Fine Art in New York City

Wonderful American impressionist landscape oil painting by John J. Inglis (1867 - 1946). Colorful and vibrant cherry blossom view. Framed. Oil on canvas. Signed. Image size, 24H...

Title: Green Medium: Oil on canvas Size: 21 x 29.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is...

Title: White And Blue World Medium: Oil on canvas Size: 22 x 26 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2...

Artist: Murray Zucker, American (1920 - ) Title: Bouncing Ball Year: circa 1970 Medium: Screenprint, signed, titled and numbered in pencil Edition: 9/20 Image: 18 x 24 inches Paper ...

Woman Protestor, March on Washington, 1963 by Leonard Freed, is a 14" x 11" gelatin silver photograph, signed and stamped on verso (back of photo) by the estate, Brigitte Freed (wife of the photographer). The photo is in Leonard Freed's book “This Is the Day: The March on Washington'' (p. 50). Leonard Freed enjoyed documentary storytelling and as a "concerned photographer" his work demonstrated humanitarian concerns. The photographer travelled to New York, Washington, D.C., and throughout the South, capturing the daily life of African-Americans. Documenting the 1960s Civil Rights Movement from the East Coast to the Deep South, Freed’s photo essay culminated in the book Black in White America, which contributed to Freed's becoming one of the well-known documentary photographers of 20th Century America. After Freed’s death in 2006 his widow, Brigitte Freed was inspired to compile a book on the March on Washington from her late husband’s archive when she heard then-Senator former President Barack Obama remark to an audience of civil rights activists, “I stand here because you walked.” The March on Washington series is a powerful visual testimony, capturing protests that culminated in Dr. Martin Luther King Jr.’s “I Have a Dream'' speech, delivered at the base of the Lincoln Memorial. Provenance: Freed archive. *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department (1972-79). Freed's coverage of the American civil rights...

Pablo Picasso, After, Spanish (1881 - 1973) - Buste de Faune. Portfolio: Femme et Faunes, Year: 1956, Medium: Pochoir, signed in the plate, Edition: 200, Size: 19.5 x 16 in. (49.53 x...

Keith Haring Tony Shafrazi 1982: set of 6 printed works: A set of six, individual, double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony Shafrazi ca...

Title: Morning Owl Medium: Oil on canvas Size: 19.5 x 23.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This pai...

Very impressive early 20th century impressionist winter landscape. A view of the Palisades. Great color and a panoramic view. Nicely framed.

This impressive large-format poster features Mark Rothko’s evocative painting Untitled (1962), capturing the essence of his signature abstract expressionist style. Published by Unive...

The earthy tones, rich in texture in an acrylic and oil pastel by African American artist Bai is a portrait of an androgenous subject with Modigliani eyes, Ornetta, is an enigmatic p...

An 11 x 14 black and white print of Buzz Aldrin from the original negative before Nasa added “more” space on the top of the image, which is a more common version of Visor. The 11 x 1...

Grabbing the faces of one another, the two women in this Pablo Picasso print tenderly kiss one another. Seen in profile view from the position of the viewer, the scene is loving albe...

Paper Size: 33.75 x 24 inches ( 85.725 x 60.96 cm )?Image Size: 13 x 9 inches ( 33.02 x 22.86 cm )?Framed: No?Condition: A-: Near Mint, very light signs of handling??Additional Details: Original exhibition poster for Martin Kippenberger...

Impressive early American impressionist flower still life oil painting. Framed. Oil on canvas. Signed. Image size, 30.5H by 21.5L.

A lithograph from the portfolio "Seeing Voices", a collection that also includes several poems. This abstract piece by Paul Jenkins is signed and numbered on the front of the print i...

