Construction Art

Pierre Coquet - Still life with red peppers Reference number F286 Framed with a natural oak wood floated frame. 51 x 60 cm frame included (46 x 55 cm wit...

This painting measures 13.5"x 11.3". It is a poetic representation of a stone wall in the Greek island of Kythira. George Tzannes is an American painter of Greek origins. In his twen...

Large scale original art photography from a series of dramatic abstract observations of City Lights and Reflections City Lights by Frank Schott (2023) 40 x 30 inches / 102cm x 76cm...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. With a burst of l...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cecil Beaton, Electa Editrice Portfolios, 1981. Published and pri...

Other Side of the Eye (Shot 2019 on 600 film) Edition of 10 - 20 x 20 cm - Digital C-Print based, not mounted. Signed on back and certificate. Artist: The image was in part influ...

Underwater black and white photograph of a young naked woman wrapped in air bubbles and sunbeams. There were five grand-pianos at her house, a pool on the third floor, and a sad man...

Underwater black & white photograph of a young naked woman wrapped in air bubbles and sunbeams. There were five grand-pianos at her house, a pool on the third floor, and a sad man o...

Bellec entoure un reflet uni ou des points multicolores d'une nuit noire, d'une densité mystérieuse. C'est un jeu de couleurs avec des reflets qui s'alternent. Rendre abstrait quelq...

Artist: Kuno Vollet Hyperrealistic painting of a series of books

Kate #8, 2002 by Leonard Freed is an 8" x 10" signed black and white photograph, stamped "vintage" by the Freed estate on verso (back of photograph). Model and yogini Kate remains co...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

In the series 'She Disappeared into Complete Silence' (2014) Mona Kuhn takes a new direction into abstraction. She turns to a highly austere and restrained reductionist geometry and ...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

Patrick Nevins’ Cobalt is a masterfully executed trompe-l'œil oil painting on board, measuring 6 x 6 inches (15.24 x 15.24 cm) and presented in a complementary 8.25 x 8.25-inch frame...

Thomas Alleman’s urban landscapes convey the pulsating energy and sensual excitement of city life. With an eye for the visual rhythms and geometry of buildings, highways and parks, h...

Winter (The Last Picture Show) - 2005, 50x49cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist I...

Rockface 27 by Andrew Buck archival pigment print, edition of 5 44 x 44 inches framed Print is dry mounted without glazing (no glass). Black metal frame is approx 1/2 inch face widt...

Limited edition Archival print 1/1. Mixed Media paper size : 30x22 image size : 20x20 Unique 1/1 signed by the photographer A mixture of photography and painting to create a unique image of the Norfolk landscape, then printed onto hand made Indian watercolour paper. Each image is unique and only printed once in this size and on this paper, signed and blind stamped by the photographer David Koppel...

Sunflower (Musica Poetica) - 1997 44x59cm, Edition 4/10. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate ...

Renzo Vespignani, Italian (1924 - 2001) - Truck in The Suburbs, Year: 1956, Medium: Etching, signed and numbered in pencil, Image Size: 10.5 x 15.75 inches, Size: 14 x 19.5 in. (35.5...

'Tree' From Nina Dietzel's Borderland series. Archival Pigment print is Ed. 1/7 - Unique. 12 x 16 inches / Frame outer dimension is 15 x 19 x 1 inches. Contemporary white powder coat...

Large, photo-realist painting on canvas featuring a crimson red and yellow industrial boatyard lift against a bright sky blue background 47 x 31 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back This precisely detailed photo-realist painting was made by Joseph E. Richards in 2001. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and yellow crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily mistake this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards’ precisely painted canvases of giant cranes, cargo booms, propellers and train engines are fueled with a fascination like that of a six-year old boy. Working directly from photographs, Richards unites light and color together as one element, evident in the reflective surfaces of steel. The otherwise mundane signs of corrosive wear are magnified; rust stains glow on the canvas and yellow painted pulleys radiate like beacons against a bright, blue sky. Richards finds beauty in their dramatic color, resilient texture, definitive form and functionality. Richards paints sections of these objects in grand scale, with canvases up to 6 feet long and eye-popping color, calling attention to their massive proportions and exceptional strength. Richards had solo exhibits in New York City, Scottsdale AZ, and Washington DC, and his work is found in private and corporate collections here and abroad, e.g., the Tucson Museum of Fine Arts, Mobil Oil, Lankenau Hospital in Philadelphia, and E. Jean Belloni in Geneva, Switzerland. Resume: Born in 1921 in Des Moines, Iowa, Joseph Richards left for Chicago after high school to pursue a career in art. After serving in the U.S. Navy from 1942 – 1945, he went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia. He eventually settled with his wife, Betty, in New York City. In 1969, longtime dealer Ivan Karp opened The OK Harris Gallery on West Broadway in Manhattan’s SoHo. Karp was at the forefront of the Photorealism movement, showing artists such as Duane Hanson and Manny Farber...

