Art on Sale

Dominique TEUFEN (*1975, Switzerland) Silk Waters, from the series 'Rays of Light', 2021 Hahnemühle Fine Art Baryta Sheet 60 x 90 cm (23 5/8 x 35 3/8 in.) Edition of 5, plus 2 AP (#1...

Iceland Glacier Sólheimajökull, 2011. Is an archival inkjet print that captures the uncanny beauty of one of the most enigmatic glaciers in Iceland. Sólheimajökull is an outlet gla...

Slip cast form. Fired to cone 01. Glaze fired to cone 07. Finished with acrylics and oils. My work passionately reflects my Mexican cultural roots. The art forms appear and are cre...

Black and White Fine Art cityscape photography. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed ...

Jörg Olberg (*1956 Dresden), Agony, 1987. etching, E.A. (edition of 30), 24 x 17 cm (image), 46 x 37 cm (sheet), each signed in pencil lower right "Olberg" and dated "IX [19]87", inscribed lower left "E.A. [Epreuve d'Artiste]". - minimal crease and dust stains in the broad margin - The architecture of decay - About the artwork Jörg Olberg draws here the sum of his artistic study of the Berlin ruins, which were still present in the cityscape well into the 80s. With his work "Agony" he creates an allegory of decay. Positioned in the landscape of ruins, a ruined house grows before the viewer, rising like the Tower of Babel into the sky, its roof and gable brightly illuminated by the sun. But already the roof shows mostly only the rafters, and as the gaze is drawn further down, the building visibly disintegrates, the beams protruding in all directions looking like splintered bones. Slowly but inexorably - in agony - the house will collapse in on itself and become nothing more than the burial mound of itself. At the same time, the small-scale stone composition and the plaster form a pattern-like ornamentation of decay. The tension in the picture is fed by the counter-movement of growth and collapse, which is heightened by the dramatic formation of clouds. The swirls of clouds are reminiscent of a world landscape...

Black and white fine art landscape photography. Potato field with cherry trees with cloudy skies, Weinviertel, Austria. Archival pigment ink print, edition of 7. Signed, titled, date...

Klaus Oldenburg (*1942 Berlin), Eccentric discharges of a blue-red core, around 1975. paint and cast resin on chipboard, 39 x 59 cm (inside dimension), 42 x 62 (frame), signed on the...

A wonderful example of the artist's work depicting an idyllic scene in the Norfolk countryside. Owen Waters (1916-2004) Norfolk pastures Signed, inscribed...

Gabriel Casarrubios Martín (1953) - Fishermen - Oil on panel Oil size 27x22 cm. Frameless. Gabriel Casarrubios Martín (1953) The Toledo artist trained in Fine Arts in Madrid, at th...

Alfred Fuchs (1925 Saarbrücken - 2003 Prague), Lying Boy. Charcoal drawing on strong paper, 30 x 41.5 cm, signed A.[lfred] Fuchs and dated [19]96. - smal...

Lamda print mounted to on Dibond aluminum in artist's frame Solo Exhibition 2020 DEAN PROJECT at Palm Beach Modern + Contemporary 2020, DEAN PROJECT ...

Shepard Fairey The Lonesome Crowded West Tower Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 825 Signed, dated and numbered by hand COA provi...

Black and white fine art long exposure waterscape - landscape photography. Phragmites in the fog at Lake Balaton, Hungary. Archival pigment ink print, edi...

11 x 14" vintage silver gelatin photograph of dancer and Broadway star Ann Reinking, photographed for Dance Magazine December 7, 1981. Very rare, one of only two left in the archive...

Black and White Fine Art minimalist photography - Old stone bridge over a river in the highlands of Scotland. Archival pigment ink print, edition of 9. Signed, titled, dated and numb...

'Shift', oil on board by Sabrina Rowan Hamilton. M.A. Widely exhibited Internationally solo & group shows. Mounted in a glazed box frame. Sabrina's paintings are a substantial part o...

Green, 55x120 cm

This is a one-of-a-kind original monotype. The monotype is made with hand-painted textures and painting to create this unique print. The monotype comes in a 1...

Title: Blue Fish in the Sky Large and strikingly beautiful abstract expressionistic artwork. This piece will create a beautiful focal point in any collectors establishment or home. ...

Is a captivating masterpiece that embodies the essence of the action painting movement. With its vibrant display of colors against a pristine white backdrop, this artwork emanates an...

This original artwork by Peter Engels presents a revering portrait of the smiling Queen Elisabeth in celebration of the Jubilee. Conveying a tribute to 70...

