Palm Beach - Art

Fabulous colorful painting of daily Haitian life. The artist is Daniel Louis a well-known and very talented Haitian artist. The painting is oil on board and measures 36 inches wide ...

This is a whimsical image created in the 1930's by a relatively unknown artist who signed the work as Geo. In it we see the stylish woman with her lemon skirt picking lemons from a t...

Lundberg Studios Art Glass Vase. Every piece of glass that bears the Lundberg Studios signature represents the finest in contemporary art glass. Crafted by master glass blowers, trad...

Painting on canvas signed verso Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poet and theorist living in Pagosa Springs, Color...

Created in 1959 by the artist Lucien Boucher , Air France Map - Blue Pink is one of a series of eight posters commissioned by Air France. These "Planispheres" were first produced in ...

Steve Jobs had just returned to the struggling company, Apple Computer in 1997. Jobs and Lee Clow had collaborated back in 1984 to launch the MacIntosh. Now was the time to recover t...

Woman Abstract Portrait Repaired tear upper left and minor wear along the edges of the work, otherwise in good condition Artist signed lower right corner, 23.5h x 18.5"w Rolph Scarl...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Nestor Portron is a French liqueur brand, known particularly for its high-quality fruit liqueurs and spirits. In the image we see a historical figure of a wealthy man savoring his bo...

This is a painting done after Fernando Botero. I have seen a few of these and this is by far the best one. It is an oil on canvas measuring 24 inches wide by 20 inches high. The beau...

Large Big Wave Painting at Dungeons South Africa 72"x56" by contemporary realist Megan Eisenberg

Musee Grevin Avant La Lettre (Before Text), created in 1900, is one of the best known images by the great French artist, Jules Chéret. The poster advertises a show performance at the...

This poster done for the Nitrolian paint company is one of the most iconic and endearing posters created by the great artist Leonetto Cappiello. In this image we see that the paint d...

Signed, dated, and titled in pencil with artist's copyright stamp on verso, blind-stamped on recto. Includes black frame. Taken on August 11, 1939, this is Horst's most recognizable...

Swank pair of wall sculptures crafted in copper and brass in the form of stylized cattails or Typha. Hand polished and lacquered for easy care.

This is an original vintage poster, printed using offset lithographic plates. It was created by the American watercolor artist, John Gallucci (1918 – 2009) in 1979 and was commissioned by the Winter Olympic Organizing Committee. It promoted and commemorated the ski events held in Lake Placid in 1980. These were the Olympics when the underdog American Hockey Team won the Olympic Gold Medal in the famed “Miracle on Ice...

Two enchanting 19th century sailors valentine having a rare form hand decorated with exotic seashells, one around an image of a man and woman in a rowboat and the other around an ima...

Heriberto Mora was born in Havana, Cuba. He graduated from the San Alejandro National Academy of Fine Arts in Havana, made his way to Spain and in 1993 arrived in Florida. The cen...

An Original Oil painting by Contemporary Realist Megan Eisenberg was made using high quality Gamblin oil paints on canvas. The edges are 1.5" deep. "Hawaiian Ice" is a beautiful La...

Post Dogmatist Painting on Panel, signed verso (Acrylic over paper on Canvas) Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poe...

Nina, Oil on Canvas, Painting by Christina Major Christina Major was born in Concord, New Hampshire in 1982. She has lived all over the world including Hawaii, France, New York an...

Otto Henry Schneider: 1865-1950. Well listed American artist with auction records over $22000 who is mostly associated with southern California San Diego. He studied at Art Institute...

Plate #4 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kli...

Surrounded by limestone cliffs sunbathers take in the midday sun along the Portugal coast. An elevated view of one of the country's most iconic beaches – The Praia de Marinha where ...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Jean Guy Desrosiers is a listed Canadian artist born in 1934. He is from Quebec region of Canada. He has auction results over $1800 and sells in galleries for much more. This charmin...

19th-Century Grand Tour Bronze — Neapolitan Fisherman After the Antique Fonderia Giorgio Sommer, Naples, Italy This exceptional 19th-century Grand Tour bronze of the Neapolitan Fish...

Charming vintage sailors valentine handcrafted with exotic organic seashells ambitiously arranged around a distressed mirror. Presented under glass in an octagon wood shadow box.

