Contemporary Art For Sale Price Range: $600 - $699

Page 7 of 69
Over 1982 works of original contemporary art for sale in the price range $600 - $699. On this page you can find works by Leo Evans, Donna Gallant, Lorrie Williamson, Judith Fritchman, Micha Nussinov, Gordon Mcglothlin, Andree Lisette Herz, Richard Lazzara, Asbjorn Lonvig, Storm Hammond, Ron Ogle, Lucille Coleman, Paula Durbin for the follwing mediums: 1. Links to more artwork and 69 pages for works in the price range $600 - $699 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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Leo Evans: 'WITH OR WITHOUT YOU 4', 2008 Computer Art, Abstract.   WITH OR WITHOUT YOU_ 4 ~ LEO EVANS ~ LEOEVANS. COM ~ ALL RIGHTS RESERVED 2008  ...
Abstract - Computer Art
11 x 14 inches (27.9 x 35.6 cm)
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Leo Evans: 'WITH OR WITHOUT YOU 2', 2008 Computer Art, Abstract.   WITH OR WITHOUT YOU_ 2 ~ LEO EVANS ~ LEOEVANS. COM ~ ALL RIGHTS RESERVED 2008  ...
Abstract - Computer Art
11 x 14 inches (27.9 x 35.6 cm)
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Leo Evans: 'A PLACE IN MY HEART FOR YOU c', 2008 Computer Art, Abstract.
Abstract - Computer Art
11 x 14 inches (27.9 x 35.6 cm)
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Leo Evans: 'A PLACE IN MY HEART FOR YOU b', 2008 Computer Art, Abstract.
Abstract - Computer Art
11 x 14 inches (27.9 x 35.6 cm)
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Leo Evans: 'A PLACE IN MY HEART FOR YOU a', 2008 Computer Art, Abstract.
Abstract - Computer Art
11 x 14 inches (27.9 x 35.6 cm)
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Donna Gallant: 'End of Summer', 2006 Pastel, Landscape.  The coulees in Southern Alberta are the influence of this piece. ...
Landscape - Pastel
25 x 19 inches (63.5 x 48.3 cm)
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Lorrie Williamson: 'New Orleans 1985', 2006 Acrylic Painting, History.  A New Orleans street scene with a local band playing that jazz - - in the good old days. ...
History - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Lorrie Williamson: 'The Bonnet Lily', 2004 Oil Painting, nature.  The Bonnet House Series.  The yellow bonnet lily gave the Bonnet House its name.  It grows in the fresh water lagoon behind the mansion. ...
nature - Painting
20 x 16 inches (50.8 x 40.6 cm)
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Judith Fritchman: 'Road Home in Autumn', 2004 Oil Painting, Landscape.  The colors of Fall beckon on a leisurely walk home. ...
Landscape - Painting
14 x 22 inches (35.6 x 55.9 cm)
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Micha Nussinov: 'Contraption', 2007 Mixed Media Sculpture, Conceptual.  The work expresses the flow of energy between outside and inside. Using recycled material of vacume cleaner and water container suggest suction of air and its storage.   ...
Conceptual - Sculpture
48 x 98 cm (18.9 x 38.6 inches)
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Gordon Mcglothlin: 'Reef Winds II', 2001 Giclee, Abstract Landscape.  Reef Winds II, while part of a diptych, can be purchased as a separate print. It is available in limited editions of 150 on canvas and Somerset Watercolor paper and measures 14 x 39. Each piece is personally printed, signed, and numbered by the artist. For pricing information on sizes...
Abstract Landscape - Giclee
39 x 14 inches (99.1 x 35.6 cm)
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Gordon Mcglothlin: 'Reef Winds I', 2001 Giclee, Abstract Landscape.  Reef Winds I, while part of a diptych, can be purchased as a separate print. It is available in limited editions of 150 on canvas and Somerset Watercolor paper and measures 14 x 39. Each piece is personally printed, signed, and numbered by the artist. For pricing information on sizes...
Abstract Landscape - Giclee
39 x 14 inches (99.1 x 35.6 cm)
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Gordon Mcglothlin: 'Saba Wind II', 2005 Giclee, Abstract. Saba Wind II, while part of a diptych, can be purchased as a separate print. It is available in limited editions of 150 on canvas and Somerset Watercolor paper and measures 18 x 36. Each piece is personally printed, signed, and numbered by the artist. For pricing information on sizes ...
Abstract - Giclee
36 x 18 inches (91.4 x 45.7 cm)
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Gordon Mcglothlin: 'Saba Wind I', 2005 Giclee, Abstract. Saba Wind I, while part of a diptych, can be purchased as a separate print. It is available in limited editions of 150 on canvas and Somerset Watercolor paper and measures 18 x 36. Each piece is personally printed, signed, and numbered by the artist. For pricing information on sizes ...
Abstract - Giclee
36 x 18 inches (91.4 x 45.7 cm)
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Andree Lisette Herz: 'catskill stream', 2006 Acrylic Painting, Landscape. rushing stream on cavas painted gallery edges, no frame needed...
