Fotografie Kunst

Beschauliche Landschaft von Rex Vicat Cole (Brite 1870-1940) * siehe Anmerkungen unten signiert & datiert 1899 Öl auf Leinwand, gerahmt Gerahmt: 16 x 20 Zoll Leinwand: 10 x 14 Zoll P...

Schönes Vintage-Aktfoto des ostdeutschen Fotografen Sigurd Rosenhain, der in Leipzig lebte und arbeitete.

Ich schätze die niederländischen Alten Meister. Als zeitgenössische Künstlerin beschäftige ich mich mit dem weiblichen Akt und der Porträtmalerei. Daher war ich begeistert, als das R...

Jeanne-Marie BARBEY (1876-1960) Bäume im Winter Braun lavierte Tinte und Graphitstift auf Papier Signiert unten rechts 26 x 20 cm Rahmen 46 x 40 cm Die 1876 in Paris als Louise Jean...

Eduardo Naranjo (Spanien, 1944) El poeta llega... (Federico in Nueva York)", 2005 Siebdruck auf Papier Bildgröße: 23,8 x 19,9 Zoll (60,50 x 50,50 cm.) Größe der Oberfläche: 30,8 x 24...

One Day I'll Fly (Bewusstseinsstufe) - 2008 20x20cm, Auflage von 10 Stück, Archiv-C-Print, basierend auf dem Polaroid. Label für Zertifikat und Unterschrift. Künstler-Inventar ...

BREAD (Derecho Alimentarse) The Right To Eat (Das Recht zu essen), geschaffen von der afro-amerikanischen Grafikerin und Bildhauerin Elizabeth Catlett. BREAD ist ein realistisches L...

Nicht signiert. Präsentiert in einem vergoldeten Rahmen. Auf dem Papier.

Salvador Dali Don Juan: Das Bankett (Le Banquet), veröffentlicht 1970 Medium: Handkolorierte Kaltnadelradierung auf Arches-Papier Auflage: 38/250 Größe des Kunstwerks: 25 x 20 Z...

Die Stone and Press Gallery freut sich, mehrere Werke zur Feier der LGBTQ-Gemeinschaft anbieten zu können. Allen Fotos wird eine unterzeichnete Vollmachtsurkunde beigefügt. Man si...

