Missouri

A native of Upstate New York, Matt Ballou was educated at The School of The Art Institute of Chicago (BFA 2001) and Indiana University ( MFA 2005) before coming to The University of ...

Hervé Télémaque Rencontres 1964 Color Lithograph Size: 12.68 × 19.21 inches (32.2 x 48.8 cm) Edition: 1,500 Publisher: Galerie Krugier & Cie, Geneva, Switzerland From "Suite No. ...

Artist / Sculptor and later Professor Jack L. Squier (1927-2015) Picasso style ceramic figure for Howat Kilns, Mexico 1950s, signed inside with "S" in a circle. Hand Painted and glaz...

Peter Shire Postmodern abstract table sculpture, 1989. Enameled steel and brushed steel. Signed and dated "Peter Shire 1989 15/24" Very good condition. Light wear throughout in the ...

Roger Shimomura Nisei Trilogy – Portfolio Year: 2015 Suite of 3 Lithographs with Title & Colophon pages Edition: 50 Paper: Rives BFK, White Paper Size: 18.5 x 27 inches (each) Signed...

Pair of Classic 1970s Italian Mid-Century Modern Verde Alpi species green tone angled marble cylinder bookends. They are cut, so they lean against the books. In fine condition, few l...

Jacques Fath Paris Tortoise shell lucite brown tinted lenses sunglasses c 1990s The sides are designed with gilt matte metal cut-out hardware Made in France

Shepard Fairey Green Power Factory Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 350 Signed by Shepard Fairey, dated and n...

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

Wall hanging / tapestry / rug after Paul Klee's 1940 oil painting "der Paukenspieler (The Little Drummer Boy)." This example has never been on a floor. This textile has always been u...

Patti Warashina Kiln Yard Original 2 Color Lithograph on Somerset, Radiant White Year: 2016 Edition: 31 of 35 Paper Size: 24.5 × 29 inches (62.23 × 73.66 cm) Image Size: 20 × 26 inc...

Contemporary Porcelain Sculpture, Traditional Korean Vessel Form, Deconstructed Steven Young Lee is the Resident Artist Director of the Archie Bray Foundation in Helena, Montana. A...

Norell Sleek large scale crystal factice display bottle c 1970 The elegant crystal fragrance bottle was a display from a department store fragrance counter The large scale replica ...

Heather Hollis Golden Days 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) CO...

Susan Kiefer Aspect Oil on canvas 2022 Size: 20 x 16 x 1.5 inches (50.80 x 40.64 x 3.81 cm) Signed and titled verso COA provided *On stretcher frame; gallery wrapped In Aspect, Sus...

An exceptional original oil on canvas geometric abstract painting titled "Section I" by listed artist Marko Spalatin (b. 1945). Executed with crisp precision, the composition highlights Spalatin’s iconic hard-edge Op Art technique, featuring interlocking faceted geometric modules in rich hues of cobalt, crimson, and maroon suspended over a smoothly airbrushed neutral gradient field. Presented in its substantial original white gallery wrap structure measuring 2 5/8 inches deep. Signed and titled on the verso by the artist. Provenance: Sourced directly from the estate of Robert J. "Bob" Gamm (1920-2012)—noted St. Louis architect, runner, and legendary entrepreneur who invented KangaROOS athletic footwear with the iconic zippered pocket. Dimensions: Overall Dimensions: 40" W x 36" H x 2 5/8" D Details: Artist: Marko Spalatin (American/Croatian, b. 1945) Title: Section I Medium: Oil on Canvas Period: Circa 1970s–1980s Movement: Op Art / Hard-Edge Abstraction / Geometric Abstraction Markings: Signed, titled, and inscribed on verso PERMANENT COLLECTIONS Musée d'Art Moderne — Paris, France Museum of Modern Art — New York, New York Condition: Very good vintage condition overall. The painted surface remains bright, crisp, and vivid with flat color fields and sharp lines. The reverse of the canvas displays minor, age-appropriate, stable foxing spots that are confined strictly to the verso and have not bled through, transferred, or compromised the front canvas face. Keywords: Marko Spalatin painting, Marko Spalatin original oil, Section I Spalatin, hard edge geometric abstract, Op Art oil painting, Victor Vasarely style, mid century geometric art...

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...

Studying the history of ceramics I have been captivated by the relationship between East and West, and how they continue to influence each other, especially through the ceramic arts....

Bruno Bruni Io Vengo Year: 1969 Serigraph Size: 29.5x24 inches Signed, numbered and dated by hand Edition: 99 Annotated verso Publisher: Il Torcoliere, Rome, Italy Printer: Böer, Ham...

A striking piece of modern Scandinavian design, this "Weight Here" three-arm candelabra was created by the acclaimed Danish design collective KiBiSi (Bjarke Ingels, Lars Larsen, and ...

Adele Simpson Jeweled glass bauble chatelaine brooch c 1950 The exquisite brooch is embellished with various glass dangling embellishments. A large eme...

