Sarah Smelser Art

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

This is an exclusive handprinted unique cyanotype that takes its inspiration from mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-ligh...

Richard Corman Madonna, 2013 Color photographic monotype on archival pigment paper Hand signed, dated and numbered 1/1 by Richard Corman on the front 26 × 20 inches Unique Unframed This unique archival pigment print (numbered 1/1) was based upon a photograph taken by legendary portrait photographer Richard Corman, which was later hand embellished in acrylic by artist Alec Monopoly. That original work is reproduced in the monograph Richard Corman – Madonna NYC ’83 published by Damiani in 2013. This print is numbered 1/1 and is hand signed by Richard Corman. The photograph of Madonna was taken during Richard Corman's historic photoshoot in the early 1980s, and it was reprinted in 2013. Richard Corman's famous photographs of Madonna during that period have been reproduced in books, magazines, tv clips and newspapers - and are considered the most iconic images ever taken of The Material Girl. We are incredibly honored to be exclusively offering this unique print for the very first time -- in honor of her 65th birthday. Here, Madonna is just a natural beauty, youthful, confident, vulnerable, natural, and extraordinarily poised. The photograph was taken while she was on the cusp of superstardom, but still anxious, striving, going on casting calls, and waiting for her big break. In his own words, photographer Richard Corman describes how this famous photo shoot came about: My mother was Cis Corman, a renowned casting director in New York City. In the summer of 1982 she was casting The Last Temptation of Christ for Martin Scorsese and called me to say they had just tested a girl for the part of the Virgin Mary. She said, “You must meet this girl — she’s an original.” I was 28 and had just finished an apprenticeship with Richard Avedon and was looking for interesting people to shoot. So I got this girl’s number and called. It was Madonna. At the time she was living in Alphabet City [Lower East Side of Manhattan], and she suggested I go to her apartment and chat about what I wanted to do. I had to call her from a phone booth across the street, because the neighborhood was full of drug dealers, and they didn’t let people just walk in and out. There was a group of kids outside the building, on the stoop, in the hallways, and when I said I was there for Madonna the seas parted. I looked up the staircase, and I saw this girl leaning over the edge of the banister, and even from three stories below I could see these catlike eyes just looking down. I knew at that moment that she had something special — I really did. She had her best friend and neighbor, Martin, with her — he later died of AIDS—and we sat and talked. She served me a cup of coffee on a silver tray with three pieces of Bazooka bubblegum. There was no pretense to it. When I came back a few days later to shoot her, she said, “You know, we should go up to the roof because I go up there with all the kids from the building.” She was like the Pied Piper of the neighborhood — they loved her. They followed her, they danced with her, they sang with her. It was something they did on a daily basis, and it was remarkable. We just walked up and they gathered around. She put the boom box on — it was her music, though I don’t remember which song — and they just started dancing and singing. She was so alive and unpretentious. She was fierce, determined. Nothing was going to stop her. After we came down from the rooftop, we walked through the neighborhood, laughing and chatting, stopping in front of a storefront that you see in one of the shots, stopping in front of a senior citizen’s home...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Vladimir Udatny (Russian, * 1920, † 1972) Abstract Composition • Polychromatic Monotype on heavy paper • Sheet, ca. 50 x 65 cm • Inscribed in pencil lower left & signed lower righ...

Tom Alan Lieber, (American, born 1949), GTW #11 -7, 1986, Oil and mixed media on paper, 30.25 x 44 inches, Hand signed and dated lower right Provenance: Garner Tullis Workshop, ...

A piece on freedom, movement, and rhythm, Twirling, 2018 by a.muse is a 15" x 11.25" monotype dated, titled, and signed (on front and back) by the artist. Abstract art on paper...

Intuition, 2019 by a.muse is on the subject of listening to your heart and following it. A one-of-a-kind chine-colle monotype, hand-pulled on the etching press by the artist, is an a...

A large, unique print on canvas by American Artist, Mitch Lyons (1938-2018), signed lower right. The canvas is unstretched and will be shipped rolled in a ...

Tracey Emin Me + Paul We Are the Trolls, 1995 Monoprint on paper Signed, titled and dated in graphite pencil on the front Unique Frame included: bears original label from Jay Jopling, the founder of White Cube Gallery, Emin's longtime gallery Measurements: Framed (original vintage frame included) 15.5 inches vertical by 20.5 by .75 inches Work 11.5 inches vertical by 16.5 inches horizontal Provenance: The Collection of Douglas S. Cramer, USA Hubert S. Bush Collection USA (with label) Jay Jopling, London (with label) - Jay Jopling is the legendary founder of White Cube Gallery This early (1995) monoprint is part of Tracey Emin's "troll" series, depicting her younger self and her (now estranged) twin brother Paul as children with sometimes murderous thoughts. It was acquired from the collection of Douglas Cramer, (August 22, 1931 – June 4, 2021) a top American television producer who worked for Paramount Television and Spelling Television, producing series such as Mission: Impossible, The Brady Bunch, and Dynasty - who amassed one of the most distinguished collections of contemporary art in the United States. A 2011 Daily Mail article entitled "If you Think Tracey Emin is Wild, say Hello to her Terrible Twin" describes a different monotype, also from the troll series, that Tracey gave to her brother Paul, which he promptly and publicly sold on a TV show, much to her chagrin. The article reads: "Yet there is one person central to Tracey's life who has managed to stay largely shielded from the public eye: her twin brother Paul.. He leads a life that could hardly be more different to Tracey's. She is worth millions, is a household name, owns an estate in the South of France and has A-list friends such as Kate Moss, Orlando...

Laura Moriarty's Talking to Rocks 10 is a multicolored encaustic monotype on kozo paper. Layers of pigmented beeswax on lightweight paper create an undulating composition suggesting ...

An encaustic (pigmented beeswax) monotype on Kawashi paper. The monotype can be oriented vertically or horizontally. Price shown is the unframed price. Laura Moriarty is engaged in ...