Recognized Dealers Art

For Jose Ignacio Suarez an abyss of time and space distances him from those who were the first inhabitants of the Brazilian coasts and of this vast American continent. His initial la...

This golden light-filled contemporary painting is by Sasha Rogers. The Canadian artist is captivated by the effect of creating what appears to be a ‘horizon’ line in her work that di...

The simple elegance of this original lithograph, created by Henri Matisse in 1955, is undeniably beautiful. From the edition of 2850, the print measures 12 ½ x 10 in. (31.5 x 25 cm...

Canadian artist Roch Smith's distinctive visual language ignites our collective imaginations. Smith is known for his playful approach to important themes. He often uses humour to en...

This contemporary orange-colored metal outdoor sculpture is the work of Shayne Dark. Five tapered shafts of steel emerge from the base in a powerful contemporary composition. The C...

Philips van Kouwenbergh (1671-1729) A Peacock and Other Fowl in a Landscape Oil on canvas Canvas Size 37 3/8 x 45 7/8 in Framed Size 44 1/2 x 53 in Provenance With John Bennett Fine...

Francis Swaine (1725-1782) Shipping of Jersey Oil on canvas Painting size 8 1/4 x 20 1/2 in Framed size Provenance with The Parker Gallery. Francis Swaine (1725–1782) was one of t...

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

Signed and titled and numbered AP #3/7. This is the last print available from the edition. Silkscreen print Created at Self Help Graphics in Los Angeles This print was featured in “Dreamland”, the first solo exhibition of a Chicano artist at MOLAA (Museum of Latin American Art). This is the first time the entire museum has been dedicated to a single artist. It is one of the personal favorites of the artist, with a nod to Vincent Van gogh. Throughout his 40 year career as an artist, Frank Romero has been a dedicated member of the Los Angeles arts community. As a member of the 1970s Chicano art collective, Los Four...

This modern bronze sculpture was inspired by music and made by David Chamberlain. As graceful as a dancer’s form, this contemporary bronze sculpture in a striking deep turquoise patina is by David Chamberlain. Created from one luminous piece the lustre accentuates the spiralling form and reflects light. Chamberlain’s sculptures...

Samuel Henry Alken (British, 1810-1894) A fall at the brook Oil on canvas Canvas size 10 x 14 in Framed size 12 1/2 x 16 1/2 in This lively and dramatic composition captures the hei...

Hunt Slonem Oil Painting "Leon Green" Black, Green and White Butterflies A pair of butterflies gestured in black and white on a green background in a vintage frame Unframed: 8 x 6 i...

A young female angel contemplating thorny rose.Signed, titled and numbered from the edition of 10. While the images have some resemblance to traditional Japanese Ukiyo-e prints, thei...

This surrealist painting by Toni Hamel features a Group of Seven piece and focuses on the theme of climate change. In this imaginative painting, Toni Hamel sends a powerful message ...

XXe Siecle-Hommage a Marc Chagall Color lithograph, 1969 Unsigned as issued by XXe Siecle From: XXe Siecle, Volume, Special Issue Marc Chagall Published by G. di San Lazzaro for A. M...

"Unzip The Earth GEO" is a playful, outdoor sculptural installation consisting of a steel zipper handle and concrete brick teeth that give the illusion...

Artist: Alberto Giacometti Medium: Lithographic Poster, 1969 Dimensions: 26 x 19.5 in, 66 x 49.5 cm Arches Paper - Excellent Condition A This lithographic poster for an exhibitio...

In Trois Plants, François Houtin envisions a fantastical botanical specimen rising like an ornate tower of intertwined foliage and blossoms. Each element—stem, leaf, and tendril—is r...

Two minimalist human-like forms appear to be dancing—their elongated shapes entwined; their ‘faces’ glancing towards one another. This is Robert Clarke-Ellis’s work. His abstract scu...

Celestine, 1920 Oil on canvas, 32 x 26 inches (81.3 x 66 cm) Framed dimensions: 41 x 35 inches Signed lower right: Robert Henri Inscribed on verso: 26 / L Robert Henri / Celestine P...