Graham Sutherland Untitled Composition I in Peach 1970 Lithograph on Rives Sheet Size: 10.55 x 8.05 inches (26.8 × 20.45 cm) Edition: XXXIII of XXXV (33 of 35) Signed and numbered in...

Contemporary Abstract Ceramic Sculpture, Stoneware, Glaze, Colorful Design José Sierra is a self-taught artist and ceramicist, born in Mérida, Venezuela in 1975. His work draws ins...

Bai Ming Untitled III 2013 Ink Wash on Hand-made Paper Size: approx. 25 x 39 inches (63.5 x 99.1 cm) Signed lower left Inscribed and dated lower left Gallery-issued COA upon request ...

French gilt matte metal "tree of life" clip-on button earrings designed by Antigona Paris The elegant button style clip-on earrings are each designed with a tree with lush foliage T...

Kerry Smith Ella Fitzgerald Sings Duke Ellington Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1636 *Black frame with a mirr...

Edition: 25 Signed, dated and numbered in ink on label affixed verso COA provided In Sherman's photographs she is experimenting with groupings of different objects with my porcelain...

The Flush Mount Light No. 4 sits closely on the ceiling, it has been made using red oak by bending the wood. Two wooden pods bear the light bulbs, dispelling light from in between. T...

Contemporary Impressionist Landscape Oil Painting, Swamp Scene, Louisiana, Vivid "A native of New Orleans, Jill Hackney studied painting at The Cleveland Institute of Art and Louisi...

This exceptional pair of vintage Billy Baldwin style X-stools perfectly captures the tailored elegance of the Hollywood Regency era. Circa 1970s, these versatile benches feature a fu...

Ted Hinrichs Red Rope Acrylic on Canvas Year: 2022 Size: 24x36in Framed: 26x38x1.75in Signed by hand COA provided Ref.: 24802-1727 *Framed in naural Wo...

David Pugh Skin and Flower Archival Pigment Print on Hahnemühle Photo Rag Baryta, 100% Cotton Fibre, 315 gsm, Acid and Lignin free, ISO 9706 conform / museum quality for highest age ...

Shepard Fairey Wetland Powers Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 550 Signed, dated and numbered by Shepard Fair...

Lord Fauntleroy Untitled I Lithograph Year: 2006 Size: 15 x 42 inches (38.1 x 106.7 cm) Unique Signed and dated in pencil, verso COA provided *Can be hung either horizontally or ve...

A wonderful piece for a contemporary living space, this painting is the result of a years long refinement of artist Nick Schleicher's process. Combining his love of color theory, mas...

All Systems Go was developed through an intuitive process of layering and expressive mark-making. Marksbury’s paintings explore ideas of time and space, the fantastic and mystical, s...

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...

This piece is a combination of various design elements and techniques that have been honed over the years, along with elements that are unique to this piece. This piece is a display ...

Hannah Schelb Don’t Tell Me (what to do) Ceramic, Glaze, Cone 6 Oxidation 2025 Size: approx. 17 x 10 x 10 inches (43.18 x 25.4 x 25.4 cm) Signed COA provided Hannah Schelb (b. 1990...

David Pugh Flower Beard 4 From "BE, AND KNOW" Series Photographic Print on Fine Paper 2026 Size: 18 x 12 inches (45.72 x 30.48 cm) Edition: 12 COA included Label to be attached verso...

Nick Vedros Darkhorse Harley Speedster Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 8x15in Edition: 12 Signed, dated and numbered by hand on label Stamp...

Stylized large crystal Giraffe sculpture by Daum France. Signed with an etched signature "Daum ". The sculpture is in very nice condition with no chips or scratches. Measures: 16.5".

Anna Archinger A Modern Princess (of India) (Equine Art, Horse, Marwari, Rare Breed) Archival Pigment Print on Canson® Infinity Platine Fibre Rag Year: 2025 Image Size: 11.7 x 8.3 x ...

Patti Warashina Fan Dance Original 4 Color Lithograph on Rives BFK, White Year: 2017 Edition: 16 of 23 Paper Size: 26.5 × 18.5 inches (67.31 × 46.99 cm) Image Size: 24 × 14 inches (...

Vintage Hollywood Regency Saaried round brass mirror with 13 repousse Stars around brass frame. Brass has warm patina, light loss to mirror backing. Label on verso.

Akira Kito Enfant 1964 Original Color Lithograph on Velin d'Arches Size: 10x7.375in Edition: 2,000 Signed in the Stone Annotated verso Publisher: Mourlot, Paris Printer: Mourlot, Par...

Shepard Fairey In Honor of Vincent Jen Chin Screen print on thick cream Speckletone paper Year: 2021 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 350 Signed by Shepard Fairey and...

John James Audubon (American, 1785–1851) Not signed John James Audubon was born in Haiti in 1785. Most of his childhood was spent in France, where he first took interest in birds and...