In this expressive work, I harnessed oil and wax to depict a figure of deep spiritual resonance, surrounded by symbolic ravens. The piece emanates timeless wisdom, cryptic mysticism,...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

This dynamic travel poster produced for Trans World Airlines captures the exhilaration and scale of world-class skiing during the golden age of jet travel. A lone skier carves confid...

Painting on Canvas signed verso, blue white navy blue Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poet and theorist living in...

Piero Aversa: 1928-1990. Fabulous mid-century, modern painting by Piero Aversa. He was born in Italy and then came to New York City, where he was a fashion and interior designer. He ...

Signed "Carlos Schwabe" Note: Due to the size, weight, and/or value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reli...

Still Life With Cups and Saucers Artist signed, canvas 24hx48w, beautiful custom made silver-gold frame. Mr. Miagkov was born in Ukraine in 1936 and had formal training from the Odes...

Fruit On The Table Artist signed lower right, 22K Gold Motyka custom made frame, canvas size 30x24 frame 38x32. Judith Sobel was born in Lwow Poland in 1924. After World War II, she attended the Academy of Fine Arts in Lodz, Poland. There she studied with the famous abstract constructionists, Wladyslaw Strzeminski and Stefan Wegner from whom she learned the principles of Modern Art as laid down by the European Cubists. Sobel’s work was selected for the First Exhibit of Modern Art Museum Krakow in 1948-49. Judith Sobel emigrated to the newly found Israel where she lived for five years, becoming very active in Israel’s emerging art world. Her work was collected and exhibited by the major art museums of Israel including the Museum of Modern Art at Haifa; her art was regularly shown in the Israeli galleries. In 1956, Sobel came to New York on a scholarship, and before that she lived in France for two years. The same year she received the First Prize at the Exhibition in the Saks...

Woman in the chair, heavy oil impasto on canvas framed. Elisabeth Sabala Abelló (Barcelona, 1956). She studied industrial design at the School of Arts and Crafts in Barcelona ​​and has a degree in Fine Arts, a specialty in painting, from the Central University of the same city. Sabala is a convinced figurative who has given all the prominence of her work to the representation of the human being in its most trivial aspects. At a time when the artistic landscape extols abstract and conceptual art focused on the great universal themes, Sabala continues to focus on the small defects that bring us closer to the collective and the human. The artistic progression of Sabala takes place, at first, from a bleak period to another vitalist and, later, from the representation of isolated characters (In the super, Reading the stories of the paintings) to the recreation of great concentrations of its peculiar individuals characterized in an endless number of situations (The Great Dance, The Girls of the Choir). Sabala's work is vital and touching, as well as scathing and satirical: it confronts its characters in the most varied situations, capturing, at the same time, the viewer's attention with an unusual juxtaposition of colors that do not seek chromatic harmony, but expression and movement through matter. In 1980 he won the first prize of a painting of the City of Castelldefels, and the following year he debuted individually in the Caixa Catalunya room, in Barcelona. In 1984, she was selected for the XXIII Joan Miró Drawing Prize, taking part in a traveling exhibition in Japan. Sabala won the first prize in the International Painting Competition of Pollença (Mallorca) in 1985, and the following year she took part in a collective held at the Martano gallery in Turin. That same year of 1986 she obtained the Scholarship of Plastic Arts of the Generalitat de Catalunya. He continues to hold personal shows in Barcelona, ​​Mallorca, Madrid, and Italy, and in 1989 he debuted in New York with an individual exhibition held at the Scott Alan Gallery. Since then she will reiterate his presence both in that city and in Paris, Berlin, Monaco, Amsterdam, Los Angeles, Mexico City, Hong Kong, etc. His works have been present at Interactive, ARCO, Art Forum, Art Jonction and New Art, as well as in various Spanish museums. • Studies: Fine Arts, University of Barcelona • Industrial Design, School of Arts and Crafts, Barcelona Main exhibitions Spain: • Barcelona: ◦ Arcs & Cracks, 1990, 1992, Anna Benach 1993, Helena Ramos 1993 ◦ Maria Jose Castellvi 1996, 1997, 1999, 2001 “a wedding is a wedding” + Performance “Ella” ◦ 2004, 2006 “Fashion satisfaction” + Performance ◦ 2008 “Women's weapons” • Girona: ◦ Helena Ramos 1990, 1991, 1993, 1995 ◦ Cyprus Art...

This Portugal poster was created circa 1960 by the gifted American artist David Klein (1918 -2005) for TWA. He chose to depict some of the real and myt...