Landscape - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Richard Lazzara: 'creative challenge pin ornament', 1989 Mixed Media Sculpture, Fashion. creative challenge pin ornament from the folio LAZZARA ILLUMINATION DESIGN is available at
Fashion - Sculpture
3 x 2 inches (7.6 x 5.1 cm)
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Asbjorn Lonvig: 'Denmark Eleven Hvid Sommerfugl', 2005 Collage, Abstract. I have been asked to consider smaller sizes - sizes under 1 meter.Over the years I have made lots of paper cut- outs. I have developed a very secure technique when it comes to color fastness.I have chosen 4 specific colors - red, yellow, green and blue, supplemented with black/ ...
Abstract - Collage
60 x 60 cm (23.6 x 23.6 inches)
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Asbjorn Lonvig: 'Denmark Eight Fredsdue', 2005 Collage, Abstract. I have been asked to consider smaller sizes - sizes under 1 meter.Over the years I have made lots of paper cut- outs. I have developed a very secure technique when it comes to color fastness.I have chosen 4 specific colors - red, yellow, green and blue, supplemented with black/ ...
Abstract - Collage
60 x 60 cm (23.6 x 23.6 inches)
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Asbjorn Lonvig: 'Denmark Four Roed Giraf', 2005 Collage, Abstract. I have been asked to consider smaller sizes - sizes under 1 meter.Over the years I have made lots of paper cut- outs. I have developed a very secure technique when it comes to color fastness.I have chosen 4 specific colors - red, yellow, green and blue, supplemented with black/ ...
Abstract - Collage
60 x 86 cm (23.6 x 33.9 inches)
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Richard Lazzara: 'deep pocket investors', 1975 Calligraphy, Visionary. DEEP POCKET INVESTORS, from the folio MINDSCAPES is available at
Visionary - Calligraphy
9 x 13 inches (22.9 x 33.0 cm)
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Richard Lazzara: 'business models', 1975 Calligraphy, Visionary. BUSINESS MODELS, from the folio MINDSCAPES is available at
Visionary - Calligraphy
9 x 13 inches (22.9 x 33.0 cm)
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Storm Hammond: 'Fragile Transitions', 2019 Oil Painting, Representational.
Representational - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Donna Gallant: 'Roses express', 2004 Acrylic Painting, Floral. Flowers are always an image that is repeated in Donna' s work.  This piece show not only the rose but the expressions that go along with a rose....
Floral - Painting
32 x 24 inches (81.3 x 61.0 cm)
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Ron Ogle: 'detail from Emily painting', 2003 Oil Painting, Mythology. A very close up detail of the painting known as EMILY. Oil on panel....
Mythology - Painting
3 x 5 inches (7.6 x 12.7 cm)
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Lucille Coleman: 'Hieroglyphic Wall', 2002 Oil Painting, History. A(c) 2003 Lucille Coleman...
History - Painting
18 x 24 inches (45.7 x 61.0 cm)
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Lucille Coleman: 'Titanic Arch', 2004 Oil Painting, Dance. Vibrant colors in oil paint were employed here with a spotlight effect to imitate the lighting and atmosphere at a salsa dance social. I made the models peek- a- boo, cut- out dress to show off anatomy and the passion of the dance. The painting is about a Salsa Dancing ...
Dance - Painting
28 x 38 inches (71.1 x 96.5 cm)
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Micha Nussinov: 'Movement 3', 2004 Oil Painting, Landscape. An imaginery landscape. The artist expresses his feelings through color light and movement....
, 2004
Landscape - Painting
410 x 510 mm ( x )
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Micha Nussinov: 'Movement 4', 2004 Oil Painting, Landscape. An imaginery landscape. The artist expresses his feelings through color light and movement....
, 2004
Landscape - Painting
410 x 510 mm ( x )
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Paula Durbin: 'Chartre Rose', 2002 Color Photograph, Botanical. Close- up of a rose taken in Chartre France. Fresson print.  Also available as an 11 x 14.  May be printed as a Qoro or Canvas. ...
Botanical - Photograph
22 x 28 inches (55.9 x 71.1 cm)
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Tary Socha: 'Macrocosm', 1995 Mixed Media, Abstract. Mixed water media on paper. There is a distinct interconnectedness of all things. Here, the microcosm and the galactic macrocosm are one and the same. We are all one with the undiversal....
, 1995
Abstract - Mixed Media
18 x 24 inches (45.7 x 61.0 cm)
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(Page 7 of 69) - MORE ARTWORKS
  • MORE »
  • Artists Describing Their Art:

    Judith Smith Wilson - Donna Gallant - Art is a daily routine in my life. I see, hear, taste, feel and smell the life that surrounds me and I am inspired by the simplest aspects of this world. Whether it be the way the light hits an object or the way objects or forms move in space. I find it all so fascinating and alive. I try to portray these experiences and expressions through my art making....

