Galerie Sommerlath Art

This print sits in its original chrome frame and it is numbered 7/26 but not signed since each image has been cut out from a sheet to fit in the little windows. Gemini G.E.L is an ar...

An otherworldly, black and white lithograph in a jigsaw puzzle piece shape, enclosed by negative. Signed L. Siekman. Unframed.

This original mold, created by Beckford Young for one of his lithograph series, is exceptional. This piece contains a network of reliefs, hollows, and edges, each detailing the resul...

Art, a tangible manifestation of the imaginary and the sensitive, is translated through works capable of captivating and communicating beyond words. Friedlaender's lithographs, loade...

The world has encountered numerous architectural masterpieces, from medieval Europe's Gothic splendors to today's avant-garde marvels. Sometimes, art seeks not to mimic reality but t...

Nude figure drawing made with a mix of pastels and gouache signed and dated 1963. Born in Tacoma, WA, on Oct. 23, 1918, Randall lived in Salem, OR, during the 1930s. He created artwo...

This nude figure drawing is made with a mix of pastels and gouache, signed and dated 1963. Born in Tacoma, WA, on Oct. 23, 1918, Randall lived in Salem, OR, during the 1930s. He crea...

Pat Wilson was a French painter born in 1868 and she died in 1928. She lived in France and part of her life in the Maghreb. This painting shows perfectly th...

In the infinitely complex world of contemporary art, many works serve as vehicles for thought, postural statements, and emotion. Such is the case with SHAO QI, a renowned Chinese artist who skillfully blends the political, cultural, and aesthetic in her lithographic work entitled "I am a Ninja." This piece, limited to thirty copies, numbered 21/30 in pencil and dated 2011, is a perfect example of how cross-influences can be integrated and cultural barriers broken down. Historically, ninjas were inferior warriors in feudal Japan, often recruited by samurai and governments to serve as spies. Their mysteriousness has allowed them to infiltrate contemporary popular culture, so much so that their ubiquity eventually transcends borders, internationalizing the ninja and rendering its Japanese origin a simple detail, among others, in public perception, a component of a character that has become universal. Pop art, an artistic movement of the second half of the 20th century, is known for its appropriation and subversion of consumer products and cultural icons. By hijacking elements of mass culture, pop artists such as Andy Warhol and Roy Lichtenstein transformed the perception of art and its eligible subjects. The use of a ninja silhouette in "I Am a Ninja" follows this tradition, exploiting a popular symbol to reimagine it. The dynamic interplay of colors, in particular the aesthetic power of red and black, is essential. Red's radiant luminescence contrasts sharply with black's ultimate absorption, framing the work in a colorimetric face-off reminiscent of the propaganda posters of yesteryear. Red, the color of revolution, power, passion, and vitality, blends with black, shadow, and emptiness. The bold black lines that delineate the figure are reminiscent of Shepard Fairey's work under the OBEY signature. These lines convey a vibrant, primitive force akin to Russian Constructivist posters...

In contemporary art's diverse and infinitely complex world, many works serve as vehicles for thoughts, statements, and emotions. SHAO QI, a Chinese artist born in 1987 in Shanghai, blends political, cultural, and aesthetic elements in her lithographic work titled "I am Mexican." This piece, limited to fifty copies and numbered 21/50 in pencil, dated 2011, transcends the materiality of art to explore societal palimpsests and interrogate notions of identity and globalization. The dynamic confrontation of colors, particularly the dichotomy of red and black, is essential. The radiant luminescence of red contrasts sharply with the ultimate absorption of black, framing the piece in a colorimetric standoff reminiscent of vintage propaganda posters. Red, the color of revolution and power, passion and vitality, mingles with black, the shade of shadow and void, embodying the potential for new beginnings, as French artist William Klein once proclaimed. SHAO QI employs a stylistic language that is instilled with almost raw expressiveness. The bold black strokes outlining the figure are reminiscent of Shepard Fairey's work under the OBEY signature. These black lines convey a vibrancy and primal force akin to Russian constructivist posters...

Artist Fernando Palos employs a straightforward interplay of shapes and colors in this lithograph. A first impression leads us to assemble geometric figures, initiating the idea of m...

