Bay Area - Art

The label on the back has faded with time, but it appears to read “His Great Grandmother’s Portrait presented to George Michael Beauridge on his 18th birthday by his Aunt (?) July 10...

utting a new spin on one of his favorite subjects, Léger here depicts tree trunks and logs as objects in space rather than related to the ground. The gnarled branches form an abstract still-life composition, twisting and turning in unanticipated directions. The earthy browns, greens, and yellows contrast with the bold black outlines. The logs appear as though arranged on a platter, presented to the viewer for contemplation. An intriguing aspect of this piece is the tiny box...

Artist: Harold Altman (American, 1924-2003) Title: Sunday, Central Park Year: c. 1985 Medium: Color lithograph Edition: Numbered 56/285 in pencil Paper: Wove Image size: 17.5...

This artwork titled "Masquerade" c.1960 is an original color lithograph by French artist Jacques Lalande, 1921-2003. It is hand signed and inscribed E.A (Artist Proof) in pencil by t...

Georges Braque Frontispiece, from La Nuit, La Faim (The Night, The Hunger), 1960 is an abstract work which takes inspiration from a poem by Georges Riebmont-Dessaignes. Georges Riebm...

Pantheon (Rome) by Frank Schott from a series of monochromatic and timeless photographic observances of iconic architectural and interior references around Rome's historical center ...

This is an original, hand-printed contact photograph using the antique cyanotype process. These Monterey pine trees obscured by fog and wildflowers are in the woods across the bay fr...

The bright glow of a summer sky at sunrise. The silhouette of a single magnolia tree branch with its curving curling leaves. The darker grass green undercoat was painted in transluce...

'Spring Composition no. 2' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and s...

Large scale original art photograph of the Atomium, a landmark modernist monument building in Brussels, Belgium, originally constructed as the centrepiece of the 1958 Brussels World'...

This artwork titled "Facing the Sun, Gyakko" is an original color aquatint by noted Japanese artist Shogo Okamoto, 1920-2001. It is hand signed, dated and numbered 62/100 in pencil b...

This artwork titled "Interior" is an original watercolor on paper by Israeli artist Itzchac Tarkay 1935-2012. It is signed at the lower right corner. The image size is 11.5 x 9 inc...

This is a hand-printed contact photograph using the antique cyanotype process and very big negatives which are the same size as the final print. They are of the woods in the hills of...

This artwork titled "Two Doves II" 1993, is an original colors serigraph on wove paper by noted Russian artist Igor Medvedev, 1931-2015. It is hand signed and numbered 291/295 in pen...

This magnificent work by Victor Vasarely displays an intricate interplay of green optical figures against a clear background in a three-dimensional medium. It offers a fascinating vi...

mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from Christian Stoll‘s body of works titled 'Hemisphere' Hemisphere I by Christian Stoll 58 x 58 inches (147 x 147cm) signed edition of 7 48 x 48 inches (122 x 122cm) signed edition of 7 40 x 40 inches (102 x 102cm) signed edition of 25 archival fine art pigment print signed + numbered by artist on certificate label „frameless“ glass face mounting available on request _________________________ Christian Stoll has experimented with the photography medium since 1991. His predominant interest is the still-life on a monumental scale. As his subject matter, Stoll shoots static objects, forms...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Texan Lynx", No. 19, Plate XCII, 92, from Audubon's "Quadrupeds of North America", printed and colored by J.T. Bowen and published in Philadelphia from 1849-1854. The lithograph depicts a Texan Lynx laying on the ground with hills in the background. This antique hand colored Audubon quadruped lithograph is presented with the original descriptive text pages 293-296 from Audubon's 19th century publication. The print is in excellent condition, including the striking hand coloring. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Nine-banded Armadillo", No. 30, Plate CXLVI, from Audubon's "Viviparous Quadrupeds of North Amer...

LA Parking by Frank Schott a burst of red in an urban landscape of striking minimalism from a series of photographs capturing the mid century modern architecture and architectural el...

This artwork titled "Lunik Home" 1971, is an original stone cut on thin handmade paper by noted Inuit artist Pitseolak Ashoona, 1904-1983. It is hand signed, dated, titled, numbered 10/50 and inscribed Dorset in pencil by the artist. With the artist blind stamp at the lower right corner. The artwork (image) size is 15 x 17.5 inches, framed size is 25 x 29 inches. Custom framed in original light brown wood frame, with of-white color matting. It is in excellent condition, the frame have some very small minor restoration, barely visible. About the artist: Pitseolak was born to Timungiak and Oootochie on Nottingham Island in the Northwest Territories now Nunavut. Her name means "sea pigeon" in Inuktitut. She grew up in the traditional life of her people, with food dependent on hunting and gathering. Her culture relied on angakuit. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island.[3] They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. After her husband died at the age of 40 from a viral sickness, Pitseolak raised four of the children, Kumwartok, Qaqaq, Kiawak or Kiugak, and daughter Napachie Pootoogook, herself. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern `Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. Pitseolak died on May 28, 1983, in Cape Dorset now Kinngait. She was survived by a large family of artists, including: Pitseolak Ashoona was one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist, who worked out solutions to artistic problems through what Lalonde described as "a self directed-program of repetitious drawing". Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print...

