Manhattan - Art

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

Basquiat record art 1983/2005: This Basquiat Beat Bop record was published c.2005 featuring a RARE limited edition highly decorative 24 x 24 inch (61 x 61 cm) double-sided fold-out p...

Artist Statement: My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and color are equally...

Robert Longo Men In The Cities album cover art: A rare highly sought-after 1981 record art cover featuring original artwork by Robert Longo on...

A beautiful oil on canvas painting by the French artist, Salvadore Demone. Deomne was a Parisian painter known for his colorful cityscapes depicting the times of his generation. This...

Alan Shields Untitled mixed media geometric abstraction collage, ca. 1979 Etching and aquatint in colors with collage Pencil signed and numbered 15...

Title: Early In The Morning Medium: Oil on canvas Size: 27 x 31 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: Thi...

"Unter freiem Himmel" (2024) by Susanne Zuehlke (b. 1962) is a vibrant composition characterized by bold geometric shapes in vivid primary colors. The piece features dominant blocks ...

Painted Faces, 1996 by Jean-Michel Voge, is a contemporary color photograph 13" x 19" of two women with painted faces from the Surma tribe in the Omo Valley in Ethiopia, Africa. Th...

ABOUT THIS PIECE: The cat is a photographic series shot in Milan for Vogue Bambini in January 2016. ABOUT THIS ARTIST: Carolina Mizrahi creates fantasy ...

Original painting by Patricia Traub

ABOUT THIS PIECE: Inspired by the warm light, open vistas, and saturated colors of her birthplace (Southern California), Julianna Goodman’s collages often distill memories of nature...

"Mink Hollow Brook," by Hudson River School artist Jervis McEntee (1828-1891) depicts the lush foliage, and rocky terrain surrounding a Catskill brook. This 19th century oil paintin...

Ethereal and minimal, Susan English’s paintings play with light and space. She employs transparent pigments and layering to manipulate light and illuminate her color fields. Soft var...

ABOUT THIS PIECE: "I wanted to photograph the pools to show the beauty of the architecture, while minimizing the modern elements. I love the geometry of the tiles, the lines on the b...

Hunt Slonem "Hombre" Red and Orange Bunny Heart A rabbit gestured in red and orange on a matching Diamond Dust background in a vintage frame. Unframed: 14 x 14 inches Framed: 20 x 1...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

This large scale, ethereal portrait depicts a tranquil male nude figure floating in pink and blue. Based on a tempera painting, an expressionist, emotive piece to bring dramatic impa...

A wonderful Impressionist Snow covered pastoral scene of the colorful and quaint early morning Carversville Pa Bucks County. Willet has portrayed this piece in a most intimate, yet energetic way, and has packed much feeling into this large scale work. It is almost as if we are there in the snow in the early morning, bringing a beautiful feeling of nostalgia. Christopher is known for capturing the beauty and simplicity of an earlier time of the 20th Century; old New York, families working together, villages and farms and friends taking walks together. Many are depicted in recognizable historical settings and this piece is an excellent example of this as he captures a snow-filled historic setting of Bucks County with the calm, endearing charm of a snowy morning. Christopher engages his audience with the quick use of brushwork and great attention to picking up the energy passionately of his subjects. This piece is signed lower right and it comes housed in a wood carved antique gold tone wood frame ready to be displayed with hanging with wire on verso. Art measures 12.5 x 15.5 inches Frame measures 15 x 19 inches Christopher Willett, was born in 1959 in Bucks County Pennsylvania and is mostly known for his landscape paintings. Willett, a painter with a family lineage dating back to ancestors arriving in this country aboard the Mayflower and Victory, settling Plymouth. Some recorded family history finds a Willett ancestor, Augustine Willett whom was a Captain of historic repute under the command of General Washington. Additionally, in more recent history, Willett artisans became renowned for their designs and beautiful works in stained glass that adorn the Bryn Athen Cathedral- for the Pit Cairn estate. Willett, is also a descendant of the renowned painter Edward Hicks...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Butterfly Collection” is a vibrant and energetic...