Artist Fernando Palos uses a simple, compelling interplay of shapes and colors in this lithograph. This is not a static work. A first impression reveals assembled geometric figures, ...

John Marx's drawing, rendered as a black-and-white lithograph and signed with his initials "JM" in capital letters, is a prime example of caricature, a genre characterized by exagger...

The painting reveals a nude woman, her aura exuding self-assurance. She stands upright on the rugged terrain of a rocky mountain. The work is elegant, devoid of any hint of eroticism...

Sepia tones permeate this remarkable oil painting by American artist Geoffrey Johnson, who captures a hauntingly timeless scene. A woman waits by the window of her home, silent, almost absorbed in the diffuse ambiance of the room? The artist emphasizes the intimacy of his subject, a silhouette between presence and absence whose identity he has limited to a shadow. The woman is treated like a ghost, associating her with the invisible and the forgotten. In all its diversity, art is a step towards understanding human emotions and, often, an opening into the soul. The canvas analyzed here is that of a seemingly banal dining room, including an old-style kitchen area, inhabited by this quasi-incorporeal female figure. This eloquent artistic choice echos a reflection on the condition of loneliness. Few details appear some paintings on the wall, a dining table with two visible plates, a chandelier, etc. The sepia tint is emblematic of nostalgia, reminiscent of the photographic process that ages pictures to give them an air of yesteryear. Here, the artist recalls the past, not to idolize it, but to question the persistence of female alienation over time. The deliberate use of a restricted, even desaturated chromatic range reflects a timeless universe in which the female figure echoes across the ages. Like an entity in a sepia photograph, where the being is frozen for eternity, the woman appears and disappears simultaneously, symbolizing the volatility of existence and the fragility of memory. Johnson confronts us with a profound reflection on our solitude and relationship with time, painting the isolation of women in the hues of a bygone era. Through a technique that magnifies the essential and erases the extra, he resurrects an atmosphere inviting us to reinterpret our reflection on existence. -------------------------------------------------------------------- Born in 1965 in Greensboro, North Carolina, Geoffrey Johnson graduated from the Pennsylvania Academy of Fine Arts, where he received several awards and prizes for his artistic excellence. Since 1995, he has exhibited in galleries and venues throughout the United States. His paintings may be found in many private and corporate collections, including those of Coca-Cola, Turner Broadcasting, BellSouth, and Wells Fargo. Johnson draws much of his inspiration from his travel experiences and first-hand observations. Using a monochromatic palette of sepia hues, the artist strives to reproduce the places that inspire him. Johnson’s work is powerfully evocative of the French Impressionists’ depictions of city life, interior spaces, and equestrian scenes. From Gustave Caillebotte’s steely, atmospheric renderings of foggy Paris streets and dusky rooftops to Degas’ spindly-legged racehorses, the influence of these artists upon Johnson’s painting is readily visible. His manner of distorting the human figure has also been likened to the skeletal, surreal forms of Alberto Giacometti. Johnson has established himself as a true innovator, successfully capturing the alluring space between abstraction and realism. His work is significantly influenced by his fascination with both the human figure and the powerful architecture of a modern city. Through a feeling of anonymity, figures become suggestive shapes, and the skyline of New York materializes mysteriously in the background. Johnson’s paintings embody the mood of each urban experience. Johnson has “always been attracted to interiors, work spaces [and] personal spaces.” Inspired by a box of...

Against a backdrop of deep, brilliant yellow gold, two distinct zones emerge: the outlines of a shadow formed by a pair of human silhouettes, probably a couple, appear. The golden ba...

Lloyd invites us to contemplate a moment of intimacy. An oriental dancer is asleep, her head tilted back as if she is wrapped in colored ribbons, which makes us wonder about the real...

The power of an image cannot be received at a glance. To understand it fully, we should interpret it, letting ourselves be lulled by its balance. The architecture of his drawing be...

Lila Katzen said, "I feel marvelous when my works find a home. They are like my children. They are my links to the past. They are what I am." The sculpture proposed here consists of...

Reclining Female figure, original signed line drawing, in pencil and ink by Albert Radoczy. Albert Radoczy was a master at exploring the female form. Throughout his career, his draw...

