Contemporary Art For Sale Price Range: $3000 - $3999

Page 8 of 97
Over 2805 works of original contemporary art for sale in the price range $3000 - $3999. On this page you can find works by Youri Messen-jaschin, Micha Nussinov, Tary Socha, Michal Ashkenasi, Eve Co, Hans-ruedi Kammermann, Alice Murdoch, Jose Luis Lazaro Ferre, Richard Lazzara, William Dick, Tom Irizarry Studio, Cornelia Macfadyen, Philip Hallawell, Andrew Wielawski, Hyacinthe Kuller-baron, Daniel Clarke for the follwing mediums: 1. Links to more artwork and 97 pages for works in the price range $3000 - $3999 and links to further artists' works at the bottom of this page. To view a work by any of these visual artists simply click on the image or browse the artist's portfolio.


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Youri Messen-jaschin: 'Sweet Passion Fruit', 1990 Pencil Drawing, Erotic. (r) by 1990 Prolitteris Postfach CH. - 8033 Zurich (c) by 1990 Youri Messen- Jaschin Switzerland  ...
Erotic - Drawing
35 x 50 cm (13.8 x 19.7 inches)
Youri Messen-jaschin: 'Sharon Fruit', 1990 Pencil Drawing, Erotic. (r) by 1990 Prolitteris Postfach CH. - 8033 Zurich (c) by 1990 Youri Messen- Jaschin Switzerland  ...
Erotic - Drawing
50 x 70 cm (19.7 x 27.6 inches)
Micha Nussinov: 'Jazz on the rocks', 2006 Acrylic Painting, Landscape. As one of the participant in Art on the rock competition, Micha explore different perspectives of the Rocks, Sydney. In his collage style painting Nussinov mixes existing landscapes with imaginey. He plotted people - featuring musicians, who contribute vitality and give point of views and movements. ...
Landscape - Painting
100 x 150 cm (39.4 x 59.1 inches)
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Tary Socha: 'Summer Growth', 2006 Acrylic Painting, Abstract. Impressions of growing plant forms amidtst the warmth of Summer. Mixed Acrylics mediums on gallery wrapped canvas....
Abstract - Painting
30 x 24 inches (76.2 x 61.0 cm)
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Michal Ashkenasi: 'Red Trees', 2016 Acrylic Painting, Fantasy. An abstract work with beatiful colors . I made an experience with sculping paste and was not happy with the end product . After cleaning the paint and the paste, there were still residues. And so this painting was born on the residue of the former painting . The result is very good ...
, 2016
Fantasy - Painting
80 x 60 cm (31.5 x 23.6 inches)
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Eve Co: 'Purple Shadows', 2002 Watercolor, Floral.
Floral - Watercolor
24 x 18 inches (61.0 x 45.7 cm)
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Hans-ruedi Kammermann: 'shield of truth', 2005 Oil Painting, Inspirational.
Inspirational - Painting
100 x 90 cm (39.4 x 35.4 inches)
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Hans-ruedi Kammermann: 'contrary bow', 2005 Oil Painting, Inspirational.
Inspirational - Painting
95 x 100 cm (37.4 x 39.4 inches)
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Hans-ruedi Kammermann: 'love run wild', 2005 Oil Painting, Inspirational.
Inspirational - Painting
95 x 100 cm (37.4 x 39.4 inches)
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Alice Murdoch: 'Dog Days', 1999 Oil Painting, Figurative. Woman on the beach with dog...
, 1999
Figurative - Painting
50 x 52 inches (127.0 x 132.1 cm)
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Tary Socha: 'Light Between the Waves', 1997 Acrylic Painting, Undecided. Abstraction of light shimmering between flowing waves. Acrylic on canvas. ...
Undecided - Painting
48 x 36 inches (121.9 x 91.4 cm)
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Tary Socha: 'Etheral Peaks', 2005 Acrylic Painting, Abstract. Contrasts of positive and negative space and atmosphere and land masses create interesting configurations. This won the First Place Award for Aesthetics and Harmony in a 2005 exhibit. Acrylic on canvas....
Abstract - Painting
18 x 24 inches (45.7 x 61.0 cm)
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Jose Luis Lazaro Ferre: 'Zeus V', 2005 Collage, Figurative.
, 2005
Figurative - Collage
70 x 100 cm (27.6 x 39.4 inches)
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Richard Lazzara: 'symbol passion', 1972 Oil Painting, Abstract. symbol passion 1972 from the folio
Abstract - Painting
46 x 35 inches (116.8 x 88.9 cm)
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Richard Lazzara: 'mona lisa smiles', 1972 Oil Painting, Abstract. mona lisa smiles 1972 from the folio
Abstract - Painting
46 x 35 inches (116.8 x 88.9 cm)
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Richard Lazzara: 'george mcneil class work', 1972 Oil Painting, Abstract. george mcneil class work 1972 from the folio
Abstract - Painting
35 x 46 inches (88.9 x 116.8 cm)
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Richard Lazzara: 'another day vietnam', 1972 Oil Painting, Abstract. another day vietnam 1972  from the folio
Abstract - Painting
46 x 35 inches (116.8 x 88.9 cm)
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William Dick: 'STANG', 2004 Other Drawing, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2004
