Illinois - Art

"She Wolf" British Columbia, Canada, 2014 20 x 30 in / Edition of 6 - $4,500 Also available: 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50 x 75 in / Ed...

A colorful ceramic vase with hand-painted flowers in bright cloisonné enamels. Stamped Amphora in the base, and numbered. Riessner, Stellmacher and Kessel (RStK), later known as Amp...

"Day Breaker" Northern Fjords, Norway, 2018 20 x 45 in / Edition of 6 - $4,500 Also available: 32 x 73 in / Edition of 6 - $8,500 39 x 90 in / Edition of 6 - $17,500 "Just as th...

Carol Stewart Still Life with Green Parrot oil on paper on panel 24h x 24w x 1.75d in 60.96h x 60.96w x 4.45d cm CST018 Through her ethereal and often dreamlike paintings Carol Stew...

24" x 30" Edition Size: 24 *Price is for unframed. It's extra $500 for framed* Mademoiselle Chanel at work. Douglas Kirkland was sent to Paris on assignment for Look magazine, a...

Gustav Klimt created this image for inclusion in Gerlach & Schenk’s Allegorien the year before he formed the Vienna Secession. While this design is similar to his other inclusions, L...

A striking image from Gail Potocki's Seven Deadly Sins series, Lust is personified through a figure encircled by caressing tentacles Inspired by Hokusai's 1814 woodblock "The Dream o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Ahzad Bogosian Near Dusk acrylic on canvas 8h x 8w in 20.32h x 20.32w cm Framed Dimensions 9.25h x 9.25w in 23.50h x 23.50w cm AZB161 Ahzad Bogosian SOLO EXHIBITIONS 2007 Landsc...

"Dark Clouds" Northwest Passage, 2017 Available sizes: 20 x 30 in / Edition of 6 - $4,500 32 x 48 in / Edition of 6 - $7,500 40 x 60 in / Edition of 6 - $10,500 50 x 75 in / Editi...

An early 1940s black & white fashion study featuring an advertisement for women's hats by Lilly Daché. Provenance: Cornelia Steckl-Jurin, Founder of the Fashion Department at the Sc...

Pencil signed and numbered 74/100 in black crayon in lower margin. Printed by Taller de Gráfica Mexicana, Mexico City. A very good impression with vibrant colors. The current prin...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordinary dimensionality. By printing it on Mulberry paper, which mimics the swirl of water, the artist achieves a beautiful aesthetic. The artwork is matted and framed in a simple white wooden frame measuring 18.25h x 24.25w x 1d inches. Jeff Conroy Lemon Meringue sumi ink and colored pencil on mulberry paper 12.50h x 18.25w in 31.75h x 46.35w cm JEC118 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings...

Christopher Ganz Basilica di San Marco, Venezia, 2020 white ink, chalk & colored pencil on paper 12h x 18w in 30.48h x 45.72w cm CG0079 -ARTIST STATEMENT- ...

Original 1922 collotype lithograph of a well-dressed woman in a hat and stockings, created from Gustav Kilmt’s handzeichnungen (sketch). Published by Thyrsos Verlag, Leipzig and Vien...

Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...

My World is Full of Possibilities - Blue 2021 Mixed media, acrylic paint and archival print on acrylic, recycled plastic, gold leaf, and mirror. Arica Hilton's "My World is Full of...

This untitled work by Rick Sindt is a small graphite drawing of two male figures with their backs to the viewer. Their focus is something out of our viewin...

Chicago-based fine art painter Bruno A. Surdo is classically trained in drawing and oil painting in the tradition of Renaissance masters. With strong command of the human form, Surdo...

A ca. 1958 lithograph titled "Edgartown Harbor" by notable artist Francis Chapin. Image size: 14 3/4" x 19 3/4". Archivally matted to: 22 1/2" x 26 1/2". Provenance: Estate of t...

