Missouri

Vintage 1970s Native American Pacific Northwest Indian theme totem pole, ideal sculpture or statue for the yard or garden. This totem pole is 75" h, has faded white paint on the fron...

Artist Ernest "Tino" Trova (1927-2009), Art Jewelry Falling Man in circle enamel and gold plate pendant, necklace or brooch. Walking figure in gold tone, with red ball on chest, back...

Joan Miró Lithographie Originale V Color Lithograph Year: 1977 Size: 12.5 × 9.6 inches Catalogue Raisonné: Teixidor, Miro Lithographe III, 1964-1969 Publisher: Maeght Editeur, Paris, France Verso: Typographically annotated: 'Joan Miro - Lithographie originale V' Unsigned, Unknown Edition Size COA provided --------------------------------------- Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981 Surrealism, Fauvism, Cubism, Abstract expressionism, Naive art, Expressionism, Suprematism Pablo Picasso, André Breton, Hans Arp, André Masson, Hieronymus Bosch, Tristan Tzara, Modest Urgell

Heather Hollis Autumn Afternoon Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2024 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached vers...

Heather Hollis The Name, Is Crush Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2024 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached verso) COA provided (issued by representing gallery) *Framing options available. Please inquire. **Other sizes available. Please inquire. This digital creation celebrates the serene majesty of marine life through the intricate patterns and vivid colors of a sea turtle I affectionately named Crush. Every detail — from the textured shell to the gentle movement of the water — reflects the quiet beauty and vulnerability of our oceans. The work serves as a tranquil yet powerful reminder of the precious ecosystems that exist beneath the surface, urging us to appreciate and protect them. Displayed in a home or gallery, this piece brings a calming, contemplative energy and a deep sense of connection to the rarely seen world of underwater wonder. Heather J. Hollis is a self-taught fine art photographer whose work captures the quiet poetry of nature. Rooted in resilience and empathy, her imagery transforms fleeting moments—like delicate fungi blooming on a Missouri tree—into meditations on beauty, endurance, and light. Now exploring both land and sea through her lens, Heather continues to reveal the extraordinary within the everyday. Heather Hollis, fine art photography, sea turtle art...

Heather Hollis The Gods Have Awakened Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2021 Size: 12 x 8 inches (30.48 x 20.32 cm) Edition: 15 Signed on label (to be attache...

Heather Hollis Flying High Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2023 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached verso) CO...

Heather Hollis Sunset Palms Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2024 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached verso) C...

1960s Hollywood Regency cabinet or console professionally refinished in yellow and white lacquer with original Chinoiserie medallion hardware and mirror top in the style of Tommi Par...

C. Jere tree wall sculpture with Brutalist details to branches, signed and dated 1986. Sculpture is made in two sections. The one shown is...

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 traveller 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 stereotypcal 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 stylised, 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 modelled 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 1960s Hollywood Regency set of 8 patio dining chairs enchant with white neo baroque frames full of enough romance and garden glamour to make you smile. Like a growing garden, wh...

Bele Bachem Sanft bis zur letzten Rasur (II. Fassung) Lithograph on Velum Year: 1968 Size: 30x25.1 inches Signed, dated and inscribed by hand Dry Stamp low...

Satin black Woodard sculpture mesh dining chairs with arms, restored condition. Each chair has been sand blasted, dipped in rust inhibitor primer an...

Steve Wilson Logan (Portrait, Soft, Sepia) Archival Pigment Print on Archival Paper Year: 2016 Visible Size: 18 x 13 inches (45.72 x 33.02 cm) Framed Size: 26 x 21 x 0.75 inches (66....

Ella Fort St. Raphael (Provence, seascapes, countryside art, Impressionist) Color lithograph Signed, numbered or inscribed Edition: 390 + 10 E.A. Size: 22.8 × 14.8 on 27.5 × 19.6 inches Framed: 35.75x24 inches COA provided *edition number might vary from shown in listing image Tags: Provence landscapes, French countryside art...

