Baby Art

Due Angeli is an original artwork realized by Andrea Brustolon. Mixed media, ink and watercolor. The artwork rapresents two baroque angels, study realized by Brostolon for a sculpt...

Cy Twombly (1928-2011) Virginia/ New York / Italy Image Size: 16 x 11 Visible inside matboard is 12 x 11 Frame Size: 21.5 x 19 Medium: Photograph Edition 1/12 Signed with the edition number "Black and White" 1954 This is an original. The same photo in the Twombly book is a dry point on cardboard but is unsigned by hand. Cy Twombly (1928-2011) Following is the obituary of the artist by Randy Kennedy, The New York Times, July 5, 2011 Cy Twombly, whose spare, childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era's most important painters, died on Tuesday in Rome. He was 83. His death was announced by the Gagosian Gallery, which represents his work. Mr. Twombly had battled cancer for several years. In a career that slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop art and anticipated some of the concerns of Conceptualism, Mr. Twombly was a divisive artist almost from the start. The curator Kirk Varnedoe, on the occasion of a 1994 retrospective at the Museum of Modern Art, wrote that his work was "influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well." The critic Robert Hughes called him "the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg." Mr. Twombly's decision to settle permanently in southern Italy in 1957 as the art world shifted decisively in the other direction, from Europe to New York, was only the most symbolic of his idiosyncrasies. He avoided publicity throughout his life and mostly ignored his critics, who questioned constantly whether his work deserved a place at the forefront of 20th century abstraction, though he lived long enough to see it arrive there. It didn't help that his paintings, because of their surface complexity and whirlwinds of tiny detail — scratches, erasures, drips, penciled fragments of Italian and classical verse amid scrawled phalluses and buttocks — lost much of their power in reproduction. But Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity. "I had my freedom and that was nice," he said in a rare interview, with Nicholas Serota, the director of the Tate, before a 2008 survey of his career at the Tate Modern. The critical low point probably came after a widely panned 1964 exhibition at the Leo Castelli Gallery in New York. The artist and writer Donald Judd, who was hostile toward painting in general, was especially damning, calling the show a fiasco. "There are a few drips and splatters and an occasional pencil line," he wrote in a review. "There isn't anything to these paintings." But by the 1980s, with the rise of neo-Expressionism, a generation of younger artists like Jean-Michel Basquiat found inspiration in Mr. Twombly's skittery bathroom-graffiti scrawl. Coupled with rising interest in European artists whose work shared unexpected ground with Twombly's, like Joseph Beuys, the newfound attention brought him a kind of critical favor he had never enjoyed before. And by the next decade, he was highly sought after not only by European museums and collectors, who had discovered his work early on, but also by those back in his homeland who had not known what to make of him two decades before. In 1989, the Philadelphia Museum of Art opened permanent rooms dedicated to his monumental 10-painting cycle, Fifty Days at Iliam, based on Alexander Pope's translation of The Iliad. (Mr. Twombly said that he purposely misspelled Ilium, a Latin name for Troy, with an "a," to refer to Achilles.) That same year, Mr. Twombly's work passed the million dollar mark at auction. In 1995, the Menil Collection in Houston opened a new gallery dedicated to his work, designed by Renzo Piano after a plan by Mr. Twombly himself. Despite this growing acceptance, Mr. Varnedoe still felt it necessary to include an essay in the Modern's newsletter at the time of the retrospective, titled "Your Kid Could Not Do This, and Other Reflections on Cy Twombly." In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was "the actual experience" of making the line, adding: "It does not illustrate. It is the sensation of its own realization." Years later, he described this more plainly. "It's more like I'm having an experience than making a picture," he said. The process stood in stark contrast to the detached, effete image that often clung to Mr. Twombly. After completing a work, in a kind of ecstatic state, it was as if the painting existed but he himself barely did anymore: "I usually have to go to bed for a couple of days," he said. Edwin Parker Twombly Jr., was born in Lexington, Va., on April 25, 1928, to parents who had moved to the South from New England. His father, a talented athlete who pitched a summer for the Chicago White Sox and went on to become a revered college swimming coach, was nicknamed Cy, after Cy Young, the Hall of Fame pitcher. The younger Mr. Twombly (pronounced TWAHM-blee) inherited the name, though he was much more bookish than athletic as a child, with stooped shoulders and a high ponderous forehead. He read avidly and, discovering his calling early, he worked from art kits he ordered from the Sears Roebuck catalog. As a teenager, he studied with the Spanish painter Pierre Daura, who had left Europe after the Spanish Civil War and settled in Lexington. Daura's wife, Louise Blair, studied cave paintings and may have sparked Mr. Twombly's early interest in Paleolithic art. In 1947 he attended the Boston Museum School, where German Expressionism was the rage, but Mr. Twombly gravitated to his own interests, like Dada and Kurt Schwitters and particularly to Jean Dubuffet and Alberto Giacometti, two important early influences. He moved back to Lexington in 1949 and studied art at Washington and Lee University, where his talent impressed teachers. By 1950, he was in New York, the recipient of a scholarship to the Art Students League. Later in his life, he cited visiting Willem de Kooning's studio and seeing an Arshile Gorky retrospective at the Whitney Museum of American Art as important moments in his young painting life. But he also came to New York at the heyday of the New York School and was exposed to the work of almost all its giants in the city's galleries. He turned down an offer for a solo show of his paintings at the Art Students League in 1950, saying that he felt it was too early for him. He met Rauschenberg, a fellow student at the league, during his second semester, and Rauschenberg later persuaded Mr. Twombly to enroll at Black Mountain College in North Carolina, which had become a crucible for the American avant-garde, with John Cage, Merce Cunningham, Ray Johnson, Dorothea Rockburne and John Chamberlain among its faculty and students. Mr. Twombly, who studied with Ben Shahn, stayed at the college only briefly and was a bit of an outsider even then. As he told Mr. Serota: "I was always doing my own thing. I always wondered why there are books with photographs of all the artists of that period and I was only in one! I thought: 'Where was I?' " In the summer of 1952, after receiving a grant from the Virginia Museum of Fine Arts, Mr. Twombly traveled to Europe for the first time and met up with Rauschenberg. The two wandered through Italy, North Africa and Spain, an experience that later yielded some of the first paintings to be considered a part of Mr. Twombly's mature work. "Tiznit," made with white enamel house paint and pencil and crayon, with gouges and scratches in the surface, was named for a town in Morocco that he had visited, and the painting's primitivist shapes were inspired by tribal pieces he saw at the ethnographic museum in Rome, as well as by artists like Dubuffet, de Kooning and Franz Kline. The painting, along with another based on tribal motifs, was exhibited in 1953 at Eleanor Ward's Stable Gallery on West 58th Street along with monochromatic paintings by Rauschenberg. The show was generally savaged. (Early this year, the Museum of Modern Art acquired "Tiznit," along with another early work, which Mr. Twombly had kept in his personal collection.) Mr. Twombly was drafted and spent more than a year in the Army, where he was assigned to cryptography work in Washington. On weekends and leaves, he continued to paint and draw, sometimes at night with the lights out to try to lose techniques he had learned in art classes and to express himself more instinctively. After receiving a medical discharge and teaching for a time in Virginia, Mr. Twombly returned to New York and worked in a studio on William Street, near both Rauschenberg and Johns, who helped choose titles for his paintings during this period. Mr. Twombly tried without success for several months to get a grant to go back to Europe and in 1957, with Ward's help, he spent several months in Italy, where he met Tatiana Franchetti...