While visiting Chicago in the summer of 2019, Vidal was afforded a stunning view of the city from various vantage points. This bird's eye view is looking east into the city with a peak of Lake Michigan in the background and captures a portion of Chicago's iconic skyline. The loose, abstract brush strokes and warm color palette come together in this remarkable urban landscape painting. The bottom of the painting is marked with Vidal's signature - a series of numbers. The artist has carried the painting over the edges, thus allowing it to remain unframed. Alternate framing options can be discussed with the gallery. Albert Vidal I know Everything acrylic on canvas 40h x 40w in 101.60h x 101.60w cm AV0014 Solo Exhibitions February. Sala Parés, Barcelona. 2011 October. Gallery Sibman. Paris. 2010 April. Gallery Sibman. Paris. 2009 February. Sala Parés. Barcelona. 2007 June. Uniglavas Gallery. Tokyo. Japan. 2006 May. Sala Pares. Barcelona. 2005 October. Juan Amiano Gallery. Pamplona. 2003 October. Sala Parés. Barcelona. 2002 September - october. Galeria Juan Amiano. Pamplona. 2001 February-March. Sala Parés. Barcelona. 2000 March. Auditorio Municipal. Montcada i Reixac. Barcelona. 1999 January-February. Galeria Tuset. Barcelona. 1995 December. Sala Lola Anglada. Barcelona. 1993 April - May. Sala Albareda. Barcelona. 1991 December. Sala “ Ca N´Amatller”. Molins de Rei Cyty Council. Barcelona. COLLECTIVE EXIBITIONS 2010 EARTH WIND FIRE, Gallery Victor Armendariz 2010 40x40. Sala Parés. Barcelona. 2008 December. Sala Parés. Barcelona. 2008 Septembre. 50 years of “Premi Pintura Jove”. Sala Parés. Barcelona. 2008 April. La Cave. Geneve . Switzerland. 2008 March. “Urbe”. Jordi Barnadas Gallery. Barcelona. 2007 February. Nichido Gallery. 42 Showakai Exhibition. Tokyo. Japan. 2006 April. “NYC” , Ariel Sibony Gallery. Paris. 2005 November. Barnadas Gallery. Barcelona. 2004 Sala Parés. Barcelona. 2004 Sala Barnadas. Barcelona. 2002 July. Galeria Gaudi. River North Festival Absolut Vision. Chicago. US 2002 May. ARTEXPO. Sala Parés. Barcelona. 2001 December. Galeria Barnadas. Barcelona. 2001 September-October. Galeria Giart . Girona. 2001 July. Sala "Ca La Pruna" - Pals. Girona. 2000 February- April. Jeunes talents catalans, Maison de la Catalogne. Paris. 1999 September. Sala Parés. Barcelona. Premi a la Pintura Jove. 1999 September-November. Realisme a Catalunya. Centre d´Art Santa Mónica. Barcelona . 1999 May. ARTEXPO. Galeria Tuset. Barcelona. 1998 September. Sala Parés. Barcelona. Premi a la Pintura Jove. 1998 July-August. Estudi d´Art. Calella de Palafrugell...

A very good impression of this color screenprint on white wove paper. Artist's proof, aside from the edition of 75. Signed and inscribed "color trial proof." Printed by Kelpra Studio...

Wilhelm List, a friend and follower of Gustav Klimt, was a founder and leading member of the Vienna Secession and contributor to its official magazine, Ver Sacrum...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

After JOSEPH MARIA OLBRICHT (1867-1908) DARMSTADT POSTER, 1901, (In Mascha, no. 9) One of the founding members of the Vienna Secession and a highly esteemed architect, Olbricht was c...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Michael Frimkess Large Frimkess Jar from the Instant Migration Series (INV# NP3747) stoneware, underglaze, glaze, and decal 28.5 x 8 x 8" 1977 signed ...

Belle Époque lithograph of Folies Bergère: Fleur de Lotus by Jules Chéret, published in 1896 by Imprimerie Chaix, Paris. While Fleur de Lotus ...

“Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

Rick Pas Urban Coyote Acrylic on panel 24h x 30w in 26.75h x 32.75w in framed RPA003 ARTIST'S STATEMENT Creating is an addiction. With all the highs and lows you would expect. I am interested in the surface textures and creating paintings that portray them in realistic detail. Hopefully a viewer will feel they can run a hand over the feathers and moss, or grasp an object in the painting. This detail is usually composed in an abstract design. The design can occur naturally or be arranged by me. The subjects of my paintings are usually based on the patterns and textures of nature and human interaction with nature. I have found subjects to paint in remote wilderness areas of the world, local parking lots, and my own backyard. EDUCATION Eastern Michigan University, Ypsilanti, MI Bachelor of Fine Arts Pearson Art Scholarship COMMISSIONS AND COLLECTIONS Alliance for the Great Lakes, Chicago, IL Ameritech, Detroit, MI Charles S. Mott Foundation, Flint, MI General Motors Corporation, Detroit, MI Leigh Yawkey Woodson Art Museum, Wausau, WI Potter Park Zoological Society, Lansing, MI SELECTED PUBLICATIONS "Rick Pas From moths to modern-day life." Southwest Art, January 2016 "Interpreting nature." American Art Collector, September 2015 "Abuzz About Bugs." The Artist's Magazine, July/August, 2015 The Lusitania Conspiracy, Walters Media LLC, Traverse City, MI, 2015 (cover illustrator) "Layer Upon Layer." The Artist's Magazine, July/August, 2011 "Rick Pas: Touchable Texture." Acrylicartist, Fall, 2010 "Competition Spotlight." The Artist's Magazine, April, 2009 "Holland show features art inspired by nature." The Grand Rapids Press, July 27, 2008 "Don't Miss 'Natural Eye' exhibit at HAAC." The Holland Sentinel, June 12, 2008 "Softening the definition of landscapes." American Art Collector, May 2008 "Nature is in the Details." The Artist's Magazine, October, 2007 "Nature's Surfaces and Textures." Whisper in the Woods, Summer, 2007 "Arizona Best of the West-Animal Art." Southwest Art, May 2007 "Cover Competition Finalists." American Artist Watercolor, Spring, 2007 Pintores de la Naturleza, SEO/Birdlife, Madrid, 1997 (illustrator) "A Dark, Dark Day Indeed." Audubon, March, 1988 (illustrator) "Wildlife Artist of the Year." Michigan Out of Doors, December 1987 (article & cover illustrator) "Music in the Men's Room." Audubon, July, 1985 (illustrator) "Bird Art Takes Wing at Wausau." Milwaukee Journal, September 11, 1983 "Wildlife Artist of the Year." Michigan Out of Doors, December 1982 (article & cover illustrator) AWARDS Art Renewal Center Salon 2015-2016, Honorable Mention - Animal category Art Renewal Center Salon 2014-2015, Third Place - Animal category The Artist's Magazine Art Competition Finalist, 2006-2010, 2014 Art Renewal Center Salon 2012-2013, Honorable Mention - Animal category Society of Animal Artists Patricia A. Bott Award for Creative Excellence 2011 Art Renewal Center Salon 2009-2010, 2010-2011, 2012-2013, 2014-2015 Finalist Society of Animal Artists Award of Excellence 2010 Art Renewal Center Salon 2009-2010, Second Place - Animal category American Artist Cover Competition Finalist, 2007 Fraser Gallery, Georgetown International Honorable Mention, 2003 Arts for the Parks Region III Award, 1992 Indiana Migratory Bird Stamp Design, 1985 Michigan United Conservation Clubs' Wildlife Artist of the Year, 1982,1987 SELECTED EXHIBITIONS 2017 William Baczek Fine Arts, Northampton, MA, Animal Kingdom William Baczek Fine Arts, Winter Lovetts Gallery, Tulsa, OK, Red 2016 William Baczek Fine Arts, 20th Anniversary Exhibition William Baczek Fine Arts, Summer William Baczek Fine Arts, Landscape Exhibition Monroe Community Church, Grand Rapids, MI, ArtPrize Ann Nathan Gallery, Chicago, IL, Group Exhibition Lovetts Gallery, Cauldron 2015 William Baczek Fine Arts, Landscape Exhibition William Baczek Fine Arts, Summer Part 1 JW Marriott, Grand Rapids, MI, ArtPrize Handwright Gallery, New Canaan, CT, Small Works Ann Brierly Gallery, Winnetka, IL, Ann Nathan Gallery Satellite Exhibition RJD Gallery, Sag Harbor, NY, A Magical Menagerie 2014 William Baczek Fine Arts, Spring William Baczek Fine Arts, Landscape Exhibition 2013 Canton Museum of Art, Canton, OH, Environmental Impact (Exhibition national tour locations include: The R.W. Norton Art Gallery, Shreveport, LA Kalamazoo Institute of Arts, Kalamazoo, MI Roger Tory Peterson...

