Within your project, add a collaborator in Workspace
- In Workspace>Collaborator, enter one or more collaborator’s email addresses
- Collaborators will receive an email inviting them to your project
- Collaborators must register to access the shared project in my projects
- Collaborators may not like, add or delete artwork in the project
- Hover over the “like” icon to see all who liked that artwork
Have a conversation in Workspace
- Enter a message>submit
- Collaborators will see red conversation bubbles next to collaborate, indicating an unread message.
View complete collections of artwork from CBCA’s 90+ emerging to established artists
- Click artists in header and select an artist to view
- View all available works by each artist
- Access artist statement, photos, CV, and video (if available
Caring for your artwork properly will ensure its safety and longevity.
- Never lean objects against a stretched canvas as it may leave a dent
- Avoid extreme changes in humidity as this may cause warping
- Avoid direct sunlight and heating and cooling sources
- Dusting may be best accomplished with a can of compressed air
- Do not use any commercial polishes, waxes, or cleaners with or without alcohols or solvents as they may scratch, damage, or remove the original finishes
- Artwork should not be touched without white cotton gloves
- Dry, microfiber cloths may be used for plexiglass and some sculptures
- If you are unsure of how to properly care for your artwork, please contact CBCA
CLICK HERE TO DOWNLOAD ARTWORK CARE PDF
A Certificate of Authenticity is provided by CBCA upon request, within 30 days of purchase.
Selected artworks may be commissioned
- Some artists will commission sculptures and paintings to varying scales and in different materials
- Most photography may be commissioned to an approved custom dimension
- Contact CBCA for more information
All artwork is shipped in perfect condition, free of scratches, dents, and tears. Some irregularities are intrinsic to the artist’s process. These irregularities are not considered damage
- If an artwork is damaged in transit, damage must be reported to CBCA within 24 hours of delivery
- All insurance claims will require retaining all original packing materials and clear photographic documentation of the damaged artwork and damaged packing materials submitted to CBCA
- Due to variations in monitors/screens, images may not absolutely represent the color, texture, and vibrancy of the artworks in every instance
- CBCA makes every effort to ensure that the artwork details are accurate and complete and may not be held responsible for incorrect artwork details posted in good faith
- Virtual placement of artwork is only a visual representation and not a precise relationship to the interior. CBCA is not responsible for user error estimating measurements of a space
- The artist owns the copyright and image rights for their artwork
- CBCA is not responsible for damaged or artworks destroyed due to natural disaster or studio accident after a sale is made and prior to shipping
- CBCA is not liable for any lost data
- Access and usage of the site is limited to registered users
- Add an artwork to your favorites by clicking HEART
- Add a favorite artwork to a project by clicking +add to project
- Add a recently viewed artwork to a project by clicking +add to project
- Access favorites and recently viewed in the Workspace or in your account
- Works on paper and paintings are sold un-framed unless the frame is intrinsic to the artwork. Photography is sold print only, or can be fabricated to plexiglass.
- Any un-stretched paintings will be noted in the artwork details
- CBCA may arrange for an un-stretched painting to be stretched for an additional fee
- CBCA may arrange the fabrication of photography
- Contact CBCA for framing requests, fabrication requests, and recommendations
Browse over 5,000 paintings, works on paper, mixed media, photography, sculpture, video, and installation. Favorite artworks or add artwork to your project to share with friends and colleagues.
- Hover over i for a quick view of artwork details
View artwork detail page
- Click on the artwork image to view expanded details
- Hover over the image to magnify and view surface nuance
- Click view high res to see image at its highest resolution
- Click + to save artwork to a project
- Print artwork details
- Add an artwork to your cart
- Professionals may log in for additional access and services
View an artist’s complete collection
Click artists >> artist’s name >> view collection
OR click the artist’s name in the gallery filter and apply the filter
Acrylic Painting: Acrylic paint is water-based fast-drying paint widely used by artists since the 1960s. It can be used thickly or thinly depending how much water is added to it. First made in the 1950s acrylic paint uses a synthetic resin to bind pigments. As it can be diluted with water and used thinly or thickly depending on how much water is added to it, it can resemble a watercolor or an oil painting, or have its own unique characteristics not attainable with other media. Acrylic paint is waterproof once it has dried.