Three Horsemen is an original charcoal drawing on laid paper, realized around the Sixtes by the great Italian artist and journalist, Mino Maccari (Siena, 1898 - 1989). Signed "Macca...

Screen print realized by Ivan Generalic in 1976. It is after Generalic's Painting "Carnevale", also know as "Masquerade in Winter" or "Fastnach"). Edition of 90. Hand signed and nu...

acrylic painting on the canvas, inspired by contemporary art directions and african art. Canvas 139 highly influenced by Haring artworks with combination with african motives. Proce...

Engraving on laid paper, depicting the mythological abduction of Ganymede by Jupiter in the form of an eagle. The dramatic composition shows the youthful figure lifted skyward, frame...

Mildred Barrett Original Painting On Canvas “Woman With Children”. Unframed in good condition measures 14x11

LINA SCHEYNIUS (*1981, Sweden) Untitled (Touching) 2021 Fibre-based silver gelatin print Sheet 90 x 60 cm (35 3/8 x 23 5/8 in.) Edition of 3, plus 2 AP; Ed. no. 1/3 Print only Touc...

The nude portal - 03-07-19 As you may have noticed by now I am keen on vortices. They show an endless sequence of swirls, almost like a singularity. Some say they lead the way to ...

The flying postman is an original drawing in China ink and watercolor on creamy cardboard realized by Gabriele Galantara (1865-1937). In good conditions. This artwotk presents on ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Zebulun, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by A...

Denied Warhol Flowers, (RED ORANGE BLUE) Silkscreen on canvas Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. ...

Bacchantes and Musicians is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1923. Signed and dated on plate on the lower left corn...

Bacchus and the Nymphs is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Signed and dated on plate on the lower right corner: F. Bac 1922. Original Lit...

Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2025 Style: Classic Art Title: Junco Size: 12 x 16 inch, (30x4...

The Carriers of Amphorae is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Original Lithograph on ivory paper. Signed and dated on plate on the lower right corner: F. Bac 1922. Very good conditions. The Carriers of Amphorae is an very beautiful Liberty Style lithograph realized by the French artist Ferdinand Bac in the Second decade of the XX Century. The work depicts some women carrying amphorae on their heads. Some of them cover up with their clothes and turn to a man. In the background we see a seascape with buildings and columns. This work has been realized the French artist Ferdinand Bac (1859 - 1952). Ferdinand-Sigismond Bach, known as Ferdinand Bac was a French cartoonist, artist and writer, son of an illegitimate nephew of the Emperor Napoleon. As a young man, he mixed in the fashionable world of Paris of the Belle Époque, and was known for his caricatures, which appeared in popular journals. He also traveled widely in Europe and the Mediterranean. In his fifties, he began a career as a landscape gardener. He attended Adolphe Thiers, Gambetta, Richard Wagner, Victor Hugo, Taine, Villiers de L'Isle-Adam, Paul Verlaine, Maurice Barrès, Barbey d'Aurevilly, Alphonse Daudet, Guy de Maupassant, Verdi, Gounod, Pierre de Nolhac, and many more other famous people of the time. He established himself as one of the first cartoonists and caricaturists of his time, as famous as Albert Robida...

Women and Amphorae is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Original Lithograph on ivory paper. Excellent conditions. Women and Amphorae is ...

Hunt Slonem (b. 1951) is an internationally celebrated American artist whose vibrant and instantly recognizable works have made him one of the most collectible contemporary painters ...

Elizabeth Catlett - CHILDREN WITH FLOWERS 1995, limited edition lithograph printed in twelve colors using traditional hand lithography techniques on archival Arches paper, 100% acid ...

Domenico Maria Canuti (Bologna 1626 - 1684) Title: Toilet of Venus with Cupids and Satyrs Medium: Oil on canvas Dimensions: without frame 79 x 98 cm - ...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Belongs to the series "The Bible". Edition of 275+30 out of commerce copies. N...

Oil on canvas Signed and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Daniel Handal writes: “With ‘Cats in Costume’ I wanted to work on ...

This pen and ink from 1920 depicts a Greek mythological scene with a Satyr companioning Pan, who plays the flute to an interested woodland deer. It is rendered in minute detail with...

Etching with extensive hand coloring in watercolor on white wove paper, 13 3/4 x 10 3/4 inches (347 x 271 mm); sheet 24 x 17 inches (608 x 430 mm), full margins. In good condition wi...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...

Image dimensions: 34 x 19 cm. Der Büsser is an original print, realized in 1898. Black and white xylograph on applied Japon paper. Good conditions except for yellowing of paper (especially along the margins), and little stains on lower margin. The print was realized by Johann Jacob Weber and it's part of the series Meisterwerke der Holzschneidekunst (original title: SECHZEHN HOLZSCHNITTE NACH GEMÄLDEN ARNOLD BÖCKLIN...

Reading Acrylic, canvas 18"×24" :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: ...

Colorful Painting Art Hand Textured Giclee on Canvas 45x45"Freedom of expression State-of-the-art HAND EMBELLISHED ∽ MUSEUM QUALITY ∽ DISPLAY READY Giclee Reproduction Each limited ...

Bernard Pothast (1882-1966) Although born in Belgium in 1882, Bernard Pothast was the...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Clownesse (Clowness), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by Paris ...

Adonna Khare is an America artist mainly focused on carbon pencil on paper drawings. She received her Masters of Fine Art from California State University Long Beach. Her work has been collected by prestigious public and private collections throughout the world. In 2012 she won the world's largest art competition ArtPrize, competing against over 1500 artists from all around the world. She has been featured in the Los Angeles Time, NPR, The Huffington Post, Daily Mail, Juxtapoz Magazine...

Juan Manuel Fangio, MM, 1955 Gelatin silver print Paper size: 16 x 20 in., Image size: 12 1/2 x 15 3/4 in. Signed by Jesse Alexander Jesse Alexander is considered one of the greatest race car photographers in history. His images of vintage automobiles and the people who gave them life; captured from the European race circuit during the 1950’s and 60’s are collected and exhibited by museums and galleries throughout the world. Jesse Alexander has been involved in photography and especially motorsports photography since the early 1950s when he covered the original Mexican Road Race. He then spent many years in Europe covering Formula One and the famous long distance sports car races, the 24 Hours of Le Mans, the Mille Miglia...

"Clown Close Up" is an original watercolor by Sylvia Spicuzza. The artist signed the piece in ink lower right. It depicts a clown in red in front of a blue background. 23" x 18" ar...