Black and white fine art landscape photography print. Famous group of cypress trees in autumn on the hills of Tuscany, Italy. Archival pigment ink print, edition of 9. Signed, titled...

Pablo Picasso (1881-1873) Le Garou Numbered on the reverse Phototype and Pochoir 16 x 11.5 inches 957/1000

One from a set of four watercolours of butterflies on silk, applied to handmade paper, with hand cut edges, by French artist La Roche Laffitte. (The other 3 items are available separately) A beautifully observed and detailed study of a butterfly painted...

Paper Size: 36 x 29 inches ( 91.44 x 73.66 cm ) Image Size: 28 x 21 inches ( 71.12 x 53.34 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: 28 Color silkscreen printed by Pamplemousse Press. Hand signed, titled and numbered out of 125 by Gretchen Dow Simpson...

Jürgen Möbius (*1939 Großenhain), Black form surfaces on red painterly ground. Oil on hardboard, 50 x 60 cm, 51 x 61 cm (frame), signed "Möbius" and dated "[19]81". - Small paint chip in upper right corner, otherwise good condition. Gallery frame with slight signs of wear. - The Double Origin of Painting - About the artwork In the painting black, optically dominant forms can be seen, which in their arrangement at right angles to each other have a proto-architectural character. They are, so to speak, always already given original forms. At the same time, however, the forms are surfaces of color, and thus genuine painting. In order to make the painterly character of the painting clearly visible, Jürgen Möbius has applied red-toned strokes that have preserved the brushstroke. These are traces of an act of painting. The diagonal layers of red strokes merge into the upper white area, which oscillates between brushwork and homogeneous flatness, while the central white field, into which a black bar protrudes, has a decidedly planar character. The sharp contrast between the autonomous black surface forms, reminiscent of Kasimir Malevich, and the free brushstroke, which is not bound to any motif, creates an enormous pictorial tension, which is conveyed by the white, but at the same time is intensified by the virulent black-and-white contrast. In addition to the tense contrast of form and color, there is also a contrast between the dynamic of the brushstroke and the static of the black surface forms, whereby the diagonal alignment of these forms also gives the static a dynamic, while at the same time the layered brushstrokes have something static about them. Added to this structure of tension is the fact that the painting ground, the unprepared hardboard, is clearly present as such in the picture. In this way, it becomes clear once again that we are not dealing with an autonomous cosmos of form and color, as in Suprematism, but with a painting created by the artist's hand. With this work, Jürgen Möbius explores the possibilities of painting and thematizes painting in terms of its twofold origin, the trace of the guided brush and the painterly form, which gains its independence precisely by absorbing the brushstroke into itself. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

My goal is to make the images of classical art sound in a new way in modern art. In my works I refer to the cultural heritage of the past, I process and comprehend the masterpieces o...

Signed lower right, 'DeMartis' for James Joseph DeMartis (American, 1926-1996) and painted circa 1965. Born in Queens, New York, James Joseph DeMartis served with distinction in World War II and was decorated at the Battle of the Bulge. He subsequently attended painting classes at New York's Museum of Modern Art (1946-47) and, later, at the Art Students League of New York. He then enrolled at the California School of Fine Arts in Santa Monica, California until 1949, before leaving t study in Europe in 1950. He settled in Florence, Italy where he attended L’Accademia di Belle Arti di Firenze (1950-54). While continuing to study painting, he participated in several group and one-man shows in Italy and Switzerland. In 1956, DeMartis returned to New York at the height of the American Abstract Expressionist movement. He settled with his new family in Brooklyn and, after participating in a series of grass-roots galleries opened with fellow artists, he opened the Armory Gallery and studio in Manhattan. He also exhibited in other Manhattan galleries and at the National Arts Club. In 1961, De Martis was awarded the prestigious Emily Lowe Award for Painting. This led to to shows at the Ward Egglestone, ROKO, Pierantonio and Artemis West galleries from 1962-68. He then returned to Europe to participate in a group show in Florence. Upon his return, he opened the Brownstone Gallery in the Park Slope section of Brooklyn, where he exhibited his own and others’ works until 1988. James De Martis exhibited widely and with success including at one-man shows in Tokyo, Brooklyn, New York, Sarasota, Florida, San Francisco and Santa Fe. Select Exhibitions: 1953 Brodighera, Italy 1954 Galerie an der Reuss, Lucerne, Switzerland 1955 La Casa di Dante, Florence, Italy 1956 Walden School, New York, New York 1957 Bottega 57 Gallery, Brooklyn, New York 1960, 61 Hicks Street Gallery, Brooklyn New York 1960 Heights Casino, Brooklyn, New York 1961 Ward Eggleston Gallery, New York, New York 1962 Ray Gallery, Brooklyn New York 1962 Pietroantonio Gallery, New York, New York 1962,3,5,7 Armory Gallery, New York, New York 1965 Brooklyn Arts Gallery, Brooklyn, New York 1966,9 Brooklyn Heights Association 1967 Roko Gallery, New York, New York 1970,3,4,5,8,9,83 Brownstone Gallery, Brooklyn, New York 1972 Artemis East Gallery, New York, New York 1975 Brooklyn Museum, Brooklyn, New York 1977 Marcoleo Gallery, New York, New York 1978 Long Island University, Brooklyn, New York 1989,91,92 Gallery Gion Tokyo, Japan 1994 Private show, Sarasota, Florida 1995 Private show, San Francisco, California 1995 Private show, Copake, New York 1996 Washington and Jefferson College, Washington, Pennsylvania May, 2018 Retrospective show, Ashawagh Hall...

