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Untitled (Fan)

Hannah Reeves Notice 2023 Acrylic on raw silk and organdy 8 x 8 inches

Hannah Reeves Have To Go In 2023 Acrylic and dye on raw silk and organdy 42 x 42 inches

Hannah Reeves Too Good a Hiding Place 2023 Acrylic and dye on cotton and organdy 42 x 42 inches

Erté Tiger Lily (Autumn) c. 1970s Serigraph on silk scarf Plate-signed. Dry-mounted with hand-rolled hem visible

HANNAH REEVES Sky Through Curve and Tangle 2022 Thread, fabric, and antique lace 12.5 x 9.5 inches

HANNAH REEVES There May Bloom (Bleeding Heart) 2021 Chalk, graphite, and stitching on paper and found object Framed: 11.5 x 8 x 1 inches

"Porter Series: Carte L'Europe (Shower Woman)" is a tapestry by South African artist William Kentridge. It is edition 1 of 5 (plus 2 APs) and signed verso "W. Kentridge". William Kentridge is a South African graphic artist, filmmaker, and theatre arts activist especially noted for a sequence of hand-drawn animated films he produced during the 1990s. The pungent humanism he revealed in these and other works echoed a larger European tradition of artists such as Honoré Daumier, Francisco de Goya, and William Hogarth. Kentridge, whose father was a noted antiapartheid lawyer, attended the University of Witwatersrand in Johannesburg (1973–76) and the now-defunct Johannesburg Art Foundation (1976–78). At various times in the 1970s and ’80s, he worked as an actor, playwright, set designer, and theatrical director, and he studied mime and theatre in Paris in the early 1980s. In 1992 he began an ongoing collaboration involving multimedia performances with Handspring Puppet Theatre (founded 1981) in Cape Town. As is clear from both his early training and his later artistic output, Kentridge’s interest in the visual arts was rooted in its connection with the theatrical arts. The narrative structure and character development in his films reflect this connection. While Kentridge pursued several avenues as an artist, at the centre of his work was a sequence of short animated films. To produce them, he made a rough charcoal drawing, photographed it, altered the drawing slightly, photographed it again, and so on. Kentridge’s original drawings are often completely effaced by their successors. Many of these films—including Johannesburg, 2nd Greatest City After Paris (1989) and Felix in Exile (1994)—follow the fortunes of the greedy capitalist Soho Eckstein and his alter ego, the sensitive and artistic Felix Teitelbaum. They present modern South Africa as reflective of the spiritual, ecological, and emotional crises of late capitalism. Kentridge later established himself as a consummate figure in the performing arts, particularly for his innovative stagings of the operas The Nose (2010) and Lulu (2015) at New York’s Metropolitan Opera and Wozzeck (2017) at the Salzburg Festival...

Artist's Rug made after Jean-Baptiste Valadie

State of Mind, Contemporary Woven Tapestry, Abstract Textile Wall Sculpture, Viscosed silk, cotton cloth, jersey dots, 102” x 95”, 2016 by textile artist, Ane Henriksen...

Untitled, 2014. 100% Silk Chiffon, 100% Cotton, Hand Dyed and Silk Screen Printed. Remembrance Through Cloth Collection, 590 x 870mm Born in Namibia, Lynette Diergaardt received her...

Sample 5: Double Weave, 2014. Cotton Perle 5/2 Silk 5/2 Jacquard TC1 Woven, 465 x 345mm Born in Namibia, Lynette Diergaardt received her Bachelors of Art...

Bone (Namibian Identity through textiles), 2018. Silk Screen on Stretched Canvas. Born in Namibia, Lynette Diergaardt received her Bachelors of Art from the University of Namibia an...