Gilbert Lewis (b.1945). Influence of Red (male portrait), ca. 1990s. Oil on masonite panel, 16 x 20 inches. Signed upper right. Ausgezeichneter Zustand. Measures 18 x 22 inches in custom gold leaf float frame. Original gallery labels affixed on verso. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley Hendricks, Paul Kane, Jody Pinto, Bruce Samuelson, Barbara Sosson, and James Victor. Gloria Etting, Philadelphia The Intimate City (New York: A Studio Book – The Viking Press, 1968), photograph of Gilbert Lewis drawing in the cast hall of the Pennsylvania Academy of the Fine Arts reproduced in the chapter titled, “Art and Collectors,” n.p.. 1974 May 31, 1974, awarded Bachelor of Fine Art degree from the Philadelphia College of Art 1978 Received a Master’s Degree in Creative Arts in Therapy (MCAT) from Hahnemann University, Philadelphia. Gilbert Lewis, The Spontaneous Art Productions of an Institutionalized Geriatric Population: a thesis presented to the faculty of the Graduate School, Hahnemann Medical College, March 30, 1978 Late 1970’s to late 1980s/early-1990s, works as art therapist at Manchester House Nursing Center/Home in Media, Pa. 1977 Summer: studies at the American Projective Drawing Institute’s Annual Summer Institute run by Emanuel F. Hammer, Ph.D. 1981 First solo exhibition at Peale House Galleries (East Gallery) of the Pennsylvania Academy of the Fine Arts, March 5 – 27, 1981 “Since art school I’ve turned from oil to media of gouache and pencil, separately and sometimes together. I’m trying to discover for myself the power of observation without sacrificing the passion of the art materials.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1986 Elizabeth Leonard, Painting Flowers, (New York: Watson-Guptill Publications 1986), reproduced in color, pp. 56, 67, 110, and cover Travels to Italy: Florence, Venice… 1988 Work acquired by Philadelphia Museum of Art: Autumn, 1987, gouache, purchased with Julius Bloch Memorial Fund 1991 October 10, receives A.T.R. from American Art Therapy Association, renewed in 1996 1992 Applies to American Academy in Rome, Philadelphia Regional Visiting Artists Program Around this time he has artwork with American Artist Gallery, Wayne, Pa. 1992 (June) lives at 322 South Street. By May 1994 living at 1804 Catharine Street (until January 2017). 1998 Group exhibition: 135th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 22 – April 26, 1998. Awarded Honorable Mention c. 1999-2007+ teaches at PAFA, certificate and continuing education programs (what years?) 2001 Group exhibition: 138th Annual Exhibition of Small Oil Paintings, Philadelphia Sketch Club, Pa., March 25 – April 29, 2001. Awarded Second Award By 2002 until c. 2014 Works at Blick Art Supply store, Philadelphia 2005 An undated artist statement from this time states: “My inspiration for this series came from the work of the nineteenth-century painter, George Catlin, who painted portraits of the American Indians. My portraits serve to commemorate the “tribe” of contemporary creative youth. Most of the studies were painted from life, originally using transparent and opaque watercolors, and in the past five years the series began to include oil studies on panels. In the watercolor paintings, the forms emerge from multiple layers of color, which have an intensity and a luminosity equal to oil painting on canvas, but demands the additional challenge of maintaining the integrity of the paper’s fragile surface. My oil studies, consisting of many layers of oil glazes over an under-painting, approach a look more like the oil paintings of Catlin that had originally inspired me, but these studies seem to have an additional intense almost icon-like quality.” 2008 Peter Weiermair, editor, Treasures of Gay Art from the Leslie/Lohman Gay Art Foundation, (All Saints Press, 2008). Resting, 1982, gouache on paper, 44 x 30 inches, Founders’ purchase, 2004.1222.0002, reproduced in color p. 50; Swimmer, 1984, gouache on board, 63.75 x 44 inches, gift of George Dudley, 1994.1222.0001, reproduced in color p. 51 2015 Kevin Clarke, The Art of Looking: The Life and Treasures of Collector Charles Leslie, (Berlin: Bruno Gmünder, 2015), Swimmer reproduced in color p. 182 2017 He moves from his home at 18XX Catherine Street, Philadelphia, to the WaterMark. In January 2018 he is moved to Wyncote House, Pa., an Alzheimer’s care facility. Six works acquired by PAFA. Philadelphia, Pa., Pennsylvania Academy of the Fine Arts. Recent Acquisitions, summer 2017. Stephan Salisbury, “PAFA’s 32 New Works,” The Philadelphia Inquirer, Tuesday, July 11, 2017, pp. C-1 and C-6. SOLO EXHIBITIONS 2020 Pennsylvania Academy of the Fine Arts (July 9 - ), Willliam Way Community Center (July 10 - ), and Woodmere Art Museum (July 16 – October 20), Gilbert Lewis 2004 New York, N.Y., Leslie Lohman Foundation, Gilbert Lewis: Becoming Men - • Doug Gruse, “Gilbert Lewis,” Philadelphia Gay News, April 9-15, 2004, pp. 25, 27 and 32; BECOMING MEN: Portrait Paintings by Gilbert Lewis, March 9 – April 17, 2004 127-B Prince Street, (Text from Becoming Men: Portrait