Missouri

Mid-Century Modern Harry Bertoia for Knoll wide version diamond chair with ottoman, frames are original white paint an original but faded pink Knoll textile covers. Minor scuffs to f...

Pair of high quality mid century Asian modern tall brass urn form table tables with brass rings on sides and embossed Asian symbols, mounted on square w...

Melanie Sherman Hand-Painted & Decorated Vase (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster, Decals Size: 7.5 x 6.25 x...

Melanie Sherman Large Koi Platter (Hand-Painted, Vintage Imagery, Asian, Iconic, Flocking) Porcelain, Glaze, ChinaPaint, Vintage Decals, Flocking Cone 6, oxidation + multiple cone 01...

William Adair Bernoudy (1910–1988) FAIA was in the inaugural class of Frank Lloyd Wright's Taliesin Fellowship (1932), an advocate of Wright's modern org...

Lord Fauntleroy Cali 180722-125 Pigment Print Year: 2018 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with standard ...

Ella Fort Flower Field (Champ Fleuri) Color Lithograph Signed, numbered or inscribed Edition: 390 + 250 Size: 7.8 × 11.7 on 11.7 × 15.6 inches Framed: 16.25x20 inches COA provided *Framing Options Available - Please Inquire **edition number might vary from shown in listing image Tags: Provence landscapes, French countryside art...

The naturalness and softness of a sheepskin rug can quickly elevate a room's beauty. On the floor, thrown over chairs and couches, this versatile design piece is a favorite of the Fo...

In this series, Emmett Merrill’s contemporary lithographs transform the culture of travel into modern mythology. Signed, titled, and dated recto Kansas City, Missouri-born artist E...

Melanie Sherman Vintage Moth II (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster Year: 2025 Size: 4.5 x 6 x 0.5 inches Si...

Barry Eisenhart Untitled (Rose, Pink, Abstract, Gestural, Movement) Year: 2015 Lithograph on Arches Edition of 15 Size: 19 x 25 inches Signed in pencil COA provided

Lord Fauntleroy Melanie Sherman 240522-23 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with...

Lord Fauntleroy Melanie Sherman 240522-87 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with...

Lord Fauntleroy Melanie Sherman 240522-213 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame wit...

Lord Fauntleroy Melanie Sherman 240522-102 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame wit...

Susan Davidoff Night Walk 1 (Natural Structures, Shifting Daylight) Year: 2013 Medium: Lithograph Edition: 36 Paper: Rives BFK, White Paper Size: 22″ x 21.75″ Image Size: 16″ x 15.25...

Ceramic Vessel Form with Surface Illustration, Glazed Stoneware, Animals Leopard "Growing up in the 1970’s and 80’s, Bryan Burk had a strong interest in the traditionally hand drawn...

Anthony Baab (Droste Effect, Lithography, Toner Wash) Colin 2014 Medium: Archival Inkjet and 3 Color Hand Lithography Edition: 17 Paper: Somerset Enhanced Velvet Paper Size: 24.75″ x...

Vervain Three-leaved, Verbena triphylla Plate 367 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Andy Warhol Drawings 1942-1987 - Museum Moyland Castle Offset Lithograph 1998 33 x 23.62 inches (84 x 60 cm) Unsigned as issued COA provided *Condition: Minute creasing along the ed...

This Forsyth Mushroom Pouf ottoman was created and designed by the Forsyth design team. Each ottoman is handcrafted in Saint Louis. A cut...

Brauer’s 1973 illustrations for The Hasidic Tales are extraordinary examples of etching pushed to its expressive limits. Through the masterful use of layered aquatint, Brauer achieve...

Ken Ferguson Basket with handle Material: Stoneware, glaze Year: Circa 1980 Size: 18 x 13 inches Stamped Kenneth Richard Ferguson was an American c...

In this series, Emmett Merrill’s contemporary lithographs transform the culture of travel into modern mythology. Signed, titled, and dated recto Kansas City, Missouri-born artist E...

Zoe Hawk’s surreal serigraphs of forested idylls that mask deeper emotional undercurrents, the exhibition invites viewers into worlds where narrative, memory, and movement quietly in...

In this series, Emmett Merrill’s contemporary lithographs transform the culture of travel into modern mythology. Signed, titled, and dated recto Kansas City, Missouri-born artist E...

In this series, Emmett Merrill’s contemporary lithographs transform the culture of travel into modern mythology. Signed, titled, and dated recto Kansas City, Missouri-born artist E...

Aster da Fonseca Tree Branches Acrylic on Wood 2019 6.25 x 7.3125 inches Signed on verso, lower right COA provided #abstract #geometric # minimal #acrylic # nature #painting #wood ...

Jeffrey Tamblyn Foothills Medium: Digital Photography Year: 2021 Size: 16x24 in Edition: 50 Signed, dated and numbered by hand on label COA provided Ref.: 924802-944 Abstract render...

Jay Patel MADHUBANI STYLE 02 (DECORATED ELEPHANTS) Acrylic on Board Year: 2022 Size: 10x12x1.5in Signed verso COA provided Ready to hang Ref.: 924802-1111 "Inspired by the age-old Madhubani style, these paintings celebrate the beauty within the beasts. Elephants are revered animals in the Indian sub-continent and symbolize lord “Gajendra”! To ascertain justice to the inspiration, every element in the painting is worked upon significantly- the tree denotes long life, the flowers stand for happiness, and the elephant denotes power. Embellished by detailed motifs, the composition undoubtedly spurs a moment of joy in the eyes. The captivating intricacies of the saddle cloth tied with heavy jewelry...

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...

Brauer’s 1973 illustrations for The Hasidic Tales are extraordinary examples of etching pushed to its expressive limits. Through the masterful use of layered aquatint, Brauer achieve...

