Miami - Art

Giclee on canvas with embellishments. Hand signed on front and numbered on verso by the artist. From the edition of 240. Artwork size 24 x 30 inches. Frame size approx 32 x 38 in...

Etching on paper. Hand signed and numbered by the artist. From the 347 series. Bloch 1502. Edition 32/50. Sheet size: 18 x 22 inches. Image size 12.375 x 16.375 inches. Frame si...

Lithograph on paper. Hand signed, dated and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 195. Image size: 27.5 x 16.5 i...

Historically, academic artists have always featured the central figures in their composition in a prominent light with the background figures being darker. In water sports...

Hand signed and numbered by the artist. Image radius approx 20 inches. From the main edition of 450. Artwork is in excellent condition. Certificate of Authenticity is included. All...

Hand signed and numbered by the artist. Artwork is in excellent condition. Certificate of Authenticity included. Published by London Arts Inc., Detroit, MI and printed by Peter Baum,...

ANTONIO REVERTE OLIVA (Monteagua, Murcia, 1943 – Gavà, Barcelona, 2014). A self-taught artist, Antonio Reverte settled in Catalonia in 1961, in the Barcelona town of Viladecans. In ...

This poster-like mid-century illustration of Little Miss Sunbeam in her Brownie uniform depicts her in a patriotic three-finger salute against an American Flag. It's by the celebrat...

A black hippie enthroned in a majestic red sombrero is captured playing a flute at a Central Park music festival in 1969. This was the same year the youth "counterculture" celebrat...

Juan Gil Garcia Untitled, 1930 Oil on canvas 26 x 37 in Provenance: Private Collection, Miami

Beautiful Godzilla like monster illustration from 1961. Wenzel was a prolific Disney Artist for decades. The work is beautifully matted and framed and lookes better in person.

Kitsch illustration of Queen of Clubs Playing Card by Female Illustrator Louise Alston. It's so bad it's good. Signed lower right: Louise Alston Framed Dimensions 25.5 X 18.5 Inches ...

A vast and wide view of one of the world's most densely populated cities shows only one person. A lone runner surrounded by white snow is framed by New York's Central Park South sky...

Original painting on canvas. Hand signed on front by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers...

windmills in Mallorca- original neo-expressionist acrylic painting. framed contemporary work by the mallorquin artist Toni CALDENTEY Painting on paper CALDENTEY, Toni - (Portocolom...

This piece captures the vast, shifting energy of deep water in a moment of quiet tension. Layers of textured blues—ranging from midnight indigo to icy turquoise—form a swirling, almo...

Mercy Moyo (Zimbabwe, 1980-) Portrait of Standing Figure Mixed Media Collage Assemblage collage with charcoal and paint. Hand signed l.r. Mercy Moyo. Dimensions: 49 1/2 x 35 1/4 in. Framed: 52 1/4 x 38 1/4 in. Mercy Moyo is a nationally exhibited artist from Harare, Zimbabwe. Moyo’s creative journey is influenced by her childhood memories of time spent collecting barks from trees to use for dying fibers and mixing colors for weaving baskets with her grandmother. As they’d work, her grandmother would tell fairytales, inspiring Moyo to weave storytelling into her artwork. Moyo uses visual art to tell the story of her life, of contemporary Southern African life. Her artwork depicts ordinary people in everyday environments, exploring human behavior and its context in expressive lines, vibrant colors, and traditional African motifs. Moyo's artistic practice lends its energy to her exploration of gender, coloniality, wealth disparities, political conflict, and resource allocation. Moyo explores gender, identity, coloniality, wealth disparities and resource allocation. Although her endless search into human behavior and its context is energetically expressed in vibrant colors and traditional African motifs, her paintings also call into question the wide range of her experiences living and working in countries affected by harsh social and political conflicts her use of iconic imagery of contemporary Zimbabwean women and children. This piece explores the role of women as a source of stability and the keeper of cultural inheritance. Her work interprets the beauty of real African women in traditional garments, long skirts, heads nicely wrapped, and humility in check. Moyo studied at the Peter Birch School of Art and Design, graduated from the National Gallery School of Visual Arts and Design in 2003, and obtained a diploma in Photography from the ZIPAC (Zimbabwe Institute of Photographers) in 2010. She was included in the exhibition Rwendo Rwechokwadi: A Journey of Truth Christopher Moller Gallery, Cape Town, South Africa. "Rwendo Rwechokwadi" brings together an exceptional group of artists whose works invite us to embark on a profound exploration of authenticity, resilience, and identity. This exhibition is more than a showcase of Zimbabwean art...