Oil on Canvas , Made in Florence, Italy Daylight explores a playful world where dreams and reality meld together to create surreal moments. When engaging with Piussi's work, we enter an arena where we are immersed in childlike delight. We experience snapshot images of a world reduced to its essence, in a seemingly comic-book style that has echoes of Giotto and Paolo Uccello, and even of medieval illuminations. My work is simple: the subject matter is stripped to basics, so all that is engagement, controversy and links to reality is taken away, and what remains is an icon with an aura of philosophical suspension, and a window into the enigma of existence. Piussi’s work is directly influenced by artists Alex Katz and David Hockney, and his style reflects a comprehensive understanding of the work of Giotto and Paolo Uccello. In "Girl on a Rock with Mask”, the figure represented in this painting conveys a blank mood, such that the viewer is invited to examine their own intimate feelings that arise when observing the image. Piussi creates a universe of more profound truths in his examination of the tranquility of everyday life: he reminds us of our need for reflection, shows us a fearlessness in the face of stillness and the passage of time. The broad repertoire of his paintings, with their naturalistic color and semi-abstract shapes, presents us with Piussi’s views concerning our contemporary lives. Rather than mimic the appearance of nature, Piussi reaches for its essence, in visions that are devoid of distracting details. Women stand on the shores of quintessentially peaceful seas; they are self-contained, at ease. These women are unwitting replicas of classical goddesses. Or we see a proud diver echoing Neptune, holding his trident. Piussi was born in 1967 in Udine and raised in Florence, where he majored in sculpture at the Institute D’Arte. He completed his artistic education at Milano's Brera Art Academy where he majored in painting. Piussi went on to live in Florence, where he now pursues his passion for painting, bronze, terracotta sculpture and bas-reliefs. Giacomo Piussi...

Thomas Alleman’s urban landscapes convey the pulsating energy and sensual excitement of city life. With an eye for the visual rhythms and geometry of buildings, highways and parks, h...

Bronze bust with brown patina on marble socle base. Red patina detail on head scarf. In beautiful condition, expertly cast and modeled. Perfect for an art collector looking for European work that depicts Black and African people...

Edition of 110 Signed and numbered by the artist. Dustin Pittman, a third-generation photographer from the Adirondack Mountains, began his journey as a production assistant on the f...

"Coney Island" Brooklyn NYC Amusement Park Mid-century American Scene WPA Modern Ludwig Bemelmans (1898 – 1962), “Coney Island" 35 x 27 inches Oil on board Signed lower right Origi...

Maker: Addison Thomas Millar (1850 - 1913) Origin: American Date: 19th century Medium: Oil on board Dimension: 8 in x 10 in (image); 11 1/2 in x 13 1/2 in (frame)

KERRY JAMES MARSHALL Set of Six (Six) Scout Series Embroidered Patches, 2017 Rayon thread on poly twill backed embroidered patches, set of six. Brand new in original packaging. Large...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Al Hirschfeld Original (unique) Self portrait drawing, 1976 Hand signed ink drawing, on typewritten letter with envelope Hand signed in Hirschfel...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

A charming depiction of an interior scene with Piano and Chandelier. A cozy impressionistic scene with warmth and feeling. Whimsical details through out and beautiful brushwork. This...

Henry Rollins Black Flag photograph NYC 1987 (printed later): Archival Ink Jet Print. 16x20 inches including borders. Excellent overall condition. Hand signed from a limited edition...

Artist: Slonem, Hunt Title: Owls Belle Terre Date: 2024 Medium: Oil on Canvas Unframed Dimensions: 30" x 30" Signature: Signed Verso Edition: Unique Provenance: Hunt Slonem St...

Yoshitomo Nara Skateboard Deck: This Nara skate deck was created in 2017 as a result of the collaboration between Yoshitomo Nara & MoMa New York. The deck features a rendition of Nara’s work, ‘Solid Fist' & makes for standout Yoshitomo Nara wall-art that hangs with ease. Medium: Screen print on maple wood skate decks. Dimensions: 31 x 8 inches. Housed in original shrink wrapping. Unsigned from an edition of unknown. Published by MoMa New York. Artist stamp lower front side. Influenced by elements of popular culture such as anime, manga, Walt Disney cartoons, and punk rock, Yoshitomo Nara creates paintings, sculptures, and drawings of adorable-yet-sinister childlike characters. Painted with simple bold lines, primary colors, and set against empty backgrounds, these small children and animals often share the canvas with text, knives, plants, and cardboard boxes, among other recurring elements. As one of the fathers and central figures of the Japanese neo-Pop movement, Nara’s work expresses the struggle to find an identity fractured by war, rapid modernization, and an omnipresent visual culture. Related Categories: Pop Art, Tokyo Artists, Comic/Cartoon, Japan, Contemporary Pop, Popular Culture, Contemporary Asian...

Office Party by Leonard Freed is a 13" x 19" limited-edition photograph. The print 4/5 is signed verso (back of photo) by Brigitte Freed (wife of the phot...

April Gornik Remember the Sabbath Day (The Fourth Commandment), 1987 2 Color Lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Signed and numbered AP 12/15, a...

Keith Haring, Andy Warhol 1986: Rare, highly sought-after oversized 1986 folding announcement card / poster illustrated by Keith Haring & Andy Warhol ...

This beautiful contemporary high textured abstract painting is great for a classic and contemporary setting. The variation of colors and rich texture would greatly bring a space to l...