Abstract - Drawing
100 x 100 cm (39.4 x 39.4 inches)
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Tom Irizarry Studio: 'Betroved', 2004 Oil Painting, Visionary. oil on canvas, cinnabar, azurite, cremnitz white...
, 2004
Visionary - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Micha Nussinov: 'Splash', 1992 Acrylic Painting, Abstract.
, 1992
Abstract - Painting
2500 x 810 mm ( x )
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Cornelia Macfadyen: 'The Crowd', 1996 Oil Painting, Abstract. Oil on Canvas with Tissues...
, 1996
Abstract - Painting
34 x 36 inches (86.4 x 91.4 cm)
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Philip Hallawell: 'Behold the Lilies of the Field III', 2004 Oil Painting, Inspirational. This is the third work of this series. It is painted in oils on canvas, stretched on MDF wood. In this painting, I have brought together both the Mask series and the Lilies series. ...
Inspirational - Painting
40 x 45 cm (15.7 x 17.7 inches)
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Andrew Wielawski: 'View through a Window 2', 2001 Mixed Media Sculpture, nudes. What do you see when you put your face into the mask? Just her face, like the other sculpture on this theme. Voyeurism. The real voyeur is the one who doesn' t wear the mask....
nudes - Sculpture
2 x 2 feet (0.61 x 0.61 m)
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Philip Hallawell: 'Solidarity Achilles and Patroklos', 1986 Oil Painting, Mythology. This painting, part of the Iliad series, depicts one of the most moving parts of Homer' s epic, when Achilles enters the battlefield to save the body of his friend Patroklos. ...
Mythology - Painting
50 x 40 cm (19.7 x 15.7 inches)
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Hyacinthe Kuller-baron: 'HYACINTHE GIRL', 2003 Lithograph, Figurative. The HYACINTHE Girl. Original oil painting. Considered by Helen Gurley Brown to be the COSMO GIRL.All that is available now are 24x36
Figurative - Lithograph
24 x 36 inches (61.0 x 91.4 cm)
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Daniel Clarke: 'A Gathering of Multitudes', 2003 Acrylic Painting, Still Life. A Gathering of Multitudes is part of the Artist' s Venice, California series of still life studies...
Still Life - Painting
30 x 40 inches (76.2 x 101.6 cm)
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Jose Luis Lazaro Ferre: 'Reader', 2003 Pastel, Figurative.
, 2003
Figurative - Pastel
112 x 76 cm (44.1 x 29.9 inches)
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Hyacinthe Kuller-baron: 'Three Female Goddesses', 2008 Giclee, Figurative. The original is in an important art collection in Palm Desert California. Available as a horizontal print on canvas or paper with hand painted touches and hand signed in pencil by the artist Hyacinthe.Three Female Goddesses renders the Female Aspects. The Goddess as Aspara, powerful, passionate, tempting, sensuous, the ...
Figurative - Giclee
3 x 5 feet (0.91 x 1.52 m)
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Hyacinthe Kuller-baron: 'White Bears Daughter', 2008 Giclee - Open Edition, Figurative. AVAILABLE AS:2x3' LITHO, $3500. 00Hand touches applied to canvas or paper and hand signed in pencil by Hyacinthe.Figurative and Fantasy oil painting illustration and artistic book cover: ECHO OF A SCREAM, book one of
Figurative - Giclee - Open Edition
3 x 4 feet (0.91 x 1.22 m)
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Hyacinthe Kuller-baron: 'Visions', 2008 Giclee - Open Edition, Figurative. In the oil and mixed media painting Visions, Cassandra dreams of Heotu, the Black Stallion. Inspired by artist and author Hyacinthe Baron' s artistic book
, 2008
Figurative - Giclee - Open Edition
3 x 3 feet (0.91 x 0.91 m)
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(Page 8 of 97) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Youri Messen-Jaschin - From 1958 - 1962 his artistic studies lead him to the higher national school of fine arts student of Professor Arno Roberto Cami and to the Practical school of the Sorbonne, division of social sciences history of art, Professor Pierre Francastel in Paris. From 1962 until 1965, he went to the School of fine arts in Lausanne. He worked with the engraver and painter Ernest Pizzotti. A<> in 1964 with his kinetic glass and acrylic sculptures. He worked two years at the aEURoeCenter of contemporary engravingaEUR in Geneva. Then, he worked in Zurich, where he broadened his pictorial perspective with the painter Friederich Kuhn thru experience of the circle in the face. From 1968 until 1971, he acted at the University of HAPgskolan fAPr design Konsthantwerk in GAPteborg, where he created researches of textile kinetic objects. In 1967, he met at an exhibition in GAPteborgs Konsthall JesAos - Rafael Soto, Carlos Cruz-Diez and Julio Le Parc. Speaking with these artists, he discovered to be fascinated by optical art. He decided to devote all his research to kinetic art. An extended stay in GAPteborg gave him the opportunity to constantly evolve in movement and ...