This dynamic table sized sculpture is created from sheets of steel, welded together in an abstract geometric pattern and then painted with an acrylic paint to enhance the surface. While the work adheres to a rigid, rational geometry, this sculptures suggest lyrical movement, apparent weightlessness and improvisation as the title suggests. Chris Hill Spirit welded steel, acrylic paint 16.50h x 11.50w x 7d in 41.91h x 29.21w x 17.78d cm CHI021 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur, Texas but grew up in small town North Mississippi. He began welding at age 18 at the Tennessee Valley Authority...

A ca. 1958 lithograph in colors titled "Edgartown Yacht Club" by notable Chicago artist Francis Chapin. Image size: 13 1/2" x 20 1/4". Archivally matted to: 19 1/2" x 26". Prove...

The simplicity of hands intertwined are captured in this beautiful silver gelatin print by Doug Birkenheuer. This photograph captures light, shadow, shape and texture to great effec...

A quiet solitude is evident in Doug Birkenheuer's photograph entitled "Somber Woman". Her nakedness is veiled in a sheer black cloth, her eyes downcast. The piece is framed in a he...

After Gustav Klimt, Max Eisler Plate #29, Am Attersee; brown-toned monochrome collotype after the 1915-16 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

The setting sun over the ocean creates a kaleidoscope of color in this small landscape painting by Art Chartow entitled "Arch Cape, Oregon" The pristine landscape is highlighted by the glowing horizon as the sun sets on another day. The painting is framed in a simple black wooden frame measuring 7.25h x 13.25w inches. Arthur Chartow Arch Cape, Oregon oil on panel 6h x 12w in 15.24h x 30.48w cm ACH027 Biography Solo Exhibitions 2004 “Quiet Places,” Sherry French Gallery, New York, NY 2002 “At Water’s Edge,” Sherry French Gallery, New York, NY 1986 Rubiner Gallery, West Bloomfield, MI. Museum Exhibitions 2016 “80th National Midyear show,” Butler Institute of American Art, Youngstown, OH 2010 “2010 Contemporary Realism Biennial,” Fort Wayne Museum of Art, Fort Wayne, IN 2008 “72nd National Midyear show,” Butler Institute of American Art, Youngstown, OH 2007 “71st National Midyear show,” Butler Institute of American Art 2002 “Art of Collecting,” Flint Institute of Art, Flint, MI Gallery Group Exhibitions 2012 “City Streets II,” George Billis Gallery, New York, NY 2009 “Selections,” Ann Nathan Gallery, Chicago, IL 2008 “Eye on the Environment,” Sherry French Gallery 2007 “Panoramas,” Sherry French Gallery. “The Four Seasons,” Sherry French Gallery. “Poetry = Painting,” Sherry French Gallery. 2006 “The Four Seasons,” Sherry French Gallery. Gallery and Invited Artists, Sherry French Gallery. “Mainely Maine,” Sherry French Gallery. Summer invitational, Ann Nathan Gallery, Chicago, IL Featured Artist, Susan Maasch Fine Art, Bangor, ME 2005 “Mainely Maine,” Sherry French Gallery. 2004 “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. 2003 “Mainely Maine,” Sherry French Gallery. “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. “Flowers in February,” Sherry French Gallery. 2002 “The Four Seasons,” Sherry French Gallery. “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. 2001 “Mainely Maine,” Sherry French Gallery, New York, NY. “Small Sizes, Precious Pieces,” Sherry French Gallery. “Contemporary American Landscapes: An Urban and Rural Perspective, ” M. A. Doran Gallery, Tulsa, OK 1991 “Nine Views of Landscape,” Ruth Volid Gallery, Chicago, IL. Landscape show, Rubiner Gallery 1990 “LANDscape,” Ruth Volid Gallery. 1989 “Landscape,” Rubiner Gallery. 1986 “Works on Paper,” Gallery Henoch, New York, NY. Selected Group Exhibitions 2016 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2015 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2008 “Urban Edge,” Grosse Pointe Art Center, Grosse Pointe, MI “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2007 “Michigan Annual XXXIII,” Anton Art Center, Mt. Clemens, MI “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center. 2006 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center. 2005 “45th Annual Greater Michigan Art Exhibition,” Alden B. Dow Museum of Science & Art, Midland, MI. 2002 “Land and Water,” Lobby of 717 Fifth Ave, New York, NY; Art Placement...

