Fine Art in New York City

45 x 55.5 inch pure pigment print (framed size) Signed, titled, dated and editioned on label verso Edition 15 (includes all sizes) Framed in a charcoal gray frame Luca Campigotto us...

Start out by Dreaming, 2018 Acrylic on canvas 66h x 48w in Vicky Barranguet was born in Montevideo, Uruguay in 1973. In 1996 she moved to Boston and in 1997 to NY, where she studied...

Christopher Windsor Electric Artichoke, 2015 Borosilicate glass and steel 21.50h x 31.50w x 31.50d in

Miriam Peralta Sostenido 15, 2015 Graphite and charcoal on canvas 65h x 68.10w in 165.10h x 172.97w cm

Throughout Isabel Turban work process, collected maps gathered from various travels are the most significant material as they fuel inspiration for the work.

Will Wilson is an American artist known for portrait paintings, illustrations and Trompe L'Oeil works. His works have been acquired by museums, well-known corporate collections, and ...

Palais VII, 2016 Oil on canvas 22.80h x 20.40w in Born in 1977, Luciana Levinton is a visual artist and architect who lives and works in Buenos Aires. She graduated from the Unive...

Cement, USB cord, video

13.25 x 18 inch digital chromogenic print Edition 15 + 3AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing groups i...

Roberto CARACCIOLO Dal più al meno (14), 2016 Oil on canvas 57 1/2 x 72 inches 146 x 183 cm

8 x 10 inch (image size) gelatin silver contact print, on an 11 x 14 inch sheet Edition 10. Signed and stamped on verso. Framing additional. Larger sizes available - please inqui...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Vicky Barranguet found her own voice and colorful expression of life, emotions, and music through her studies with master painters, Larry Pons and William Scharf. Her spontaneous an...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone streets with puddles in Tribec...

20 x 24 inch type-c print Edition 10. Signed on verso. Throughout her career, photographer Yoko Ikeda has been finding poetry in the prosaic, and mystery in the mundane. Her photog...

From the series ACT, in which the artist worked with young adults leading difficult lives, their bodies challenged by conditions such as Down’s Syndrome or cerebral palsy. His subjec...

Lucía Rodríguez Pérez was first drawn to painting on a circular canvas while studying in Santiago, Chile. This early body of work experimented with color and featured ivy or plants i...

Bosque (Triptych) II, 2018 Acrylic on metallized polyester sheet 70h x 50w in Valeria Vilar received her Bachelor’s Degree in Architecture from the University of Buenos Aires in 200...

C-print on plexiglass

Rodolfo Choperena Buddha in the Snow, 2010 Digital print on metal 36 x 48 in (91.44h x 121.92w cm)

Acrylic on canvas 95 x 78 Unstretched Vicky Barranguet found her own voice and colorful expression of life, emotions, and music through her studies with master painters, Larry Pons...

Paris France - Vibrant aqua blue. Photography Edition Print. Pico Garcez (b.1963, São Paulo, Brazil) In Love with Photography, Iconography and Painting, exercises his gaze from chil...

Collage and ink on paper

Gaby Herbstein uses photography as a means to raise awareness. Her art projects reflect her concern for the wellbeing of the universe and the preservation of nature and the planet. S...

40 X 50 inch chromogenic print, edition 10. Framed to 49 x 58 inches, in white wood frame. Signed, titled, dated and editioned on label verso. Toshio Shibata is one of Japan's lead...

Oil on canvas

Rebeca Mendoza Serie de los rosas #4, 2015 Oil on canvas 55 x 79 in (139.95h x 199.9w cm)

Oil on vintage architecture magazine paper

Acrylic on canvas 78 x 89 in Unstretched Vicky Barranguet found her own voice and colorful expression of life, emotions, and music through her studies with master painters, Larry P...

The Staring Figures by Max Weber (1881-1961) Ink, pencil, and watercolor on paper 10 ½ x 7 ½ inches unframed (26.67 x 19.05 cm) 16 ½ x 11 ½ inches framed (41.91 x 29.21 cm) Descript...