Wassily Kandinsky - Horse Knight - Original Etching 32 x 24 cm 1966 From the art review XXe siècle, San Lazzaro Unsigned and unumbered as issued

24 colour screen print on 330 gsm Somerset paper with gold leaf Hand-finished with different media Each print in the edition is unique Signed by the artist Edition of 25 72 x 9...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Diary) 2015 Fibre-based silver gelatin print Sheet 26,75 x 40 cm (10 1/2 x 15 3/4 in.) Edition of 3, plus 2 AP; Ed. no. 2/3 Print only Touc...

"Martí Bofarull’s work fits in with renovation of the urban landscape that has characterized Catalan painting of the last twenty years. Among our artists who have remained loyal to f...

New York City based artist, Alysha Marko is a figural and abstract painter from Central New Jersey. Growing up, Alysha moved around the US which allowed her social personality to but...

Apollo and Daphne Artist active in the 17th century Oil on canvas in gilded frame ?Dimension: 37x86 cm (48x95.5 cm including the frame)

Denied Warhol Flowers, (Violet/Purple) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with the artist's Denied stamp of the Andy Warhol Art Authentication Board...

Natalia Pashukova (Russian, born 1950) Graduated from the Moscow Surikov Art Inst. A member of the Russian Artists' Union Lives in Moscow Natalia graduated from the Moscow Art Scho...

"Temptations" is a line from the classic film "Pinocchio" with the lead contemplating his use of Viagra. :: Painting :: Pop-Art :: This piece comes with an official certificate of a...

Part of my 'Jew-ish' series, a limited edition print of my original oil and acrylic painting, bringing pop art and my Jewish culture together Fine art pigment print 50cm x 60cm ...

Auguste Rodin, French (1840 - 1917) - Jardin des Supplices Plate XXI, Year: 1902, Medium: Lithograph on Japon, signed in the plate, Image Size: 9.5 x 8.25 inches, Size: 12.75 x 9.75...

Complete book comprising of 20 offset lithographs and cardboard cover, all hand-colored with watercolor. From the edition of unknown size. All 20 sheets bound (as issued). Minor ti...

KAWS UK Holiday Companion Brown & KAWS Passing through: 2 works: KAWS UK Holiday: KAWS' signature character COMPANION presented in an upright and seated position with its eyes covered. Published to commemorate the debut of KAWS’ large sculptures...

Descent into Fusion is an abstract study of fusion as a universal event: two separate fields drawn into one outcome. Built through layered charcoal on paper, the image follows a clea...

The work is inspired by the great cycling competitions, such as the Tour de France, the Giro d'Italia and many others. The tireless human spirit and the struggle of characters are le...

Oil on canvas

Sean Connery on the Moon, 1971 Silver Gelatin Print Signed and numbered edition of 50 with certificate of authenticity Re-creating astronaut Alan Shepard’s famed golfing on the moon picture, Connery as James Bond plays golf on a deserted film set in Pinewood Studios...

Original Lithograph by Jean-Gabriel Domergue Title: Elegance Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisienne"

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Musique (Music), from the folio Couleur amour, 13 Aquarelles, Gouaches, Lavis (Color of Love, 13 Watercol...

This Blue Dog work consists of a dog on a black background. The dog is embellished with dark blue around the nose and hand painted red eyes. This pop art animal original mixed media print on paper is guaranteed authentic and is hand signed by the artist. Artist: George Rodrigue Title: Blue Dog “Original – Top Dog...

"Diocletian's Retreat" is a woodcut and monotype signed by Carol Summers. The image combines landscape and architecture, in this case a classical struc...

Oil painting on canvas. Venetian school of the seventeenth century. Entirely in the foreground, this scene of a group of sacred figures, which presents the faces of Mary and the Chil...

Original acrylic painting on canvas. Hand signed on front; signed and titled on verso by Jozza. Canvas size: 15 x 15 inches. Frame size: 16.75 x 16.75 x 2 (white floating frame). ...

"Reticent" by Rick Sindt is a small graphite drawing of two figures. This deceptively simple drawing is very powerful in its beauty and intimacy. The graph ...

Yugen Sheep have more fun or do they? It so happened that my dear friend, poet and photographer Alexis de Roode went for a little stroll in nature. Obviously to experience some y?...

The Venus of The Hague – 23-07-20 Being a deep sea fish a coelacanth hardly ever come face to face with a white shark way up high but sometimes it does. If so, what would you ex...

Pablo Picasso (after) Femme au grand nez, en raccourci, sur un lit (Woman with big nose) Etching on BFK Rives paper Posthumously published in 1978, printed before 1975 Plate 139 from...