Art on Sale

A wonderful pen and ink drawing with watercolour wash by the artist Sunil Guha. Presented in a simple gilt effect frame. Signed and dated. On paper.

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Vintage American school modernist painting. Oil on canvas, circa 1940. Unsigned. Image size, 30L x 24H. Housed in a period frame.

This superb Dutch Golden Age Old Master landscape oil painting is attributed to Jacob van der Croos. Painted circa 1670 it is an Italianate landscape with figures and their animals i...

This is a beautiful original oil painting on canvas, depicting a young woman with umbrella dancing among the flowers. Titled "April Showers". The painting bring a positive and relaxi...

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96...

A charming late 19th Century watercolour view of St Mark's Basilica in Venice. A gondola drifts past in the foreground. The artist has signed to the lower right corner and the painti...

This 2002 reproduction of Woman in an Armchair by Pablo Picasso, originally painted in 1939, was published by the Tel Aviv Museum of Art. The reproduction, part of the museum's perma...

Giuseppe Bernardino Bison (Palmanova 1762 - Milan 1844) - Holy Family. 32 x 26 cm without frame, 36 x 30 cm with frame. Pencil and white chalk drawing on paper, in a gilded wooden ...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Morakinyo Femi is a visual artist born in Akure, Ondo State Nigeria in 1984. At an early age, Femi was intrigued by the stamps collected by his banker father which have now become a significant source of inspiration for his art style. Femi lived briefly with his grandmother, a connoisseur of old textiles...

Vibrant plein air painting of blooming meadows, and oil on paper landscape by J. A. Johnson (American, 20th C.). Presented in a wooden frame. Pr...

This superb vibrant Dutch 18th century Old Master floral oil painting is attributed to circle of Gerard Van Spaendonck. Painted circa 1790, it is a beautiful mixed floral still life flower arrangement in an ornate urn on a marble ledge against a landscape. The flowers include roses, tulips, blue iris and trailing blue morning glory. The carved ornate grey/blue urn on the cream marble ledge create a strong textural contrast with the soft petals and leaves. This is a wonderful example of Dutch 18th century floral oil paintings with fine detail and brushwork. Provenance. Private Collection, UK (by descent). Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition. Frame. Housed in an ebonised frame, 39 by 34 inches framed and in good condition. Gerard van Spaendonck (1746-1822) was a Dutch painter. Gerard was born in Tilburg, an older brother of Cornelis van Spaendonck...

Jordi Curós Ventura (1930-2007) - Market - Crayons. Work measurements 65x50 cm. Frame size 83x68 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish painter. He trai...

**Technical Sheet** **Title:** Cadaqués **Artist:** Rafael Durán Benet **Technique:** Oil on canvas board **Dimensions:** 13 x 16.1 inches **Support:** Canvas board **Fram...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Diane Arbus, Electa Editrice Portfolios, 1979. Published by Unite...

Paper Size: 14.25 x 11.5 inches ( 36.195 x 29.21 cm ) Image Size: 14.25 x 11.5 inches ( 36.195 x 29.21 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additio...

Wonderful small scale abstract figurative stone Venus sculpture by Doris Ann Warner (American, 1925-2010), 1975. A highly abstracted female form is expressed through the organic, fl...

Antique American modernist still life oil painting. Oil on canvas. Framed. Signed.

Edouard Jacques Dufeu, born in Marseille on March 27, 1836, and died in Grasse on December 1, 1900, is a French painter and engraver.Hailing from a family originally from Egypt, Dufe...

Jack Mitchell mid-20th Century beautiful male nude photograph taken in the 1970s. Highly collectible vintage original silver gelatin print, stamped verso by the photographer "Photogr...

José Miret Aleu (1912-1999) - Still life of peaches and cherries - Oil on canvas Oil measurements 50x61 cm. Frameless. Painter born in Barcelona in 1912. He studied drawing at the B...

Fugue is an original hand drawn limited edition lithograph by the African American artist Hughie Lee-Smith printed using hand lithography techniques on archival Arches paper, 100% ac...

Landscape. Paper, watercolor, 42x30 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947...