Big Bang by Arthur Steel QUEEN ELIZABETH TOWER LONDON 1968 (photo Arthur Steel) A workman in the process of demolishing the old St.Thomas’s Hospital....

Nir Adoni's metal vessels sculptures have become his signature art and are displayed in public buildings around the world. We are offering limited editions ...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's ...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

Mountains and nature have long been places of peace and refuge. During this pandemic, due to lockdown and quarantine, they have been denied to us. There are few emotions about places...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Edition 11 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains hig...

Ancient Views of Panama and the District of Colon is a set of two different prints made in 1880s Prints in very good condition, applied on a single cardboard. Caption in Italian in...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

Washington Square Arch pigment print on watercolor paper 18 x 13, edition of 25 $1500 24 x 20, edition of 25 $2500 50x40, edition of 25, $6,500 ...

Silver Gelatine Print by Erich Andres, ca 1950. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

Frasconi,Antonio. PUMPING JACK. Color woodcut, 1953. Edition of 8. Signed, titled, dated and numbered 3/8, all in pencil. 17 1/2 x 26 1/4 inches (image) on a...

Manhattan Excavation David Muirhead Bone, Scottish (1876–1953) Etching on wove paper, signed in pencil lower right Image Size: 12.25 x 10.25 inches Size: 18 x 13 in. (45.72 x 33.02 cm)

In the Fog (San Francisco) - 2023 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signed on back with Certificate. Not mounted. The City...

As seen in Apple TV+ series "Dark Matter" Screaming Mike "This is the only image where Photoshop has been implemented. I had an illustrator friend who, for ...

Plate 5 from Ludo portfolio. Lithograph in colors on arches paper. Hand signed and dated on front by Keith Haring. Hand numbered 39/90 on front (there are also 15 artist proofs). ...

Mattia Listowski(b. 1987, Paris, France) is a French sculptor, draughtsman, and photographer with French, Italian, and Polish origins, coming from a creative family. He lives and wor...

Underwater black and white photograph of a young naked woman wrapped in air bubbles and sunbeams. There were five grand-pianos at her house, a pool on the third floor, and a sad man...

The port of Terragon. Watercolor on paper. Circa 1940-1950. Painted on rough watercolor paper, Canson & Montgolfier, old French paper manufacturer. The chromatic range is played in ...

Keith Haring Talk To Us! poster c. 1994 (The Aids Hotline): Designed & illustrated by Keith Haring one year after Haring's own diagnosis with the disease, this poster was issued by ...

"Candy Stash" 18"x24" Original Oil Painting by Contemporary realist Megan Eisenberg. Made with high quality Gamblin oil paints on a 1” deep hardwood panel and framed in a birchwood ...

Medium: Gouache on Board Signature: Signed Lower Left Sight Size 29.00" x 26.00;" Framed 38.50" x 35.00" Framed under glass. Original cover illustration for The Saturday Evening Po...

An accomplished aquatint print depicting industrial work at Over Hulton in Greater Manchester. Signed and titled in graphite below the plate line. On paper.

The print is signed and dated in pencil on the front of the mount; titled, dated, stamped and labelled on the back of the mount. This rare vintage enlargement comes from the Museum...

Archival pigment print on Fine Art paper 305g (Matt Appearance). Limited edition of 30. Title : " Asphalte est la couleur de ma nuit" (EN : Asphalt is the color of my night) Artist :...

An acrylic painting by Clarence Holbrook Carter from 1979. Carter's modernist style utilizes strong structural lines and architectural aesthetics to form almost surreal-like scenes. Signed on lower right corner, framed in elegant silver wooden frame. Artist: Clarence Holbrook Carter, American (1904 - 1998) Title: Oil Well...

Artist: Tom Blackwell, American (1938 - ) Title: Oil Well Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 250 Paper Size: 30 x 22 i...

Carole Lombard, 1931 - Cecil Beaton (Portrait Photography) Signed on front of mount Stamped with photographer's ink stamp on reverse Silver gelatin prin...

Chicago-based artist Patrick Fitzgerald uses his works as a means of resurrecting the idyllic worlds he once found in the industrial surroundings of his youth. Raised in Grand Rapids...

Peter Saul Shicago Justus lithograph 1971 (from Conspiracy: The Artist as Witness): Bold, bright hand-signed Peter Saul lithograph from 1971 pict...

William Gould (American, 1930-2017) Bridge in the Flats, 1990 Watercolor on Arches paper Signed and dated lower right 21 x 28.5 inches 28 x 35.5 inches, framed Cleveland Arts Prize ...

This print is signed in pencil on the front of the mount and stamped on the back of the mount. Despite Morley Baer’s adherence to the West Coast landscape tradition, his interests i...

Alexander Calder - Original Lithograph - Behind the Mirror 1 Original lithograph created in 1976 Dimensions: 38 x 28 cm Source: Derrière le miroir (...

This body of work focuses on line, texture, monochromatic hues and is influenced by the Japanese tradition of Wabi Sabi. These minimalist architectural images create a visual stillne...