"F*ck Bunny" Mixed Media Painting 65" x 44" inch by Ben Cope 2023 Mixed media oil on wood Ben Cope is a Georgia native graduating from Columbus State University with a BFA in cer...

Black and white fine art long exposure waterscape - landscape photography. Artist portrait on a bench during a storm on a beautiful lake, Neusiedlersee, Austria. Archival pigment ink...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Petite Spirale, 1976 Lithograph in colors, on wove paper, the full sheet Published by Maeght Editeur, Paris 21 7/10 × 30 3/5 inches (55.2 × 77.8 cm) Signed and numbered in pencil...

Black and white fine art long exposure waterscape - landscape photography. Rocks on the shore of the beautiful sandy beach on the French Atlantic coast. Archival pigment ink print as...

Vibrant contemporary still-life with bold primary colors of a red apple and blue mug on a yellow table cloth with a bottle of wine by E. Star (American, 20th century). Presented in a...

In the Mood for Love Original painting, acrylic on canvas. Part of the NAWA exhibition in New York City. 27.5x19.6x1in 70x50x3cm Ready for hanging, no need for frame, painted on t...

Elisabeth Frink's work is held in numerous museum collections including The Tate Modern (London) and The National Portrait Gallery (London). The artist's contribution to public art i...

Diptych “Interaction”, 100x160 cm

Created circa 1975 and stamped, verso, with certification of authenticity for Jane Voitle Mellin (American, born 1952). Paper dimensions: 13.25 x 19.75 inches A atmospheric, sugar-...

Diptych “Interaction”, 100x160 cm

This work is from the series Formulation Articulation consisting of 127 original silkscreens, selected from forty years of Albers' study of the conceptual relationship between color ...

Black and White Fine Art landscape photography. Ile de Re bridge over the sea with fog, France. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist...

How are you, 100x80cm , oil\canvas

Fired to cone 01. Glaze fired to cone 07. Low fire glaze applications. ARTIST STATEMENT My work passionately reflects my Mexican cultural roots. The art forms appear and are create...

Carl Maria Plückebaum (1880 Düsseldorf - 1952 ibid.), Der Talismann (sog. Dukatenscheisser), partly colored etching, 11.5 x 8.5 cm (plate size), 26.5 x 20 cm (sheet size), signed by hand below the image on the right "C. Plückebaum" and inscribed by hand at lower left "Der Talismann". - left and right side of the sheet with browned stripes, otherwise good copy - The philosopher's stone - About the artist Here, Carl Plückebaum gives free rein to his anti-academic impulses and turns the subtle humor of his pictures into crudeness. Following Adrian Ostade's peasants as they go about their needy business, we see a cowardly fellow in a squatting position. His excrement, however, is not the organic remains of digestion, but - like the golden donkey in the Grimm fairy tale - ducats. However, they appear more brown than golden, which is emphasized by the discreet hand-coloring of the picture. The unattractive accumulation is countered by the blossoms decorating the crouching man's hat. Totally absorbed in his action, his activity is evident in the strained expression on his face, giving Plückebaum a whole new verisimilitude to the concept of naturalism. The title "The Talisman" then turns naturalism back to the miraculous, formulating in a humorous way that these legacies are also a "miracle of nature". About the artist Coming from a poor background, Carl Plückebaum, who had a walking disability and was of short stature, initially worked as a church restorer. He also took private drawing lessons. In 1901 he won the first prize of the Düsseldorf Museum of Decorative Arts, which enabled him to finance his studies at the Düsseldorf Academy. There he was a pupil of Eduard von Gebhardt and Peter Janssen the Elder, but began to doubt the academic teaching. In 1906 he took part in a group exhibition at the Städtische Kunsthalle Düsseldorf, which violated the academy's statutes and led to his dismissal. However, the extraordinary success with the public confirmed him as an artist and provided him with the financial means for a study trip to Italy. Enchanted by Florence, he retired to the Franciscan monastery of Fisole, where he worked as a fresco painter. Back in Düsseldorf, he turned increasingly to children's and animal drawings, and in 1907 he was a founding member of the Niederrhein Secessionist Artists' Group. In 1910 he travelled to Italy again, accompanied by his painter friends Walter Ophey and Carl Schmitz-Pleis, visiting Rome and Naples in particular. He then stayed in Munich to study the Old Masters at the Pinakothek. It was in the artistic circles of Schwabing that he met his future wife, the painter Meta Weber. In Düsseldorf, Carl and Meta Plückebaum...