    Micha Nussinov - Nussinov's Statement Oct 2012 Drifting, being transient, in between various states of body/mind, like when we travel physically and with our imagination, as in a 'waking dream'. My work represents a world of ambiguity and illusion, of recognized and abstracted scenes embedded as a tapestry of matter, illustrating different relationships. Somewhere in the process of creating artworks these worlds are mixed in an harmonious and conflicting manner, representing the contradiction and collision between languages and landscapes. At all times the viewer is challenged to unfold the mystery, to explore and discover. The works of art are created not through a planned process but rather the starting point is an impulse, a visual or musical trigger. These signals lure the me into the unknown territories where my intuition and inner vision leads to spontaneous discoveries. As a teenager my box camera was an excuse to drift away from trouble, to capture in a photo something, that was at the same time ambiguous and exciting. As a cinematographer/ director of documentaries from1976 to1980 I was acknowledged as an acute observer of people and an highly experimental filmmaker. I have been working in various fields of the arts, consistently for the ...

    Tary Socha - I am an innovative contemporary artist, exploring unconventional images and techniques in mixed media, collage, acrylic painting, pastel and textile and surface design. I am committed to experimentation and a unique and dynamic expression of my own view of the natural environment, with unexpected color, texture and energy. Through my work, I intend to uplift and brighten the spirit of the viewer, and cause them to question their own perspective of nature and life. My paintings exhibit a fascination with the physical properties of life and science involved in transforming our environment, such as the power of electrical storms, oceans, volcanoes, oxidation, and the process of renewal and rebirth that arises from deterioration and regeneration. Reverence for life, its phenomena and the interconnectedness of all things are the foundation of my work. Primarily, my images are abstractions and impressions of earth, sky, sea and other mysterious phenomena. However, I also continue to work in pastels, drawing, printmaking, and textile design, and I explore all types of imagery, to expand my creative insight and skills. ...