This one of a kind painting is done in acrylic. I try my best to represent the true colors of the paintings in the photos, but sometimes you can see a slight difference in tone. This...

A vibrant summer landscape of a Vermont river by artist Harold Haydon in a gold-toned frame. Artwork size: 20" x 25". Framed size: 21 1/2" x 26 1/2". Estate stamped on reverse....

There were several thousand people at the circus on July 6, 1944 for the mid-day show. As excited spectators were watching the Flying Wallenda's start their high wire act, a fire started on the sidewall of the enormous big top and spread quickly ovet the canvas, which was waterproofed with gasoline and parafin. As the fire burned over the crowd, a panic driven stampede caused many people to become tangled in the bleachers and animal cages in the ring, trapping them inside the tent as it became completely engulfed and burned to the ground in less than 10 minutes. This piece is framed in a wooden frame measuring 36 x 50.5 inches. Eric Edward Esper The Ringling Brothers...

Color etching with full margins. Signed by the artist and numbered 147/250 in pencil in lower right and left margins respectively. Printed and published by DeFrancony, Paris. Ca...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Signed, dated and numbered 59/92 in pencil, lower margin. Printed by Kyron, Mexico City. Co-published by Kyron, and Tasende, Mexico City. Catalogue raisonne: Vlady 244.

Tina Figarelli is a classically trained artist whose favorite subject matter in her artwork is ideas with a strong narrative. Tina leaves the viewer hin...

After Gustav Klimt, Max Eisler #28, Kirche am Wolfgangsee; multi-color collotype after 1915/16 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I...

Art Nouveau Cinderella theater poster by Dudley Hardy, published in 1897 by Imprimerie Chaix, Paris, the printing house known for publishing the works of Belle Epoque master Jules Ch...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

The Beholder Rwanda, 2018 24 × 36 in / 61 × 91.4 cm / Edition of 20 31 × 46.5 in / 78.7 × 118.1 cm / Edition of 15 40 × 60 in / 101.6 × 152.4 cm / Edition of 10 60 × 90 in / 152.4 ×...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

The subject is walking away from the viewer in Nathan Brad Hall's charcoal drawing entitled simply "Gone". His muscular physique, with defined musculature, is highlighted in the sha...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographic stills, repurposing them into images of intimacy. Rick Sindt Did I Steal You Away? oil on panel 18h x 24w x 1.50d in 45.72h x 60.96w x 3.81d cm RIS036 “This body of work has been crystalizing in my mind for about five years,” says Sindt, “It is the product of reflecting on how the places I learned the most about myself, and my desires, are considered something that sullies a person, something taboo.” Focused on the experiences of gay men, this body of oil paintings depicts moments that range from tender touches to more sexually explicit...

Portrait of Frank Sinatra circa 1939. Taken at their apartment on Garden St, Hoboken, NJ. Photo by Nancy Sinatra Senior. This striking photo is one of the family’s favorites. This is...

Locals know them as "bugs". A small bug is a one pound lobster. Artist Jeff Conroy was able to print this "bug" - a behemoth weighing in at almost 8 pounds aptly named "Big Bug". The artist uses a style of gyotaku printing which uses various inks directly on a fish (or in this case, a lobster) and then "prints" it to paper. Here he has used acrylic to print this monster on mulberry paper. This work is unframed. Please contact the gallery for framing options. Jeff Conroy Big Red Bug...

Carol Stewart September Patterns oil on paper on panel 12h x 12w x 1.50d in 13.25h x 13.25w x 2d inches (framed) 33.66h x 33.66w x 5.08d cm CST015 Through her ethereal and often dre...

