American Contemporary Art

A beautiful large scale work of art by Laddie John Dill. Work is composed of cement, glass, wood and pigment applied to canvas. Signed and dated verso. From the artist's website: La...

Artist: Alexander Calder, (American, 1898-1976) Title: Flying Colors for Braniff Airlines Year: “Sky Swirl”. 1974 Medium: Lithograph, signed in the plate Size: 20 in. x 26 in. (50.8...

Large scale orange geometric painting, artist unknown, circa 1960s. It has quite a commanding presence at 6 feet x 6 feet. Please note that this painting is not currently framed or m...

Distressed vintage embossed School sign. Reads "SCHOOL" in bold black lettering embossed on a bright yellow background with a black border. Great piece of ...

Michael Michaeledes was a self-taught painter raised in Egypt and Greece, studied art and architecture in Europe. His art is held in museums, foundations and private collections arou...

Moody and striking abstract painting with yellow circular element, random drips of paint and a marvelous color palette of olive green, light grey and charcoal.

Lolli by Courtney Kinnare 2025 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 36" These functional art pieces build a color story through multiple layers of transluc...

Josef Albers abstract lithograph from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from Po...

Humboldt County Line freeway sign from Northern California. Made in 1965. Great piece of Marijuana history as well as transportation Americana. 7 feet wid...

A large and captivating unsigned painting featuring sinuous abstract leafy vine- like interlaced organic elements in orange, red and black on a soft mottled green and cream ground. U...

One of our most favorite finds to date, this striking portrait painting will make a lively accent to any art collector. Painted on board, the subject of the painting sits confidently in a chair. She wears a gray suit and hat, and has long blonde hair. The entire piece is on a bright pink background. (Is it just us, or does this piece remind you of the blonde version of Carmen Sandiego...

Print Print made with archival pigments on fine art rag paper Measures: 24.00 x 20.00 in 61.0 x 50.8 cm Edition of 50 This work is signed and numbered by the artist. This print by artist duo McDermott and McGough...

Set of 4 signed abstract intaglio prints by Kazuko Watanabe, framed. Signed in pencil by the artist and numbered 16/30, 19/20, 7/10, 9/10. Kazuko Watanabe is a graduate of the San...

These lithographs are from the series entitled, "Homage to Picasso" by Peter Max. The collection entails 4 etchings of nude scenes on woven paper. They are in a 1" custom frame and e...

Art deco magic penguin mechanical dispenser box designed by Ronson. A beautiful, exceedingly rare and very decorative mechanical dispenser desk box, created in the city of Newark, N...

For sale a fantastic, original signed museum-quality Magnum 6x6 photographic print of Andy Warhol by renowned and iconic German photographer Thomas Hoepker. Titled "Andy Warhol in his "Factory" at Union Square. New York City, USA. 1981", this Magnum print...

Extraordinary Mid-Century Modern cityscape painting with brown and green skyline. The large scale (5 foot) cityscape painting is reminiscent...

Print Archival pigment print on Moab Entrada Measures: 20.00 x 20.00 in 50.8 x 50.8 cm Edition of 50 This work comes with a signed Certificate of Authenticity. Frances Goodman...

Selection of Mid-Century jazz themed paintings, American, circa 1930s-1970s. From left to right, they are: 1) New Orleans jazz watercolor by Leo Meirsdorff...

"Intercostal," 2022 is a large framed abstract mixed media painting by Kathi Robinson Frank in striking shades of black, gray, blue, yellow, green...

Prominent 1980s reversible DINNER sign in a unique and bold blue base color with white font and borders. The reverse side features colorful flowers and the word "TEA" painted in maro...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragments of fabric, scrolls, drawings, and books collected during his travels. In this kite entitled "Joie de Vivre," Thompson creates a delicate composition from antique wallpaper...

Ink and Acrylic painting By Virginia Dutton, Titled Torso, Signed & Dated Dutton, 2015. Large Ink and acrylic painting on canvas and signed 'Dutton' and dated on the right side...

Great set of acupuncture charts from the 1970s. Extremely detailed and thorough diagrams showing every part of the human anatomy. Charts in good vintage condition. Floating on black ...

The book titled "Kai Kein Respect" accompanies the first major survey exhibition of Kai Althoff, one of the most compelling and original voices in Contempo...

Original 1970s Op Art multicolored serigraph, TUZ’MC, by Victor Vasarely. Signed in the lower right hand corner. Victor Vasarely (French/Hungarian, 1906–1997) is known as the father...

1990 Original round abstract acrylic painting on canvas that is stretched over board title ‘Gibbous’’ by American listed artist Paul Maxwell 1925-2015. Hand sign on the front and ba...

Original oil on canvas by the artist Bucci. Circa 1960's with provenance on back showing that the piece was sold for $110 in the early 1960s. It is an exquisite original mid centur...

Los Angeles trash cleanup sign. Emerald green background with a man in work clothes picking up trash. Great coloring and patina. Cool vintage graphics...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #62 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics...

