Texas - Art

This black and white original lithograph by Mexican artist Juan Carlos Breceda depicts a checkerboard of abstracted woman's face from a variety of ...

This work was featured at ComplexCon 2019 - November 2nd and 3rd in Long Beach, CA.

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

acrylic & oil on canvas

Daniel Arsham Eroded Brillo Box - Blue, Edition of 500 Brand new, unopened box Daniel Arsham employs elements of architecture, performance, and scul...

From the private collection of a Texas art connoisseur, this rare set comprises all four framed limited European edition lithographs from Salvador Dalí’s 1978 Retrospective Suite. Ea...

Jose Vives-Atsara (1919-2004) San Antonio Artist Image Size: 16 x 20 Frame Size: 22 x 26 Medium: Oil on Canvas 1975 Signed Lower Left "Patio Y Casas" Catalonia, Spain Biography Jose ...

Frida on White Bench, New York, by Nickolas Muray is a colorful portrait of Mexican painter Frida Kahlo. This iconic image features the woman artist sitting on a white bench in fron...

1960s Handwoven textile piece by world-renowned fiber artist Romeo Reyna. Pieces by Reyna of this scale took months to complete and were mostly only available by commission and are r...

Etching from the series titled "A Harlots Progress" by William Hogarth. The series consists of six paintings and engravings. The story is about a woman named M. Hackabout who arrived in London and started working as a prostitute. The third plate is of her getting arrest for her choice in profession. The series is a satirical story that emphasizes the dangers of being a prostitute and the health risks that come from it. In 18th century engraving, the detail of the black mole on women and men's face is a symbol of the deadly venereal disease, syphilis. In this plate, Hackabout has already contracted the disease and that is why the black dot is visible on her forehead as well as her madam's. In 1828, William Innell Clement published Harlot's Progress in columns on a single page of his newspaper Bell's Life in London #330. The detail with the cross seen in earlier reproductions of the engraving. Dimensions without Frame: H 14.5 in x W 16.5 in. Artist Biography: William Hogarth ( 10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", perhaps best known to be his moral series A Harlot's Progress, A Rake's Progress and Marriage A...

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8)). Edition 92. A rich, tonal impress...

Steven Spielberg by Michael O'Brien is a black and white portrait of the iconic film director, taken during the filming of his famous thriller, Jaws. Archival Pigment Print 17 x 22 ...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 60 x 40 Frame Size: 71 x 51 Medium: Oil on Canvas Signed 1980 "The Blowout" Woo...

Honor your inner superstar with a unique porcelain ceramic artwork from Katharine Morling's newest series, "The Paparazzi Collection". This sculpture titled "Camera with Double Lens" is handcrafted and especially designed in the artist's signature monotone black & white style by award winning ceramicist Katharine Morling. Morling's ceramic sculptures have been shown internationally at Bergdorf Goodman in New York, Liberty’s London, Miami, Italy, Kuwait, Algiers, Germany and France. She has also had solo exhibitions in Sweden, The Netherlands and throughout the UK. In 2019, Katharine Morling’s work was selected for the Royal Academy Summer Exhibition. It was the fifth time that Katharine Morling has exhibited in the Summer Exhibition and “Cut”, an over-sized chainsaw is the largest piece which Morling has shown to date. After graduating from the Royal College of Art in 2009, she was awarded first prize at the 2010 World Crafts Council Triennial in Belgium. Morling also represented the UK at the 2010 European Ceramic Context in Denmark. For COLLECT 2011, she showed a new installation Out of the House in the Project Space of the Saatchi Gallery. Other projects include created a large wall mounted installation for the new children’s ward commissioned by the Royal London Hospital...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

Louis Icart (French, 1888-1950) Coursing II, 1929 Etching with handcoloring on paper Image: 15 x 24-7/8 inches (38.1 x 63.2 cm) (image) Ed. V/160 Framed Dimensions 27 X 39.5 Inches ...