Alla Prima: Technique in which the final surface of a painting is completed in one sitting, without under painting. Italian for “at the first”.
Archival: Refers to materials that meet certain criteria for permanence such as lignin-free, pH neutral, alkaline-buffered, stable in light, etc.
Assemblage: Assemblage is art that is made by assembling disparate elements which are often scavenged by the artist, or sometimes bought specially.
Brass: Alloy consisting of copper and zinc.
Bronze: A combination of copper and tin; the compound may vary in proportions of each.
Canvas: Closely woven cloth used as a support for paintings.
Casein: A natural protein obtained from cow’s milk. Produces a flat, water-resistant film.
Cast: A reproduction of an original piece of sculpture in any number of casting materials, most commonly plaster, plastic, or bronze.
Chromira Print: Chromira prints are conventional wet process (Chromogenic) prints exposed with light. The prints are completely continuous tone with no dots at all.
Chromogenic Color Print (c-print): A c-print, also known as a c-type print or chromogenic print, is a photographic print made from a color negative or slide. The color negative or slide is exposed to chromogenic photographic paper (wet process paper) that contains three emulsion layers, each of which is sensitized to a different primary color. After the image has been exposed it is submerged in a chemical bath, where each layer reacts to the chemicals to create a full-color image. Because the chemicals are so complex, the image continues to react even after the process is completed. The chemicals are also extremely sensitive to water, light, and heat, making it difficult to protect c-prints from deterioration.
‘C-type’ was originally the trademark used by photographic company Kodak for the paper they used for making prints from color negatives, but it is now standardly applied to all color photographic prints.
Cockling: Wrinkling or puckering in paper supports, caused by applying washes onto a flimsy or improperly stretched surface.
Collage: A technique of picture making in which the artist uses materials other than the traditional paint, such as cut paper, wood, sand, and so on.
Conté Crayon: Proprietary manufactured chalk.
Deckle Edge: The ragged edge found on handmade papers.
Decoupage: Victorian craft which involves the cutting out of motifs from paper, gluing them to a surface and layering with varnish to give a completely smooth finish.
Digital Print: Digital prints are created with a computer and usually made with an ink-jet printer, whose pinpointed mists of highly saturated ink product uniformly toned images. The artist’s intent to produce a unique or limited-edition artwork is key here, as this printing process is also used to make common reproductions.
Diptych: A diptych is an artwork consisting of two painted or carved related panels. These can be attached together or presented adjoining each other.
Drypoint: A printmaking process in which a design is drawn on a plate with a sharp, pointed needle-like instrument. The process of incising for drypoint creates a slightly raised ragged rough edge to the lines, known as the burr. When ink that has been applied to the plate is wiped off both the incised line and specifically the burr receive ink when the plate is wiped, giving the printed line a distinctive velvety look. Owing to the delicate nature of the burr, drypoint is usually made in small editions, stopping before the burr is crushed by the pressure of the intaglio press.
Edition: An edition is a copy or replica of a work of art made from a master. It commonly refers to a series of identical impressions or prints made from the same printing surface, but can also be applied to series of other media such as sculpture, photography and video. Since the late nineteenth century the number of prints produced from a single plate or printing surface has usually been restricted and declared as a ‘limited edition’. Before this prints were often produced in as many numbers as the process would allow. Modern artists’ prints are usually limited to a specified number, anything between 2 and 1000 or more. Sometimes the quantity is dictated by the process – the plate wears out – but more commonly it is restricted by the artist or publisher, in which case the printing surface is usually destroyed.
Editioned prints are usually signed, numbered, and often dated by the artist. An edition of twenty-five will be numbered 1/25, 2/25, etc. These are usually accompanied by a number of proof prints, identical to the edition; those produced for artist are marked ‘AP’ (artist’s proof), those for the printer or publisher ‘PP’ (printer’s proof). A number of working proofs may also be made. ‘Bon à tirer’ (good to print) proofs provide a standard to guide the printer.