This painting by Florida - based artist Jason Hackenwerth from the features a bright yellow background, gestural black pigment, and bold configuration. Hackenwerth's expressive mark-...

Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that gave rise to the idea of ​​the purely abstract Zen garden that inspired this series Francisco Larios’ works are done by...

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Signed and dated on the front of the mount. Currently framed in custom white wood. See photograph of the piece on the wall.

A stylish, vintage, 1940s fashion study featuring an elegant design for women's dresses (day & evening wear). Most likely a design study for a print advertisement for the famed Chicago department store, Marshall Field & Co. Inscription reads: "Above- Irene Castle inspired this dinner gown...

John Frederick Herring Snr (Surrey 1795-1863 Kent) Ducks and Pigeons in a Barn Interior Signed and dated 1858 Oil on canvas Painting size 18 1/2 x 28 1/2 in Framed size 24 x 33 1/2 in John Frederick Herring Sr. was born on September 12, 1795, in London, England. He was the son of a London-based fringe maker, and the family lived in modest circumstances. Although little is known about his early education, Herring showed a natural affinity for art and horses from a young age. His father moved the family to Doncaster when Herring was still a boy, a town famous for horse racing, which would play a significant role in shaping his future career. Herring’s love for horses became evident during his youth, where he worked as a coachman and sign painter. He often painted inn signs...

SADAO WATANABE (Japanese 1913-1996) GIRLS WITH LOTS OF QUAILS, 1965 鶉と少女 Hand colored stencil print on momigami textured paper. Signed and numbered in white. Edition 50, Image 17 x 2...

Karl Albert Beuhr (1866-1952) Giverny Landscape Oil on relined canvas, c. 1912 Signed lower right: K A Buehr Condition: Canvas relined for support Image size: 13 1/4 x 15 3/8 inches Frame size: 19 5/8 x 21 7/8 inches Provenance: Gift of the artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess Buehr David Saltzman Robert Henry Adams Thomas French Fine Art Mr. and Mrs. Thomas Horner, Canton, Ohio Exhibited: Canton Museum of Art, Impressionism: An American View, 1983, label on verso Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

A Charming, 1940s American Scene study of a Man Seated at a Table by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). A delightful sketch ("Dinner at the Windermere Hot...

This large abstract painting is by Charles Robert Bush, son of the famous Canadian artist Jack Bush. Charles Robert Bush’s lyrical, expressive paintings are highly regarded by critics and collectors worldwide. Like his internationally celebrated father, abstract artist, Jack Bush, he was a consummate colourist who painted under the name, Charles Robb. Robb’s distinctive rhythmic style also reflected another lifelong passion—music—for he was a professional jazz drummer who liked to listen to music as he painted. He typically began each painting by building up layers of paint and vibrant markings to produce a complex surface with visible depth and atmosphere. His colour palette often featured intriguing choices and unusual colour combinations. Robb’s paintings...

FRANCES H. GEARHART (1869-1958) (Mt.) SAN JACINTO c. 1926 Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibrous japan paper. Sheet 10 ½ x 5 7/8 inches. Generally fresh with her usual pinholes along right margin for printing, slight bit of discoloration in the margins Provenance: Whitmore - Print Corner, Hingham MA. Their Gearhart inventory no. They were Gearhart's principal East coast dealer in the 30's. Obtained from the Whitmore Collection’s grandson in 1995. Old Print Shop...

Elegant form and a delightful pastel palette. This is ‘Renaissance’ , an abstract painting by Milly Ristvedt. The master colourist is playing with soft colours here—against a sky-blu...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Male Foot by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, early 1930s charcoal study highlighti...

Two early 20th-century Vienna Secessionist, male nude cornice drawings. Graphite on pale blue/grey wove drawing paper, spot glued by the artist to ...

Terri Del Signore is a Canadian ceramic artist and teacher who has been creating sculptural and illustrative artwork for more than a decade. The joyful sculpture, Skyward Whisper is...

