Art

Marc Chagall, After, Russian (1887 - 1985) - Lovers Over Paris, Medium: Giclee, fascimille signed and numbered in pencil, Edition: 375, Image Size: 13 x 17 inches, Size: 16 x 24 ...

Work on paper

Celestine, 1920 Oil on canvas, 32 x 26 inches (81.3 x 66 cm) Framed dimensions: 41 x 35 inches Signed lower right: Robert Henri Inscribed on verso: 26 / L Robert Henri / Celestine P...

This acrylic landscape by Pat Service captures a roadside view of summer in the countryside. Signed to lower right. Highly regarded as one of Canada’s finest landscape artists, Pat ...

17th century English/Dutch School, from the Circle of Sir Peter Paul Rubens A very interesting and well-painted 17th-century oil on canvas of two men seated on horseback in a landsc...

Artist: Slonem, Hunt Title: Purple Catelaya Series: Florals Date: 2026 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14.5" x 12.5" Signature: Signed by...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a Turquoise blue background with thick use of paint...

David Arnold Burnand (Swiss artist 1888-1975) 107 auctions in Switzerland. Oil paint on cardboard with frame Total size with frame 40x50 cm One...

The very last month of winter can be very cold, but still the sunset is already painted in warm shades. To emphasize this, the author of the painting used acrylic paints with a golde...

Archival pigment ink print, produced in a limited edition of 5 // Gallery ID: 21250 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21025 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

Bronze & Steel Table

This exquisite heliogravure after Henri Matisse (1869–1954), titled Mademoiselle M.A. (Miss M.A.), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates...

Lamentation of Christ Follower of Anthony van Dyck (Antwerp 1599 - London 1641) Late 17th-early 18th century Oil on canvas (64 x 51 cm. - Framed 77 x 65 cm.) This is a very...

This work of art depicts a lively scene in a typical Naples alleyway. Time-worn stone staircases climb between ancient buildings with yellow facades. Colorful banners float above the...

A stunning oil painting scene depicting figures by the beach in a sunny day at Nice, France done in the 20th Century. The vibrant colors and impressionistic brushwork is done with bo...

This is an original lithograph poster created for Achille Perilli’s 1973 exhibition Works on Paper at Marlborough Galerie in Zürich. A leading figure in postwar Italian abstraction, ...

Vincent De Vos Belgian, 1829–1875 Les Saltimbanques (The Acrobats): Portrait of Three Dogs and a Monkey, circa 1870 Oil on panel Signed lower right Original frame A charming and hi...

Matthieu Van Plattenberg (Antwerp 1608 - Paris 1660) workshop of Stormy sea with ships Oil on canvas 90 x 120 cm - In antique frame 103 x 133 cm This evocative coastal view...

Encaustic on panel. It's simple; I create art because it makes me happy. I try not to overthink the process of what I’m painting and let my intuition be my guide. I love laying do...

"I Love U" (I <3 U) - Limited edition red glass pill sculpture by Edie Nadelhaft. Edition of 9. Signed and numbered on the back by the artist. The piece is equipped with a D-ri...

A jetty juts out from the rocky shoreline at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. Slim Aarons Porto Erocole, 1973 C print Estate stamped and numbered edit...

Gerald Berghammer - Black and white cityscape photo. City street corner at Fifth Avenue and East 39th Street, showing tall skyscrapers, pedestrians, and cars. Archival pigment ink p...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

This folk art painting of a winter scene by Maud Lewis features a dog. The iconic paintings of Maud Lewis—the beloved folk artist from Nova Scotia, whose cheerful, colourful artwork...

This contemporary outdoor sculpture of a pine cone made from steel is by Floyd Elzinga. Hand forged from corten steel, Floyd Elzinga’s impressive outdoor sculpture of a pine cone is...

Mystery Artist, likely French Untitled, c. 1876 Oil on canvas 18 1/2 x 11 1/4 in. Framed: 22 x 14 3/4 x 1 in. Signed and dated lower right

Inspired by dance and weightlessness, Granville Beals' industrial metal sculptures are primarily about relationships. Concerned with form and abstracti...

Artist Comments
This abstract painting invites quiet reflection, evoking the stillness of a misty landscape mirrored in calm waters. A gentle palette of greens and blues wash...

Thomas Hart Benton (American, 1889 - 1975) was a painter, muralist, and printmaker whose sinuous, rhythmic style came to define the Regionalist movement. His paintings and lithograph...

This work by Anna Shesterikova is a subtle abstraction that seamlessly fits into the Japandi aesthetic. The painting was created with the idea of ​​a golden rain bringing wealth and ...

"Just Flowers" is a modern Expressionist floral painting with Fauvist-inspired color and gestural abstraction. Three vivid red blossoms rise against a luminous turquoise backdrop, ea...

"Fish from the Chinese Garden" 60 x 80 cm, acrylic, oil, oil pastel on canvas The painting "Fish from the Chinese Garden" was painted based on the artist's impressions of visiting t...

Artist: Roy Lichtenstein Title: Foot and Hand Medium: Offset Lithograph in Colors on Wove Paper Image Size: 16.5" x 20.75" Sheet Size: 17" x 21.25" Edition: 79/300, Published by Leo ...