In this painting by Charles Jupiter Hamilton's "Downtown San Francisco," the pulsating heartbeat of the city comes alive in a kaleidoscope of color and form. This acrylic abstract se...

In the "Fantasy/Metaphysical" series by American artist Eugene Hawkins, the convergence of surrealism and metaphysics unfolds as an exploration of existential themes common to all. C...

Beyond artistic and aesthetic expression, every still life offers the opportunity to activate a deeply intimate experience. David Segel invites us into a profound encounter with this...

Upon initial observation, we are immediately drawn to the palpable energy – an energy reminiscent of some evocative paintings of Egon Schiele's figurative art, despite the stark styl...

In this humorous yet thought-provoking sketch, individuals from various walks of life are momentarily diverted from their routines. The artist captures the unexpected interruption th...

This figurative painting by Edgard Kiechle presents the scenario of a doll who is very surprised to have been abandoned into the basket of her mom's tricycle. An interesting factor is the pictorial use of angles. The point of view, a little above the stage, probably that of an adult, offers particular perspectives. This approach adds depth to this painting with distinctive compositional appeal. In contrast to the scene's disorder, a black-and-white tiled floor with a geometric design serves as an antithesis. The careful symmetry of the tiles competing with the surrounding disarray sparks a dialogue about the human need for organization and balance. In composition, absence is a living element. The exclusion of a physical human figure amplifies the feeling of emptiness, creating a human presence perceived imaginatively. Edgar O. Kiechle was born in 1911. He was a film illustrator and a painter. Edgar studied landscape painting with Jean Mannheim and architecture and became an excellent watercolorist. After studying at the Otis Art Institute in Los Angeles, he interned with leading architects and designers. He worked at most major studios, but his career as an illustrator saw him primarily at the Universal Studio Art department. In 1933, Edgar joined Lwerks as a background artist and worked on many films produced by Animated Picture Corporation through 1935. In the summer of 1941, Edgar Kiechle...

Abstraction offers a unique opportunity to delve into the space between the visible and the invisible. Acting as a conduit connecting the tangible and the intangible, it encourages us to explore various interpretations in a dreamlike state. In this abstract oil painting by California resident artist Erik Fiazi, the canvas is full of dynamic, nervous brush gestures, evoking images that might recall a continent or torn fabric. Whether it is the phalanges of a fist ready to burst and rip the canvas or a nation symbolized by colors that could be similar to those of a flag. There are so many possible interpretations. In any case, the work releases a raw and unbridled energy, Charged with a force worthy of a revolution like a raised fist, with its red which invades our entire field of vision, a rebellion underlined by the nervousness of the gestures of application of colors next to each other and also on top of each other, probably applied both with a knife and with a large brush. There is thickness and a lot of density. Abstraction is a challenging genre because, beyond the technique, the magic lies in the ability to penetrate the viewer's heart. By contemplating this work through the prism of allegorical reading, we can discern the echoes of a nation in turmoil: a landscape emptied of its green splendor; in fact, green appears in the minority, invaded by the burning red of destruction and flames. The central block resembles an island adrift in a navy blue sea, evoking isolation and vulnerability after a tumultuous storm. The foam of the waves reminds us of the instability inherent in life. Yet within this chaos lies a profound lesson: while the surface may churn under the unleashing of the elements, the bottom of the ocean remains still, offering a symbolic parallel to the importance of maintaining solid foundations amidst the turbulence of life. Eric Fiazi...

Through singular facial analysis, the artist dissolves the traditional concept of perspective, presenting the central figure with a multiplication of contours. The main subject, like...

This gouache reveals a butterfly tree with wings covered in multiple eyes towards the observer. In this primitive kaleidoscope playing with perspectives, the artist Rupert Picott leads us into a dance of forms, half-animal, half-vegetal. Here, we can breathe a nature distanced from civilization, a shattered, psychedelic dimension that opens the doors of a hallucinated perception. This gouache transcends its physical form. Like a dream woven into reality, it beckons viewers to question the boundaries of their consciousness. Each brushstroke becomes a portal to a realm where the mundane and the mystical intertwine, blurring the lines between what is seen and felt. In this dialogue between forms and colors, Rupert Picott offers us not just a painting but a glimpse into the infinite expanse of the human experience, echoing William Blake’s timeless wisdom: ‘If the doors of perception...

