC, 1998. Platinum-palladium print. Image size 8-3/4 x 6-3/4 inches paper size with margins 17 x 14 inches Signed and editi...

This is a digitally remastered print of a Banana Palm referenced from a French print dating to circa 1843 Prints of this style were originally printed in black and white and then ...

A framed lithographic plate from the 1948 Swedish, limited edition portfolio of only 200 “Ceramiques de Picasso” by Albert Skira, framed, with the die-cut, gloss coloured lithograph...

1979 Abstract lithograph painting by American listed artist Robert Natkin (1930-2010). Pencil signed, numbered 61/75 and dated 1979. Newly framed with black lacquer frame, floated o...

After Montague Dawson (British, 1895-1973), colour lithograph, matted and framed under non-glare glass. "The Thermopylae Leaving Foochow", published 1962 Frost & Reed Limited of Bristol & London, England. Born in Chiswick in West London in 1895, Montague Dawson was the grandson of the eminent Victorian landscape painter Henry Dawson (1811-1878). He studied under the celebrated seascape artist Charles Napier Hemy (1841–1917) at the Royal Academy and also worked in an art school in Bedford Row. Dawson joined the navy...

An elegant set of three large-scale framed architectural decorative prints after the celebrated Scottish neoclassical architect and designer Robert Adam. These richly detailed hand-c...

This is very large and wonderful wool fiber art piece accredited to the Robert Kidd studio, circa 1975. At 4'-10" by 8'-6" this piece will fill the largest...

The Seasons (Les Saisons) by Alphonse Mucha is among the most celebrated expressions of Art Nouveau printmaking: a suite of four poetic lithographs—Spring, Summer, Autumn, and Winter—each allegory embodied by an idealized female figure adorned with the flora and fauna of their eponymous season. Spring (Les Printemps) Spring emerges as an ethereal, blonde sylph—an air elemental—standing before a haze of apple blossoms. She is framed by a delicate wreath of blooming dogwood, a motif Mucha studied from life. She fashions a lyre-like instrument from a fresh green branch, her own flowing hair forming its strings, evoking the poetic ideal of the Aeolian harp—an instrument played not by human hands but by the wind itself. This association aligns her with Romantic notions of nature as an animating force, written by contemporaneous poets such as Samuel Taylor Coleridge. At her feet, songbirds—including the ortolan bunting, long associated in French culture with innocence, and the exotic red-billed leiothrix, prized for its melodious song—gather to animate the composition with sound. The floral border of her garment, composed of narcissi, asters, dianthus, and cuckoo flowers, reinforces the sense of the abundance that defines the season. Summer (L’Été) Summer is rendered in languid repose, seated beside a reflective pool, her body slackened by the heat. Crowned with vivid red poppies—flowers of both sleep and sensuality—she dips her feet into cool water, seeking relief from the oppressive warmth. Ivy curls around her form, her translucent white drapery appears to slip from her shoulders, heightening the sense of languor. Unlike the airiness of Spring, Summer is grounded in the body, evoking the sensuous, almost narcotic stillness of a long, sun-drenched afternoon. Autumn (L’Automne) Autumn is richly adorned, her deep auburn hair echoing the tones of fallen leaves that surround her. She turns her gaze not outward, but toward the ripe grapes she holds—a symbol of harvest and abundance. A crown of chrysanthemums, rendered in white and blue, rests upon her head, a flower closely associated with Mucha himself, who was known—according to his son Jiří Mucha—to wear one in his buttonhole. Her costume is elaborately detailed with filigree disk brooches inspired by the stage jewelry of Sarah Bernhardt, particularly in her role as Theodora. These jewelry designs by Mucha drew on historical sources ranging from Byzantine mosaics studied in Ravenna to the earlier Merovingian traditions of Frankish and Lombardic women, who wore paired brooches...

Johannes Hubertus Hendrikus “John” Bévort (Utrecht, 1917 – Schoorl, 1996) View of Manhattan Lower Eastside from the Brooklyn Bridge Oil on Canvas, Framed ...

Åke Holm. Woodcut on paper. A biblical scene of Jonah and the whale. Artist: Åke Holm (1900–1980) Technique: Woodcut Motif: Biblical scene Edition: 93/150 Image size: 21 × 18 cm Fra...

A fantastic pull-down wall chart depicting a map of the development of the United States in the 19th and 20th centuries. Used as teaching material in German schools. Colorful print on paper reinforced with canvas. Published by Justus Perthes, Darmstadt. Measurements: Width 194cm (76-38 inch) Height 134cm (52.76 inch) The measurements shown refer just to the canvas and do not include the poles. Background information on the history of school wall charts: The idea to upgrade every day school life by using pictures was supported in the late 18th century by Johann Bernhard Basedow. In 1774 he published a four-volume book "Elementarwerk" which combined pictures, text and information with merely hundred copperplates. Modern printing methods enabled the spread from rich private schools to rural grade schools. From 1820-1836 the oldest mentioned series of wall charts were published with the range of six booklets including 63 large sized charts...