    Michal Ashkenasi - Welcome to my Portfolio! If you are wondering if this is just another floral/landscape artist,I am not! My work is abstract-figurative and ,as you see,I love color!!I work directly on the canvas and the images come out of my imagination or from my memory . I do Collages and Watercolor too , but for me , the most deep feelings come out with Oil or Acrylic.With those media I can fulfill the strong contrastes I work with , and which are part of my style....

    Eve Co - I began painting and drawing in 1987 and have not stopped. I have a wide range from, landscapes, still-lifes, Hubble art galaxies nebulas, abstracts, florals, architectural art and so much more. I draw every day and paint as much as I can afford. I paint more watercolors than acrylic and oil canvas art. I would prefer more canvas art, but I make do with what I have. I try to express myself in artwork as well as with words. I paint landscapes, the glorious colors of nature, water, the ever expressive sky and more, primarily with watercolors on paper. These paintings are usually thought out and planned because they represent nature as I see nature. I paint still-lifes of everyday objects. To teach me about one particular color, shading and or painting glass. I think of still-lifes as a learning process that literally has me pulling my hair out in frustration, but I still paint through how they make me feel... I am fascinated with Hubble Space Technology so, I paint galaxies and nebulas on canvas with acrylic paints. I have sold many of these paintings and I must admit they are some of my favorite subjects...

    Hans-Ruedi Kammermann - Painting for me is passion, a fascinating process of seeing that alters the vision of things. The everyday becomes special, unique, unknown. What is seen, is never what is painted, yet the painting becomes a new reality. I don't invent abstract images but the act of accumulating material on the canvas creates form and color - being materialistic in order to transform matter into imagination and perception. In the process of painting I find new images, something appears, stimulates vision, projects lost or remembered entities, becomes alive and finally communicates. ...

    Alice Murdoch - I have always wondered why statements are necessary from artists, unless their statements are not clear in their work. I think my paintings are strong enough to make their own, and that is my statement about my artists statement....

    Jose Luis Lazaro Ferre - I think the easiest way to define my activity as an artist and my intellectual approach to art would be to quote Apollinaire's thesis in his Les Peintres cubistes: meditations esthetiques, especially the following sections: ... Therefore, as an offer to the spirit, in the plastic arts, the fourth dimension should be generated by the three known dimensions: represented by the immensity of space eternally present in all the dimensions of a given moment ... Cubism differs from the painting that came before it because it is not the art of imitation, but the art of thought raised to the level of creation ... Scientific cubism is one of the pure trends. It is the art of painting new compositions with elements taken not from visual reality, but from the reality of knowledge ... Physical cubism is the art of painting compositions with elements taken primarily from virtual reality In my painting, I work with geometric figures arranged on different planes that overlap one another and blend into real shapes (bottles, cats, birds, fruit), fabricated objects (small origami birds and paper boats) and everyday things (hats, shoes, etc.) to create a world of mystery and sensuality. The lines I draw are ...

    William Dick - STATEMENT My paintings record my interest in reconciling different and often estranged qualities and ideas in painting. I work through an experimental evaluation of the co-influence or confluence of organic and geometric, texture and structure, density and transparency, the sensuous history of paint and the austere tradition of minimalism. Within the context of abstraction, namely geometric and organic, I begin with the fundamental balance in painting between line and colour. I have drawn on ancient symbolic shapes from my Scottish background and I am influenced by the symbolic power of simplest forms of drawn lines such as the circles, concentric circles and spirals of Pictish and Celtic Art. Linear elements in my work derive from this source as well as from African and Aboriginal Art, Abyssinian Warrior Shields and Russian icons, and other lines and shapes that retain, in the broadest sense, some significance within culture. For colour I begin from observation of geological form and the substance of land; of dust, sand, mud and rock as well as the outcrop of local street furniture/ architecture; weather and the effects of weathering, and then of the often extreme and exotic colour of lichen, peat and mosses. My work exploits...