This reproduction of Duchamp's "Nude Descending a Staircase" by artist N. Schultz is intriguing due to the depth of the required study and the various stages of refinement that preceded its creation. This is a work using a variety of media. Appearing as a painting, it is almost a sculpture, using pieces of straw and thin wood grouped together and then painted. Studying the painting, beyond the immense amount of research that must have gone into it, reveals another captivating aspect: the subject itself. It is one of Marcel Duchamp's most emblematic works, embodying elements of two crucial movements in the history of art. This was best expressed by Duchamp himself in 1912 when he declared: "I felt more Cubist than Futurist in this abstraction of a nude descending a staircase: the general aspect and the brownish chromatism of the painting are Cubist, even if the treatment of the movement has some Futurist overtones." The nude has always served as a coded representation meeting precise criteria. However, in this context, it is not posed statically but represents almost repeated movements like an open fan, and in relief, thus departing from the classical code of the nude where everything is immediate and requires no keys to interpret the scene. The main silhouette can be seen on the right-hand edge of the figure. And on the left, a multiplication of the same figure descending the staircase. It's extraordinary that the artist has succeeded in imitating this painting, creating a field of observation that rises into a third dimension. Duchamp said of his initial painting...

Marilyn Manson is an icon, a figure synonymous with controversy within heavy metal music, embroiled in numerous contentious moments throughout his storied career. This signed poster, numbered 158/500, is likely part of the series promoting his 1994 concerts at the Houston International Ballroom. It embodies the vibrant creativity of its era, a time when independent artists infused their unique flair into promotional materials for punk rock and heavy metal gigs. With its captivating blend of colors, specific typography, and arrangement reminiscent of Russian Constructivism and horror movie posters...

In this abstract expressionist painting by Shant, the tension between black and white creates an immediate, palpable sense of unease, which could recall the chaos and turmoil often associated with Lebanon's complex history. Indeed, Shank was born in Lebanon in Beirut in '71. From 1975 to 1992, Lebanon was the scene of a multifaceted war. Very deadly for the civilian population, it involved various protagonists, and a civil war broke out in 1975-1976, then again in 1983-1985. Whether consciously or unconsciously distancing from these events, having been exposed to them directly or through the tragic experiences of families who remained in the country, the bold brushstrokes and swirling circular shapes evoke a sense of urgency, reflecting the inner turmoil and external conflicts that may have shaped the artist's experience. Abstract expressionism is a free universe where everyone can interpret a painting according to its history, its current events, whatever the resonance may be between the personal history of the spectator and that of the artist. The chaotic composition of this piece invites us to explore our inner worlds as we navigate through the painting's complex layers of meaning. Shant fills space with dynamic energy, creating an organization of forms, a dialogue that challenges traditional notions of order and structure. It is impossible to separate Shant's artistic expression from the socio-political context of Lebanon. The artist's education undoubtedly influences his point of view, infusing the work with a questioning that resonates on a profoundly universal level. Ultimately, Shant's abstract expressionism in this painting transcends mere representation, inviting viewers to confront the complexities of the human condition and the lasting impact of conflict on the individual and collective psyche. He was born in 1971 in Beirut, Lebanon, where Shant Beudjekian’s art practice was discovered at 14, after gaining recognition from the Swiss national youth soccer team and winning many trophies and medals then. In 1995, after moving to California, San Diego, he completed a 4 year Bachelor's degree in Fine Arts with a minor in Ceramics at Otis College of Art and Design in Los Angeles. He also attended a one-year internship in landscape architecture at the Rhode Island School of Design. He returned to Southern California in 2004, where he practiced as a full-time Artist in the Local Art Communities of Southern California. He has been painting for 25 years while receiving appreciative acceptances from curators and Gallery Directors from the East Coast. He exhibited in several cities on the East Coast of the United States, along with exhibitions in the Chelsea District of Manhattan, New York. Now living on the West Coast, Beudjekian has been notable for exhibiting Art and selling on numerous occasions at the San Diego Art Institute of the Living Artists, Del Mar Art Center, San Diego Hospice and Palliative Care, and Forest and Ocean Gallery...