Emboss: An embossed surface is a raised or depressed surface created during printmaking processes. In printmaking any process used to create a raised or depressed surface is referred to as embossing. This is sometimes used to create false plate-marks in lithographs or screenprints.
Encaustic: A painting technique in which the binder is melted wax.
Engraving: Similar to etching, in this process artists incise their image directly onto a metal plate, which is then inked and printed.
Etching: Etching is a printmaking technique that uses chemical action to produce incised lines in a metal printing plate which then hold the applied ink and form the image. The plate, traditionally copper but now usually zinc, is prepared with an acid-resistant ground. Lines are drawn through the ground, exposing the metal. The plate is then immersed in acid and the exposed metal is ‘bitten’, producing incised lines. Stronger acid and longer exposure produce more deeply bitten lines. The resist is removed and ink applied to the sunken lines, but wiped from the surface. The plate is then placed against paper and passed through an printing press with great pressure to transfer the ink from the recessed lines. Sometimes ink may be left on the plate surface to provide a background tone.
Gesso: A white ground material for preparing rigid supports for painting. made of a mixture of chalk, white pigment, and glue. Same name applied to acrylic bound chalk and pigment used on flexible supports as well as rigid.
Giclée Prints: Fine art printing process using inkjet printers.
Glaze: A very thin, transparent colored paint applied over a previously painted surface to alter the appearance and color of the surface.
Gouache: An opaque watercolor paint. Whereas transparent watercolors allow you to see the “white” of the paper below the paint, gouache can be applied in solid colors. This allows an artist to paint in layers from dark to light.
Ground: Coating material, usually white, applied to a support to make it ready for painting.
Intaglio: Intaglio printing is the opposite of relief printing, in that the printing is done from ink that is below the surface of the plate. The design is cut, scratched, or etched into the printing surface or plate, which can be copper, zinc, aluminum, magnesium, plastics, or even coated paper.
The printing ink is rubbed into the incisions or grooves, and the surface is wiped clean. Unlike surface printing, intaglio printing—which is actually a process of embossing the paper into the incised lines—requires considerable pressure. Intaglio processes are probably the most versatile of the printmaking methods, as various techniques can produce a wide range of effects.
Lino cut: Print produced by carving a design into a block of linoleum. A more modern analog to woodcut, linocuts are made using linoleum; the softness of the material allows for cleaner, freer, and more fluid lines.
Lithography: Lithography is a printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent. A printing process based on the fact that grease and water don’t mix. The image is applied to a grained surface (traditionally stone but now usually aluminium) using a greasy medium: such as a special greasy ink – called tusche, crayon, pencils, lacquer, or synthetic materials. Photochemical or transfer processes can also be used. A solution of gum Arabic and nitric acid is then applied over the surface, producing water-receptive non-printing areas and grease-receptive image areas. The printing surface is kept wet, so that a roller charged with oil-based ink can be rolled over the surface, and ink will only stick to the grease-receptive image area. Paper is then placed against the surface and the plate is run through a press.
Lost Wax: Process in casting where the model is converted into wax and then melted from the mold in which bronze or other casting material will be cast.
Majolica: Earthenware covered with a thin opaque glaze for a special effect.
Mat: A stiff cardboard with a window cut out of the center, attached to a backboard.
Matte: Flat, non-glossy; having a dull surface appearance.
MDO (Medium Density Overlay): MDO is a plywood panel produced with a high-quality thermosetting resin-impregnated fiber surface bonded to one or both sides under heat and pressure.
Medium: The liquid in which pigments are suspended. Also a material chosen by the artist for working.
Mezzotint: A printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth, called a “rocker.” In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. A high level of quality and richness in the print can be achieved.
Monochrome: An image with a single hue.
Mixed Media: In drawing and painting this refers to the use of different media in the same picture.
Monoprint: Printing process that takes an impression from a metal or glass plate, producing only one print of each design, which must then be redrawn.
Mylar: Mylar is often used to generically refer to polyester film or plastic sheet. However, it is a registered trademark owned by Dupont Tejjin Films for a specific family of plastic sheet products made from the resin Polyethylene Terephthalate (PET).
