Works of art under 300 euros

Brain Roy represents here a portion of McDonald's fries whose packaging everyone knows in popular culture. However, he chose to modify the usual red with a covering in the colors of a work by Piet Mondrian.

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With Urban Malabar , Lasveguix subverts the codes of advertising and popular imagery to reveal their mechanisms and excesses. The central figure, a smiling, retro-style character, seems to emerge from a pile of torn posters and graphic fragments. His deceptively reassuring expression, combined with the raised thumbs-up gesture, evokes a promise of standardized happiness, instantly recognizable yet profoundly ironic. The word "MALABAR," imposing and colorful, stands out like an advertising slogan torn from its original context. Around it, layers of torn paper, splashes of pink paint, and abraded areas convey the visual violence of urban space and the constant saturation of commercial messages. Here, collage becomes a battleground between graphic seduction and the erosion of reality. The chromatic contrasts—bright yellows, deep blacks, off-whites, and touches of pink—reinforce the immediate impact of the work while underscoring its critical nature. Behind the playful, pop aesthetic lies a reflection on consumerism, the repetition of images, and the superficiality of advertising. With this work, Lasveguix situates his art within a direct lineage of street art and pop art, transforming a familiar icon into an ambiguous symbol. Malabar acts as a jarring mirror to our image-driven society, where outward enthusiasm often masks a more fragmented and chaotic reality.

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With Pop Skull , Lasveguix revisits the universal iconography of the skull through a resolutely pop and urban language. At the center of the composition emerges a stylized skull, rendered in black and white, almost screen-printed, which stands out as a figure both familiar and unsettling. Its fixed smile oscillates between irony and provocation, recalling the tenuous boundary between popular culture and contemporary memento mori. The artwork is constructed from a dense collage of torn posters, fragmented typography, logos, and media references. The vivid colors—saturated yellows, electric blues, pinks, and blacks—create a striking contrast with the monochrome skull, accentuating its visual impact. This chaotic layering evokes urban walls covered with advertisements, slogans, and ephemeral messages. The tears, torn layers, and abraded areas are integral to the narrative of the work. They reflect the wear and tear of time, the saturation of the image, and the visual violence of our contemporary environment. The skull, a timeless symbol of death, is thus confronted with the excess of signs and consumerism, becoming a pop icon emptied of its original gravity, but imbued with a new critical irony. With Pop Skull , Lasveguix offers a striking work at the crossroads of street art and pop art, where the seductive aesthetic masks a deeper reflection on mass culture, the repetition of images, and the trivialization of symbols. The work stands as a jarring mirror of our times, at once playful, violent, and profoundly contemporary.

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With Le Mans , Lasveguix pays homage to an icon of cinema and automotive culture by merging street art aesthetics, urban collage, and collective memory. At the center of the composition appears the intense face of Steve McQueen, the mythical figure from the film Le Mans (1971), embodying speed, control, and a form of raw freedom associated with motor racing. The artwork is constructed from fragments of torn posters, ripped-off typography, and superimposed visual layers, evoking city walls marked by time. The tears, cracks, and erased areas create a tension between appearance and disappearance, like a memory reconstructed from traces. The race number, graphic references, and textual elements reinforce the historical and symbolic grounding of the work. The contrast between the black and white portrait and the bursts of vibrant colors—yellows, blues, greens, and reds—energizes the composition and conveys the energy of the race, the noise, the speed, and the adrenaline of the circuit. This chromatic opposition also underscores the dialogue between past and present, between a timeless icon and contemporary visual language. Through Le Mans , Lasveguix does more than simply represent a cult figure: he reinserts it into the urban space, confronting it with the ravages of time and the visual violence of the street. The work thus becomes a manifesto that is both nostalgic and modern, celebrating the legend, the mechanics, and the collective imagination linked to the mythology of speed.

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This work of Lasveguix boldly reinterprets the iconic Laughing Cow , a familiar figure in French popular culture, by placing it in a vibrant urban setting. At the center of the composition, the famous smiling red cow appears in large format, surrounded by torn posters, raw textures, typographic fragments, and tags that create a living wall, typical of the artist's street art style. The slogan "Vachement Bon" (Very Good) appears at the top, while the bottom of the image reveals, partially hidden beneath torn posters, the inscription "La Vache qui Rit" (The Laughing Cow) . This interplay of superimpositions creates a visual tension between the original advertising message and its contemporary reinterpretation. By blending nostalgia for an advertising icon, street energy, and the poetic chaos of collage, Lasveguix repurposes an everyday symbol, transforming it into an art object. The work plays on contrasts: between graphic cleanliness and urban wear, between smooth imagery and fragmented textures, between collective memory and artistic reappropriation. With this dynamic and expressive composition, Lasveguix places La Vache qui Rit at the heart of his universe: a space where pop culture, street culture and creation meet and reinvent themselves.

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In this work, Lasveguix pays homage to Obey , an emblematic figure of global street art, by revisiting the iconic Marianne through his own aesthetic. On a piece of torn cardboard, with edges burned by time, the artist recreates the illusion of a fragment torn from an urban wall —a witness to a passage, a visual cry, a street memory. Layers of overlapping posters, graffiti marks, and paint chips blend chaos and harmony. The partially revealed face of Liberty emerges from the collage as a timeless symbol, both fragile and indestructible. The handwritten “Made in France” label acts as a clear signature: that of an artist who celebrates the French urban scene while engaging in dialogue with its international influences. Through Fragment of Freedom , Lasveguix questions the notion of trace and heritage. Each tear becomes the mark of a gesture, each piece of cardboard, a piece of wall that tells the story of freedom of expression. Framed size: 42 x 32 x 3 cm