Martin Reyna Untitled, 2015 Mixed media on paper 18 x 24 in (45.72h x 60.96w cm)

Miriam Peralta Sostenido 7, 2012 Mixed media on paper 24h x 29.50w in 60.96h x 74.93w cm

El dibujo no es un animal doméstico VIII, 2011 Pencil on paper 13h x 9.30w in Martin Palottini was born in Buenos Aires in 1981. From 1995 to 2001 he attended Manuel Belgrano National School of Fine Arts, where he graduated as a Teacher of Drawing. In 2011 he attended the School of Higher Education of Artistic Development , where he received his degree of Professor of Fine Arts. He has been the recipient of numerous awards including First prize at Akian Gráfica Editora Competition (2015), second place at the Salón Nacional Dibujo Palais de Glace...

Martin Reyna Untitled, 2015 Mixed media on paper 19.6 x 19.6 in (49.78h x 49.78w cm)

Julián Terán F6, 2016 Ink on paper 19.7 x 19.7 in (50.04h x 50.04w cm)

Julián Terán Linescape 9 , 2017 Ink on paper 16.5 x 35.5 in (41.91h x 90.17w cm)

Cecilia Biagini Teorema chino del resto, 2009 Vinyl paint on canvas 55 x 55 in (139.7h x 139.7w cm)

Vicky Barranguet Tenri Composition, 2016 Acrylic on canvas 40 x 60 in (101.6h x 152.4w cm)

Alexander Ross Fuzzy Fish, 2020 Graphite on paper 11 1/4 x 15 inches 28.6 x 38.1 cm Signed, titled and dated (verso) -- Best known for his mysterious biomorphic paintings...

mixed media on canvas

A plate with a green and yellow ceramic woman's body from waiter up attached on it. Signed and dated verso. Born in Havana in 1950, Alfonzo w...

Pico Garcez (b.1963, São Paulo, Brazil) In Love with Photography, Iconography and Painting, exercises his gaze from childhood when he began to play with his first camera. Practicing ...

Study for Sculpture of Nude Woman Balancing Baby, 1949, by Chaim Gross (1902-1991) Ink on paper 10 ½ x 7 ½ inches unframed (26.67 x 19.05 cm) 1...

Martin Reyna le Bois, 2015 Mixed media on paper 59.05 x 76.77 in (149.99h x 195w cm)

"Sketching Among the Irises" by George Herbert McCord (1848-1909) is oil on canvas and measures 20 x 16 inches. The painting is signed by the artist at the lower left.

ADDISON THOMAS MILLAR American, 1850-1913 The Sword Merchant Signed Addison T Millar Oil on board 10 in x 8 in Framed: 18 in x 10 in

Cecilia Biagini Full Circle, 2013 Acrylic on canvas 65 x 45 in (165.1h x 114.3w cm)

NEON Swimming - Vibrant Noir Abstract Photography. Swimming Pool - Bright Orange and Black Noir. Photography. Edition Print. This Photography work 23.5 inches by 35.5 inches. Pico...

Berlin Porcelain Allegorical Plaque of Admiration KPM, Late 19th CENTURY The three-quarter-length portrait depicting a brunette woman with blue eyes in light ecclesiastical robes supporting palms crossed over chest and looking up over right shoulder - in a landscape immersed in powder blue sea holly...

Kiva Ford Rhinoceros Bottle, 2009 Borosilicate glass 17.50h x 7w x 7d in

Signed lower left: H. GASSER

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed. Signed.

Signed upper right: Addams

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Pico Garcez (b.1963, São Paulo, Brazil) In Love with Photography, Iconography and Painting, exercises his gaze from childhood when he began to play with his first camera. Practicing ...

ABOUT THIS PIECE: Danish photographer Kim Høltermand photographed the Herning Art Museum in Jutland, Denmark. He is known for his moody, quiet photos that show public spaces before t...

Matthew Brannon is best known for his letterpress and screen prints of incongruous combinations of images and text. These prints are rendered in a subtle, stripped-down aesthetic, ev...