Very good condition.
42.25″W x 48.25″H
SaleSold out
Contemporary Blue and Gold Kimono Print
SOLD
Framed and matted, a contemporary print of a kimono. Reducing the kimono to its geometric essence, this minimal artwork pushes intensity through color relationships. A marbled, spekcled blue and metallic yellow allows this print to have a unique relationship to the space and light of the room.
This print is amongst hundreds of pieces of art that are available at our showroom in Grandview! Come in today and see the full collection.
Out of stock
Condition & Dimensions
Shipping & Delivery
Related products
ARHAUS “Out to Sea” Framed Abstract Print
SOLD
- “Out to Sea” framed print by Arhaus
- Mixed media print with tones of blue, white, black, and silver
- Organically flowing shapes create an abstract oceanic feel
- Sleek metallic frame compliments the sparking hints of silver throughout
ELM & IRON Yellowstone Bison Framed Print
SOLD
- Framed bison print by Elm & Iron
- Sizable printed photo of bison’s profile in the fields of Yellowstone National Park
- Natural wood frame compliments the dark tone of the bison itself
“Nobody’s Home” Limited Edition Silkscreen
- Illegibly pencil signed in corner
- Titled “Nobody’s Home”
- Depicts a house on a hill, in brown, on an orange and yellow background
- Numbered 5/15
- Wooden frame with dark finish and white mat
JOHN STOBART “New York” Limited Edition Signed Print
STEPHEN ROSSER “Chaps, Tights, and Promises” Limited Edition Print
This limited edition print by Oklahoma-based painter Stephen Rosser depicts a charming dual portrait of a ranch hand and ballerina, their faces unseen as a lone rose and ten-gallon hat lie abandoned along the floor. Raised on a ranch from an early age, Rosser regularly incorporates cowboy and wild west imagery into his works, gaining representation within art galleries nationwide throughout the 1980s and 1990s. Matted and housed in a pickled wood framing, this limited edition print has been signed and numbered 23/1500 by the artist along the bottom of the piece.
This print is amongst hundreds of pieces of art that are available at our location in Columbus, Ohio! Come in today and see the full collection.
ROBERT FALCONE “Fallout Bunker” Hand Embellished Print on Canvas
This large scale, hand embellished print on canvas by Columbus-based artist and physician Robert Falcone depicts a posed female mannequin surveying a fallout bunker, the image rendered in contrasting tones of color and black and white. The collaged, vintage appeal of the subject matter is paired with stray brushstrokes of metallic gold, beckoning to the Pop Art movement of the 1960s. Mounted on its original stretcher bars, this original print is unsigned by the artist.
This print on canvas is amongst hundreds of pieces of art that are available at our location in Grandview! Come in today and see the full collection.
SCOTT JACOBS (1958-) “Kennedy in Chains” Giclée and Mixed Media on Paper
This original giclee and mixed media print by American artist Scott Jacobs depicts a close-up portrait of a masked woman, her green eyes complimenting the numerous small rhinestones that bedazzle this piece of art. Jacobs officially became Harley Davidson’s first licensed artist in 1993, with this piece of work acting as a testament to his art’s rebellious nature. Housed in an ornate frame, this print is sourced from an edition of 25 and signed by the artist in the lower right hand corner of the print. Certificate of authenticity on file.
This print is amongst hundreds of pieces of art that are available at our location in Grandview! Come in today and see the full collection.
JOHAN BARTHOLD JONGKIND (1819-1891) Original Oil Nightscape on Panel
SOLD
Own a piece of art history with this original oil on panel painting by the illustrious Dutch master and frontrunner of Impressionism, Johan Barthold Jongkind (1819-1891). This painting on panel features a moonlit maritime scene that Jongkind is best known for. This painting is considered “nocturnally perfect” with radiating moonlight in a cloudy sky being perfectly reflected in the shimmering waters underneath. The low horizon, deep contrast in color, and loose yet intentional brushstrokes are quintessential to Jongkind’s style.
In 1874, Jongkind was extended an invitation to participate in the first exhibition of Impressionist works at the Salon in Paris, but declined. Following the rejection of his painting “Moonlight in Rotterdam” at the 1873 Salon, he refused to participate in such exhibitions again. This exact painting was created in 1874, at that pivotal point in the Impressionist movement and in art history as a whole.
This painted panel is framed in an aged gold frame with a paper label on the reverse. Jongkind’s signature and the year 1874 is found in the bottom left corner of the composition.
About the Artist:
Johan Bathold Jongkind (1819-1891) was a Dutch painter and printmaker who is widely recognized as a forefather of Impressionism. After training at the art academy in The Hague, he moved to Monparnasse, Paris. After studying and working for two years, he was accepted into the Paris Salon exhibition. Despite receiving praise from critics Charles Baudelaire and Emile Zola, he experienced little success that induced depression worsened by alcoholism. Jongkind would continue to struggle with his mental health and dependency issues throughout his life. He returned to Holland for 5 years before going back to Paris, renting a studio and developing a style that would be critical to the consequent Impressionist movement. He met Eugène Boudin, Alfred Sisley, and Claude Monet, and became a mentor to the three young artists. Monet attributed the “definitive education” of his artistic eye to Jongkind. Jongkind mostly focused on marine landscapes, consistently employing strong contrasts and lively brushwork. Following in Dutch tradition, most of his works feature a low horizon to emphasize the sky. His legacy is strong in both the art market and in museum collections around the world. Although his contemporaries admired his work and style, his distaste for social gatherings and salons may have been what prevented him from coming to the forefront of the Impressionist movement. However, his background contributions were equally as important to him personally and many other young artists.