    Tom Irizarry Studio - Oil painter with broad knowledge of historic methods and historic colors. My studio is my laboratory. I make all my paint. My work focuses on elements of the earth air and land. What I observe is beyond a pretty sky or nice landscape. It is the notion that our earth and the universe, are imbued with a specific energy. Historically, this energy was described by the Victorian poet Gerard Manley Hopkins as Instress and Inscape, derived from ideas of the medieval philosopher, Duns Scotus. Scotus argued that there is some matter entirely devoid of form. Paintings can vary from 9 x 12 inches to 6 x 8 feet. Viewers describe a profound feeling from the paintings, regardless of the size. Specialties Historic processes for paint making, mediums, grounds, oils, mineral pigments, oil mediums, tempera mediums, non-silver processes cyanotypes and archival digital pigment prints....

    Cornelia Macfadyen - CVMacFadyen, a native New York, studied art at the Art Student's League and Pratt Institute. Here she received a classical training with a heavy influence from the impressionists. CV's work is abstract expressionsist. Her paintings are rich in color and texture. Each painting evokes a different repsonse from it's viewer. The subtle changes in texture are color obscure images lurking in the background. Through her painting CV strives to touch each person. She reaches within to allow the viewer to have an experience of themselves. CV works in oil on canvas. All pictures are sized for the home. Oversized canvases maybe commissioned upon request. Her work is in private collections in the United States and Europe. CV has been exibiting her work exclusively in the New York area since 1976. She is mentioned in the World's Who Who of Women, Who's Who in the East and Who's Who of Professional & Executive Women. ...

    Philip Hallawell - I work in various media: oil, watercolor, dry pastels, pen and ink and mixed media. My work is a result of a fragmented view of the world, which gives it a surreal quality. However, my process is not surreal, because I start with a definite theme that I wish to investigate. My main area of interest is people and the human form and I am constantly investigating the physical, intellectual, emotional and spiritual aspects of Man. Over the years I have developed various series, which I revisit periodocally, investigating different aspects. In purely visual terms, what fascinates me is light and form and how I can use diverse visual elements in a complementary way, opposing, for instance, line and form, or rough and smooth textures. The use of diferent materials to achieve diverse expressions, either alone or as mixed media, along with alternating between a graphic representation and a painterly one, or mixing the two, is a very important aspect of the way I materialize my thinking into images. Equally important is the transition from very realistic images to a totally abstract means of expression and alternating between control and expressiveness....

    Andrew Wielawski - Art must communicate ideas and have them received the way the artist intends, reaching as many viewers as possible to provoke an emotional response. If you go for those who are in the know about artistic periods, about current trends, and about a symbolic language that requires training to understand, then the artist will miss a huge audience. The artist then becomes a slave to styles created by others. If on the other hand, you work towards reaching multiple levels of viewers, then your task becomes more difficult, and at the same time, more fulfilling. An artist who creates a language will not fit into any already existing niche, and will alienate those looking for something they already know about, like gallerists, collectors and museums. Creativity, however, is like water...it will find its way around such obstructions, and bring the artist satisfaction and a clientele that appreciates what they create without regard for what's in fashion. Most of all, this way of producing reflects the rarity of truth in a world mostly dedicated to superficial values. ...

    Andrew Wielawski - Daniel Clarke - Daniel E. Clarke is a Los Angeles Native who has been painting his entire career in the Los Angeles area. His art education has included studying under the internationally famous Timothy Clark, UCLA Extension University, and Glendale College. He has explored both pictorial and abstract designs but is dedicated to a free flow of color and dynamic composition. Mr. Clarke has concentrated on the acrylic and watercolor medium, and paints on location in his Los Angeles based studio. He also maintains his paintings and sales in his own company called Berrypunch Gallery. ...