I'm haunted by what I've seen and been told, so I seek solace in quiet teashops. My mind is filled with tears and words, and I crave truth in operas and poetry. I tape letters and ph...

Farm in the English Countryside with Warm Golden Brown & Lush Green Colours by 20th Century British Artist, Christopher Osborne. Art measures 10 x 8 inches Frame measures 13 x 11 ...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°6, 1956. Published and printed under the direction of Gualti...

Lesley Anne Spowart (American, born 1957) "Canine Kaleidoscope" 2024 Acrylic paint, Glue, Paper, Collage, Mixed Media, Wood Panel The artist signed the bottom right and back of the p...

Italian painter (18th century) - Chrono. 90.5 x 106 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good state of conservation of the pictorial ...

A stunning 19th century English Antique oil landscape with cows resting by a river. Alfred Vickers was a painter of marine subjects and landscapes. He exhibited extensively througho...

Brian Sostrom's (US based) "Pink" is an original, handmade acrylic painting that depicts a fluffy cumulus cloud floating above the landscape, glowing pink and purple from the sun. ...

A charming oil study depicting a rural cottage in the French countryside. Apple blossom tree stand in the foreground beneath clear skies, making for a delightful springtime compositi...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

View of a Port "59" French Modernist School Oil on canvas Illegibly signed. l.r., dated "59" 28 3/4 x 23 3/4 (30 x 25 frame) inches A positively brilliant, Modernist view of a French port...

Artist: Mark Kostabi (1960) Title: Factory Year: 1985 Edition: 45/100, plus proofs. Medium: Lithograph on Arches paper Size: 22.25 x 30 inches Condition: Good Inscription: Signed and...

A stunning rendition of a Venetian still life with florals in a blue vase, a lyre guitar and views of Gondolas on the water. The rich color tones a...

Paper Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Image Size: 15 x 33 inches ( 38.1 x 83.82 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Deta...

Vintage American modernist interior scene by Will Barnet. Titled "Interlude". Signed and numbered limited edition from 1982.

Colourful Abstract Landscape Painting of Bidean nam Bian, Ballachulish, Glencoe in the Scottish Highlands by Leading Contemporary British Artist, Angela Wakefield Art measures 24 x...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Féerie et Le Royaume, Lithographies Originales de Marc Chagall, 1972...