Gary Goldberg Finding the Universe in Oaxaca, When Clouds Meet the Dawn, 2024 Dry wool needle felting 48 x 120 in Edition of 3 One of Gary Goldberg’s photographs from his Finding th...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Artist's statement:  In my series Critical Masses, I explore the relationship between our species and various small marine creatures to illustrate in symbolic form various narratives...

With expressive fervor and graphic impact, this striking work demonstrates Miro's exquisite use of line. Heavy-handed black contours figure an otherworldly face, colored with vibrant...

This beautiful 19th century framed engraving "The Fighting Temeraire" by James Tibbetts Willmore is based on an original painting by the renowned British artist J.M.W. Turner. It was published by James S. Virtue & Co. in London between 1859-1875. It depicts the once mighty British warship the HMS Temeraire being towed away down the river Thames by a much smaller steamboat to a ship-breaking yard to be broken up for scrap. The Temeraire was first launched in 1798 and represented the pinnacle of British ship-building. 180-feet long, constructed of English oak and armed with 98 guns, she was one of the largest warships of the period. The Temeraire became a symbol of British pride and military power that endured throughout the 19th century. The man-of-war served during the French Revolutionary and Napoleonic Wars and was among the last serving ships to have been at the Battle of Trafalgar in 1805. It became one of the many older ships put out of service in the 1830s and 1840s. The once mighty and feared ship symbolizes a once magnificent, but now obsolete, technology. Turner seems to lament her inglorious final journey, being towed by a less magnificent, but modern steam powered tugboat. The Turner painting was created in 1838 and is now held in the National Gallery in London. Willmore's engraving, created in 1859, captures the dramatic scene with great detail and skill. The image has become an iconic representation of the decline of Britain's naval power and the transition from sail to steam in the 19th century. The sunset in the background is symbolic of the sun going down on British naval power and tradition. The painting conveys profound and diverse themes that are central to the human experience: those of mortality and change, technology and progress, heroism and brutality. The painting demonstrates Turner’s skill as an artist. His ability to produce scenes of great beauty that are dramatic, but are also symbolic, stimulating both thoughtful analysis, as well as emotion. Turner's painting was voted by the British public in a 2005 BBC radio sponsored survey to be the British people's favorite painting of all time. In 2020 it was included on a new British banknote...

While the 1920s stock market was raising some Americans to new heights of wealth, plenty of folks ground out a minimal existence through hard labor. Pointedly capturing this disparit...

Surrounded by artistic inspiration from a very early age, Kate Salenfriend learned most of her technical skills from her great-grandfather, Stewart Robertson, the registered Californ...

This artwork titled "Forest Bright, Humbolt" is an oil painting on masonite board by noted American artist Juan Archuleta, b.1948. It is signed at the l...

James Abbott McNeill Whistler (1834 - 1903, British) "Fulham (Chelsea Church)" Etching Year 1865 8" x 5 1/8 unframed 13.75 x 17.25" framed

The son of an Italian artist, Giuseppe Palumbo was immersed in creativity from an early age, first channeling his vision through architecture and design. Three of his architectural p...

Marie Cameron’s paintings emerge from moments of quiet astonishment in the natural world. This work is from her 'Bird and Tea Cup' series A gathering of hummingbirds is known as a c...

Marie Cameron’s paintings emerge from moments of quiet astonishment in the natural world. This work is from her 'Bird and Tea Cup' series A gathering of hummingbirds is known as a c...

Marie Cameron’s paintings emerge from moments of quiet astonishment in the natural world. This work is from her 'Bird and Tea Cup' series A gathering of hummingbirds is known as a c...

Large scale photograph of elegant interior view of the French revolutionary hidden door in the Villa Napoleone in Elba, Tuscany. Napoleon Bonaparte I - not at home ( ELBA ) by Frank...

This is a hand-colored engraving of a parrot bird entitled "La Bondree (Bird of Prey)" by Francois Nicolas Martinet, plate 420 from 'Histoire Naturelle des Oiseaux' in association wi...

This artwork "titled "Horses #III" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand si...

Original acrylic painting on 24 x 48 inch canvas with 1/5 in inch deep clean white sides. Unframed. This is the fourth in the artist's ‘Twilight’ series of nine monochrome botanical...

This artwork "European Cityscape" c. 1990 is an oil painting on hard board by Argentinian artist Henry D. Ramirez. It is signed at the lower left corner by the artist. The hard board...

This is an original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Wa-Kawn, A Winnebago Chief", after a painting by Charles Bird Kin...

This artwork titled "Prayer Beads, Western Tibet" c.1998, is a photograph by American artist Lisa Kristine, b.1965. It is stamp signed and titled on the back. The photograph size is ...