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...

Contemporary Ceramic Jar with Surface Illustration, 14.5 x 11 in, Bryan Burk "Growing up in the 1970’s and 80’s, Bryan Burk had a strong interest in the traditionally hand drawn com...

Lord Fauntleroy ILL 1408-08-173 Pigment Print Year: 2014 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 stand...

Lord Fauntleroy ILL 1408-08-143 Pigment Print Year: 2014 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 stand...

This listing is for the unframed photograph. Edition of 10. Signed. Location, Los Angeles, CA David William Baum is a fashion, still life, and fin...

Set of two armless Slipper chairs / lounge chairs designed by Edward Wormley for Dunbar, 1950s. The medium grey. Upholstery has been recently updated and in fine condition with no is...

LEONOR FINI Jester Cat 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

This magnificent set of 20 mahogany ivory white dining chairs was designed by one of the visionaries of the mid century modern period, Paul McCobb. McCobb intentionally lightens both...

Large Curtis Jeré brass plated willow tree wall sculpture with draping brass beads. Signed C. Jeré 1984.Minor rust to some areas, otherwise very nice. Rarely seen design. Renowned...

Jean-Antoine Watteau Winter – Spring 1841 Hand colored lithograph 14 x 19.5 inches Framed: 25 x 31 inches

Nick Vedros Potawatomi Indian Archival Pigment Print on Epson Legacy Platine 100% Cotton Fibre, 314 gsm, Acid and Lignin free Year: 1987 Size: 8x10in Edition: 15 Signed, dated and n...

Albrecht Fuchs Drew Straker at Work Giclee on heavy Baryta Rag 2018 24.01 x 18.5 inches (61 x 47 cm) Edition: 20 - BAT (respectively "Archive") Signed, da...

Jill Opelka Abstract I Oil on Canvas Year: 2023 Size: 12x12in Framed: 13x13x1.5in Signed COA provided Ref.: 924802-2048 Tags: Abstract, Vibrant, Deep, Blue, Navy, Green, Orange, Yellow *Framed in a black wooden frame ----------------- Upon entering Jill Opelka's home, her creative essence is unmistakable. Adorned with New Yorker Magazine covers, her dining room exudes a vibrant charm, complemented by quirky giant tortoises in the living room. The space is a reflection of Opelka's lively personality, evident in her central studio nestled within the bright breakfast nook. Embraced by natural light and captivating outdoor vistas, it's where her artistry thrives, even evident in intricate details like a practical denim quilt...

Paul Klee (after) The Yellow Donkey (Der Gelbe Esel) Year: 1939 Lithograph Size: 14.125x19.6 on 20.6x26 inches Esther Gentle, Reproduction, 1952 Edition: 300 Inscribed in pencil stam...

Aster da Fonseca Moon Approaching Acrylic on Wood 2019 11.875 x 14.75 inches Signed on verso, lower right COA provided #abstract #geometric # minimal #acrylic # nature #painting #w...

Erica Iman received her BFA in Ceramics and BSE in Art from the University of Missouri Columbia in 2005 and obtained her MFA in Ceramics from Southern Illinois University Edwardsvill...

Gottfried Honegger Parmenides: Das Herz der Wahrheit. Fragmente. Folio with 3 Original Etchings on handmade Velin d'Arches Year: 1990 Size: 8.25x5.5.5in on 11.625x7.75in Edition 26 S...

Joseph Orr (b. 1949, Missouri) "Banker's Dream" Acrylic on Canvas Canvas: 9 x 12 Framed Size: approx 12 x 16 Joseph Orr, from Missouri, has been painting p...

Thomas Pfannerstill has worked as a full-time studio artist since 1986, following his education at Western Kentucky University (BFA 1975). He currently resides and works in Louisvill...

Jeffrey Tamblyn Giddy Archival Pigment Print on Hahnemuehle Baryta Rag Year: 2021 Size: 10x8 inches Edition: 50 Signed, dated and numbered by hand on label COA provided Ref.: 924802-...

Beautiful vintage modern wall hanging of an outdoor scene with people, animals, and trees in the styled of Evelyn Ackerman. Very good condi...

Figurative Ceramic Sculpture, Stoneware with Underglaze, 5.5 × 4.5 in — Janina Myronova Raised and trained in both Ukraine and Poland, Janina Myronova builds highly stylized figurat...

After months of isolation during the pandemic, Craig Albright and his 11-year-old daughter started a daily tradition of an afternoon drive. When online classes came to a close each d...

Joan Miró "Untitled" (one plate from "Maitres-Graveurs Contemporains" - Berggruen & Cie, 1970) Color lithograph Year: 1970 Size: 9.0 × 9.8 on 9.4 × 11.1 inches Catalogue raisonné: C...

Jay Patel THE MAPLE FOREST Acrylic on Board Year: 2022 Size: 12x12x1.5in Signed verso COA provided Ref.: 924802-1115 "The rich color spectrum represents the...

Fabulous very 1960s MOD style dresser top display female fiberglass mannequinn bust with long neck. Blue eye shadow, pink lips and nylon eyelashes. Great way to display your hats, wi...

Katherine Bello Summer Rain Year: 2018 Acrylic, mixed media on canvas Size: 12 x 12 x 1.25 inches Signed, titled and dated by hand COA provided *Ready to h...

Originally hand-crafted for the Nigerian Yoruba tribe kings and queens, each chair takes approximately 3 months to make. Thousands of tiny glass beads are intricately applied to canvas fabric in beautiful shapes and designs. The fabric is then attached and stitched to the chair frame. A painstaking process resulting in an elaborate, one-of-a-kind work of art. We love these Yoruba chairs...