Paintings by Gilbert Lewis by Christian Bain, in issue 12 of The ARCHIVE) BECOMING MEN: Portrait Paintings by Gilbert Lewis By Christian Bain Philadelphia artist Gilbert Lewis inspires superlatives. What other artist has been compared to Eakins (whose student was Lewis’ teacher) and Titian in the same Art Matters review, or anywhere else for that matter? Gilbert is also an artist who focuses on the beginning and end of adulthood. During the almost 20 years he worked in a nursing home he painted portraits of elderly patients by day and of young men at night. “One of my motivations in painting has been to celebrate the beginning of adulthood for the young and the final period of life for the old,” Gilbert observes. “What struck me is that both young men and the old are ignored by society. Despite our ostensible focus on youth, young men are in a sort of nether world, no longer teenagers and yet not full adults. They’re in transition with no established identity and no real place in society. “A nursing home is basically an orphanage for elderly adults. It’s a place where people don’t really have their families anymore and visiting relatives and the staff constantly tell them what to do and don’t stop to hear what they have to say. When I was with them doing their portraits we were one on one and we were free to talk about whatever they wanted, with assurance that it would remain confidential. They often told me things even their children didn’t know. “What they had in common with the young men who modeled for me is that they could talk and know that someone was listening. My good fortune was that my young models really appreciated the fact that an adult person was actually there for them and not telling them what to do. I never gave them explicit instructions other than to tell them where to sit or stand. I let them decide how they would do it–I took the queue from each model. “Both the young men and elderly people who sat for me had a sense of trust because I listened to them and didn’t run away. Some of the young models would bring CDs or tapes of their favorite music to play while we sat. “I always painted from live models in gouache, watercolor or oil. The portraits were always completed while the model was still sitting: I only touched up the backgrounds, but never the figures.
“I wish that the exhibition could have colored strings connecting the young men who modeled for me with the models who recommended them and the friends they recommended in turn. It would make a very interesting story.” 1994 Philadelphia, Pa., Rosenfeld Gallery, Gilbert Lewis: watercolors & gouache paintings, April 10 – May 1, 1994, Man in Gray Shirt, 1992, watercolor, 16 x 20 inches, reproduced in color on the postcard. Review: Edward J. Sozanski, “Art. Nudes done dispassionately and romantically, Two very different approaches,” The Philadelphia Inquirer, Friday, April 15, 1994, Study watercolor, reproduced. [Bruce Samuelson ‘s exhibition also reviewed] c. 1990 Educational Testing Services, Gilbert Lewis, ten works (checklist): 1- Left Profile; 2- Dancer (Woodmere Art Museum); 3- Studious; 4- Wrestler (collection of Bill Scott); 5. Untitled Portrait; 6. Man in Red and Blue; 7 Man in Blue Sweater; 8- Student; 9- Young Artist; 10- Man with Intense Gaze 1988 Philadelphia, Pa., Gross McCleaf Gallery, Gilbert Lewis: Paintings and Drawings, October 19 – November 5, 1988. Review:s Victoria Donohoe, “On galleries,” The Philadelphia Inquirer, Saturday, October 29, 1988, p. 5-D.; Jeanne Nugent, “Pennsylvania: Gilbert Lewis,” New Art Examiner, January 1989, pp. 52-53. Study [reclining nude male, arms folded over head], 1988, gouache, 22 x 30 inches, reproduced in black and white; Brenda Reed, “Reviews in Brief,” Art Matters, December 1988/January 1989, p. 2 1987 West Chester, Pa., Mitchell Hall Gallery at West Chester University, Gilbert Lewis: Paintings & Drawings, November 4 – 25, 1987. Hands Together, 1987, gouache on board, 40 x 30 inches, reproduced in color on the invitation. Twenty-one works on the checklist, including #19- Sick Boy (collection of Woodmere Art Museum) 1986 Boston, Mass., Twentieth Century Gallery, Gilbert Lewis, to July 2, 1986; Review: David Bonetti, “On and off the street,” The Boston Phoenix, section three, June 17, 1986 1985 Philadelphia, Pa., Noel Butcher Gallery, through January 30, 1985. Twenty-one works (pricelist/checklist). Review: Tam Mossman, “Lewis: Sex and sensitivity,” Welcomat, January 23, 1985. Works cited in review: Blonde Man [on invitation], Man in Argyle Sweater [both 1984], Man in Black and White Shirt, Boy, Summer Afternoon, Tribute, Gray Robe, Roses, Spring Portrait. Reproduced in the review: Swimmer (Leslie Lohman Foundation); Victoria Donohoe, “Galleries,” The Philadelphia Inquirer, Saturday, January 12, 1985; reviewed by Ann Jarmusch for New Art Examiner???? 