Portrait Of Mrs Diana George (nee Atkinson), dated 1930 by John Maler Collier OBE (1850-1934) National Portrait Gallery Exhibition, reference: 323, 1930 Large 1930 Pre-Raphaelite ...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Cologne), The Blacksmith of Solingen, after 1895. Bronze-color patinated zinc cast on plinth, 47 cm (height) x 20 cm (width) x 16 cm (depth), weight 5.5 kg. Signed “Albermann.” on the plinth and identified as a cast by “AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN”. Dedication on the front: “Mr. Ing. F. Kuhlmann to the wedding. Management and officials of the Hannoversche Waggonfabrik. Aircraft construction department". - The zinc showing through in spots, the patina somewhat stained, the right upper arm under the sleeve retouched in black. - The Double-edged Sword - The figure is a reduction of Wilhelm Albermann's 1895 fountain figure of the armourer of Solingen, who has always been identified with the historical blacksmith Peter Hahn. In 1839, Karl Simrock wrote the poem “The Blacksmith of Solingen" and thus coined the legendary figure. The first and penultimate verses read: A blacksmith spoke to Solingen With every bayonet, That came to his diligence: "Oh, that Fritz had it!" The war took its course, Many battles were fought, Which often made him fearful and anxious In his soul. The blacksmith had given up his trade to fight for Frederick the Great. Not least because of his strength and will to fight, the battles were won. With his fountain sculpture, Albermann has given the legendary blacksmith a figurative form and at the same time created a landmark for the city of Solingen, which was once famous for the art of sword forging and today still stands for the production of high-quality knives. During the bombing raid in November 1944, the fountain was destroyed along with the entire old town of Solingen. Only the head remained. The broad-shouldered blacksmith stands securely behind his anvil, his leather apron tied around him, and has just finished a sword blade with his own "weapon" - the blacksmith's hammer. His entire body shows the strength with which he wields the hammer, but also the strain of this activity, as evidenced by the wide open shirt, the somewhat 'untidy' apron, and especially the furrowed face. However, the blacksmith does not look at the finished work, but resolutely and at the same time thoughtfully into the distance, in line with the quoted verse from Simrock's poem that the battles "often made him fearful and anxious in his soul". There is certainly something melancholy in his gaze, fed by the knowledge of the necessity of forging swords and taking up arms and their deadly use - experiences Albermann had to make during his own war missions. The flowing full beard gives his gaze into the distance an almost prophetic character. In keeping with the craft of the perfectly formed art of blacksmithing, the detailed casting reproduces the respective materials depicted in perfect form: the leather apron convincingly conveys the impression of leather and lies - also in the back view - like a second formed layer over the body, while the shirt and trousers illustrate their own textile qualities. Due to its masterful execution and profound content, the “Blacksmith of Solingen”, which has survived in its cast reproductions, remains Albermann's most famous work to this day. About the artist The son of a carpenter, Wilhelm Albermann began an apprenticeship as a joiner, but then followed his artistic calling and trained as a sculptor in Elberfeld. In 1855, at the age of twenty, he was drafted into the army in Berlin, where he served until 1857. Albermann attended the Berlin Art Academy on the side and began regular studies after his service. While still a student, he completed commissioned works for his teachers August Fischer and Hugo Hagen. His first independent commissions followed, enabling him to establish a flourishing sculpture studio in Cologne in 1865. His artistic activities were repeatedly interrupted by military service, and he took part in the German-Danish War in 1864, the war against Austria in 1866, and the Franco-Prussian War in 1870/71. After his last war service, Albermann, already a respected artist, founded a commercial drawing school at the request of the city government, where he taught the modeling class and served as director until 1896. In 1890 he also worked for the "Society for the Promotion of Sculpture in the Rhineland and Westphalia". Albermann was one of the most prolific sculptors in Cologne in the second half of the 19th century. He created numerous monuments, fountains, tomb sculptures, architectural ornaments, and domestic statues. At its peak, his workshop employed up to thirty sculptors and stonemasons at a time. GERMAN VERSION Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Köln), Der Schmied von Solingen, nach 1895. Bronzefarben patinierter Zinkguss auf gegossener Plinthe, 47 cm (Höhe) x 20 cm (Breite) x 16 cm (Tiefe), Gewicht 5,5 kg. Auf der Plinthe mit „Albermann.“ signiert und als Guss der „AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN“ ausgewiesen. Schauseitige Widmung: „Herrn Ing. F. Kuhlmann zur Vermählung. Direktion und Beamte der Hannoverschen Waggonfabrik. Abt. Flugzeugbau“. - Punktuelles Durchscheinen des Zinks, Patina etwas fleckig, der rechte Oberarm unter dem Ärmel schwarz retuschiert. - Die Zweischneidigkeit des Schwertes - Die Figur ist eine Reduktion von Wilhelm Albermanns 1895 geschaffener Brunnenfigur des Waffenschmieds von Solingen, der seit jeher mit dem historischen Schmied Peter Hahn identifiziert wurde. 1839 hatte Karl Simrock das Gedicht „Der Schmied von Solingen“ verfasst und damit die legendäre Figur geprägt. Die erste und die vorletzte Strophe lauten: Zu Solingen sprach ein Schmied Bei jedem Bajonette, Das seinem Fleiß geriet: »Ach, daß der Fritz es hätte!« Der Krieg ging seinen Gang, Man schlug noch viele Schlachten, Die oft ihm angst und bang' In seiner Seele machten. Der Schmied hatte sein Handwerk ruhen lassen, um selbst für Friedrich den Großen zu kämpfen. Nicht zuletzt durch seine Kraft und seinen Kampfeswillen verliefen die Schlachten siegreich. Dem legendären Schmied verlieht Albermann mit seiner Brunnenskulptur eine bildliche Gestalt und schuf damit zugleich ein Wahrzeichen der Stadt Solingen, die einst für die Kunst des Schwerterschmiedens berühmt war und bis heute für die Herstellung qualitätvoller Messer einsteht. Beim Bombenangriff im November 1944 wurde mit der gesamten Solinger Altstadt auch der Brunnen zerstört. Einzig der Kopf blieb erhalten. Mit sicherem Stand und umgebundener Lederschürze steht der breitschultrige Schmied hinter seinem Amboss und hat gerade mit seiner eigenen ‚Waffe‘ – dem Schmiedehammer – eine Schwertklinge fertiggestellt. Seinem gesamten Körper ist die Kraft abzulesen, mit der er den Hammer führt, aber auch die Anstrengung dieser Tätigkeit, wovon das weit geöffnete Hemd, die etwas ‚unordentlich‘ arrangierte Schürze und vor allem das zerfurchte Gesicht zeugen. Der Schmied schaut aber nicht auf das vollendete Werk, sondern entschlossen und zugleich sinnierend in die Ferne, entsprechend der zitierten Zeile von Simrocks Gedicht, dass die Schlachten „oft ihm angst und bang‘ in seiner Seele machten“. Der Blick hat durchaus etwas Melancholisches, dass sich aus dem Wissen um die Notwendigkeit, Schwerter zu schmieden und zu den Waffen zu greifen und deren tödlichem Einsatz speist – Erfahrungen, die Albermann bei seinen eigenen Kriegseinsätze machen musste. Der wallende Vollbart verleiht dem in die Ferne schauenden Blick einen beinahe prophetischen Charakter. Dem Handwerk der formvollendenden Schmiedekunst entsprechend, gibt der detaillierte Guss die jeweils dargestellten Materialien in vollendeter Ausformung wieder: Die Lederschürze vermittelt überzeugend den Eindruck des Leders und liegt – auch in der Rückenansicht – wie eine zweite ausgeformte Schicht über dem Körper, während das Hemd und die Hose...

