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Safari, 80x80cm

Shells , 2021, 50x35 cm The work is sold without a frame and mat

Girl on a ball, 120x60cm, acrylic on canvas

Double sided page produced as part of a special art insert from a well respected art publication

Blue horse , 70x70cm, print on canvas.Edition 20 pcs.

Blue horse , 70x70cm, print on canvas.Edition 20 pcs.

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

70x70cm, print on canvas Edition 20 pcs.

Partridges, 59.4 x 42 cm, linocut, paper In stock 9 pcs.

Belle de nuit, 60x90 cm, acrylic on canvas

Orange Deliciousness, 2019

70x70cm, print on canvas Edition 20 pcs.

Dancing with Centaur or Achilles and Centaur Chiron. Hand signed Silombria 2002 Created in 2002. Unique piece. Ceramic, Made in Albissola ( Savona), atelier Ernan. Unique hand painted large charger , 50 cm (approximately 20 inch). Created by Italian Pop - Art artist Marco Silombria ( Savona, 1936-Albissola, 2017): Italian painter , sculptor and PAINTER and advertising graphic designer appreciated and esteemed, who had established in Turin starting from the end of the 1960’s. Arrived in Turin in 1950’s, after taking his first steps with famous artists such as Emilio Scavanino and Lucio Fontana. He signed several successful advertising campaigns: from the one for Gallo rice to the Fiat 127, to the posters for the Gruppo Finanziario Tessile. In the 1980’s he became a painter, and devoted to an openly and decidedly homoerotic art...

Oil on canvas 60x60 cm

N101, 100x100cm, oil/canvas The work is sold without a frame.

Break at the Academy of Arts 75x71 cm

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

Eternity, 40x30 cm, Canvas, acrylic, gold leaf

Ball lamp d = 28cm rust with natural oak base 20x20x78cm. Customization possible and designed in 2010. Also available to order in stainless steel. You will find an exceptional and h...

N130 - 50x40, oil/canvas

Dot , 60x50cm, acrylic on canvas

Turquoise , 90x70cm

Limited edition of 5 pieces

Red vase 110x80 cm

CHARLES LEVIER – UNTITLED STREET SCENE Oil on Board ⚜ Signed Lower Right ⚜ Original Gilt Frame A VIBRANT MIDCENTURY CITYSCAPE BY A MODERN MASTER This original oil on board by Charle...

Heterochromia, 80x80 cm

Self Talk, 90x80cm

Still life , 70x70cm, print on canvas Edition 20 pcs.

Anonymous, Bust of a young woman, c. 1900, artificial marble and gray onyx marble. 37 cm (height) x 37 cm (width) x 22 cm (depth), weight 17.2 kg. Signed “GURRINI” on the reverse. -...

Pablo Picasso (Spanish, 1881-1973) Colombe à la lucarne, 1949 Stamped, marked, and numbered Madoura Plein Feu/Edition Picasso/ 80/200/ Edition Picasso/Madoura (underneath) White E...

70x70cm, print on canvas Edition 20 pcs.

50x50cm, print on canvas Edition 20 pcs.

Everything is ahead, 70x50cm, oil on canvas, oil pastel

Birds 50x40 cm

Khosrow and Shirin, 150x110cm

Morning, 100x140 cm, Oil, Canvas, sand

My forest, 100x100cm, canvas, oil, sand

Beach 70x50 cm

series "Non-standard configurations", 42x30 cm, acrylic on paper The work is sold without a frame and mat

Girl, 2020, 75x55 cm The work is sold without a frame.

"Red sofa", paper/oil, 50x60 cm.

Japanese beauty , 50x50cm, print on canvas Edition 20 pcs.

100x130cm

70x70cm, print on canvas Edition 20 pcs.

This firewood rack is on the one hand very practical to store firewood, on the other hand it is a wonderful way to add a decorative element to your garden walls. Customization possib...

Faun`s sweet dream, 2021, 90x80 cm

Flashes of Memory The work is sold without a frame.

Edition of 20 pieces

Terry Winters Lines of Communication (from Doctors of the World portfolio), 2001 Abstract expressionist digital pigment print 28 × 33 inches Pencil signed, dated and numbered on the front from the edition of 100 Printer: Universal Limited Art Editions, East Islip, New York / ULAE & Brand X Editions Publisher: Doctors of the World / Art of this Century, NY (Medecins Sans Frontieres) Unframed This stunningly prescient work is a pencil signed and numbered digital print that was part of the 2001 “Doctors of the World” portfolio. This series also includes works by artists such as Sol LeWitt, Elizabeth Murray and Chuck Close. In this work for the Doctors of the World portfolio, Winters explores the connections between the lines of communication and illness in a world where you can instantly speak with someone anywhere via the internet and airborne illnesses are the latest form of modern warfare. More about Terry Winters: Over the last four decades, Terry Winters has expanded the concerns of abstract painting by engaging contemporary concepts of the natural world. Many of his earliest paintings depict organic forms reminiscent of botanical imagery. Over time, his range of themes expanded to include the architecture of living systems, mathematical diagrams...

Summer evening 100x80 cm

In collaboration with Real Mad Hectic, and produced by Bounty Hunter, this piece depicts KAWS’s signature figure, Companion, in Black. This human/animal/cartoon hybrid has a Mickey Mouse body, complete with gloves, shorts, and clown-like shoes...

Fragility. 80x100cm

70x70cm, print on canvas Edition 20 pcs.

Oval bowl with tree motif 2013, stone ware, 3,5x26x18,5 cm

Edition of 20 pieces

70x70cm, print on canvas Edition 20 pcs.

KAWS 400% Mad Hectic Kubrick, 2003 Painted cast vinyl 10 h × 6¾ w × 3½ d in (25 × 17 × 9 cm) Stamped signature and date to reverse '© KAWS..03'. Impressed title and manufacturer's ...

Several months after releasing the KAWS Share Figure in February, the artist released his long anticipated KAWS Take Figure. The figure, which features a blue BFF holding a brown Com...