1983 Philadelphia, Pa., Noel Butcher Gallery, September 9 - October 5, 1983. Reviews: William Southwell, “Reviews in Brief,” Art Matters, October 1983, p. 2; Victoria Donohoe, “3 painters, 3 distinct viewpoints,” The Philadelphia Inquirer, Sunday, September 25, 1983, p. 17-H; Profile advertisement in Art Now/ Philadelphia: Gallery Guide, September 1983, Seated Figure and Reclining Nude reproduced 1982 Philadelphia, Pa., Butcher & More Gallery 1981 Philadelphia, Pa., Peale House Galleries of the Pennsylvania Academy of the Fine Arts 1976 Philadelphia, Pa., La Terrasse Restaurant, Solo Exhibition GROUP SHOWS: 2020 Lincroft, N.J., Brookdale Community College, Morris Blackburn (1902-1979) and His Legacy: Painter, Printmaker, Writer, Teacher, January 22 – February 21, 2020. 2019 Philadelphia, Pa., Leonard Pearlstein Gallery, Westphal College of Media Arts and Design, Drexel University, Stonewall@50, curated by David Acosta and Janus Ourma, June 28 – July 26, 2019. 2018 Montclair, N.J., Montclair Art Museum, Constructing Identity in America (1766 – 2017), September 1, 2018 – January 5, 2019 2017 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Recent Acquisitions Philadelphia, Pa., Woodmere Art Museum, A More Perfect Union: Power, Sex, and Race in the Representation of Couples, February 4 – May 21, 2017. Reproduced in color in the catalog, pp. 53 and 69. Untitled (8-25-83), gouache, reproduced in color in Woodmere Art Museum Calendar, Winter/Spring 2017, p. 4 Philadelphia, Cerulean Arts Gallery ? Philadelphia, Pa., Gross McCleaf Gallery, Todd’s show 2014 Philadelphia, Cerulean Arts Gallery, Lilies, Figs and Folly: Contemporary Still Life Paintings & Works on Paper. Bill Scott, guest curator, November 26 – December 21, 2014 2007 Serves as juror for William Way Center’s Annual Juried Exhibition. The other two jurors were Robert Goodman and Shelly Spector. 2006 or 2007 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition [Vase of Roses] 2006 Philadelphia, Pa., William Way Center, Annual Juried Show, Douglas Pascall, juror Philadelphia, Pa., William Way Center, Gilbert Lewis: Portraits, a solo exhibition, Fall The artist donates his work, Portrait, to the William Way Center for its art collection. Teaches Drawing Fundamentals: a mixed media drawing class, at the William Way Center. 2005 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2004 Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, awarded Mary Butler Memorial Award Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2003 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2002 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition 2001
Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition Sewell, N.J., Gloucester County College Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 25 – April 29, 2001, awarded Second Award 2000 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1999 Philadelphia, Pa., Pennsylvania Academy of the Fine Arts, Annual Faculty Exhibition 1998 Philadelphia, Pa., Philadelphia Sketch Club, Juried Exhibition, March 22 – April 26, 1998, awarded Honorable Mention Moorestown, N.J., Perkins Center for the Arts, Juried Exhibition 1996 Camden, Stedman Art Gallery, Rutgers, The State University of New Jersey, Rutgers National: Works On/Of Paper, March 11 – April 27, 1996, Study with Blue, Green reproduced in black and white in the catalog. Leon Golub and Ann Philbin, jurors. Northampton, Mass., Smith College, Drawing Philadelphia, Pa., Philadelphia Art Alliance 1995 Media, Pa., Delaware County Community College Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Philadelphia, Pa., Philadelphia Art Alliance 1994 Philadelphia, Pa., Rosenfeld Gallery, (also in 1993) Philadelphia, Pa., The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition Media, Pa., Delaware County Community College 1993 Haverford, Pa., Main Line Center for the Arts Abington, Pa., Abington Art Center Philadelphia, Pa., Woodmere Art Museum, (also in 1989) Media, Pa., Delaware County Community College 1992 Williamsburg, Va., Muscarelle Museum of Art, American Drawing Biennial, April 11 – May 24, 1992, Jack Beal, juror. Exhibited: Study, watercolor Philadelphia, Pa., Philadelphia Watercolor Club Cheltenham, Pa., Cheltenham Art Center (also in 1989) Philadelphia, Pa., Philadelphia Museum of Art, Pertaining to Philadelphia, [June?] – August 16, 1992, reproduced in black and white in Philadelphia Museum of Art’s June 1992 newsletter of Special Exhibitions & Events; Reviews: Edward J. Sozanski, “On Galleries,” The Philadelphia Inquirer, Thursday, June 4, 1992, p. D5; “Local Artist Exhibits at Philadelphia Museum of Art,” Town Talk, Wednesday, July 29, 1992, p. 24M, Autumn reproduced Williamsburg, Va., Muscarelle Museum of Art Allentown, Pa., Allentown Art Museum, 23rd Juried Show. Review: Peter Schnore, “Reviews in Brief,” Art Matters, February 1992, page 1 Philadelphia, Pa., Woodmere Art Museum, The Fellowship of the Pennsylvania Academy of the Fine Arts, Annual Juried Exhibition, closed January 5, 1992. Reviewed: Peter Schnore, “More Reviews,” Art Matters, December 1991/January 1992, p. 9. “…only Gilbert Lewis approaches the level of Eakins. Lewis continues his ongoing documentation of young men seen with a searing empathy, incredible candor, and no more technical flaws than the average...