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

Portrait of singer and dancer, Kate Bush by acclaimed photographer, Gered Mankowitz, taken in his London studio in 1978. Kate Bush has seen a huge resurgence...

Early Texas Impressionist country landscape painting by Porfirio Salinas. The work features a small lake surrounded by trees as the sun sets in the background. Signed in the front lo...

Untitled, from Women are Beautiful Portfolio, by Garry Winogrand is a black and white gelatin silver print of two women in matching outfits, walking through a park with people staring as they pass by. Edition of 80 Signed, numbered and misc. notations by Garry Winogrand Gelatin silver print Paper size: 11 x 14 in., Image size: 8 3/4 x 13 in. Printed 1981 From the Women are Beautiful Portfolio Garry Winogrand was an American photographer from New York. He is known for his extensive documentation of American life.. Winogrand was the recipient of the various Guggenheim Fellowships and a National Endowment for the Arts Fellowship. His work is included in the George Eastman Museum, Museum of Modern Art, the Whitney Museum of American Art and the Center for Creative Photography...

Toni Franović was born in Zagreb on April 15th, 1964. He is a graduate of the Academy of Fine Arts in Zagreb, where he studied under professor Vasilije Jordan. In 1992/93 he joined t...

Rolla Taylor (1872-1970) San Antonio Artist Image Size: 24 x 30 Frame Size: 30.25 x 36.5 Medium: Oil on Canvas Circa 1920s/30s "Bluebonnets" Biography Rolla Taylor (187...

Glow by Texas artist Julie England is an Oil on Yupo paper. The size of Glow is 7″ x 9 1/2″” Image 9 3/4″ x 12 1/8″ Frame Art is floated in gallery frame with OP3 plexi glazing....

Signed print taken from an original color slide of Nirvana taken by Kirk Weddle. This slide was taken during the famous swimming pool sessions with Nirvana for the release of Nevermi...

Pondering Acrylic on Canvas Contemporary Abstract Texas Artist, Blues, 48x36 is an contemporary abstract painting by Texan artist Eleanor McCarthy. Eleanor McCarthy uses acrylic ...

Fine art 20x24" print of Freddie Mercury of Queen by acclaimed photographer, Denis O'Regan. Taken on stage at Slane Castle, just outside Dublin, Ireland 1986 Printed to order on Hah...

KAWS's cartoonish style—including his best-known characters with X-ed out eyes—has its roots in his early career as a street artist, when he began replacing advertisements with his o...

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

Graceful pastel and charcoal drawing of a female ballet dancer in motion by artist Guy Chabrol, circa 1950. Signed lower right. Original one-o...

James Robinson (1944-2015) Austin, Dallas, Houston Artist Image Size: 18 x 24 Frame Size: 29 x 35 Medium: Acrylic on Canvas "Crossing the Blanco" River Medium: Acrylic on Canvas Clea...

Waterline Fine Art, Austin, TX is pleased to present the following work: Gabriel Godard, "Arbres en bord de mer" (1966). Oil on canvas. Signed and dated lower left; titled and inven...

This is a collection of hand woven textile sculptures by fiber artist Barbara Coburn created in the 1970s and designed to be suspended from the ceiling....

Douglas Ricks (1954-2003) Idaho Artist Image Size: 36 x 60 Frame Size: 46 x 70 Signed Lower Right Medium: Oil 1984 “Teton Morning” INDIANS TEE PEE NATIVE AMERICAN MOUTAINS Biography ...

Roy Ahlgren "Fiesta" 1982 Silkscreen on Paper 26"x 18" site, 29.75" x 22.25" paper Signed and Dated in Pencil, Bottom Right Limited Edition 92/130 Roy Ahlgren (1927-2011) Algren wa...

Original Herman Miller Summer Picnic screen printed lacquer ink and lacquer finish print. August 20, 1971 annual company picnic poster is a...