In The Road to York Through Sledmere, David Hockney transforms a familiar Yorkshire scene into something luminous and almost enchanted. The brilliant red brick of the buildings aroun...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Francisco de Goya, Spanish (1746 - 1828) - The Custody is as Barbarous as The Crime, Year: circa 1810, Medium: Etching and burin on cream laid paper, Image Size: 3.75 x 3 inches, Si...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with organic mediums and learning how to craft preserved moss, clay, feathers and other natural elements into beautiful abstract compositions. Primarily inspired by nature, repetition, patterns, texture and geometry are essential elements that are omnipresent in her works. About Lapis and Flos series: Laforey recent ceramic works are unique pieces that alter in patterns to give an illusion of movement and depth by using clay’s potential for building sculptural dimension. The repetitive use of a unique element, the circle is centered to her work. The circle has often been associated with the female and to Mother Earth. It has no beginning and no end, it is the whole, the essence of things. It symbolizes the ongoing energy found in nature. Laforey’s Lapis mural ceramic series...

Antique American impressionist landscape oil painting by Jessie Louisa Wissler. Oil on board. Signed. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 23 by 18 inches ...

An original painting of Buddhist Monks heading in a line through the forest by well-regarded contemporary artist Bui Van Hoan (1971 - ). The painting measures 38 x 27.5 inches and ...

Tracey Emin Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013 Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin) Warmly signed, inscribed and dated by Tracey Emin on the title page 9 × 7 1/4 × 1 inches Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct. Publisher's blurb: My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art...

Christopher Wool (hand signed by Christopher Wool), 2006 Cloth hardback monograph (hand signed by Christopher Wool) Hand signed and dated 2017 by Christopher Wool on the half title p...

This whimsical and sophisticated painting was realized by the esteemed contemporary painter, Hunt Slonem in 2016. It presents a stylized rabbit in profile, rendered with loose and ex...

Impressive early American impressionist coastal seascape oil painting. Framed. Oil on canvas. Signed. Image size, 22H by 18L.

Kate Moss is photographed during a night out at the Donmar Warehouse in Covent Garden in London on the 16th of January in 2007. The British supermodel and businesswoman rose to fame ...

Incredible early American modernist portrait by Stephen H Booker (1933 - 2016). Oil on canvas. Signed verso. Finely framed. Measuring 24 by 28 inches overall and 16 by 20 paintin...

KAWS Black Holiday Companion (KAWS Taipei) This figurative vinyl sculpture features KAWS' signature character COMPANION in a resting seated position. Published by All Rights Reserve...

Charming and well painted rural New England modernist landcape by Vern Henry Smith (1927 - 2007. Oil on canvas. Framed. Signed.

Artist: Slonem, Hunt Title: Lilly Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 15" x 13" Signature: Signed by Artist on Verso Edition: Uniq...

Francois Dominique (Haitian, b. 1946) Untitled, c. mid-20th century Oil on board Sight: 16 x 30 3/4 in. Framed: 23 1/2 x 38 1/4 x 1 3/4 in. Signed lower right Francois Dominique was...

An original screenprint by Frank Stella from X + X (Ten Works by Ten Painters) published in 1964 by Wadsworth Atheneum, CT. The print was printed by Ives-Sillman, CT and referenced i...

Twelve Chairs revisits the visual language of 1920s modernism. With bold, simplified lines and a graphic immediacy reminiscent of drawing, Zura evokes the era’s spirit of primitivism...

Charles Henry Miller (American, 1842-1922) Untitled (Cows and Trees), c, 1885 Oil on canvas 18 x 24 in. Signed lower left: Chas. H. Miller, N.A. Charles Henry Miller was a noted artist and painter of landscapes from Long Island, New York. The American poet Bayard Taylor called him, "The artistic discoverer of the little continent of Long Island." Miller was educated at Mount Washington Collegiate Institute, and graduated in medicine at the New York Homeopathic Institute in 1864. Before his graduation, he had occasionally painted pictures, and in 1860 he exhibited The Challenge Accepted at the National Academy of Design, in New York City. He lived in Queens at the summer estate, Queenslawn, originally purchased by his parents. He went abroad in 1864 and again in 1867, and was a pupil in the Bavarian Royal Academy at Munich under the instruction of Adolf Lier...

A beautiful oil on canvas painting by the French artist A Bouget, a Parisian painter known for his vibrant cityscapes that depicted the times of his generation. This painting is a wo...

This print by Robert Rauschenberg is part of an 8-piece portfolio published by The New York Graphic Society in 1983 and includes works from Red Grooms, Robert Indiana, Alex Katz, R.B...