ALTMEISTER-ÖLGEMÄLDE Hohe Qualität 19. Jh. Der Hafen GGF Beschreibung ALTMEISTER GROSSES ÖLGEMÄLDE 19. Jahrhundert NEUE KOLLEKTION Seltener STÜCKE DER ENGLISCHEN GESCHICHTE "Seh...

ALTMEISTER-ÖLGEMÄLDE Hohe Qualität 19. Jahrhundert Der Fang GGF Beschreibung ALTMEISTER GROSSES ÖLGEMÄLDE 19. Jahrhundert NEUE KOLLEKTION Seltener STÜCKE DER ENGLISCHEN GESCHICHT...

Diese Komposition, die den Stierlauf darstellt, besteht aus Formen mit Linien und scharfen Winkeln und ist hektisch und energiegeladen. Die Tiere auf diesem Druck von Pablo Picasso l...

Unterwassergetränk 1972 - Slim Aarons Nachlass gestempelt Eine Frau trinkt aus einer Kokosnuss unter Wasser im Pool des Hotels Las Brisas in Acapulco, Mexiko, Februar 1972. 48 x 78...

Victor Arimondi (1942-2001). Porträt von Grace Jones, 1975. Period print misst 8 x 11,75 Zoll; 10,25 x 13 Zoll gerahmt. Verso Stempel des Künstlerstudios. Einige Knicke in den Ecken,...

"MORISOT Edma (1839-1921) Seelandschaft der Ile De France" Öl auf Leinwand signiert unten rechts Alter Originalrahmen mit Blattvergoldung Rahmengröße: 86 X 75 cm - Rahmengröße: 65 X...

Anonym, 18. Jahrhundert Inspiriert von einem Gemälde von Petrus Staverenus (1610/1612 - 1654-07-28/1664-07-28) aus einer Serie von Fünf Sinnen Geschmack: Ein lachender Mann mit einem...

Vincente Romero Mademoiselle, 2022 Ölgemälde auf Leinwand Bildgröße: 39 x 25 Zoll Rahmen Abmessungen: 50 x 36 Zoll Individuell gerahmt nach Museumsstandards

David Pryor Adickes (geboren im Januar 1927 in Huntsville, Texas) ist ein modernistischer Bildhauer und Maler. Sein berühmtestes Werk ist die 67 Fuß hohe Statue A Tribute to Courage...

Fein ausgearbeitetes Porträt eines bärtigen Herrn in formellem Anzug und Hut vor einem dunklen, stimmungsvollen Hintergrund. Das Werk ist mit außergewöhnlicher Liebe zum Detail gesta...

Ich schätze die niederländischen Alten Meister. Als zeitgenössische Künstlerin beschäftige ich mich mit dem weiblichen Akt und der Porträtmalerei. Daher war ich begeistert, als das R...

Henri Pearson (Französisch, 19. Jahrhundert) Hafenszene mit Fischerbooten und Figuren am Ufer Öl auf Holzplatte, ca. 1880-1890 Diese stimmungsvolle Hafenszene des französischen Maler...