Antonio Diaz Cortes (Mexico, 1935) 'Tlaloc II', 2000 engraving on paper Velin Arches 300 g. 13.8 x 18.8 in. (35 x 47.5 cm.) Edition of 20 Unframed ID: DIA-109 Hand-signed by author

Artwork by the Spanish artist Alex Balaguer Perfect state BALAGUER , Alex ( Barcelona 1968 ) During early childhood, Àlex Balaguer began to sketch motorcars symbolic of Maranello’s t...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable offers will be considered. About the artist: A wildlife painter whose work often has sparrows, Michael Dumas...

Pioneering female illustrator Gwenda Morgan creates an exuberantly complex image of a squad of broom-riding - pointed-hatted witches with black cats in tow. They fly through an inky black moonlit sky and are witnessed by only a rooftop owl. With the simple means of black and white, Morgan has rendered a highly charged composition that pluses with electricity. The whole image is on the cusp of being abstract while being representational. It is brilliantly designed with great attention to detail and is evocative of a sorcerer's malignant powers. Unframed. not signed Printed from the original block as part of the suite of 8 prints that accompanied the limited edition book Diary of a Land Girl, Whittington Press, 2000. The suite of prints was included with the first 50 copies of the book, and a further 8 suites were printed, from which this print comes. Gwenda Morgan (1 February 1908 – 1991) was a British wood engraver. She lived in the town of Petworth in West Sussex. Early life Morgan was born in Petworth, her father having moved there to work at the ironmongers, Austen & Co, of which he later became proprietor. He was the son of a Welsh-born military farrier. Education Following school in Petworth and at Brighton and Hove High School, Morgan, studied at Goldsmiths' College of Art in London from 1926. From 1930 she attended the Grosvenor School of Modern Art in Pimlico where she was taught and strongly influenced by the principal, Iain Macnab. The Grosvenor School was a progressive art school and the championing of wood engraving and linocuts fitted with its democratic approach to the arts. Works Morgan was commissioned to illustrate a number of books published by private presses. For the Samson Press she produced the frontispiece for Duke Hamilton...

Fabled Vogue Magazine Cover Artist Eduardo Garcia Benito depicts a perfectly posed long-neck flapper with her reflection in a mirror, Her extrav...

Antonio Lopez Garcia (Spain, 1936) 'Vaso con Azucenas II', 2022 etching, lithograph on paper Rives BFK 300 g. 23.1 x 26.7 in. (58.5 x 67.7 cm.) Edition of...

Original acrylic painting on canvas. Hand signed lower left by Peter Max. Canvas size: 10 x 10 inches. Frame size: 17.5 x 17.5 inches. Studio catalog number and date on verso. A...

The infamous Rolling Stones tongue and lips are featured in this later unique hand-painted version by the artist based on his iconic 1970s design. In 1970, at the age of 25, John Pas...

horse. 19th century bronze sculpture measurements with the base are 37.5 x 17.5 x 31 cm

Love Mirror, True Experiences magazine cover, February 1937 by Female Illustrator and Pupl Artist Georgia Warren Oil on canvas 17 x 13 inches (43.2 x 33.0 cm) Signed lower left: War...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 100. Artwork is in excellent condition. Certificate of Authenticity included. All reasonab...

Screen print in colors on paper. Hand signed and numbered by the artist. Published by Over the Influence, Los Angeles. Edition of 80. Framed size 20.625 x 24 inches. Artwork is ...

TECHNICAL INFORMATION Claes Oldenberg Typewriter Eraser 1970 Lithograph 12 1/4 x 9 1/2 in. Edition of 100 Pencil initialed, dated and numbered Acco...

Licenciado en Bellas Artes por ISPEJV, en la Habana en 2002, especialización en Restauración y Conservación de pintura Mural y caballete. Ha ejercido como profesor de pintura en e...

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-309 Hand-signed by author

Original work of the graphic of the Spanish teacher Antoni CLAVE. engraving 55/60 ej CLAVÉ I SANMARTÍ, Antoni (Barcelona, 1913 - Saint Tropez, France, 2005). Antoni Clave is one of...

Luis Camnitzer (Uruguay, 1937) 'La impresión', 1989 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Unframed ID: CAM1205-010-001_10 Hand-signed by author ____________...

Andrés Barajas (Spain, 1941) 'Untitled from Portfolio "Los Deseos"', ca.1990-1999 mixed media on paper 15 x 20.9 in. (38 x 53 cm.) Edition of 200 ID: BA...