"A Devil" oil on canvas by Robert Goodnough Robert Goodnough was an American abstract expressionist painter sold by Sotheby's, 1996. Signed both front and back.

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

"Untitled" Lithograph by Robert Motherwell on Arches Paper. Signed and numbered 198/225 in pencil. Printed by Irwin Hollander, New York, with artist...

White on white paper cuts collage. Square white wood frame. Artist Nurit Amdur creates paper cuts and collages revolving around the journey of transition and turning something into “...

White on white paper cuts collage. White wood frame. Artist Nurit Amdur creates paper cuts and collages revolving around the journey of transition and turning something into “ someth...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architecture before transferring to the University of Houston in pursuit of painting. He eventually graduated from the Colorado Institute of Art in 1960 and was later inducted into their Hall of Fame in 2005. After graduating, Briggs returned to Houston and began working as a graphic designer and associate art director at KTRK-TV, Channel 13...

Abstract Painting by Eugene Kloszewski, circa 1950's. Kloszewski worked with and was personal friends with Josef Albers. These works were purchased from Kloszewski's widow.

Original signed abstract screenprint, entitled "Seclusion" by Josef Albers for the limited edition "Washburn College Bible", 1979. Albers created this work as a frontispiece for Volu...

Tahiti : contemporary art in an age of uncertainty : Hirsch Farm Project / Mitchell Kane. The sixth annual book published by the Hirsch Farm Project, an arts-based think tank, addresses a variety of contemporary issues. The project which took place in April and July of 1996 gathered six artists to speculate on the notion of Tahiti as an allegory for contemporary uncertainties ranging from environmental havoc to oscillating geographical economies. Contributions by John Currin, Mariko Mori, Alexis Rockman...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Silk Road sheet metal 24 x 69 in. Artist statement I seldom use stock material, but prefer distressed and rusted steel that has been scarred, bent, and made imperfect. In this state, the material becomes quite beautiful. There are figurative elements in my work, though I am more drawn to the non-figurative, to the raw and essential aspect of steel. The industrial purpose of steel must be considered, its use in construction, manufacturing, the military. Steel is forged with enormous energy and power. The process is violent, loud. Here, it is still and approachable. The compositions are constructed mainly from found parts. Their relationships manifest as I interact with the material. The pieces interlock, balance, and become fitted before I fasten or weld them together. The engineering is elemental. Altering the material is avoided. The number of parts kept to a minimum. Art is my spiritual exercise, my selflessness. It identifies me as a creator and satisfies my human longing for place and purpose. It needs not to be great, or preeminent, or commercial. Art speaks because it is primitive. It exists because it is sacred. Biography: Scott Gordon was born in Ridgewood, New Jersey in 1966. He attended the University of Denver where he studied business and the University of Washington where he pursued an MFA in creative writing. While he was in Seattle, he was introduced to steel as an employee of the David Gulassa Company, a fabrication shop which produced custom furniture and architectural fixtures. At Gulassa, after hours and on weekends, Scott worked on personal projects, applying the tools and techniques used in his daily work. Lacking resources to purchase stock materials, much of the steel he used came from the scrap bins at Gulassa. He also used steel found along the railways, shipyards, and industrial corridors of Seattle. The characteristics and limitations of the material helped him to define his aesthetic and his approach to sculpture. He currently lives and works in Vermont. Inspirations: David Smith, Anthony Caro, John Chamberlain, Julio Gonzalez, Richard Stankiewicz, Tony Smith...

Unique woven wire wall hanging sculpture using stainless steel and precious metals. Designed and executed by artist Raoul Lametz

Extraordinary vintage 1980s Memphis style painting with intriguing 3D design. This is a mixed media piece that blurs the line between painting and sculpture. In fact, one could go so...

Suite of photographs of Georgia O'Keefe by Malcolm Varon, American, circa 1980s. They are from the limited edition portfolio "O'Keefe At Ninety". These photographs are in numerous mu...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragments of fabric, scrolls, drawings, and books collected during his travels. This kite entitled "Boro" is patterned with Japanese indigo-dyed fabric scraps, sewn together to form a patchwork of contrasting patterns and shades of blue. The kite's design recreates the traditional practice of Boro stitching...

Vivid color and intricate design are the focal points of this aquatint colored etching print numbered 2 of 4. Signed I.P.I.

Finely painted in gouache by J. Collazzi, who did a series of landscapes and fantasy paintings in the 1930s, this scene of two classical figures restraining a horse is classic Art De...

"Chair," A large abstract oil and charcoal painting on canvas by Kathi Robinson Frank features a dynamic composition of the synergy between horizontal and vertical forms. A bold wave of black, gray and tomato red undulates across the canvas, while drips of black, gray and tomato red stabilize one's eye on the work. The abstracted burnt orange chair...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...

This abstract painting by little known Los Angeles artist is a fine example of color abstraction. The painting portrays an abstract ballerina dancer. The painting has been newly fram...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...