The Virgins, no. 2 from the fifth installment of Das Werk Gustav Klimts The Virgins speaks to a new chapter of Klimt’s artistic development. That it was sel...

“ We come spinning out of nothingness, scattering stars like dust.” – Rumi Physics and astronomy inspire my artwork. As an artist I create mostly from an intuitive place while scientists’ work is of an empirical nature. I would like to be part of the link that bridges the gap between art and science. On this path I observe the micro and the macro universe, two sides of a natural polarity that together comprise a unified whole. This endless expanse is interconnected and entangled as energy waves activate all form; nothing is ever static. Whether we actually see it or not energy infiltrates all things. Dark matter that we cannot see occupies approximately 84.5% of the universe; we know of it because of its gravitational field only. Since infinite space surrounds us, I am intrigued by the concept of ambiguous spaces, such as space within space, suggestive of multidimensional space, and interstitial space, the space between matter. Energy and space make up our universe. In my current work I use drawing, painting, sculpture, photography, video, multi-media and installation as my forms of expression. Sometimes the work demands that I include the figure other times it does not. I hope to always explore space in all its dimensions and wonders; it is a limitless investigation. –Julie Rotblatt Amrany JULIE ROTBLATT AMRANY Exhibitions and Projects 2024 The Process of Discovery, Evanston Art Center, Evanston, IL Representation at Gallery Victor, Chicago, IL 2023 Firmly Rooted, Principal Gallery, Charleston, SC Cyclical Nature of Emergence, (solo exhibition), Koehnline Museum of Art, Des Plaines, IL Pushing Forward Reaching Back, (group exhibition), Brookgreen Gardens, SC 2022 Then and Now, Monmouth Museum, Lincroft, NJ In View, The Art Center Highland Park, Highland Park, IL 2021 Friends Expo, Ceres Gallery, New York, NY InterConnectivity, The Art Center Highland Park, Highland Park, IL HOME, National Association of Women Artists, Artios Gallery (online exhibition) 2020 Intersect Chicago SOFA Expo, Hive Contemporary, Chicago, IL IN DIALOGUE, Governors State University, University Park, IL 2019 Who’s Afraid of Red?, Gallery Studio Oh!, Chicago, IL SOFA, Hive Contemporary, Navy Pier, Chicago, IL Unlikely Pairings, Gallery Studio Oh!, Chicago, IL Biggs Body, Biggs Museum of American Art, Dover, DE De/construct, Gallery Studio Oh!, Chicago, IL Women Celebrating Creativity, National Association of Women Artists, Inc., New York, NY 2018 Surfaces, Millepiani, Rome, Italy SOFA, Hive Contemporary, Navy Pier, Chicago, IL Order & Chaos: The World of the Enlightened, Jankossen Contemporary, New York, NY 2017 SOFA, Navy Pier, Chicago, IL Narratives in Glass, Echt Gallery, The Art Center Highland Park, IL Continuum, ARC Gallery, Chicago, IL Seeing Red, ARC Gallery, Chicago, IL 2016 Dialogue Chicago: Full Force, exhibited by Chicago’s Bridgeport Art Center, Chicago, IL Dada Lives, exhibited by University of Cincinnati Blue Ash Art Gallery, Cincinnati, OH Art Palm Beach, exhibited by Chicago’s Echt Gallery, Palm Beach, FL 2015 Group Show, Echt Gallery, Chicago, IL Art Venice Biennale 3, The Biennial Project, Venice, Italy 2014 Science Inspires Art: The Brain, New York Hall of Science, Queens, NY National Wet Paint MFA Biennial, Zhou B. Art Center, Chicago, IL 90 Year Celebration of Kibbutz Ashdot-Yaacov, Museum of Uri & Rami Nachushtan, Jordan Valley, Israel 2013 Boston Young Contemporaries Group