Born in Havana, Cuba, in the late 70s during a well-documented time of religious and political oppression, abstract expressionist artist Mirtha Moreno, immigrated to the United State...

Venice Simplon - The Collection is a 1982 French Travel poster by Fix Masseau (1905-1994) for the re-launch of the Venice Simplon Orient Express rail line. This poster features an im...

Jonathan Adler acrylic pill sculpture. 750 mg size. red-orange.

Artist Statement: My figures speak to me of that peaceful place in myself - calm, open, aware. My art reflects the influence of my childhood in Japan and of the rigorous discipline...

"Pop Wall" stencil and mixed media on street sign and canvas artwork by Mr. Brainwash. Numbered No A42246447A, signed "Mr. Brainwash" and dated 2023. Includes fingerprint. Text on fr...

New York City Abstract Expressionist Between Abstraction, Calligraphy & Graffiti Vivian Muller presents an homage to Greek and Roman mythology, ...

Large Vintage Chinese Jadeite Sculpture, Mountains Scene, 1960s Stunning Jade sculpture dimension's 28w x15.5h x 9.5d presented on wooden base 30.5w x 24h x 11d. Vintage after 1960's...

Born in Havana, Cuba, in the late 70s during a well-documented time of religious and political oppression, abstract expressionist artist Mirtha Moreno, immigrated to the United State...

As an artist trained in the applied arts, Gustav Klimt valued all forms of art, including the graphic arts. This final design from 1896 for inclusion in Allegorien published by Gerlach & Schenk demonstrates respect for artistic precedent and for a wide range of media and technique. The publication was printed in an unknown number of copies. Klimt’s rendering in latin of the title, “SCVLPTVR.,” with three-dimensional effect on the wall, is a figurative allusion to this medium as well as a literal reference to Ancient Rome. By doing the same with his signature and date in roman numerals on the right hand side of the image, Klimt places himself, The Artist, firmly in this linear and legitimizing context of art history and as its modern standard-bearer. Playing on Classical mythology and the story of Pygmalion, in which a statue comes to life, Klimt presents his modern Venus holding an apple. Klimt’s Venus exhibits a curvilinear softness; there are no angles. Klimt deftly shows the possibilities in a graphic image to give life to dark, wavy hair and tenderness to swelling breasts and belly. To further emphasize the allegory of thriving modern art, he contrasts his Venus with the cold, hard ancient classical head whose eyes are vacuous and whose hair is but a stylized mass of curls. Klimt’s living Venus stands in front of the large bust and large classical pillar upon which is a sculpture of a Sphinx and a Greek Attic bust. As if a gallery to represent sculpture’s “best of” through the ages, the upper horizontal panel includes bust depictions in marble, cast metal and wood...

Striking Mid Century tiger sculpture or figure crafted in terracotta, hand decorated and glazed.

Striking mid century Italian life size leopard head crafted in terra cotta, hand decorated and glazed, now and forever caught in mid growl.

Artist: Slonem, Hunt Title: Blue Finches (Cordon Bleau) Date: 2025 Medium: Oil on canvas Unframed Dimensions: 40" x 30" Signature: Signed Edition: Unique Hunt Slonem is an in...

Kent Williams’ work melds the rigor of technical prowess with the iconoclast’s impulse to disrupt. Juxtaposing beautifully rendered classical forms with elements of abstraction and s...

After Gustav Klimt, Max Eisler #22, Bildnis Baronin Bachofen-Echt; multi-color collotype after 1914-1916 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Lady Holding Bouquet Of Red Poppies. Portrait depicting a beautiful young woman holding bouquet of red poppies in a fine pink satin dress. The painti...

Born in Tallahasee Fl, William started his artistic career as a color consultant for his family's Design and Painting company that took on constant projects of custom painted interi...

Stormy Bay in California Impressionist Oil Painting Artist signed lower left. Belinda Vidor Holliday (American, 1930-2023). An ...

Pair of fabulous 19 century oil on porcelain portraits. These finally detailed paintings are most likely, a husband and wife. The male portrait could possibly be Napoleon the second....

Where Are You 2023 Mixed Media on canvas, 50x86x1.5. Artist initials lower corner, signed and titled verso. Painting is rolled up it can be stretched before shipping or we can ship...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Sleeping Nude Large cast handmade paper, artist signed AP 10/20, 1981 62x52x5.5 wood, linen and lucite box frame. Stunning art wall sculpture by Fran...