Joseph Orr (Japanese, American, b. 1949) River Access Signed Lower Right 30 x 30 inches 39.5 x 39.5 inches with frame BORN in Tokyo, Japan, Oct 31,1949, Joseph lived his first years in an orphanage sponsored by American Armed Forces. He was adopted April,1954 and came to the US at age 5 where he became an American citizen. As the Orr’s traveled for the US military Joseph enjoyed a childhood rich in experiences from Germany and back to California where he attended High School and started College. Following his parents to Missouri In 1971 he took a job with Hallmark Cards as machine operator in the cardboard fold dept. It sparked an interest in art, so after a few months he sought out some of the Hallmark artists at their work for private lessons. He learned basic drawing and watercolor from Anthony Allison and, “Probably before I was ready”, he admits, Joseph was entering local art shows and even winning prizes. At that time Joseph also enrolled for art instruction under John Coleman at Longview Community College. He spent one semester there. By the end of 1972 Joseph had quit his day job to become a full time painter, joining an art show tour group called Word Of Art, which was a new concept: culture meets promotion. Booking weekly art exhibits in the new indoor shopping malls across America, The idea transformed part of the art world by bringing art to the masses. For Joe and many other artists in the early 1970’s, it created the chance to paint full time and sell their work to an otherwise unobtainable audience. During this time of continuous self study and painting Joseph transitioned from watercolor to the newer acrylic painting medium. Believing that acrylic, as a fine art painting medium, can be as viable as oil, Orr has always promoted it as the modern medium that it is. In 1990 Joseph, along with his wife, Rita and two other artists, founded the National Oil & Acrylic Painter’s Society. The Orr’s brainchild, they were aided in founding NOAPS organization by local art patrons, Wm & Martha Mitchell and fellow artists Pete Peterson and Dennis T. Yates. While traveling with the World of Art Tour Joseph had met Rita Mathews, an aspiring artist, in Columbia, MO. They were married in June 1974 and stayed in Missouri, traveling and exhibiting their art together. Orr had a brief encounter with printmaking in 1977. He took private instruction in stone lithography and copper plate etching from Frank Stack, professor of art at the Univ of MO, Columbia, but painting remained his principal devotion. By 1999 Joseph had become proficient enough to have obtained Gallery representation with several Fine Art Galleries across the US. Joseph Orr currently resides in Osage Beach, Missouri, but travels to paint and visit his gallery representatives and Exhibit Openings. PHILOSOPHY: For me the idea is that painting should follow some form of illustration and truth telling. Basically, the premise of my painting philosophy, is to build layers of narrative into my paintings. A place or landscape scene is never defined satisfactorily without it’s relationship to color and composition. It is important to balance fact with imagination. “ART REFLECTS THE SOUL OF SOCIETY. A JUDGMENT CAN BE MADE FOR THE ATTITUDE OR CONDITION OF SOCIETY BY INSPECTING THE POPULAR ‘IDEAS’ OF ART OR, IN SOME INSTANCES, THE LACK OF ART.” (JOSEPH C. ORR) NOTED SOLO EXHIBITS : *BIRGER SANDZEN MEMORIAL, LINDSBORG, KS; *HARWELL ART MUSEUM, POPLAR BLUFF, MO; *ASHBY-HODGE GALLERY OF AMERICAN FINE ART, FAYETTE, MO; *NORFOLK ART CENTER, NORFOLK, NE; *KODNER GALLERIES...

Valerio Adami Untitled Composition I from "DLM No. 220" Original Color Lithograph on Vellum Year: 1976 Edition: 2,000 Size: 14.9 x 22 inches (37.8 × 55.9 cm) Unsigned and not indivi...

Salvador Terán (1920-1974) Mid-Century Modern glass & brass mosaic tray or wall hanging from his atelier "Salvador" in Mexico City, Mexico, circa 1965. Female mosaic in blue glas...

David Webb's A Walk in the Woods Artful Animals Soft Cover Pamphlet Exhibition Book c 2022 The soft cover brochure book was from a 2022 David Webb exhibition featuring an archive ...

The ceramic sculptures of SunKoo Yuh are composed of tight groupings of various forms including plants, animals, fish, and human figures. While Korean art, Buddhism, and Confucian be...

Shepard Fairey Lemmy Damaged Case Screen print on thick cream Speckletone paper Year: 2021 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 550 Signed by Shepard Fairey, dated and nu...

A delightful and festive addition to any retro bar cart, this complete set of six vintage 1980s double old fashioned (lowball) cocktail glasses was produced by the celebrated Cera Gl...

Jim Hodges and Andy Warhol I Remember Heaven Offset Lithograph with silver foil on glossy stock Year: 2007 Size: 24 x 18 inches Edition: 1,000 Unsigned and unnumbered as issued Publi...

Our Mushroom Pouf is designed by Forsyth and handcrafted in Saint Louis. A cute decorative piece for any room adding natural texture and a bit of whimsy....

Title : Garfields Long Butt Materials : stamps, ink, crayon,marker,pen Date : 2017 Dimensions : 8.5x11"

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...

Lead Time: Please allow 10 to 12 weeks to restore a vintage Womb Chair and Ottoman in Dedar Boucle. "Eero Saarinen designed the groundbreaking Womb cha...