Lemons and bushes, 70x50cm

'Shift', oil on board by Sabrina Rowan Hamilton. M.A. Widely exhibited Internationally solo & group shows. Mounted in a glazed box frame. Sabrina's paintings are a substantial part o...

Very well executed oil painting of the Bay of Naples showing fishermen netting their catch with a smoldering Mount Vesuvius in the background. Signed R. ...

Painted by Victor Papkov (Russian-American, 20th century); stamped, verso, with certification of authenticity and titled, 'San Francisco Sunset'. A dramatic Impressionist oil seasca...

Introducing 'Zen Pebbles,' an 80x80cm abstract acrylic masterpiece. Blending marble and collage, this artwork embodies the meticulous harmony found in Zen gardens. The deliberate cho...

Autumn comes, 2021, 100x100 cm

Original Lithograph by Jean Cocteau Title: The Elegant Toreador 1961 Dimensions: 28 x 38 cm Lithograph made for the portfolio "Gitans et Corridas" published by Société de D...

" Noon 2007" Portrait of Musician Ryan Bingham engraving by Kiki Smith of a young man looking directly at the viewer. His look is not one of challenge, but more of a questioning nature. It is numbered on verso 28/33, and dated 2007. Kiki Smith (1954 - ) is a West German-born American artist. Her work encompasses many themes: sex, birth, regeneration and death along with personal investigation of her life and those of her family. Her figurative work of the late 1980s and early 1990s confronted subjects such as AIDS and gender. Her recent works have depicted the human condition in relationship to nature. Smith lives and works in New York City and the Hudson Valley, New York State. Her father was sculpture artist, Tony Smith and her mother was actress and opera singer Jane Lawrence. Although Kiki's work takes a very different form than that of her parents, early exposure to her father's process of making geometric sculptures allowed her to experience formal craftsmanship firsthand. Smith was enrolled at Hartford Art School in Connecticut for eighteen months from 1974 to 1975, then moved to New York City in 1976 and joined Collaborative Projects (Colab), an artist collective. The influence of this radical group's use of unconventional materials can be in seen in her work. For a short time in 1984, she studied to be an emergency medical technician and sculpted body parts, and by 1990, she began to craft human figures. In addition to print making Kiki Smith has created in a number of different mediums such as film, sculpture, tapestries, books and the confines of commissions. She experimented in a wide range of printmaking processes. Some of her earliest print works were screen-printed dresses, scarves and shirts, often with images of body parts. In association with Colab, Smith printed an array of posters in the early 1980s containing political statements or announcing Colab events. In 1988 she created "All Souls”, a fifteen-foot screen-print work featuring repetitive images of a fetus, an image Smith found in a Japanese anatomy book...

11 x 14" vintage silver gelatin exhibition photograph of Warhol Superstar and Vogue model Jane Forth & Joe Dallesandro, stars of Warhol's 'Trash' for 'Afte...

Pablo Picasso (1881-1873) Torbi Numbered on the reverse Phototype and Pochoir 16 x 11.5 inches 957/1000

«high tide» , 110x100cm

Purple shame, 2022, 100x100 cm

Reclining light, 55x120 cm

Fired to cone 01. Glaze fired to cone 07. Low fire glaze applications. Finished with acrylics and oils. Dimensions: 5.5" x 5.5" x 5" Year: 2018 ARTIST STATEMENT My work passionately reflects my Mexican cultural roots. The art forms appear and are created as stories in the round as I transform and mutate a magic fusion of colors, shapes and a way of life into them. I often use faces joined by zigzag or curved lines. Flower petals characteristically fashion the idea of dealing with one’s aura. Some of the vessel forms I use (the goddess series) are used to symbolically connect earth to women… a container used for nutrients of survival. My work also speaks of healing. Pieces are created to capture great depth of emotion, celebration, suffering, and cultural bonding. Slip cast...