Plastic Wall Decorations

Expanding on our wallpaper and fabric series with the Fabian Fern. The new designs feature ferns elegantly floating across the print.

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Edward McHugh Centerfold, 2020-21 Acrylic, ink, thread, polyester resin on double-refined fiberboard 45.5 x 56.5 x 3 in

A unique book first edition print set on a circular format retains its original case.

Title: Transcendent Surrender to the Cosmic Mirror Medium: Acrylic and Mixed Media on Canvas Size: 152cm x 152cm Caption: The cosmic mirror becomes a gateway to a dreamscape where co...

Industrial and original wall art piece. Produced by a National pensil making company in Czechoslovakia in 1960s. This art work shows the whole procedure of pensil making in one insta...

1950s singer advertising dealer display sign 1950s singer advertising dealer display sign. Made from a good quality heavyweight resin/fiberglass the si...

An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely detailed 3D scans o...

Luc DELVAUX Abstract painting in strong colors with a playfully gradient. Ready to hang, framed with a passepartout in a handcrafted real wood picture frame in white behind anti-refl...

Lady with flowers. Gouache on cardboard in pastel tones. Ready to hang, framed with a passepartout in an ash wood picture frame behind anti-reflectiv...

Joy by Kristina Kralikova, a Slovak artist. Signature is on the back.

Detlef HAGENBÄUMER “Was geht?”. Oil, acrylic and spray paint on canvas.

Contemporary artist Jennifer Printz "Tracing the Mysteries l, ll and lll" is part of a series of three monoprints that blend photography, relief print with chine colle (epson ultrach...

Contemporary artist Jennifer Printz "As Within l, ll and lll" is part of a series of three monoprints that blend photography, relief print with chine colle (epson ultrachrome inks on...

Contemporary artist Jennifer Printz "Quietus" series of four prints blends photography, graphite, and Epson Ultrachrome inks on antique papers. The work is matted and framed in wood,...

Costume design with handwritten notes. Gouache on paper from 1959. Ready to hang, framed with a passepartout in an ash wood picture frame behind anti-reflective acrylic glass. Siz...

Contemporary artist Jennifer Printz "Quietus II" series of four prints blends photography, graphite, and Epson Ultrachrome inks on antique papers. The work is matted and framed in wo...

Abstract painting in different shades of blue with color sprinkles in black. Acrylic on paper. Ready to hang, framed with a black passepartout in a real wood picture frame in black. ...

Contemporary artist Jennifer Printz "Walking on Water" and "Drowning" hand-printed woodcut on Kozo paper prints are matted and framed in wood with anti-static, non-glare Plexiglass g...

Contemporary artist Jennifer Printz "Beset" and "Mourning" hand-printed woodcut on Kozo paper prints are matted and framed in wood with anti-static, non-glare Plexiglass glazing. It'...

Detlef HAGENBÄUMER “Heartbeat”. Abstract etching on thick paper from 1998. Handsigned and numbered (2/2). Ready to hang. Framed with a passepartout in an ash wood picture frame behin...

Hans OSSWALD Abstracted presentation of different suns in a circled arrangement. Ready to hang, framed with a passepartout in a handcrafted real wood pict...

Acrylic on canvas. Signed and dated. Measures: H 200 cm / 6' 6 7/8" L 210 cm / 6' 10".

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

Great, colorful, vintage wall art piece from Midcentury era in Communist regime of Czechoslovakia. The art piece is showing three pigs in the field. Origina...

Born in 1938 in Auzolle-Grande, Gaston Planet died in Nantes in 1981. After fine arts in Nantes and the Jullian Academy in Paris, Gaston Planet devoted himself to painting. From 1961...

Mixed technique on paper (collage - acrylic) designed by Andrea Branzi. Created for the exhibition project Galleries of modern art of Arezzo 1989, Italy. Bibliography Andrea Bra...

Detlef HAGENBÄUMER “Pop Queen”. Abstract depiction of a female body on a yellow and grey background. Oil/Acrylic on canvas framed in a high-quality, solid steel frame. Ready to hang.