In this intriguing sculpture by Ryan Van Der Hout, a multitude of mirrors reflect the images of sky and land that surround it. Forged from powder-coated steel, each lens is mounted o...

This contemporary fibre tapestry is handmade by Chung-Im Kim. Each wall hanging created by this uniquely gifted fibre artist takes hours of meticulous hand sewing. Inspired by her ...

Glass artist Cheryl Wilson Smith’s grandmother used to create hand-stitched quilts from cut squares of fabric. This beautiful wall sculpture with its patchwork pattern, and its soft ...

A charming 1950s Modern painting of a little red house, titled "Corner of the Brick House with Last Snow Bank, Calais, VT" by notable Chicago artist, Harold Haydon. Painted near the...

An introspective 1940s American Modern watercolor of a New York Broadway Theatre Agent's casting office by notable American artist, Richard Whorf (1906-1966). Titled "Casting Couch"...

A dynamic ca. 1940s American Machine Age Modern industrial scene, depicting a suspended gantry crane and factory workers. Possibly completed as an illustration study for a print adv...

Portrait of Albert Schweitzer. Etching. 11 3/4 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205....

An image from Kincaid lunar series. An edition of 10 Over the course of three decades, Ted Kincaid has systematically subverted the notion of an objective photographic record and examined the play between painting and photography. Kincaid has created multiple series...

Archival Pigment Print Image size: 12.8 x 18 in. Paper size: 17 x 22 in. Signed and titled in pencil on print verso Michael O’Brien is one of the country’s premier portrait photogra...

A Very Finely Drawn 1930s Modern Portrait Figure Study of a Handsome Young Male Model by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing by ...

Lone Tree Schoodic Point is part of James Groleau’s Salt Granite Spruce series, a body of mezzotints drawn from the rugged coastline and inland waterways of Maine. Through dense blac...

This minimalist abstract painting of a landscape offers a pop of the colour red. Canada’s Pat Service has enjoyed a decades-long career that granted her the title of one of Canada’s...

This lithograph in black ink was created by the artist in 1961. From A Los Toros avec Picasso, this lithograph is dated 6.3.61.III in the stone and measures 10 x 13 in. (25.4 x 33 cm...

This contemporary wall sculpture features bubbles of clear glass. Each work is individually hand-formed in glass, so slight variations in colour, shape, and texture from the images ...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the collections of the Los Angeles County Museum of Art, and Scripps College. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

Listing includes free shipping, and a 14 day return policy. The artwork will ship from London. Immaculate Conception, Villa De'este (2015) 24 ...

Lobsterman's Cove, Winter Harbor, Maine Lithograph, 1941 Signed in pencil lower right (see photo) Edition 50 Impressions are in the collection of the Pennsylvania Academy of the Fine...

A Vibrant 1930s American Scene Industrial themed painting, "Brick Kilns" by Notable Modern Artist, Harry Shokler (1896-1978). A colorful, well painted example of American Regionalis...

Rhode Island Surfers, 1965 Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Rhode Island Surfers, 1965" is a Limited Edition Estate...

The bodegones are a pictorial interpretation based on a research project of the famous chef Juan Carlos Franco, on old food recipes of different periods in history. The photographer recreated the images inspired by paintings and images from these eras, also finding inspiration from artists such as Leonardo DA Vinci, Albrecht Dürer, and others. Each image by photographer Dora Franco...

This tall, colorful, hand-blown glass and steel outdoor sculpture is by Susan Rankin. Susan Rankin’s elegant and colorful hand-blown glass art has been exhibited across North America...

Signed and numbered from the edition of 60. Image of a cowboy with an oversized hat. Throughout his 40 year career as an artist, Frank Romero has bee...

Medium: mezzotint and aquatint Year: 2014 Edition: 30, signed in pencil. Image Size: 12 x 15.75 inches Signed, titled and numbered by the artist. The illusions and reflections in Si...

Hunt Slonem Oil Painting "3 Across" Black and White Bunnies Three rabbits gestured in black on a white background in a vintage frame Unframed: 4.75 x 11.25 inches Framed: 5.5 x 12 i...