"Delphinium" by Eyvind Earle Serigraph on Paper, Signed and Numbered, Framed

Signed solid bronze sculpture titled "Family Relaxing" by Dudley Pratt (1897-1975). Pratt was born in Paris France in 1897. He came to Seattle in 1925 where he did some major sculptu...

Silver and turquoise on copper plates attributed to Graziella Laffi with images of a warrior god and llama. Unsigned. Wonderful patina.

Extraordinary watercolor on paper of two Porsche automobiles, a 944 and a 356 by famed automotive and aviation artist David Lord. Signed and dated, 1985. Image dimensions: 16.75” x 20.75”. Chromed frame dimensions: 24.25” x 27.25”. About David Lord by Randy Leffingwell: Inspiration for David Lord to draw and paint came from hours spent as a child at a drawing board set next to his talented grandmother’s easel. “She painted flowers and landscapes . . . I drew cars, boats, airplanes and army tanks.” In addition, a beloved, dedicated, high school teacher, who “instilled the love of art history, taught me art skills and techniques, and the ability to ‘know what to keep . . . and what to leave out’ of my art.” A New Englander by birth, David attended high school in Connecticut. Art was his favorite class and he kept his eighth grade dream of going to art school alive with hundreds of hours spent drawing cars and planes. After high school, he began two years of art studies at the University of Hartford in Connecticut and then began training at Art center College of Design in Los Angeles, California. After two semesters there, general Motors granted him a full scholarship. He graduated in 1965 as a Bachelor of professional Arts in Industrial Design. Upon graduation, Lord was hired by UniRoyal in South bend, Indiana, to design consumer products and eventually products for military application in Vietnam. “I also had the honor and privilege of working with Gordon Buehrig on the preliminary design, drawings, and clay for the 8/10 scale Cord, built of vacuum-formable, color impregnated plastic. After three years with a South Bend industrial design firm, Lord started his own company. During this period he spent many late evenings at the easel in his own studio, painting and drawing automobiles. The direction of his artwork, philosophy and goals began to form. “I decided to focus my love of all things automotive with my talent for painting and drawing. I had been to many events over the years; councours, car and air shows, had an extensive automotive reference collection and four major influences and mentors. These were men whose talent I was in awe over the years; Peter Helck, Walter Gotschke...

A rare birch dining or desk chair by Ernest Farmer of George Nelson and Associates for Herman Miller. Professional reupholstery available at pass-thro...

Teak bachelor's chest or tall sideboard by Peter Hvidt and Orla Mølgaard-Nielsen for Søborg Møbelfabrik. This lovely pair of stacked cabinets have been well cared by their origin...

This rare and beautiful 2-panel mono-print is signed, numbered and hand-titled by the artist. Anne Raymond's work is in the permanent collections of major museums including the Mu...

Limited edition serigraph on paper entitled "Three Noble Horses" by artist Eyvind Earle (1916-2000). Produced in 1993 and printed by Clearwater Studios. Eyvind Earle is famous for ...

Limited edition serigraph on paper entitled "Two Wild Horses" by artist Eyvind Earle (1916-2000). Produced in 1998. Eyvind Earle is famous for his scenes of Magical Realism, and th...

Louise Nevelson (American, 1899-1988) Untitled, 1980 Original five screen serigraph collage Signed and numbered in pencil by the artist. 147 of an edition of 150. See details in...

Yamin Young, 1980s Serigraph Signed, Numbered And Titled "FLAME" 151/175. Serigraph Is Professionally Framed And Ready To Hang. The Substantial Frame Itself Enhances The Artists Art...

Mimmo Rotella silkscreen printing Title “Marilyn The magnificent prey” Mimmo Rotella silkscreen print taken from the poster of the film "The magnificent prey" with Marilyn Monroe. The silkscreen is made in 125 copies. This is 45 out of 125. Dry stamp of the Mimmo Rotella Foundation and numbering at lower left. Signature at lower right. This artwork, never before on the market, comes from a private collection and is beautified by an impressive original frame in silvered wood, in almost perfect condition. This work is also protected by glass Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Born in 1918 in Catanzaro into a middle-class family, in 1945 he moved to Rome where he frequented the young avant-garde made up of the exponents of Gruppo Forma 1 (Carla Accardi, Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato). After his figurative beginnings and early experiments, he began to paint abstract-geometric pictures inspired by the works of Vasilij Kandinskij and Piet Mondrian. In 1950, he exhibited in Paris at the Salon des Réalités Nouvelles. In February 1951, he participated in the exhibition 'Abstract and Concrete Art in Italy - 1951' organised by Palma Bucarelli and Giulio Carlo Argan at the National Gallery of Modern and Contemporary Art in Rome. In 1951 he was awarded a scholarship by the Fulbright Foundation, which allowed him to go to the United States as an 'Artist in Residence' at the University of Kansas City. In 1952, he held his second solo exhibition at the William Rockhill Nelson Gallery of Art in Kansas City. For Harvard University, he completed a performance of epistaltic poetry. In the autumn he returned to Rome, devoting himself to phonetic production. In 1953, he realised that the pictorial medium was no longer a suitable medium for the expression of his poetics and suddenly had what he called a 'Zen enlightenment': the discovery of the advertising poster as an artistic expression. This is how décollage was born: Rotella took pieces of posters torn off the street from the walls of Rome and glued them to the canvas, then reworked them in the studio, adopting the collage of the Cubists and contaminating them with elements borrowed from an informal matrix close to Hans Arp and Jean Fautrier and with the Dadaist ready-made. Still in 1955, Carlo Cardazzo organised an exhibition entirely dedicated to décollage and retro d'affiches in his Galleria del Naviglio in Milan. His works are exhibited in London, at the Institute of Contemporary Arts (ICA). In 1958 he took part in the exhibition 'New Trends in Italian Art' organised by Lionello Venturi at the Rome branch of the Rome-New York Art Foundation. The following year he met the French critic Pierre Restany, with whom he began a long association. In 1960 he joined the Nouveau Réalisme of which Pierre Restany was the theoretician and which brought together, among others, Yves Klein, Spoerri, Tinguely, César, Arman, Christo and Niki de Saint Phalle. Along with décollages, Rotella also executed assemblages and ready-mades with objects purchased from junk dealers such as bottle caps, ropes, wicker baskets and pieces of fabric. In May 1961 he exhibited in the historic exhibition À 40° au-dessus de Dada, curated by Restany at Galerie J in Paris. In 1962, the same French gallery hosted the series of works inspired by the world of cinema on the occasion of the 'Cinecittà' exhibition. His décollages from the early 1960s are characterised by the presence of stars of the silver screen and music such as Marilyn Monroe, Liz Taylor, Marlon Brando and Elvis Presley. During this last exhibition, his work was compared with artists from France (Arman, Christo, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely), Italy (Enrico Baj, Gianfranco Baruchello, Tano Festa, Mario Schifano), and the USA (Peter Agostini...

A hand signed and numbered serigraph by Allen Jones in original frame. “Self”.