Chrysler Building at Manhattanhenge exemplifies how to take boilerplate tourist subject matter and make into an original visual. Veteran street photographer Mitchell Funk creates an ...

Signed on base. This was exhibited at the Goldscheider Pavilion at the 1925 Paris Exhibition Marble base has loss to right edge and very small lose to center edge. , Bronze is in ve...

signed in orange along lower right of image Illustration for Women's World magazine, published October, 1937 Condition is good. 4.5 inch, unobtrusive vertical crease running from top down into center of image Maginel Wright Enright Barney was the sister of architect Frank Lloyd Wright and the illustrator of several children''s books, including those of L. Frank Baum...

Limited edition encased glass Art Deco vase with raised and etched design in frosted and cobalt blue glass colors. Holds Erte signature to lower right of figure. Stamp numbered with ...

Four young English girls with flowers are shown in a line and moving from left to right. They are pushed forward on the picture plane as if they were on a stage with a simple indica...

Daniel Mansur IN PARADISUM series 60 x 88.5 inches 150 x 225 cm Edition of 6 Also available in: 47 x 71 inches 120 x 180cm 60 x 88.5 inches 150 x 225 cm Edition of 6 copies ov...

sin titulo. acrylicc painting (CARLOS MENDEZ, ARGENTINA, 1943) Carlos Méndez is an Argentine plastic artist of great projection, based in Barcelona since the eighties. It uses a f...

Born in New York on March 16th 1952, Lawrence Alexander Willette cultivated his prowess as an abstract expressionist and had since mastered several other genres of painting over the ...

This work sells itself. Just look at it, and an elaborate explanation is not required. There is virtually no one alive who can paint a picture like Crockwell. Crockwell offers the viewer a complex and inventive composition by showing two wonderful portraits in the foreground and, beyond a broken wall...

Ruz- original abstract acrylic painting. Virtual frame Original work of the artist RUZ Acrylic on paper Perfect state While contemplating the painting of Ruz, we are inclined to ta...

Robert Smith (United States, 1944) 'Open wide', 1972 lithograph in color on paper 21.7 x 29.6 in. (55 x 75 cm.) Edition of 75 Unframed ID: SMI1158-001-075 Hand-signed by author

Serigraph in colors on paper. Hand signed lower right by Victor Vasarely. Hand numbered AP lower left (there is also a main edition of 300). Sheet size: 26 x 25.5 inches. Image s...

Eiffel Tower Paris's most iconic and romantic landmark is depicted in a romantic and moody light. Signed dated and numbered 2/15 lower right recto, other sizes available, unframed, p...

This work is an exceptional example of Kádár's mature Cubist style. It's effortlessly designed around a complex composition of nude men and women tending to horses in a surreal landscape with Greek columns, friezes, and marshmallow clouds set against a rich, saturated blue sky. Kádár was a Hungarian painter influenced by Der Blaue Reiter...

TECHNICAL INFORMATION: Jim Dine Watercolored By Jim Dine 2015 Watercolor and copperplate etching 42 x 56 1/2 in. Edition of 6; each piece is unique Pencil signed, dated and numbered...

Watercolor and gouache on paper laid on board Magazine Illustration defined by bold graphic composition and limited color palate yielding a powerful image that jumps off the page. u...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Serigraph in colors on paper from the Alphabet Suite. Hand signed by Erte lower right. Hand numbered 198/350 lower left. Sheet size: 25.25 x 18.62 inches. Image size: 15.75 x 10....

Juan Sebastián Barberá Durón (Mexican, 1964) 'Decantación verde', 2004 Engraving Series number: HC Archivo Limited edition of 99 Size: 50 x 70 cm. (19.7 x 27.6 in.) Surface: Guarro S...

This is the quintessential image of a bygone era. Old Las Vegas is captured with glowing neon signs set against a dramatic desert sunset. Signed and dated on lower right, numbered on...

sin titulo. acrylicc painting (CARLOS MENDEZ, ARGENTINA, 1943) Carlos Méndez is an Argentine plastic artist of great projection, based in Barcelona since the eighties. It uses a f...

Hand signed & numbered by the artist. Edition of 250. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered.

A play of light envelopes the Upper East Side skyline of New York City and projects a feeling of fogginess. Photographer Mitchell Funk captures a moment when the atmosphere transmits...

Carlos Uribazo (Cuba, 1951) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 ID: URI-302 Hand-sign...

Man conquers nature and expresses a victorious gesture to an endless landscape with billowing clouds. A quest for meaning for the individual could be another theme this image. The ...