Nanocoatings: Ultra-thin layers or chemical structures built up on surfaces by a variety of methods. Nanocoatings can be applied to a wide variety of substrates, for example, metals, glass, ceramics, polymers, and even other nanocoatings.
Oil Paint: Oil paint is form of a slow-drying paint that consists of particles of pigment suspended in a drying oil that forms a tough, colored film on exposure to air. The drying oil is a vegetable oil, often made by crushing nuts or seeds. For paints, linseed oil is most commonly used, but poppy, sunflower, safflower, soya bean and walnut oils can also be used. The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually, making changes or corrections if necessary.
Oil paints blend well with each other, making subtle variations of color possible as well as more easily creating details of light and shadow. They can also be diluted with turpentine or other thinning agents. A heavily diluted layer dries relatively quickly, being tack-free in a few days. Thicker layers, containing more oil, take longer. Oil paint continues to dry, getting harder with age over many decades. Pigments and extenders will also affect the rate of drying, so different colors may dry at different speeds.
Pastel: Crayon made from pigment mixed with gum and water and pressed into a stick-shaped form, or work executed in this medium. Soft pastel is the most commonly used and is easily blended on the paper by smudging with a finger, soft cloth or a drawing tool such as a tortillon (a small cylinder of tightly rolled paper manufactured specially for this purpose). Chalk can be added to the pigments in soft pastels to soften intense colors and create a range of hues. Oil pastels are made using an oil and wax binder and have a creamy consistency very different to the chalkier consistency of soft pastels. Solvents such as turpentine can be used to smudge and blend oil pastels.
Patina: Coloring of a sculpture in plaster, bronze, plastic, etc. with acids or pigments. Variations are countless due to the variety of color mixes. The natural bronze patina on statues is caused by oxidation and the weather.
Polychrome: Relating to, made with, or decorated in several colors.
Porcelain: A fine clay formula which produces an off-white translucent fired clay at high temperatures. The finest ceramic pieces and most difficult to achieve are made of porcelain. Material may be wheel thrown or slip cast.
PVC (polyvinyl chloride): More correctly but unusually poly(vinyl chloride), commonly abbreviated PVC, is the world’s third-most widely produced syntheticplastic polymer.
Recto / Verso: Terms used for the front and back of a single sheet of paper, or the right-hand and left-hand page of an open book. The front or face of a single sheet of paper, or the right-hand page of an open book is called the recto. The back or underside of a single sheet of paper, or the left-hand page of an open book is known as the verso.
Relief: A sculptural technique where the sculpted elements remain attached to a solid background of the same material. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane.
Resin: A usually transparent solid or semi-solid substance sometimes used as a medium by sculptors. As a fairly lightweight, durable material that is relatively cheap – compared to other traditional sculptural materials – it a desirable medium for artists (especially those who want to make multiple versions of a sculpture). Resin can also be painted or glazed to look like stone, bronze or marble. Resins can be either natural or synthetic. ‘Natural’ resins derive from either plants or insects, whereas ‘synthetic’ resins (e.g. alkyd and acrylic) are manufactured industrial.
Sand Casting: One of the older and more difficult methods of making waxes for bronze casting. Specially designed sand is used to pack the model before the waxes form and the pieces go to the foundry.
Shellac: A yellow resin formed from secretions of the LAC insect, used in making varnish.
Support: Canvas, paper, panel, wall, etc. on which a painting or drawing is executed.
Tempera: A method of painting in which pigments are combined with an emulsion of water and egg yolks or whole eggs (plus sometimes glue or milk). Widely used in Italian art in the 14th and 15th centuries, both for panel painting and fresco, was then superseded by oil paint.
Vellum: A surface for drawing or writing made from the skins of calves, goats and sheep. While there is no sharp distinction between vellum and parchment, vellum is generally a finer quality than parchment, since it is made from younger hides and so is smoother and has fewer or finer hair follicles. Parchment, made from the skins of older animals, tends to be coarser. Modern paper vellum (vegetable vellum) is a quite different synthetic material, used for a variety of purposes including plans and technical drawings.