J. Blot (France, 20th Century). This gouache painting features a still-life execution of exotic fishes in a very typical Mid-Century-Modern 1950s design style., Bursting with vintage...

“Light is not so much something that reveals, as it is itself the revelation.” - James Turrell James Turrell Key Lime, Rare LACMA Exhibition print, 2013 Scarce Offset lithograph pos...

This bronze figurative tabletop sculpture by Roch Smith features a canoe. Canadian sculptor Roch Smith has turned his attention to a cherished national and historic pastime—canoeing...

Confabulations is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 37.5 × 16 × 8.5 cm (14.8 × 6.3 × 3.3 in). The sculpture is signed and numbered, it ...

Original oil painting by Pennerton West, signed lower recto. Pennerton West (American, 1913 - 1965) was a painter, printmaker, and designer, descended from the historical American p...

About the Artist: Karen Offutt was born and raised in Dallas, Texas by a creative family who encouraged her to explore her artistic talent from an early age. Her father is an artist ...

Medium: lithograph (after the painting). Printed in Paris on smooth wove paper at the atelier Mourlot and published in 1954. Size: 5 1/2 x 3 1/2 inches (140 x 87 mm). Not signed. C...

Peach Flower English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: The drawing ...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21130 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

“Lemons” is an ode to the simple pleasures of life, inviting viewers to appreciate the inherent beauty in everyday objects. The central place is occupied by a plate of lemons with le...

Original vintage poster: La 18 ch Peugeot. Archival linen-backed art deco early antique French automobile poster. Notable artist Rene Vincent. Excellent condition. Black and white lithograph on natural unbleached paper. Ready to frame. This is a full-size poster and not a magazine ad. From our research, it has been almost a decade since the last copy of this poster was available. Rare Rene Vincent automobile poster. Black and white posters are a rarity as far as vintage posters are concerned. The original idea was to catch the attention of passersby in every possible way. Color was an essential tool in advertising when posters were an essential source for name-brand recognition. The absence of color gives these auto posters a touch of class. They can also be compared to old photographs. Either way, you're looking at something special. This one is incredibly cool since it came from the talented artist Rene Vincent. If his name doesn't ring a bell, his poster "Porto Ramos" probably will if you look it up on our site. You will find that he also created automobile posters as early as 1905, which are all extremely rare and hard to find. Don’t let this excellent-condition vintage poster pass you by. Vincent only got to devote a little time to posters once he was in his forties, after working for many years in various publications--mainly humor and fashion magazines--and in decorative design. However, once he made the switch, he produced prolifically posters, even using additional pseudonyms. He preferred sleek automotive posters...

Signed lower right, 'R. Emmett Owen' for Robert Emmett Owen (American, 1878-1957) and painted circa 1915. Displayed in a substantial, carved, giltwood frame Framed dimensions: 30 x 1...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

The Master of the Fox Hounds by John Renney (British circa 1960's) signed to label verso oil painting on board, framed painting: 18 x 22 inches framed: 23.5 ...

Maggy Clarysse (1931-2011) Oil on board, unframed 8.75 x 10.75 inches Signed Initials ...

Friedel Dzubas Crater, 1988 Magna on paper 28 x 80 inches Provenance The artist Estate of the artist A noted figure in the New York School, Friedel Dzubas was associated with the ...

This 59" x 20" Chinese Antique Scroll depicts a simple yet serene scene of a bird on a rock. The bird stands on the rock, which is much larger in size in comparison to the bird. The ...

The Renaissance Lady Italian Portrait in Ornate Gilt Frame Classical Profile Oil Painting Italian School, circa 1890–1900 oil on board, in original ...

This is an Peter Max original mixed media 1/1 heart suite ii with drawing on back. Measures 23x21 no coa but has a wentworth gallery sti...

Artist/ School: English School, signed and dated 1903 lower corner. Title: The Winding River Medium: oil painting on canvas, unframed. Size: painting: 18 x 24 inches Provenance...

'Waiting II' (Sidewinder) - 2004 80x80cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Signature label. artist Inventory # 303...

Inspired by her background in fashion, artist Lindsey McCord creates vibrant portraits that encapsulate the confidence that comes with the fun of being stylish and chic. Her figures ...

"Cat Woman 2", acrylic on canvas, 100x100cm, 39×39in Shipped rolled in a tube from Europe, free shipping with 1st dibs code FREESHIP. Comes with a certificate of authenticity. See th...

Title: Rainbow Bridge Painting Animal Horse Abstract Nature Floral Unique Original Bold Delight Invest Mixed Media One-of-a-kind Equestrian This strikingly beautiful artwork by Kar...

large scale photograph capturing the soothing tones of nature's calming blue hour color palette Seascape I by Frank Schott 48 x 64 inches / 122cm x 162cm signed edition of 7 30 x 40 inches / 76cm x 102cm signed edition of 25 archival fine art pigment print signed & numbered by artist on certificate label ------------------------- Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Hiroshi Sugimoto, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco. _________________________ Edition EKTAlux publishes an evolving curated selection of collectable large-scale photography in strictly limited editions, working closely with each artist to guarantee state-of-the-art museum level print and framing quality. Custom / larger print sizes available on request Images can be printed with white border ( 2in L prints / 4in XL prints )

Archival pigment ink print, produced in a limited edition of 9 // Gallery ID: 11606 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...