Exhibit, Boston University, Boston, MA M.F.A. Graduate Exhibition, Art Institute of Boston at Lesley University, Boston, MA 2012 The Blues Legacy: Tribute to Buddy Guy, Muddy Waters, and Koko Taylor, Discovery Museum of Lake County, Wauconda, IL 2011 Beethoven Festival Set Design/Video, Ballet Chicago’s Creatures of Prometheus, Chicago, IL 2007 Group Show, The Fine Art Studio of Rotblatt Amrany, Highwood, IL 2006 Amdur Gallery, Glenview, IL 2003 Zigman-Voss Gallery, Chicago, IL 2002 Signature Art Gallery, Glencoe, IL 2001 Theatre of the Soul, one-woman exhibition, Chateau d’Amboise, France Cora Art Gallery, France The Ottinger Gallery, Chicago, IL 2000 Shanghai Art Fair 2000, Shanghai, China Beaux Arts Invitational Exhibition, Paris, France 1999 Moxley-Ross & Naranjo Gallery, Santa Fe, NM. Millennium Group Show, Oakton Community College, Des Plaines, IL Fall Show, Rotblatt-Amrany Fine Art School, Highland Park, IL 1998 Fine Art Exhibition, Daley Center, Chicago, IL 1997 East West Gallery, Miami, FL 1996 North Shore Congregation Israel, Glencoe, IL Mars Landing Celebration, Planetary Society, Los Angeles, CA 1995 Fall Show, Rotblatt-Amrany Fine Art School, Highland Park, IL Palette & Chisel Academy, Tavern Club, Chicago, IL Lineart International Art Exhibition, Ghent, Belgium 1994 Daley Center, Chicago, IL 1993 Carole Jones Gallery, River North Gallery District, Chicago, IL 1992 East West Gallery, Chicago, IL Portraits/Chicago, Chicago, IL 1990 Fermi Lab Invitational Exhibition, Batavia, IL Carlan Collection, Palm Springs, CA East West Gallery, Chicago, IL 1989 Colby’s Corporate Exhibition, Lincolnwood, IL Firenze Gallery, Lake Forest, IL North Shore Congregation Israel, Glencoe, IL 1988 Shai Danon Gallery, Tel Aviv, Israel La Galleria Caesar, Tiberias, Israel 1987 Orange Plus Gallery, Haifa, Israel 1985 Perugia Center for the Arts, Perugia, Italy 1984 Oakland Art Museum, Oakland, CA 1983 California College of Art and Craft, Oakland, CA Public Collections 2006 Preservation of the Union: Abraham Lincoln 1/3 section bronze bas relief, Lincoln Presidential Library, Springfield, IL 1994 The Spirit: Michael Jordan, Chicago Bulls, United Center, Chicago, IL. Replicas in collections of: White House Collection, Chicago Mayor Richard Daley, former Illinois Governor Jim Edgar Private Commissions 2021 A’ja Wilson, University of South Carolina, Columbia, SC 2019 David Beckham, LA Galaxy StubHubCenter, Carson, CA 2017 LA Kings Don Miller, Staples Center, Los Angeles, CA 2017 The Quintessential Engineer, University of Illinois Engineering Department, Champaign-Urbana, IL 2016 LA Kings 50th Anniversary, Los Angeles Kings Hockey Club, Los Angeles, CA 2016 John Wooden, Purdue University, West Lafayette, IN 2015 Solace (9/11 Memorial), Highwood City Hall, Highwood, IL 2015 Luc Robitaille, Los Angeles Kings, Staples Center, Los Angeles, CA 2014 Rosalind Franklin, Rosalind Franklin University of Medicine and Science, North Chicago, IL 2013 The Battle for Harmony, Jackie Chan Tribute, JC Group, Shanghai, China 2012 John Purdue, Purdue University, West Lafayette, Indiana Kareem Abdul Jabbar, Los Angeles Lakers, Los Angeles, CA 2011 Stan Mikita, Chicago Blackhawks United Center, Chicago, IL Jerry West, Staples Center/Los Angeles Lakers, Los Angeles, CA Scottie Pippen, Chicago Bulls United Center, Chicago, IL 2010 We Will Never Forget, Chicago Police Gold Star Families Memorial & Park, Chicago, IL Fred Silverman...

After Gustav Klimt, Max Eisler Plate #2, Dame mit Blumenhut (aka The Violet Hat); sepia monochrome collotype after the 1909 painting in oil on canvas. ...