Dies ist eine Einzelblatt-Offsetlithografie mit dem Titel "Thinking Nude, State I" aus Roy Lichtensteins ikonischem Nudes-Portfolio, das von Tyler Graphics veröffentlicht wurde. Ger...

audrey Hepburn' Silbergelatine-Druck in limitierter Auflage 1958 Ein wunderschönes Foto der Mode- und Stilikone Audrey Hepburn, Filmschauspielerin (1929-1993), während eines Besuchs...

Ed Feingersh fotografierte Marilyn Monroe im März 1955 für die Zeitschrift Redbook für eine Reportage, in der er Monroe bei ihrer täglichen Routine begleitete, wobei die Aufnahmen of...

Lithographie auf Arches-Papier, herausgegeben 1959. Limitierte Auflage von 200 Exemplaren, nummeriert als 109/200 in der linken unteren Ecke. Signiert mit Bleistift vom Künstler in d...

Hunt Slonems "Companion" zeigt zwei schwarze Hasen, die mit kühnen, gestischen Pinselstrichen gemalt sind und nebeneinander vor einem klaren weißen Hintergrund sitzen. Ihre einfachen...

Zum Verkauf steht ein amerikanisches Original-Ölgemälde auf Leinwand aus dem 19. und 20. Jahrhundert, das das Porträt eines Fischers zeigt, der an einem Tisch mit einem Fischgatter u...

Sings the Tune Without the Words" (Singt die Melodie ohne Worte) ist ein zeitgenössisches Porträtgemälde in Öl auf Leinwand von Tamera Avery, deren Bilder mit Witz und Weisheit gesch...

Klassische Figuren in antiken Landschaften Italienische Schule, 18. Jahrhundert Öl auf Platte, Gemälde: 9 x 12 Zoll Provenienz: Privatsammlung, Paris Zustand: sehr guter und gesunde...

Versandverfahren Versand in einem gut geschützten Rohr aus Nigeria Dieses Werk ist ein Unikat, kein Druck oder eine andere Art von Kopie. Begleitet von einem Echtheitszertifikat. Üb...

Konzeptionell spielen Kerstens' Fotografien mit dem Dialog zwischen den Medien Malerei und Fotografie, mit Serialität und Zeit. Auf einer eher emotionalen Ebene sprechen sie die allt...

Dieses Kunstwerk mit dem Titel "Winter's Tales" 1995 ist eine farbige Offsetlithografie der britisch-amerikanischen Künstlerin Pati Bannister, 1929-2013. Es ist vom Künstler mit Blei...

Olio su tela. L'opera, dipinta seguendo lo stile della pittura spagnola di inizio '600, è in realtà di fine '800. Ritrae una nobildonna che indossa la gorgiera, il colletto pieghetta...

Joan Miró Tafel 7 (aus der Mappe Joan Miró Lithographs I), 1974 Farblithographie auf Arches Bildgröße: 30 × 24 cm Rahmengröße: 67,5 x 54,5 x 2 cm Handsigniert unten rechts Auflage: ...

Originalkunstwerk von Daria Kusto. Acryl auf Aquarellpapier, Gerahmt. Das Gemälde wird direkt aus Thailand verschickt - sicher und schnell.

Diese hervorragende britische viktorianischen ausgestellt Porträt Ölgemälde ist von renommierten Künstlerin (Frances) Maud Porter. Ihr Ehename war Maud Bigwood, und einige ihrer spät...

Französische Schule des 19. Jahrhunderts Porträt eines jungen Mannes, 1891 Signiert (unleserlich) und datiert 91 unten rechts Öl auf Leinwand 46 x 38 cm Gerahmt 52 x 44 In gutem Zust...

Leonard Cohen ist ein schwarz-weißes Vintage-Foto, realisiert in der Mitte des 20. Jahrhunderts. Das Foto zeigt den kanadischen Dichter und Songwriter. Handsigniert. Guter Zustand ...

LARGE FINE 20. Jahrhundert Stück Maritime Battle Scene Britische Ölgemälde in einem Gold vergoldeten Rahmen FEINE SELTENE MARTINE GEMÄLDE ORIGINAL 20. Jahrhundert ALTER MEISTERSTI...

Lithographie auf Grand Vélin Renage filigrané à la marque de l'éditeur Papier. Beschriftung: In der Platte signiert und nicht nummeriert, wie ausgegeben. Papiergröße: 12,5 x 9,5 Zoll...

