Antonio Seguí Furniture

1970s Indian religious ink drawing. It is part of a private collection.

Piero Fornasetti "Tema e Variazioni" 1/100 limited edition print depicting the face of the famous opera singer Lina Cavalieri / made in Milano Italy, 1998 Width: 14 inches / Height: ...

I KNOW NOT, I KNOW Date of creation: 2010 Medium: Offset lithograph with silver and UV varnish on paper Edition: 300 Size: 68.9 × 53 cm Condition: In mint conditions and not framed O...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

An ink drawing after Poussin. Dated 1819 on bottom right. The frame and glass color are original.

Signed and numbered abstract of child and woman in great condition by Keith Bruce Finch. He was born in Holyoke, Colorado on October 9, 1919. Finch was most active in Los Angeles i...

This print depicts the tangle of barbed wire encircling curling and twisting neon, with lengths of wood at the center. The dark paper sets off the electric blue, and captures the ori...

With eyes on the reality of one hundred years from now Date of creation: 2013 Medium: Offset lithograph with silver on paper Edition: 300 Size: 50 x 50 cm Observations: Offset lithog...

And Then x 727 (Vermillion SHU) Date of creation: 2013 Medium: Offset lithograph with silver Media: Paper Edition: 300 Size: 50 x 50 cm Observations: And Then x 727 (Vermillion SHU) ...

Two panels stage a private argument between figuration and abstraction in Tel Aviv Museum Print. The left is built from Lichtenstein's own late 1980s vocabulary of self quotation, a ...

Contemporary Photography "Vestígios de Adoração" (Traces of Worship) from the "Arqueologia de Futuras Ruínas" (Archeology of Future Ruins) Series by Brazilian Photographer Felipe Var...

Original 1973 Vail Village, Colorado vintage travel and skiing poster. Preservation linen-mounted in A- condition, ready to frame. Discover Vintage Vail Magic! Take a trip back i...