    Lorrie Williamson - As time passes and history is made, it is exciting to try and capture a special moment of life in a painting. It might be inspired by an earth-shaking event or just an ordinary daily experience. More often it comes as a result of looking for something meaningful to say about life as it is today by painting a picture of it. I have a passion for painting, and a ongoing desire to master the never-ending possibilities that are inherent in making art. I hope to express a mood or tell a story that will grab and hold your attention and make you want to see more....

    Judith Fritchman - I cannot remember a time when I did not want to draw or paint. From my earliest childhood days I have found great joy in depicting my surroundings. Compelling images call out to be examined and expressed: a lone oak tree starkly outlined against a curve of corn stubble, a Cezanne-like arrangement of objects on a table as I walk through a room. But of all God's infinitely varied creations, it is the human face and form which most fascinates and humbles me; the possibility of capturing a fleeting aspect of humanity unique to that individual is an endlessly exciting pursuit. After studying at Beaver College, Cedar Crest College, and Lehigh University, I have also studied classical drawing and design for many years with Myron Barnstone at his studios in Coplay, Pennsylvania. There I have learned to examine the work of great artists of the past as instruction and inspiration. Knowing they have pursued similar interests is a gratifying experience, offering the potential for learning something new, and using it to express my own personal images, values, and emotions. It is my hope that each of my works will reflect, in some small way, a facet of the ...

    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 ...

    Storm Hammond - In many of the paintings, my intention was to give the viewer a glimpse into a peaceful moment in the Italian sense of capriccio. In others, particularly those which make use of funerary statuary, one is left questioning aspects of human solitude. It has been said that a landscape does not come alive until there is a figure in it. By using sculptures of human forms, I offer the viewer an identity within the painting. As they are stone, subtly a coldness permeates and a peculiar isolation sets in emotionally. This shifts the pastoral mood to a quiet thoughtful meloncholia. This gives some observers a surrealistic impression of my work. In the architectural alleys, the viewer stands alone on the path. There is always the unseen, something more, a mystery around the corner or through the gate. I use an indirect Old Master's method of oil painting. The process begins with the application of an abstract acrylic ground. Next, an oil grisaille is painted defining the light and dark areas. Then, multiple layers of oil glazes and varnishes finish the piece. The first drawing, painted as the ground utilizes the divine geometry of the Golden Section. The divine ratio, ...

    Storm Hammond - Lucille Coleman - Although I'm able to produce other imagery, the figure has been my main subject. I believe that if an artist can capture and express the figure well, he can master any subject. I have explored the following themes to name a few: chic erotica, forms of dance such as latin and hip-hop, the family, conceptual themes pertaining to people in business, men and women in positive leadership roles and societal issues. I enjoy painting subjects and themes by using a loose, bold, direct and painterly brushstroke or flat graphite strokes over a solid drawing. Spontaneity and making visual statements by the "less is more" method is very gratifying for me. In addition, the chiaroscuro lighting of subjects fascinates me and I never tire of its effects of light and shadow. I am influenced by the works of Joaquin Sorolla, John Singer Sargeant, Caravaggio and other painters of his era, Wassily Kandinsky, Phillip Corey, Impressionism, and many great illustrators. ...

    Paula Durbin - Photography has always captured my spirit. It was only natural that my creative "release" be expressed through the same medium. But, because I am a unique spirit, it had to have other levels of creativity - the photo itself just wasn't enough. My first creative approach to photography was the use of the Polaroid transfer technique. My work consisted of subjects that are still close to me: animals and nature. The technique suited me well; it expresses the selected image seen and it allows me to further express its beauty with the softness of the technique. The watercolor paper used brings yet another dimension to the image. A search for the true expression in my photography led me to explore the techniques of the Fresson family of photographers. The Fresson technique, which culminates in the special care given the developmental process and the paper used, presented me the opportunity to express the richness of my photography. My work now moves beyond that 'moment' and presents a depth and richness perhaps not otherwise felt. I am honored to be a part of the Fresson family. There are only a limited number of artists with whom I share this honor. Having gone ...