The painting "Military Joy" offers a poignant testimonial into a moment in history, capturing the spirit of celebration and camaraderie among soldiers of the Kingdom of Croatia-Slavo...

With this colorful and minimalist watercolor by the artist Jae Carmichael, we are immersed in the vibrant world of Fauvism, as championed by Henri Matisse. Color above all, and perhaps even more than drawing, is a liberation," serves as a guiding principle in understanding this piece. This artwork serves as a nod to pay homage to Matisse's pioneering approach to color and form, mainly as found in all his cutting work, like his “Book-flowers,” where we witness the systematic arrangement of simplified yet dynamic forms delineated by sharp contours reminiscent of cut-out shapes. The artist's bold experimentation with color is evident, with striking contrasts between different hues—where vibrant yellows boldly clash with deep indigo, and audacious blues stand alongside vibrant greens. Jae Carmichael, much like his Fauvist counterparts, employs broad swathes of pure, vivid colors to evoke emotion and captivate the viewer. This piece, crafted with meticulous attention, showcases the artist's mastery in harnessing the power of color to convey mood and atmosphere. It is signed CC, her last signature. Whether portraying the distinctive petals and pistils of squash blossoms or capturing the essence of simpler floral motifs, the impact of color reigns supreme. In this piece, the subject matter seems to fade into the background, overshadowed by the sheer force and intensity of the artist's chromatic exploration. Born in Los Angeles, California, Jae Carmichael studied at Mills College and earned a BFA from the University of Southern California...

Hu Yongkai, born in Beijing in 1945, is currently a member of the Chinese Artists Association. He previously taught at the Shanghai Academy of Fine Arts and...

"Swinging Harmony," is an oil painting on canvas by Edgar O'Kiechle. It transports viewers into a lively dance scene featuring a couple of black dancers swinging at the heart of the...

The contemporary artwork titled "Marsden Spilling " (October 1969), attributed to an artist with an unfortunately illegible signature, serves as a homage to Marsden Hartley's 1937 pa...

White, brown, red, and orange lines shape an abstract maze in this signed painting by Paul Showalter. October 10, 1940 - May 24, 2019 Artist, Designer, Painter, Poet, Sculptor Paul Showalter was born in Pasadena, California in 1940. Paul studied art and design at Pasadena City College, and later received a full scholarship to study at the renowned Chouinard Art Institute (now CalArts) and Otis Art Institute (now Otis-Parson) in Los Angeles, majoring in Advertising Design and Illustration. In 1966, Paul Showalter founded the Graphics and Communication Department at the new Los Angeles County Museum of Art, the first major art museum in Los Angeles, setting high standards of museum graphics throughout Southern California. At the 1970 World's Fair in Osaka, Japan, Paul was nominated for Best Animated Short Film for his film titled "The Moon Step." In 1974, Paul founded his own commercial graphic design firm, which specialized in the design of corporate identity programs, exhibition graphics, illustration, and print communications. He also designed floats for the Pasadena Tournament of Roses parade...

The representation of twins in art has always been fascinating due to their embodiment of the concept of duality and symmetry. They often evoke themes of identity, mirroring, and parallel existence. This oil painting on thick paper by Christopher Mark Brennan...

The oil painting features a family at the fairground stopping by the ice cream stand. An elegant mother hands a treat to one of her three children, while another holds his ice cream, and the last one a red balloon. A couple with a child stands on the left part of the painting, while in the background, men sitting on stools face a cook at a counter. The latter looks down and focuses on preparing food for his clients. The overall impression is joyful and lively, though it looks more like the end of the day because of the dark warm colors used by the artist to depict the scene. Edgar O. Kiechle was born in 1911. He was a movie illustrator and a painter. Edgar studied landscape painting with Jean Mannheim, and architecture, and became an excellent watercolorist. After studying at the Otis Art Institute in Los Angeles, he interned with leading architects and designers in the area. He worked at most major studios but his career as an illustrator saw him primarily at the Universal Studio Art department. In 1933, Edgar joined Lwerks as a background artist and worked on many films produced by Animated Picture Corporation through 1935. In the summer of 1941, Edgar Kiechle...