Introducing The Shag Rug collection by Forsyth. Anne and Maggie, Forsyth Co-Founders, grew up with a 1970s Flokati rug their Mom shlepped home from Greece during her world travels. T...

Phillip Roberts Title: Reclining Nude Medium: Oil on Canvas Year: circa 1970s Size: 20 x 18 inches Framed Size: 26 x 24 x 2 inches Signed, lower ight COA provided Framed Ref.: 924802-862 --------------------------------- Phillip received a BFA degree in painting from the Kansas City Art Institute, Kansas City, Missouri in 1972. Studied two years under painting department chairman, Wilbur Niewald. While attending school in Kansas City he became intrigued with the impressionist school of painting and their use of nature as a source of information for their work. Using the infinite variations of nature in the still life, figure and landscape, the artist is presented with limitless subject matter. Claude Monet, Camille Pissarro and other painters of nature were earlier influences on Phillip's work. Dealing with ever-changing elements of nature, movement of light and shadow in the landscape, field workers finishing their tasks, Phillip adopted a broken color style of applying paint to his canvas. This approach allowed the image on the canvas to be developed quickly, and all at one time. Phillip has lived and painted in the Northwest since 1989. His long desire to paint the subject matter of the impressionists painters and his belief that beautiful subject matter increases the probability of painting beautiful paintings, inspired two painting trips to Mexico and ten trips to Europe. In April of 2007, April of 2008 and again in 2014, a rented boat on the Canal du Midi, France served as a form of transportation, a floating studio and hotel. Early painting trips to France, England, and Spain were shared adventures with English painter Jeffrey Pratt...

Ian Fleming Title: Symbol 2 - Eternal Woman Medium: Etching and Aquatint on paper Year: 1977 Size: 19 x 22 inches (48.26 x 55.88 cm) Edition: 50 Signed, numbered, dated and inscribed by hand COA provided Framed in a simple silver metal frame Ref.: Peacock Archive, 1988. Aberdeen Archives, Gallery & Museum, Scotland Ref.: 924802-861 ----------------------- Ian Fleming (1906, Glasgow - 1994, Aberdeen, Scotland) Fleming was born in Glasgow and studied at the Glasgow School of Art. He began printmaking at art school, and Glasgow Art Gallery bought two of his prints while he was still a student. In 1928, Fleming made his first engraving while working with Charles Murray, and he soon became a highly-skilled engraver. While lecturing at the Art School from 1931, Fleming met William Wilson, the Edinburgh-based printmaker and stained glass artist. They became friends, and their work was mutually influential. He also taught Robert Colquhoun...

rfart Konsumieren Giclée on Hahnemühle Velvet Year: 2021 Signed Edition: 10 (this copy is either BAT or Archive) Size: 24 × 17 inches

Set of four Milo Baughman for Thayer-Coggin cantilevered armless dining chairs, model #1060 with chrome frames. These chairs were used around a Leo Rosen for...

Pierre Antoine Poiteau (French 1766-1854) Antoine Poiteau offers a naturalistic rendering of a hawthorne with refined color and dimensionality. This work evoke the era of the artist...

Organic dark shapes highlighted with brushed edges perfectly merge sculpture and texture in this Paul Evans style Brutalist Propeller coffee table. The shape and legs of the coffee t...

Rare Danish Modern Wenge Wood Ice Bucket designed by the Jens Harald Quistgaard for Dansk Designs, Denmark in the 1960's. From his 'Rare Woods’ Limited Edition collection. Scandinavi...

Nick Vedros Brooklyn Bridge 1875 Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2001 Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped COA ...