Louis Icart (French, 1888-1950) Speed, 1927 Etching with hand coloring on paper Sight: 15 x 24.75 inches (38.1 x 62.9 cm) (image) A.P. Edition D’artiste Signed and inscribed in penci...

Jose Vives-Atsara (1919-2004) San Antonio Artist Image Size: 16 x 20 Frame Size: 25 x 28.75 Medium: Oil on Canvas Applied by Palette Knife "River Bend" Biography Jose Vives-Atsara (1919-2004) His list of Pallbearers says it all. They were not just buyers of his art they were some of his closest friends. Pallbearers: E. Glenn Biggs, James M. Cavender, III, Tom C. Frost, Jr., James W. Gorman, Jr., George B. Irish, Joseph R. Krier, Robert L. Mooney and H. Bartell Zachry, Jr. Jose Vives-Atsara was born April 13, 1919, in Villafranca del Penedes near Barcelona, Spain. A native Spaniard, he developed a love of painting at an early age, and by age 11 had committed himself to becoming an artist. He studied at Colegio de San Ramon and had his first one-person show at age 14. The Spanish Civil interrupted his idyllic young life as he was forced to serve in the Communist Army, and then was imprisoned, suffering many hardships. Soon after the war he married Emilia Hill Domenech, and in 1947 set out to move with his wife and child aboard a tramp steamer to the United States. Unfortunately, immigration quotas did not allow them to move directly to the United States, and it was eight years before they achieved that goal. During this interim before obtaining temporary visas, he and his family lived first, in Caracas, Venezuela and then in Mexico City, Mexico. The family settled in San Antonio, Texas, where he had made friends on a previous visit. He and his wife and children gained citizenship in time for their first Christmas in the United States. He became such an exemplary immigrant citizen that officials of the U.S. District Court for the Western District Court regularly invited him to share his thoughts and advice for living in America with newly naturalized citizens Vives-Atsara also developed a close relationship with the Incarnate Word College, becoming, over the years, both a professor of art, and Artist in Residence. As a painter, he depicted many local scenes including San Antonio missions and the San Antonio River. For special guests such as Pope John Paul II, heads of state, and royalty from foreign countries, he was commissioned to provide paintings as gifts. His paintings were also commissioned for Frost Bank and the San Antonio Chamber of Commerce. For his vibrant oil paintings, he used only nine colors, mixed in a variety of ways. They have been described as both realistic and impressionistic. "Vives-Atsara believed that art is a reflection of the artist's soul, if this is true; his paintings reflect a beautiful, bright spirit." (Richardson) Jose Vives-Atsara died in San Antonio on January 13, 2004 and is buried there in Sunset Memorial Park Mausoleum. Jose Vives-Atsara was born in Vilafranca del Panades in the Catalonian region of Spain on April 30, 1919. As a small boy he loved to sketch with pencil and paper. He began painting at the age of eleven. His first one-man show came at the ripe old age of fourteen. From that time on, painting has been his love and his way of life. Jose studied art at Saint Raymond College and School of Fine Arts in Barcelona. He is quick to admit that his most inspirational teacher has been nature itself. Mr. Vives-Atsara came to San Antonio in 1956 where he has established his art career. His use of a palette knife in painting allows him to blend rich pure pigments to achieve his goal of creating a powerful statement of color directly on the canvas. This style is intended to produce works that are distinctively 'Vives-Atsara'. Vives-Atsara is represented in public collections including the Museum of Modern Art, Spain; Fort Worth Art Museum, Texas; His Royal Highness Juan Carlos...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Size: 20 x 30 Frame: 26 x 36 Medium: Oil Wash? Watercolor? Dated: 1917 "Misty Bayou" Housed in the original magnificent frame. Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Alexander John (A.J.) Drysdale was an early 20th century Louisiana artist who specialized in landscapes using the technique of oil wash, that gave his works a characteristic of a hazy look. Drysdale made use of this technique by diluting the oil paint with kerosene and applying it with cotton balls. Alexander John Drysdale, born in Marietta, Georgia on March 2, 1870, came to New Orleans at the age of fifteen with his parents. His father, Reverend Alexander J. Drysdale, became the rector of Christ Church Cathedral. Alex received private tutoring from a Professor Mehado and art lessons from Ida Hackell at the Southern Art Union. Later in New Orleans (1887) he studied art under Paul Poincy (1833-1909). The exact date of Drysdale's arrival in New York is unknown, but he enrolled in the Art Students League where he received instruction from Charles C. Curran and Frank Vincent DuMond. Apparently, he remained in New York for about five years and did not go to Europe for further study. After some time, Drysdale began specializing in landscapes, executed in a tonalist manner. Back in New Orleans, Drysdale was inspired by local subjects, especially swamp or bayou areas and other desolate wetlands. Over a period of many years Drysdale's landscapes evolved to a unique stylistic maturity. In 1909 he received a gold medal from the New Orleans Art Association. It is easy to see the influence of two artists that he admired: Corot and Inness. Working equally well in oil and watercolor (he also did scenes in charcoal), Drysdale usually divided his scene into halves or thirds, typically, a foreground consisting of tall swamp grasses achieved with broad vertical strokes; a middle ground consisting of a backdrop row of trees at the horizon line executed with staccato, jabbing strokes resulting in textural contrast; and a background devoted totally to a tonalist-like moisture-laden sky often hazy with no clouds or only a slight indication of them. This formulaic compositional format rendered with an economy of technique resulted in imagery with repetitious forms and shapes diffused in a nebulous space. In this regard, Drysdale's works are impressionistic; he also tended to use the violets and blues of the impressionist palette. Yet he lacked a specific interest in color and light. Although his expression of the Louisiana scenery is very personal, even mystical, the artist appears to have been very limited in subject matter. One of his last works was a mural for the Shushan (New York) Airport administration building, and shortly before his death he was employed as an artist by the Civil Works Administration. Drysdale was a member of the Arts and Crafts Club of New Orleans, and his work was in the permanent collection of the Delgado Museum for many years. The artist worked at his studio at 320 Exchange Place in the picturesque Vieux Carré until his death at the age of sixty-three. Stewart (in Painting in the South, 1983), describes how Drysdale was a shrewd businessman. He would solicit new homeowners who might need a canvas to decorate a wall, or a cotton broker who recently made the headlines. Drysdale died in New Orleans, on February 9, 1934. Sources: Louisiana Artists from the Collection of Dr. and Mrs. James W. Nelson. Baton Rouge, LA: Louisiana State University, 1968; Wiesendanger, Martin and Margaret Wiesendanger, Nineteenth Century Louisiana Painters and Paintings from the Collection of W. E. Groves. New Orleans: W. E. Groves Gallery, 1971, pp. 44-45; Painting in the South: 1584-1980, Exh. cat. Richmond, VA: Virginia Museum, 1983, pp. 106-107, 114, 276; Chambers, Bruce W., Art and Artists of the South: The Robert P. Coggins Collection of American Paintings. Exh. cat. Rochester, NY: Memorial Art Gallery of the University of Rochester, 1984, p. 88; Zellman, Michael David, 300 Years of American Art. Seacacus, NJ: Wellfleet Press, 1987, p. 634; Gerdts, William H., Art across America: Two Centuries of Regional Painting, 1710-1920. New York: Abbeville Press, 1990, vol. 2, pp. 110-111. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. Biography from The Johnson Collection ALEXANDER JOHN DRYSDALE (1870–1934) Born in Marietta, Georgia, Alexander John Drysdale was the only son of an ordained Episcopal priest whose ministry required frequent moves to parishes in Georgia, Alabama, and Tennessee. In 1883, he accepted the call to become dean of Christ Church Cathedral, New Orleans, and was later elected a bishop. Alexander, thirteen years old when the family settled in New Orleans, began his art studies under the instruction of Ida C. Haskell, a California-born artist who was on the faculty of the recently established Southern Art Union. The local academy had been founded by several leading artists, including Andres Molinary, William Henry Buck...