Interested in collapsing the contradictions between form and formlessness, Daniele Albright's work focuses on the immaterial as the indeterminate and shifting space between perceptio...

Born in 1938 in Auzolle-Grande, Gaston Planet died in Nantes in 1981. After fine arts in Nantes and the Jullian Academy in Paris, Gaston Planet devoted himself to painting. From 1961...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. All artwo...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

An elegantly subtle abstract expressionist acrylic painting by Mary Peyton Barklay titled “2000’s” from 2017. Hand painted with white and light pastel colors, including blues, greens...

Circular tapestry, for Dilmos Milano, made in polyester fibre ribbon framed, mounted on an aluminum semicircle structure, sewn and fringed by hand. S...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

Contemporary painting, Circus, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 28×44 (H) cm Frame: 44 x 3.5 x 60 (...

Acrylic and gouache on paper, mounted on board and framed, by Minamisawa Hiroshi. Bearing a label from the Avant-garde Kodo Art Group Exhibition 1955.

Zahir Moka Wall Tapestry by Antilla Di Lauro Dimensions: D 240 x H 300 cm. Materials: Semi-worsted wool, Merino wool, recycled plastic, and bamboo silk. Available in three different...

Presenting an exceptional pair of early 19th-century Spanish military shoulder epaulettes, a testament to the artistry and opulence of the era. Crafted from meticulously tooled gold...

Lola Pine Wall Tapestry by Antilla Di Lauro Dimensions: D 280 x H 205 cm. Materials: Semi-worsted wool, New Zealand wool, recycled plastic, and twisted viscose. Antilla Di Lauro (b....

Mustique Steel Blue Wall Tapestry by Antilla Di Lauro Dimensions: L 225 x H 330 cm. Materials: New Zealand wool and recycled plastic. Antilla Di La...

Day 18 - Emotional Layers Collection by Michele Bagnod Michele’s collection “emotional layers” it’s a self-discovery through layers of colours. Nothing is prepared before and everyt...

Voyage and Voyage II are a set of abstract paintings in acrylic by Slovakian artist, Kristina Kralikova. 4/15/2018.

Jungle is an abstract painting by Kristina Kralikova, a Slovak artist. Acrylic on canvas.

Born in 1938 in Auzolle-Grande, Gaston Planet died in Nantes in 1981. After fine arts in Nantes and the Jullian Academy in Paris, Gaston Planet devoted himself to painting. From 1961...

Exceptional, original large scale David Kessler (1950-) watercolor painting. It is signed by the artist at bottom right. It comes from a collection from Aetna Insurance Companies in ...

A set of six Chromo-Lithographs of Australia's Great Barrier Reef by W. Saville - Kent; newly framed with archival materials in colorful Lucite fram...

"Street Skin" wall sculpture by artist Juan Gerslt. Title: Street Skin Technique: mixed technique with Graffiti and UV printing on methacrylate and dibon. Year: 2022

Labrosse, Daniel: Things That Happened (2023) technique: gouache, acrylic, ink, canvas size: 90 x 120 cm signed on the on the bottom left Daniel Labrosse is a Hungarian-French visu...

TOP OF THE LAKE Acrylic on canvas Measures: 12,9'' x 16,9'' Acrylic on canvas Vernon is a sculptor artist emerging from the French art scene. He began his training with the F...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

A Japanese silk haori float-mounted on an acrylic rod to a stretched pink cloth canvas in a custom formed acrylic shadow box by artist Greg Copeland...

"I Classici" - An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely deta...

In this painting, the viewer is transported to a world where the past and future collide. At the center of the painting, we see a female medieval character, dressed in ornate armor a...

Title: Metaphysical Fractions of Unified Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: Immerse yourself in the intricate patterns and ethereal symbol...

Artist: Liu Xiaofang (Chinese, b. 1980) Title: I Remember II-02, 2012 Medium: Digital pigment print mounted on Acrylic Measurement: 39.25" x 39.25" Edition: 2/8 PROVENANCE: Purchased...