How would you like to show these? Hollywood Regency Palm Springs Parker Hotel? Mid Century Modern Minimalist? Perhaps interchange both. This pair of bar stools came about in 1952 when Italian Sculptor and Furniture Designer Harry Bertoia experimented with bending metal rods to create practical art. Bertoia's bar stool has a filigree appearance that contradicts its strength and durability. In his own words, “If you look at these chairs, they are mainly made of air, like sculpture. Space passes through them.” Made of bent metal frames finished in chrome with bends and curves to support all of yours, these sexy mid century modern bar stools are comfortable. Photographed along with custom made cushions inspired by Norma's Restaurant at the Parker Hotel in Palm Springs, California. Custom Cushions add comfort and a cozy experience while traditional Knoll yellow...

Not signed The hand-colored etching plates by Johann Wilhelm Weinmann, from Phytanthoza Iconographia (1737–45), present carrot and primrose with a detailed balance of structure and v...

Paul Klee (after) Country House In The North (Landhaus im Norden) Year: 1925 Serigraph Size: 14x16.9 on 19x21.5 inches Edition: 440 Signed in the stone, numbered by hand Publisher: K...

Heather Hollis Thunder Rolls (Storm, Lightning, Strike, Seascape) Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2021 Size: 12 x 12 inches (30.48 x 30.48) Edition: 15 Sign...

Contemporary Glass Sculpture, Minimalist Design, Optical, Color Laminated Inside Lee was born and raised in South Korea. He is a studio artist and an associate professor of art and ...

Sexy set of eight Parsons dining chairs designed by Milo Baughman for Thayer Coggin newly professionally reupholstered in soft ivory white bouclé rated highly durable (over 50k double rubs). Milo Baughman's Parsons chairs are unique in that all surfaces are upholstered. Your guests will appreciate the softness of the all enveloping bouclé upholstery. Its texture ventilates well and is comfortable in both warm and cooler climates. Our buyers regularly contact us seeking comfortable dining chairs that are also sculptural. The sort one would admire from afar but also produce a comfortable sitting experience for long dinner celebrations. Here they are! Super sexy silhouette. Angled back and rear legs. Sturdy pedestal frame. Comfortable plush seat cushion and back. The look is clean, modern and elegant. These chairs' neutral color make them easy to incorporate into most styles of decor, but certainly hit the mark for California Modern, Organic Modern, Mid Century Modern and even Post Modern interiors...

Melanie Sherman Vase with Patterns (Hand-Painted, Gold Luster, Asian Imagery) Hand Built & Painted Vase Year: 2024 Porcelain, Glaze, China Paint, Gold & Platinum Luster Fired: Electr...

Perry Haas is a ceramic artist making functional pottery and focusing on wood-firing techniques. Drawing from a love for the wood-fired ceramic surface, Perry looks to anticipate the...

Hannah Schelb Tokos(phobos) Shuttle Ceramic, Cone 5 Oxidation, Aluminum Wire, Kanthal Wire 2025 39.5 x 31.5 x 33 inches (100.3 x 80 x 83.82 cm) Signed COA provided *Assembly require...

Heather Hollis Victory (Industrial Art, Symbolism, Resilience, Unity) Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2023 Size: 11.2 x 14 inches (28.44 x 35.56) Edition: 1...

Katherine Bello Title: When the Night Medium: mixed media on canvas Year: 2020 Size: 12" x 12" Birch panel in black floater frame Signed, dated and inscribed by hand COA provided (issued by representing gallery) Katherine Bello's aim as an artist is to capture a sense of place, a moment of time, or a feeling - to evoke a sense of wonder. Bello loves paint and paint brushes; bold, gestural mark-making and the interplay of color. She is influenced by light and landscape, poetry, history and science. Formerly educated in Chemical Engineering and Interior Design, Bello is drawn to the process of creating Something out of Nothing. Abstract, sbstract art...

Brooke Cameron Columbia, Missouri Signed recto Brooke Bulovsky Cameron is a printmaker and professor emerita of art at the University of Missouri, where she taught for many years aft...

Nora Othic Marceline, Missouri Signed recto Nora Othic is a painter whose work draws from close observation of rural life and the rhythms of the Midwestern landscape. She is widely r...