Impressionist style watercolor of a early evening scene along the canals of Venice, Italy, circa 1990. Signed lower right. Original one-of-a-kind artwork on paper displayed on a w...

Martin Rosenthal "House with Yellow Windows" c. 1960s Encaustic & Oil paint on paper 20"x13" unframed Signed and dated in ink lower left Martin Rosenthal 1899-1974 Artist Mart...

Colorful modern figurative portrait of a man playing billiards or pool by Connecticut artist Gerald Garston. The work features a man in a blue bowler ha...

“The Queen” is a limited edition of 20. Printed on fine art paper, these limited-edition photographs are designed to preserve the beauty of the original scenes. Each piece is hand-n...

David Bowie in Vancouver, Canada in 1983 by acclaimed photographer Denis O'Regan, who was at the time, the official photographer on Bowie's "Serious Moonlight" world tour Signed 16x20" artist proof...

Janet Downie 1854-1944 Austin,San Antonio Image Size: 6.5 x 10 Frame Size: 10 x 13.5 Medium: Oil "Bluebonnet Road" signed Biography Janet Downie 1854-1944 Downie, Janet. 1854-194...

Ross Stefan (1934-1999) Arizona / Wisconsin Artist Image Size: 7.5 x 6.5 Frame Size: 18 x 16 Medium: Oil "Pueblo" Biography Ross Stefan (1934-1999) Born in...

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

Framed 26.5" x 37.5 " Spring Cove is an impressionist landscape painting that was painted on Lake Cone located in Montgomery, Texas. Early Spring Cove is a contemporary oil landsc...

Petals on the Water by Jeff Slemons shows the beauty of nature with Koi and Waterlilies .There is the use of the palette knife which builds up a texture o...

Exhibited in "Benji Stiles: A Human Day" at Reeves Art + Design. In “A Human Day,” a solo show dedicated to the work of contemporary multidisciplinary artist Benji Stiles, we explor...

This is a gorgeous hand-carved black marble BOXING SET (pair of gloves, pair of boots and head gear) all live size. The marble is polished and has ...

Museum quality fine art print of Beyoncé by photographer Markus Klinko. Shot in 2003 during the sessions for the cover of the album, Dangerously In Love This print is available in ...

Original darkroom print, made at the time of the photoshoot. In excellent condition, stored flat in a climate controlled atmosphere. Print in excellent vintage condition, signed by N...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Théodore Rousseau (French, 1812-1867) Personnages sur un sentier escarpé au coucher de soleil, 1845-50 Oil on paper laid on canvas Canvas: 12 x 9.75 inches (30.5 x 24.8 cm) Frame: 18...

Donald Stacy "Abstract #4" c.1950s Ink & Gouache on paper 10.5x19.5" brown, ripple, wood frame 11.5”x1”x20.75” Signed in pencil lower right with label on reverse Came from artist's e...

Edward Lee Reichert (1919-2011) Texas Artist Image Size: 12 x 18 Frame Size: 21 x 27 Medium: Watercolor Dated 2005 "Maroon Bells" Aspen CO Biograph...

Signed limited edition 24" x 48" print, Custom framed with 8 ply matte and non-glare museum glass Frame dimensions: approx 56” wide x 32” high x 1” deep As a renowned graphic desig...

Sylvia Rutkoff (1919–2011) "The Cowboy" c. 1950s · Oil, sand, gesso, and grout on masonite · Period wood frame About this work Few paintings in the Rutkoff estate cache reve...

Robert Wood (G. Day) (1889 -1979) San Antonio Artist Image Size: 24 x 36 Frame Size: 34 x 46 Medium: Oil on Canvas "Texas Autumn" Biography Robert Wood (G. Day) (1889 -1979) A painte...