Art

Lithograph in colours, 1997, on Rives BFK paper, signed in pencil, numbered from the edition of 75 (there were also 15 artist’s proofs), printed by Gemini G.E.L. LLC, published by Th...

Lithograph in colours, 1997, on Arches Cover paper, signed and dated in pencil, numbered from the edition of 75 (there were also 15 artist’s proofs), printed by Universal Limited Art...

Photolithograph, 1997, on Somerset Satin paper, signed and dated ‘1963’ in pencil, numbered from the edition of 75 (there were also 15 artist’s proofs), printed by Hamilton Press, pu...

Human and Animal Locomotion. Plate 647. Jumping a hurdle; bareback; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 5 7/8 x 17 ...

"The Face in the Sea" is an oil on canvas painting by Dorothy Hood, made in the 1970s. The artwork size is 70 x 60 inches. For Hood, the sea and the infinite expanse of the cosmos a...

"Untitled" is an oil on canvas painting made by Dorothy Hood in the 1980s. The artwork size is 70 x 60 inches. Hood often acknowledged that Arshile Gorky, Edvard Munch, Henri Matiss...

"Hombre Colorado II" is a papier-mâché sculpture made by Manuel Neri in 1958. The total dimensions of the piece are 65.5 x 27 x 10 inches. This work is a good representation of the ...

James Hayward Chromachord # 28 1998 Oil on canvas on wood panel 35.56 x 26.67 cms (14 x 10.5 ins) JHAY8937

Etching and aquatint, 1998, on Somerset Satin White paper, signed and dated in pencil, numbered 69th from the edition of 100 (there were also 15 artist’s proofs), printed by Maurice ...

James Hayward Chromachord # 28 1998 Oil on canvas on wood panel 35.56 x 26.67 cms (14 x 10.5 ins) JHAY8937

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

Joel Perlman is best known for his sculptures that juxtapose flat geometries of welded steel, aluminum, and bronze in three-dimensional space. His sculptures sketch themselves out in...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 25.25 x 35.25 inches Signed lower right

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

"Rising" by Michael Thacker British, 21st Century Bardiglio Marble with Platinum Leaf Sculpture size (HxWxD): 19.75 x 15 x 6 inches Monogrammed and dated 9 5 21

Benjamin Ferris Gilman paints an intriguing view of Venice through a narrow canal in his oil painting entitled, “Canal in Venice.”

"Between 1982 and 1987 Andy Warhol produced several hundred works each comprising several identical photographs stitched together with thread. At the edges of the work excess thread ...

Robert Indiana "Decade Autoportrait '68", 2001 Silkscreen 35 1/2 x 35 1/2 inches Numbered from the edition of 50 in lower left Signed by the artist in lower right

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. Pro...

Medium: Oil on Canvas Dimensions: 29.00" x 25.00" Signature: Signed Upper Right

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...

Max Kuehne paints a dockyard across the river from the skyscrapers of New York City in his artwork entitled, “New York Skyline”

Olivia Fraser Temple II, 2022 Pigment, Arabic gum & gold leaf on handmade paper 35 x 35 inches 88.9 x 88.9 cm OF041 Olivia Fraser (b. 1965, London) is a...

Signed Lower Left by Artist

Signed Lower Right by Artist Caricature by George Wachsteter (1911-2004) for the 1965 CBS telecast of 'The Miss Universe' Pageant with hosts Jack Linkletter, June Lockhart, John Dal...

Looking at a painting by Colin Hunt is like watching someone pass through a hole in our consciousness. As the landscape refracts through the sitter’s absence and fills that emptiness...

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

Signed Lower Right by Artist

"The Final Judgment." Illustration for the same-titled story published in The Saturday Evening Post, with their stamp on verso, circa 1960. Signed in image, lower left (disguised as ...

A Surgeon for Susan

Signed Lower Right by Artist PROVENANCE: Private collection, Berkshire, NY Sotheby's, New York- The Illustration Art Collection of Kendra and Allan Daniel, April 11, 2011- Lot 84 ...

Signed Lower Left by Artist Cover of The Saturday Evening Post, April 23, 1960

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

Initialed Lower Left

Signed Lower Left by Artist Hand written to back Painting by Russell Sandbrook (Cousin of Jim Disney)

Signed Lower Right by artist

Signed Center Right by Artist Collier's Magazine Cover, December 23 1916

Signed Lower Left by Artist Illustration for 'The Lone Trail'

Signed on Reverse by Artist Advertisement for the Interwoven Stocking Company, New Brunswick, NJ.

Signed by Artist Lower Left “Tom burst forth as a full-blown hero who had rescued the maiden from a watery grave...” Book illustration: Jo’s Boys, and How They Turned Out, by Louisa...

"Satiric Dancer" is a photograph by Andre Kertesz. The photograph is signed verso, "Paris 1926, A. Kertesz". The framed piece measures 18 1/4 x 15 1/4 x 3/4 in. Kertész's work was i...

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

Horst P Horst (1906-1999) (Black and White Photography) Lisa on Silk, New York, 1940 Signed on reverse Silver gelatin print 14 x 11 inches Horst was a perfectionist who raised the s...

Lyrical abstraction in black

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Provenance: (Possibly) Wilhelm Suida; thence by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA Traditionally attributed to the French...

Oil on canvas

Provenance: John Barnard, London (Lugt 1419) or possibly Saint John Dent, London and Milton (Lugt 1438) Unidentified collector’s mark “W,” lower left of the mount (Lugt 2591a) Private Collection, USA. This expressive and boldly executed drawing is a work by Francesco Maffei...

4 x 5 inch contact print (image size), on 8 x 10 inch sheet, edition 10, signed on verso LARGER SIZES AVAILABLE - please inquire. Toshio Shibata is one of Japan's leading landscape ...

Oil on canvas

Kx2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Signed (at lower right): A. Weiskopf

Etching, aquatint and embossing on paper Plate size: 39.5 x 39.5 cms (15 1/2 x 15 1/2 ins) Paper size: 58 x 58 cms (22 3/4 x 22 3/4 ins)