Stylish woven applique illusion design sheath dress US Size 12 The high fashion sheath dress is constructed with ivory color woven textured f...

Kerry Smith Michael Jackson - Off The Wall Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1645 *B...

Brooke Cameron Columbia, Missouri Signed recto Brooke Bulovsky Cameron is a printmaker and professor emerita of art at the University of Missouri, where she taught for many years aft...

Heather Hollis Pink Perception (Floral, Pink, Soft, Warm, Spring, Summer) Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2025 Size: 8 x 14.2 inches (20.32 x 36.06 cm) Edit...

The candle stand has a free-form design; the wood bends and curves with natural flows to create the design. The handcrafted details on the piece such as the curves, varying thickness...

Composing non-living objects is completely different- especially when it comes to birds. I know it can maybe seem macabre at first, but I love photographing both living and non-livin...

Pair of large table lamps by Roger Rougier, Canada, 1970s. White and Black Lucite / Acrylic. At thirty eight inches tall these are a stunning and striking pair. We have owned many Ro...

Late 1960's Camerino brocaded vest of metallic gold thread on quilted satin. Lined in brown velvet. Deeply cut sleeves. Simple clean lines allow the luxurious, Asian inspired,...

Opulent art deco glass beaded sautoir necklace ca 1930s The elegant necklace is embellished with tiny glass micro beads that create a rose mosai...

Nice set of six sold teak wood & brass Jens Quistgaard for Dansk mid-century modern graduated in size candle holders or candlesticks. In fine original condition, one owner set, show...

Peter Paul "Was Boullee befuerchtet hat" From Portfolio "Portrait #14 - Peter Paul" with Karin Szekessy Year: 1973 Medium: Color Lithograph on Arches Edition: 75 Size: 25.59 x 19.88 ...

Vintage and with such a beautifully delicate Chinoiserie pattern, this Hors d'oeuvre platter features a 22-karat gold plated rim. Up your entertaining with this beautiful and unique ...

Pair of Villeroy & Boch vases / urns 'Bijou' designed by Paloma Picasso in the late 1970s Bone china, bulbous form with red. green and blue colored jewel stones and gold stripe deco...

This table is the Center Table No. 1 of the Fluentum Series of works. The piece embodies a sculptural base that has been designed with a clean form to focus on the flow of the wood...

Set of 8 vintage Ceraglass, 10 years of Dow-Jones Industrial Average 1958-68 rocks glasses. Printed in black and white with 22k ticker tape, with highlight...

Incredible late 19th or early 20th century rustic steer long horn chair and ottoman. This chair is in great condition, has spring seat and is very stur...

Joel Sager (1980) was born in Saint Joseph, Missouri, the son of a minister and a stay-at-home mother who fostered from an early age his love of drawing and painting. It was under th...

Bele Bachem Kindesgeburt (B/W) Lithograph on Velum Year: 1968 Size: 27.65x21.1in Signed, dated and inscribed by hand Dry Stamp lower left Edition: 50 Publi...

Large Handkerchief serving bowl designed by Arthur Court. Lucite / Acrylic bowl on a tripod aluminum base of three rabbits holding the bowl in place. W...

Drew Straker Palestine Protest (Palestine Conflict, Street Art, Graffiti Art, Sprayer) 2018 Giclée print on Hahnemühle Velvet 185gsm Size: 38.97 x 24.01 inches (99 x 61cm) Signed in...

Abstract Ceramic Sculpture with Gold Luster Glaze. 4 x 6 x 3.5 in, Reibstein “My work reflects on experiences of transformation, alchemy and the sublime, manifesting in sculptures t...

Lord Fauntleroy Ahmedabad 151209-566 Pigment Print Year: 2015 Visible Size: 9.25 x 9.25 inches Framed: 10.6 x 10.6 inches Signed: On Label Edition: 8 COA provided *White frame with...