This drawing by Radoczy features a delicate and minimalist portrayal of a nude figure rendered in a profile stance. The figure emerges effortlessly from the subdued lines as if each ...

In this composition, Californian artist Wesley Johnson invites us to contemplative stillness. The abstract essence of this work flourishes into a living entity, enriched by a blend o...

The lithograph features a large soft red armchair. In the background, the artist sketches the shadow of the woman who used to sit in this chair. The overall impression leans towards ...

These geometric forms in space bring you to another dimension. Enhanced by the resin process, this acrylic painting opens a shiny window into ...

This lithograph is hand signed and numbered.Gustavo Novoa was born in 1941 in Santiago, Chile. He attended the Academy of Fine Arts and Law School there, only to learn that structur...

The lithograph features a woman with a hat in backlight. The artist gave to its subject a meditative posture. The overall impression leans towards a calm and thoughtful environment t...

Marc Chagall (1887-1985) was a Belarusian-French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic format...

This Brutalist wall sculpture was made in 1970 by assembling and folding patinated and hammered copper and brass sheets mounted on plywood. Stephen Chun...

This lithograph signed by F.G Silva shows a colorful combination of a bull and a butterfly referring to the ideas of strength and delicacy. The late Franco Gregori Silva was born in Cignone-Cremona...

Pierre Giraud's "Embankment of the Seine River" Parisian cityscape, portraying the iconic Pont au Change bridge, offers a mesmerizing scene at dusk. A m...

Mid-century large framed painting of two twin trees in warm earthy tones and textured details. The work is first sculpted in plaster and then painted. It has an illegible signature.

Lots of humor in this watercolor painted by a Mexican artist who unfortunately did not sign it. We enter in a fancy world. Be prepared! Two trinkets featuring, the first one, an imaginary church with 4 big threatening birds standing guard, two on the 2 church towers, and two in front of the door. Behind this, we can perceive the shape of a big kettle. These surreal objects stand in front of a window, therefore inside a house. They rest on a small green carpet...

This lithograph, numbered 49/200, dated 99, and signed on the right bottom is presented in its original silvered frame with an intact label on the reverse. It showcases Corneille's u...

Brennan never ceases to amaze us, as once again showcased in this mixed-media composition. It features an assemblage of geometric shapes - deep hues of red and yellow accentuated by ...

Season's Greetings # 1 is a greeting card featuring an original drawing by the illustrator and artist Marcel Vertès. The work displays Vertès' signature at the bottom right. The work is based on wax crayons, and ink for the delicate black outlines and composition of the primary character and secondary figures. Season's Greetings is a greeting card featuring an original drawing by the illustrator and artist Marcel Vertès. The work is presented unfolded. The work is based on wax crayons, and ink for the delicate black outlines and details of the six elves. Legend has it that Christmas elves...

Season's Greetings 1 is a greeting card featuring an original drawing by the illustrator and artist Marcel Vertès. Vertès defies the usual holiday expectations with his whimsical int...

In this drawing, the background is deliberately neutral to accentuate the prominence of the face. Charcoal is a "free" drawing medium known for its expressive qualities, requiring artists to work within its unique constraints. As an experienced figure work instructor at the California Art Institute, Max Turner...

In this gouache portrait, Max Turner has opted for caricature. Caricature is a form of art that involves exaggerating a person's physical features to create...

In this oil painting on thick paper, the Armenian artist Vahan Yervandyan presents an abstract composition that ignites a dialogue between two opposite worlds. The interplay of form ...

A certain enigma surrounds Max Turner: he possesses both undeniable mastery and the humility of a great artist. Endowed with musicality and vibrancy in his brushwork, he remains a man of unassuming nature, far removed from the realm of trendy art galleries. His experience as an art instructor has sharpened his acuity for studying and capturing the essence of figure models, nurtured by his lifelong fascination with the human visage. In this gouache portrait, one can sense that with each stroke, he repeats a gesture as if it was the very first time, capturing that fleeting fraction of a second, an emotion, a secret of his subject to infuse into his canvases. One can feel the artist’s pleasure...