Watercolor: Refers both to the medium and works of art made using the medium of watercolor – a water soluble paint with transparent properties. Watercolor paint consists of fine pigment particles suspended in a water-soluble binder (adhesive substance). It is usually used on paper. As watercolor is semi-transparent, the white of the paper gives a natural luminosity to the washes of color. White areas of the image often are merely left unpainted to expose the paper. Watercolors are sold as cakes of dry paint or as liquid in tubes, to which water is added. The paint can be applied in various techniques such as wet-on-wet and wet-on-dry to obtain different effects.
Wenge Wood: Wenge wood is a dense, durable hardwood from central West Africa that is used in flooring, furniture, cabinetry and wood carving. The grain is straight with the coarse look of bamboo slivers. The color is dark brown with streaks that resemble animal claw marks and lighter patterns that are wavy.
Woodcut: The oldest printmaking technique, woodcut involves carving an image into a wooden surface, which is then inked and printed—leaving the carved-out image in negative, as well as occasional traces of the wood’s grain.
Log in with your email and password for full access
- I forgot my password:
- Click login >> enter your email >> forgot your password. A new password will be sent to the registered email address
- Reset my password:
- Log in, click my account >> password change
Create projects with rooms, and placements within a room, to organize artwork for specific spaces. Drag and drop, or use the sort feature, to move art around within or between rooms.
In the Workspace: search artwork by criteria, invite collaborators, have conversations, view favorites. See Collaborate for more information
Create a project:
- Click my projects >> add project >> enter project name
- Add rooms to your project (i.e. living room, library)
- Add placement locations within your rooms (i.e. over sofa, over console)
- Once your project is created, add artwork via the gallery, favorites, or recently viewed
- To view artwork in a project, click EXPAND
Open an existing project:
- Click EXPAND
Add artwork to a project:
- Add artwork to a project or room by clicking + from the gallery or artwork detail page
- Please note that an artwork saved to a project may be purchased by others, until it is in your cart and purchased
Remove artwork from a project
- Click TRASH to remove artwork from a project or room
Re-order artwork in a project
- Open the project and click SORT to re-order
- Or, drag and drop between rooms and locations
All pricing on the site is listed and visible (with the exception of commission only artwork) once you register and log in.
Purchase using credit card (AmEx, MasterCard, Visa). Contact CBCA to pay by check or wire transfer:
- Add artwork to your cart > click purchase, follow the steps in the cart to check out
- CBCA will contact you directly with an invoice. Payment directions will be at the bottom of the invoice in Terms + Conditions
- CBCA will email the associated shipping costs for your approval
- Commissioned photography or sculpture cannot be purchased outright. (See Proposals)
Register as a Collector or Professional to access the gallery, pricing, and workspace.
Professionals receive additional access, services, and accommodations.
- Upload a business license or resale certificate
- Collector access is provided until your Professional account is approved by CBCA
- Log in to my account >> professional faq for additional access, services, and accommodations
To save artwork to favorites:
- click HEART to add to your favorites
- view your favorites from the artwork page in the Workspace or my account
To save artwork to a project (project must be created in order to save artwork):
- from the artwork page, click + add to project. Select the project and/or room in which you would like the artwork to be saved
- from the gallery Workspace, you can filter artwork by artist, medium, orientation, color, dimension range, and price range
- check box(es) of desired criteria and click filter
- click reset to clear filter
A project and room(s) must be created and artwork saved to project in order to email artwork:
- from the artwork page, click a specific project to expand
- click the envelope icon and check the box of the artwork to be emailed
- hover over title for artwork image and detail
- use ; or , to separate multiple email addressees
- Artwork is available unless it is noted as commission only. If an artwork is unavailable, you will be notified by CBCA.
- Artwork saved to your project or in your favorites may be purchased by others, until it is in your cart and purchased
- Sold work is indicated by a red dot
- Sold work may be visible in your project for 30 days
- Yes, all pricing (with the exception of commissioned work) is visible once you register and log in
- Select artwork and add to cart from the gallery or from a project
- Click proceed to checkout and follow the requested steps to complete your order
- Certain artwork will require a custom shipping quote
- CBCA accepts paper checks, UHC and wire transfers, Visa, MasterCard, AmEx
- If you would like to pay by check or UHC or wire transfer, contact CBCA
- Tax is charged on purchases shipped to CT, NY, and Washington, D.C.