Abstract red, green and grey interior scene with lines, shapes and hand painted brushstroke texture. Colorful large scale work ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Paper 21.25 x 27.25 in. / 54 x 69 cm Softground etching and aquatint (from two plates) with hand coloring in watercolor (green and orange). Signed by the artist and dated 77 lower right in pencil; numbered lower left in pencil. This print was proofed by Daniel Levy and printed and hand-colored by Ken Farley at Claes Oldenburg’s studio in New York, which Petersburg Press was using at the time. 1977 heralded a breakthrough in Hodgkin’s prints showing an increase in emotional content and intensity. They are more fluid and lush due to an increased looseness of handling. They show a richness and a surface texture previously lacking – mainly due to the application of gouache or watercolor by hand but also to the more tonal techniques of aquatint and soft-ground etching with its chalk-like lines. This print amongst others of the period was prompted by a visit to Tulsa, Oklahoma and represents an interior scene. Catalogue Reference: Elizabeth Knowles...

KAWS Companion 2016-2019: A curated set of 4 individual Black KAWS Companions new & unopened in original packaging. KAWS Clean Slate, 2018: 14.25 x 8 x 8 inches. KAWS Black Compan...

John LaGatta (American 1894-1977), "Untitled: Seated Lady", Signed Figurative Pencil Drawing on Paper, 17.38 x 11.38, Early to Mid 20th Century Colors: Bl...

Untitled, c. 1900 Oil on canvas 16 x 24 in. Framed: 22 3/4 x 31 x 2 in. Signed lower right

"Colossi of Memnon, Egypt" Rare Orientalist Landscape Painting by Frederick Arthur Bridgman (American, 1847-1928) A wonderful oil on canvas painting by American orientalist painter Frederick Arthur Bridgman depicting The Colossi of Memnon - two large stone statues...

A metaphor for emotions, experiences and memories, Power Play, 2022 by a.muse is a contemporary abstract acrylic mixed-media painting․ The work is sewn wi...

"Guided Spirit" (maquette) Abstract, Tabletop Size, Metal Sculpture by Kevin Barrett Bronze Kevin Barrett is noted for creating unique, rhythmic, abstract indoor and outdoor sculptu...

Samantha Haring "Enough," 2024 Oil on paper on panel 20 x 20 in. (hari024)

Tracey Emin Hello Willow, from the Estate of Andy Warhol curator Tim Hunt and his widow, bestselling author Tama Janowitz, 1997 Monotype on paper. Created expressly for Willow, the d...

Ray Parker Ray Parker at Molly Barnes: Rare vintage 1960s LA exhibition poster, 1968 Offset lithograph Printed by Contemporary Art Lithographers, Minneapolis, Minnesota 36 × 24 inche...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, a ship, Venus sculpture, greek ur...

Norman Parkinson Wenda and Ostriches, 1951 C print 20 x 16 inches Estate stamped and numbered edition of 21 on verso British fashion model Wenda Parkinson and ostriches, fashion by...

Title: Half Hillside Medium: Oil on canvas Size: 23 x 19 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This paint...

The painting is unframed, acrylic on canvas. About the Artwork: The cataclysmic dance of cosmic forces. About the Artist: As a visual artist David has been painting and sculpting most of his life. He is also a Julliard trained violinist. David combines his love of music to create a bond between his two passions. His paintings and prints have been featured in many publications such as the New York Times and Art in America. 25 of his paintings are featured in the book “Beyond Faith.” David has had many one man show and group shows in Chelsea, Soho and in Westchester. His paintings of 9/11 “Fallen Angels” was acquired by The George Bush presidential Library. His painting has benefited The Julliard School, the American Cancer Society, The National Scholastic Chess Foundation and the Westchester Philharmonic. Surrealism, Mythical Oil Painting...

Maker: Addison Thomas Millar (1850 - 1913) Origin: American Date: 19th century Medium: Oil on board Dimension: 8 in x 10 in (image); 11 1/2 in x 13 1/2 in (frame)

Frederick Freder (American, 1895-1954) St. Tropez, France, 1921 Oil on canvas 26 x 32 in. Framed: 32 x 38 in. Signed verso: Frederick C. Freder, The Palm Tree, Saint Tropez, St. Trop...

This piece depicts John Lennon wearing an iconic New York City shirt. Done with beautiful expressive colors and a distinctive street art design, this piece pops with energy and roman...

Keith Haring Tony Shafrazi Gallery 1984: A RARE signed Keith Haring letter produced in 1984 by Haring's long-time gallerist, Tony Shafrazi in reference to Keith Haring's wood panel s...

Tess Michalik Birfday Cake, 2023 oil on panel 25.5 x 30.25 in. (mic039AP)

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. The artist uses thick textured oils and hand embellished piece...