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This work of Lasveguix perfectly embodies the tension between heritage and modernity. Against a minimalist black background stands a vibrant collage blending textures, poster fragments, and bursts of color. In the center, the iconic female face—inspired by the graphic codes of committed street art—symbolizes Freedom , a word partially revealed, as if torn from the wall of time. Around this figure, Lasveguix superimposes layers of torn paper, graffiti and paint in vivid shades, creating a composition that is both raw and poetic. The hand-painted inscription “Made in France” anchors the message: an affirmation of artistic and cultural identity, proudly rooted in the French urban scene. Between homage and diversion, this work celebrates the power of collage as an act of memory and resistance. Each tear becomes a gesture of freedom, each trace a street imprint. Framed size: 42 x 32 x 3 cm

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In this work, Lasveguix explores the technique of collage and torn posters to revisit a well-known graphic icon: the Marianne popularized by Shepard Fairey (Obey) . At the center, the stylized and ornamented face emerges through layers of colorful, typographic and handwritten posters, creating a game of progressive unveiling. The composition gives the impression of a fragment torn from an urban wall , like a section of visual palimpsest where successive layers of display tell a collective story. By mixing the visual universe of Obey — a symbol of resistance and counterculture — with his own visual language, Lasveguix composes a piece that is both raw and poetic. The tears, overlays, and textures echo the materiality of the street, where images crumble and reinvent themselves over time. The work thus questions the tension between icon and contemporary appropriation, between shared memory and personal expression. Framed size: 42 x 32 x 3 cm

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Magnificent work created by the artist Alberto Ricardo and signed by the artist. This is a professional giclee on canvas limited to 10 copies only. The work presented here is number 1. Alberto Ricardo offers here a portrait of Freddy Mercury, who died on November 24, 1991 in London and who was a British singer, composer and pianist of Parsi origin. He is best known for being the frontman of Queen, one of the greatest rock groups of all time. Mercury was famous for his powerful and versatile voice, as well as his incredible stage presence.

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Discover this very original sculpture by the artist Bruno Cantais , specialist in abstract expressionism and the projection of materials. Rated by Artprice, Drouot and Akoun, Bruno Cantais offers us here a work called Disco which consists of a projection of acrylic paint on a plastic violin. The latter comes with its bow and can be placed or hung on a wall.

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Original creation for all fans and collectors of Warhol's artistic universe. Here, SKE , artist Self-taught Frenchman, a jack of all trades, pays homage to Warhol by reworking one of his works around an aerosol can: Campbell's Soup Cans. This is an original work signed and numbered with certificate of authenticity.

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Beautiful abstract style canvas painting by Italian artist Silvio Formichetti made using acrylic paint. The work is hand-signed by the artist on the front and back and is delivered with its certificate of authenticity.

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Coming directly from the artist's studio, here is a very beautiful original painting made using acrylic on canvas. The artist Bruto has chosen here to represent a Smurf (Schtroumpf in French), a character from an eponymous comic strip series created by Peyo in 1958 telling the story of an imaginary people of small blue creatures living in a mushroom village in middle of a vast forest.

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Offset lithograph after Andy Warhol . Reproduction of the work "Marilyn Monroe", screen print produced by Warhol in 1964. This proof is published by TeNeues Publishing Company, New York. Print authorized by the "Andy Warhol Foundation" in the Netherlands, with the Foundation's copyright stamp and legal serial number in the lower right corner.

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Very original work by the Italian artist Malaspina composed of more than 1500 bamboo pins selected and placed side by side to give shape to the sculpture. The frame is made of mahogany, the work was made entirely by hand and it is signed on the back.

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Brain Roy represents here an icon of the 50s, Marilyn Monroe inscribed in popular culture by making her up to date with luxury brands with a military background. The work is a print on dibond limited to only 6 copies.

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Brain Roy here represents an icon of the 1950s, Marilyn Monroe inscribed in popular culture by dressing her up with current luxury brands. The work is a print on dibond limited to only 6 copies.

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Discover this Nutella-colored 5L Jerrycan painted with Montana spray paint and varnish. The logo is also painted to give a uniform result and better durability over time. The artist XTC wishes, through this work, to compare the palm oil used in the Nutella recipe to gasoline for its devastating power.

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“Liberty flouted” is a print made using digital tools, this proof is limited to 30 copies and printed on Hanhemühle paper. The artist Mr Strange chose to represent freedom and women's rights through the Statue of Liberty who comes down from her pedestal when these are violated. Delivery time: 2 weeks

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“Everything is relative” is a print made using digital tools, this proof is limited to 30 copies and printed on Hanhemühle paper. The artist Mr Strange features Albert Einstein, alone on a train, watching the rain in contrast to the animation that reigns within his brain. We will also notice the artist's nod to relativity with the title of the work. Delivery time: 2 weeks

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"To Churchill, Manitoba" is a print made using digital tools, this proof is limited to 30 copies and printed on Hanhemühle paper. The artist Mr Strange uses self-deprecation through the works he offers. Here, he stages an improbable situation where a polar bear is about to take the bus, the latter being chased from its natural habitat because of global warming. Delivery time: 2 weeks

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From Burnside Avenue to Kingbridge Road is an impression of Mr Strange produced using digital tools, this proof is limited to 30 copies and printed on Hanhemühle paper. Delivery time: 2 weeks

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The adventurer is a print made using digital tools, this proof is limited to 30 copies and printed on Hanhemühle paper. The artist Mr Strange uses self-deprecation through the works he offers. Here, he stages an improbable situation where a giraffe decides to take the wheel to experience his own safari. Delivery time: 2 weeks

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The escalator is a print made using digital tools, this proof is limited to 30 copies and printed on Hanhemühle paper. The artist Mr Strange uses self-deprecation through the works he offers. Here he stages an improbable situation where a gorilla descends the escalator of a New York subway. Delivery time: 2 weeks

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