- Professionals may provide tax exempt document
- Some photography is already produced at the noted dimension
- Most photography may be purchased in one of the 4 dimensions offered
- Photographs may be purchased as print only or fabricated to plexi
- Fabricated photography is face-mounted to plexi with aluminum backing and brace for hanging
- Contact CBCA for custom dimension requests, to add a border, or request a specific paper type
- If requested, a proof may be produced for color approval for $75 plus shipping, paid by credit card prior to purchase. Proofs must be approved with a signature and returned to CBCA. If a print is purchased, the cost of the proof will be refunded.
- Commissioned photography is non-cancellable and non-returnable
CBCA does not accept returns unless there has been a signed agreement that the client is viewing the artwork on approval or on loan. If this is the case, the client is responsible for shipping costs. Commissioned work including photography is non-cancellable and non-returnable
- To obtain a shipping quote, proceed to checkout and complete your purchase. You will not be charged at this time.
- Within 2 business days, you will receive a shipping quote by email for your approval. If you do not approve the quote, you will not be charged and your order will be cancelled.
- Payment must be received in full before artwork is shipped
- Shipping costs are based on origin, destination, dimension, weight and if special art handling is required
- Client is responsible for the cost of shipping, insurance, and crating (if required)
- Small-to-medium paintings and works on paper may be shipped FedEx; tracking number provided
- Large paintings are shipped flat and must be transported by an art handler
- Photographic prints and certain works on paper may ship in a FedEx tube
- Photography fabricated to plexi may be delivered by FedEx or art handler
- Medium-to-large sculpture will be delivered by art handler
- Insurance is calculated based on the value of the art and covers door-to-door shipping
- Artwork ships insured and must be signed for upon delivery
- Contact CBCA for white glove service
Contact CBCA for international shipping options
How long will it take to receive purchased work?
- Work will be shipped within 2 to 7 business days, depending on the medium, dimension, and handling requirements. CBCA will contact you with the shipping details
- Photography and framed work may take up to 4 weeks to produce and ship
- Delivery of commissioned work is noted with commission scope
Virtual placements may be created once a project/room has been set up and artwork has been added to the project. From my projects, select a project to open. Click the virtual placement icon.
Use the Default Image:
- to use the CBCA default image, click and drag artwork image onto the background; artwork will appear to approximate scale
- name your virtual placement and save
Use Your Own Image:
- to upload your own background image, take a straight on photo of the space and save the image file to your computer
- from my projects, open a project and click the virtual placement icon
- click upload background image > upload your image > click submit (images must be .jpg format, spaces that are photographed straight-on work best)
- enter the width of the wall, in feet
- Note: the entire width of the photograph will be accounted for. If you would like only a portion of the wall to be used in virtual placement, crop the image before uploading. Be sure wall measurement best reflects the wall width shown in your uploaded photograph.
– drag artwork from the top of the page onto the background image and the artwork will be placed to-scale
– more than one artwork may be placed onto background image, drag to preferred placement
– skew the artwork if the background image is not taken straight on
– name the virtual placement and save your work
– virtual placement tool is intended to be used as a guide. CBCA is not responsible for user mis-measuring or misplacement of scale.
- Note: the entire width of the photograph will be accounted for. If you would like only a portion of the wall to be used in virtual placement, crop the image before uploading. Be sure wall measurement best reflects the wall width shown in your uploaded photograph.
- photography may be purchased in different sizes
- most photographs may be re-sized in virtual placement to the maximum size as defined by CBCA
- in virtual placement, grab a corner of the artwork and make the artwork bigger or smaller
- if the artwork cannot be expanded it is because the artist has determined it is only available in one size
CBCA is a member of the Women’s Enterprise National Council (WBENC). Founded in 1997, is the largest third-party certifier of businesses owned, controlled, and operated by women in the United States. WBENC, a national 501(c)(3) non-profit, partners with 14 Regional Partner Organizations to provide its world class standard of certification to women-owned businesses throughout the country.