A charmingly naive landscape by the Norwegian artist, Bjorn Smith-Hald. The artist has signed to the lower left and the painting has been presented in a distressed gilt frame. On can...

360 Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2024 Style: Classic Art Title: Peacock Size: 12 x 16 inch, ...

Late 17th-century Bolognese painter Circle of Carlo Cignani (Bologna 1628 - Forlì 1719) Noli me tangere ‘’Apparition of Christ to Mary Magdalene‘’ oil on canvas 120 x 92 cm framed ...

WILLIAM SELTZER RICE (1873 – 1963) WIND BLOWN POPLARS c. 1915-20 Color woodcut, Signed and titled in pencil. 9 x 12”. On thin paper....

'Grand Prix Racer', French School, oil on board (circa 1960s). The 'good ole' days' of Formula One racing are depicted in this thrilling mid-century...

A large late 19th century still life of fruit, captured alongside a freshly shot pheasant. Signed' J. Urban' to the lower left. On canvas on stretchers.

Elizabeth Hurley photographed by British celebrity and fashion photographer John Stoddart. This risqué iconic black and white photograph expresses her incredible figure, capturing the actress completely naked, against the head of a large Grecian bust...

Impressive early American impressionist flower landscape painting by Lila Caroline McGillivray Knowles (1886 - 1979). Oil on board. Framed. Signed. Image size, 10 by 12 inches.

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed. Signed.

Italian painter (19th century) - Satirical allegory of the papacy and Austrian empire. 28.5 x 24 cm without frame, 32 x 26.5 with frame. Oil on panel, in gilded wooden frame. Cond...

This lovely portrait oil painting is by much exhibited British artist Edwin Roberts. The painting is an excellent example of Victorian romantic genre art and is of a Summer Beauty. T...

Barbara Shermund (1899-1978). Fancy Department Store Satirical Cartoon, ca. 1930's. Ink, watercolor and gouache on heavy illustration paper, panel measures 19 x 15 inches. Signed lower right. Very good condition. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

The orange areas interlace with the red, conveying a sense of warmth and enthusiasm, as if the sun were in constant explosion. These tones ignite the spark of emotion in the artwork....

70x70cm, print on canvas Edition 20 pcs.

Paul Dierkes (1907 Cloppenburg - 1968 Berlin), Archaic Head. Limestone, 1952. 15 x 9 x 12 cm (without plinth), 19 x 10 x 11 cm (with plinth), monogrammed "PD" on the reverse. - S...