Für Glück gibt es keine Regeln. Ich war mir sicher, dass das neue Mädchen viel Übung brauchen würde - und lag falsch. Sie war einfach perfekt, von der ersten bis zur letzten Sekunde...

OUT WEST ist eine handgezeichnete Originallithografie des Künstlers Ari Gradus, gedruckt in 13 Farben mit traditionellen Handdrucktechniken auf archiviertem Arches-Papier, das 100% s...

Das Angebot gilt für UNGESTRAHLTEN Druck. Erkundigen Sie sich bei uns nach der Rahmung. Auflage von 5. Wenn das Ausstellungsstück verkauft ist oder der Kunde eine andere Abzugsgrö...

Titel: Nachdenkliche Frau Künstler: Vicente Oliver (1896-1970) Technik: Öl auf Leinwand Abmessungen: 18,1 x 15,0 Zoll (46 x 38 cm) Unterstützung: Ungerahmte Leinwand Datum: Mitt...

Ashford Fine Art ist die exklusive Quelle für diese Bronze in limitierter Auflage mit dem Titel Hercules and the Erymanthian Boar, von dem bedeutenden amerikanischen Bildhauer, Male...

11 x 14" alte Silbergelatinefotografie der Harkness Balletttänzerinnen Zane Wilson und Linda Bogsrud, fotografiert nackt für die Zeitschrift After Dark, 1972. Signiert von Jack Mitch...

'Untitled' 2013, Auflage 10 plus 2 Artist Proofs, Digitaler C-Print, basierend auf einem Polaroid 59, nicht montiert, 15,2cm x 10,8cm, nicht montiert, Signiert, Prägestempel und Küns...

"Ohne Titel (Nr. 0412)" Schwarz-Weiß-Fotografie 18" x 24" Auflage: 20 Stück von Ben Cope Ungerahmt - wird gerollt in einer Röhre geliefert Ben Cope + Rowan Daly Außerhalb des Net...

Diese Lithografie in limitierter Auflage, die von Fernand Mourlot unter der rechten Ecke des Bildes signiert ist, gehört zu einer Serie von acht "Le Domaine Enchanté"-Bildern, die in...

"Madonna del Granduca", nach Raphael Öl auf Leinwand: 34 x 22,5 Zoll. Rahmen: 45 x 33 ½ Zoll. Verso beschriftet. Rotes Wachssiegel des Pitti-Palastes verso*. Feiner vergoldeter gesc...

Karl Stauffer-Bern, Schweizer (1857 - 1891) - Gottfried Keller, Jahr: 1887, Medium: Radierung, signiert, datiert, in der Platte betitelt, Bildgröße: 15 x 11 Zoll, Größe: 24 x 17...

Ein romantisches Pastellporträt aus dem späten 18. Jahrhundert, das dem deutschen Porträtisten Johann Heinrich Wilhelm Tischbein (1751-1829) zugeschrieben wird. Exquisit präsentiert ...

Die Fischerei-Lektion von John Dawson Watson (1832-1892) Ölgemälde auf Leinwand: 33" x 22" (83,8 x 55,8cm) vergoldet gerahmt Zustand: ausgezeichnet Provenienz: ehemals bei Christies ...

Künstler: Slonem, Hunt Titel: Lavendel Datum: 2021 Medium: Öl auf Holz Ungerahmt Abmessungen: 11.5" x 8.5" Gerahmt Abmessungen: 15" x 12" Unterschrift: Verso signiert Auflage:...

Tasche Leuchtend rote Erdbeere [2023] Original Ölfarbe auf Leinwand Bildgröße: H:5 cm x B:5 cm Gesamtgröße des ungerahmten Werks: H:5 cm x B:5 cm x T:2cm Rahmengröße: H:15 cm x B...

Louise HERVIEU (1878-1954) Fliege, um 1925 Zeichenkohle auf Papier Gezeichnet "L.H.". 5 × 5 cm Rahmen 14 × 14 cm Winzige Falten an der Oberseite Die 1878 in Alençon geborene Louise...

Bei diesem Werk handelt es sich um eine Farblithografie von Marc Chagall mit dem Titel "Benjamin" aus dem Jahr 1963, die von seinem französischen Publizisten und Galeristen Ateleier ...

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