Singulart guarantees reliability and traceability.
All the artists on the platform have been specially selected and certify to only sell works, of which they are the artist. Whatever the medium, the work is sent to the buyer with a certificate of authenticity. Photographs are numbered and signed.
Every customer can be given a copy of their certificate of authenticity by contacting support@singulart.com
With Singulart, you can pay safely by credit card or bank transfer.
For all transactions exceeding your credit limit, contact us. We are required to verify every transfer, as part of the fight against fraud and money laundering.
Singulart prices include:
Price of an artwork defined by an artist.
Insurance. Your order is 100% protected in case of any damage or loss.
All customs fees, taxes, and document preparation.
Third-party logistic provider shipping costs.
A dedicated Singulart customer care specialist that will assist you with any questions or problems during shipment.
Other details :
Artwork on supported wooden frame. Artwork framed.
Dimensions :
31.5x31.5in
About this artwork
A choreography for three fish in black and white with a few iridescent lines on the edge and bronze-colored scales that catch the eye and the light.
The moon's probable reflection unites them in a perfect circle. A work that mesmerizes with its richness of values and its forms/fish in motion…
« Painting is for me a way to look at life and to celebrate it in an assiduous search for colorful harmonies and light. »
Isabelle Philips-Decramer is a French artist whose works have been widely exhibited nationally, as well as in Switzerland, Portugal and South Korea. For her, painting is self-evident, an essential language that she has been practicing for over twenty-five years. Isabelle Philips-Decramer first painted outdoor landscapes in watercolor, then portraits and still lifes. Then she felt the need to free herself from known, imposed and defined forms. An abstract pictorial universe emerged on large formats and in oil. After a long period of abstraction, she returned to figuration transformed by her research from the past period.