Artist: Shoichi Ida (Japanese, 1941-2006) Title: Surface is the Between – Between Vertical and Horizon – Paper Between a Stone and Brook Series: Surface is the Between Year: 1983 Medium: Lithograph, screen print, printed both sides with Chine-collé Paper: Fabriano and Mino Usu Kozo Image size: 35.55 x 25 inches Sheet size: 37.5 x 27.75 inches Signature: Signed lower right Edition: 75. This one: 7/75 Condition: Very good This print is by Shoichi Ida, a noted Japanese artist. It is from his extensive and important series titled “Surface is the Between’. One of Ida Shōichi...

This mid-1950s photograph, taken by society photographer Slim Aarons, features the photographer Slim Aarons riding a bike along the quayside with cameras slung round his neck during ...

Two individual photographs from a series of monochromatic photographic observances capturing found conceptual objects in urban cityscapes Found Object A + B (Diptych) by Frank Schot...

"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

This artwork "Fishing Boats" 1966 is an oil painting on canvas linen by noted Filipino artist Cesar Buenaventura Espinosa, 1919/22-1983. It is signed and dated at the lower left corn...

This artwork "Village de Provence" c.1990 is a watercolor on paper by American impressionist artist Sharon Galigan, b.1939. It is hand signed at the lower left corner by the artist. The artwork size is 17.5 x 13.75 inches, framed size is 25.5 x 22.5 inches. Custom framed in a wooden light brown and grey frame, with beige matting and light brown filet. It is in excellent condition. About the artist: Sharon Galligan (American, b. 1939) is an artist painting in watercolor, oil, acrylic, monoprint and mixed media. She was an art major in both high school and college: San Jose State University, West Valley College, and Evergreen College. She has also studied with nationally noted artists and teachers, including Ted Goeschner, Frank Webb, Charles Movali, Howard Rees, Tom Lynch, Dale Laitinen, Marilyn Simandle...

This artwork titled "Scale Tipping" 2009, is an original colors screen print on cream, Speckletone fine art paper. by noted American artist Shepard Fairey, b.1970. It is hand signed,...

John Franklin was born on Christmas day, 1925 in North Platte, Nebraska. This piece depicts three women from Taos, New Mexico standing in content poses, holding jars and wearing int...

This artwork titled "Head in the Evening" 1980, is an original colors lithograph on Wove paper by renown Russian artist Mihail Chemiakin, b.1943. It is hand signed and numbered 81/20...

Artist: Ruth Mae Crane – American (1929-2002) Title: Black Nativity by Langston Hughes Year: 1997 Medium: Acrylic on Leather mounted to plywood Size: 39 x 31.5 inches x 1.5 inches Si...

Artist: Lewis Suzuki (Japanese/American, 1920/2016) Title: Golden Gate Bridge, San Francisco Year: Circa 1970 Medium: Watercolor Paper: Watercolor paper Image size: 14.5 x 10.25 inc...

This original 19th-century European genre painting depicts an intimate, domestic scene of two children. The painting captures a playful moment of hide-and-seek or a lighthearted conf...

This artwork titled "Paisaje, Godella (Valencia) Espana" is an oil on canvas by noted Spanish artist Jose Salvador Rodriguez Bronchu, 1913-1999. It is signed at the lower left corner...

Created to accompany poetry in the book Si je mourais la-bas by Guillaume Apolliaire, this lovely woman detailed in a soft delicate profile we can only a...

René Romero Schuler is an American painter and sculptor who creates powerful images that speak to the complexities of the human condition and the spirit that connects all human bein...

This artwork "Chevre Allongee (Reclining Goat)" c. 1860, is bronze sculpture after renown French artist Antoine Louis Barye, 1796-1875. Signature is impressed in the bronze. The subject size is 4.25 x 7 x 3.35 inches, including marble base is 5.25 x 4 x 7.75 inches. It is in excellent condition. About the artist: Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts. Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative...

Overlooking Ardizzone's House, on the water's edge in Portofino, Italy, July 1985. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim...

This artwork c.1950 is a watercolor by noted Oregon artist Maude Walling Wanker ( American, 1882-1970) It is signed at the lower right corner by the artist. The artwork size is 16.25 x 21.25 inches, framed size is 25 x 29 inches. Framed in a dark wood frame, with gold color bevel. The artwork is in excellent condition, the frame has some minor scratches. About the artist. Maude Walling Wanker (1882-1970) was born on October 22, 1882 in Lake Oswego, Oregon. She studied art at the Museum Art School with Clara Jane Stephens, at the Art Institute of Chicago in 1936 with John Bernard Hinshaw, at the University of Oregon with Steinhof, and in Vienna. She specialized in watercolors and oils. Maude Wanker grew up in the Tualatin Valley, where she began she began sketching as a child. After her marriage in 1901 and the birth of a child, she began attending the Museum Art School on an irregular basis. In 1939 she was one of the three artists chosen to represent Oregon at the fourth National Exhibition of American Art, held in New York's Rockefeller Center. Wanker moved to the Oregon Coast...

Mildred Dienstag "She & He" Original Mid Century Framed Serigraphs c.1975 Vintage mid 1970s abstract portraits of a man and woman by noted artist Mil...

Adele Moore Yonchak holds a BA in Studio Art from Hollins University with additional coursework from Lorenzo de' Medici Art Institute in Florence, Italy. While her formal training a...