Untitled 1983 Signed, titled, dated, and inscribed “A/P” in blue ink, verso Gelatin silver print 16 x 20 inches (40.6 x 50.8 cm) This work is offered by CLAMP in New York City.

Paper Size: 39.25 x 23.5 inches ( 99.695 x 59.69 cm ) Image Size: 39.25 x 23.5 inches ( 99.695 x 59.69 cm ) Framed: No Condition: D: Heavy signs of wear, Torn, Damaged. SOLD AS IS...

This reproduction of Abstrakte Bilder (No Text) by Gerhard Richter, a key work from the artist's acclaimed "Abstract Paintings" series, captures the essence of Richter's approach to ...

A wonderfully rich beach scene done along the Spaarne Canal, in the city of Haarlem located outside of Amsterdam in the northwest Netherlands. Once a major North Sea trading port sur...

Title: Landscape Medium: Oil on canvas Size: 19.5 x 19.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2000 Circa Artist: Bowen...

Wayne Ensrud, American (1934 - ) - Reclining Woman II, Year: 1980, Medium: Watercolor and Gouache on Paper, signed l.r., Size: 30 x 22.5 in. (76.2 x 57.15 cm)

Very impressive and amazing mid 1900s abstract expressionist oil painting. Oil on canvas. No signature found. Framed.

Printed in Italy by Egim in 1996, based on Matisse's 1951 original work. Paper Size: 39.25 x 27.5 inches ( 99.695 x 69.85 cm ) Image Size: 34.5 x 21.75 inches ( 87.63 x 55.245 cm )...

Artist: Cris Cristofaro, American Title: Blue Rectangles Year: 1978 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: 50 Size: 22 x 30 in. (55.88 x 76.2 cm)

Incredible early American modernist still life oil painting. Housed in a great antique giltwood frame. Oil on board.

Very finely painted late 19th or early 20th century portrait painting. Oil on canvas. In excellent original condition. Handsomely framed in a giltwood molding. Excellent conditio...

English landscape painter from the 1870's who exhibited at the Royal Academy and the British Institute in London. He mostly painted in watercolors and this example would have been p...

This high-quality reproduction of Shamu by Niki de Saint Phalle captures the artist’s iconic blend of bold color, whimsical design, and expressive form. Featuring the beloved orca wh...

Liz Taylor by Andy Warhol, from a portfolio of five prints published by te Neues, now out of print. This offset lithograph reflects Warhol's fascination with celebrity culture, portr...

Louis Van Der Pol (Dutch, 1896-1982) was active in the 20th Century and lived in Holland. He was known for his large format elaborate romantic portrait paintings and city street scen...

Blick aufs Meer Gaston Sebire, French (1920–2001) Oil on Canvas, signed lower right Size: 36 x 28 in. (91.44 x 71.12 cm) Frame Size: 44 x 36.5 inches Provenance: Wally Findlay Gallery

A woman with flowing gold hair kneels before a unicorn. The horse theme was frequently used by Dali throughout his career. The horse is seen as a symbol of beauty and elegance as wel...

ARNALDO POMODORO Double Sided Gold Plated Medallion, 1985 Bronze with Gold Patina 2 7/10 × 2 7/10 × 3/10 inches Limited Edition of 500 Signed by artist with incised signature; Stampe...

A beautiful impressionist oil painting on canvas by Gene Jordan depicting a tremendously vivid and alive street scene from Paris in the 20th Century with a view around the Place de l...

Vintage American modernist abstract expressionist figural painting. Oil on canvas. Framed. Signed.

This etching with aquatint was created by American cartoonist Warrington Colescott (b.1921). Warrington, a storyteller who skips all the dull parts according to curator Gene Baro, is...

Vintage American impressionist farm landscape oil painting by Stephen Voorhies (Born 1898). Oil on canvas. Framed. Measuring: 27 by 31 inches overall, and 20 by 24 painting alone. I...

Jean-Michel Basquiat Gagosian Gallery 1986: Original 1980’s Basquiat exhibition poster, published on the occasion of: Jean-Michel Basquiat at Larry Gagosian Gallery, 510 North Robert...