Missouri - Art

Edition: 25 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided In Sherman's photographs she is experimenting with groupings of ...

Tim Trantenroth (* 1969) Title: Police car Giclee on linen Year: 2019 Signed and numbered by hand Edition: 25 Size: 16.0 × 21.5 on 18.1 × 23.8 inches C...

A native of Kansas City, Josh George completed his BFA at the Kansas City Art Institute (1997), followed by an influential session at The Illustration Academy. His exhibitions and pu...

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...

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...

Marie Thérèse Vacossin Le Collier de Lussie Color etching on hand-made paper Year: 1971 Signed, numbered, dated and titled by hand Edition: 8 Size: 8.3 × 11.6 on 22.0 × 14.8 inches ...

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...

SERGIO SARONI "The frog on the box" from Portfolio "Grafica '69" Year: 1969 Medium: Etching in four colors Edition: 100 Size: 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy ...

Artist : Susan Kiefer Title : Castor & Pollux Adrift on the Wine Dark Sea Materials : oil on canvas Date : March 2020 Dimensions : 40" x 30" x 1.5" Description : Hard-edged geometri...

Title: "Top Floor View II" Medium: Custom Archival Pigment Print on Archival Paper Date: 2019 Dimensions: 8 x 10 in. Signed, dated and inscribed on label COA provided Multiple Sizes Available (please inquire within) Framing Available (please inquire within) Born in Córdoba, Argentina, photographer Pablo Saccinto had a unique journey to discovering his passion for photography. Before he ever picked up a camera, Saccinto studied "Dramatic Arts" at the Royal Theatre, seminary by Jolie Libois and attended the National University of Cinema and Television whilst practicing figure skating as a hobby. However, Pablo wanted his dream to became a reality. In 2009 He decided to try out and audition for Disney On Ice. One year later, Saccinto became part of the magic. Since then He had the opportunity to participate in different productions of the company as Disney on Ice presents, “Toy Story 3", "Rockin’ ever after", "Let’s Celebrate", "100 years of magic", the big phenomenon "Frozen", and his current show "Dare to Dream", traveling to over 20 countries. Some of the roles Pablo portrayed were, Le Fou from Beauty and the Beast, Pinocchio, and Miguel from the movie Coco Disney/Pixar. It was through his career as a figure skater that Saccinto found new opportunities in his ever-changing surroundings. Traveling around the globe and seeing all the beauty that this world has to offer opened the door to pursue photography further. Traveling has opened his mind and inspires him to photograph different cultures and even allows him to get to know himself on a before unknown level. Contemporary, contemporary art, contemporary photography, travel photography, cities, Japan, Hiroshima, urban photography, street photography, fine art, architecture, architectural photography, black and white, black and white photography, nature, nature photography, photographers, travel, Edward Weston, William Eggleston, André Kertész, Frans Lanting, Berenice Abbott, Chris Burkard...

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...

Artist : Susan Kiefer Title : Love in the Elysian Fields Materials : oil on canvas Date : March 2020 Dimensions : 40" x 30" x 1.5" Though born and raised in Kansas City, a...

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 ...

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 ...

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 ...

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...

Heinz Wehlisch Building Color etching Signed by hand Size: 15.2 × 22.4 on 20.1 × 26.9 inches COA provided Heinz Wehlisch was a modern artist of the late 20th century and worked in Berlin. He was a member of the professional association of visual artists in Berlin from 1946-1980; his specialty were etchings but also watercolors based on old postcard...

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 ...

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 ...

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 ...

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 ...

Geneviève Claisse Title: Untitled (Green) Year: 2016 Medium: Mixed Media on Plexiglass Signed and numbered by hand Edition: 30 Size: 15.6 × 15.6 on 19.5 × 19.5 inches COA provided G...

Life Size Fiber Sculpture, Light Weight, 48 x 32 x 28 in, Hand Made, Ethan Meyer Lightweight (approximately 35 lbs), non fragile, soft sculpture Groot Foundation Grant Honorable Me...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Artist: Joseph Broghammer Title: “Stalemate” Materials : Chalk pastel and pencil on Arches Paper Date : 2018 Dimensions : 7 x 11 ft. Omaha based artist Joseph Broghammer is as much of a storyteller as he is an artist. His one-of-a-kind pastel drawings in “Animals” are chronicles of his life. The creatures Broghammer creates are vehicles to uncover the varying characteristics of the artist’s personal identity. Hence, Broghammer’s “Animals” translates as a flowing stream of consciousness. The different birds and livestock staring back at the viewer are ornamented with iconographic symbols – small surprises along the way. These trinkets are keys to understanding the stories Broghammer is sharing. Broghammer began mastering his “dry painting” technique during his B.F.A. in Visual Art at the University of South Dakota. He graduated in 1986 and a year later went on to study his M.F.A. at the University of Wisconsin. In 2009, he studied at Creative Capital in Omaha, Nebraska. As storytellers often do, Broghammer later went on to become an educator himself, teaching at WhyArts? and becoming an Artist Assistant at Vera Mercer in Omaha – both of which he still practices at today. It’s apparent that Broghammer’s work has resonated with so many people around the world. Only a few years after his formal education, he began exhibiting his work through various International group shows in Italy, Germany, Holland, Mexico, and even Kansas City. Although Broghammer’s portraits depict downy creatures, his work is very much about the human experience. They are honest and full of life, evoking a sincere exchange between artist and viewer. “Animals” is for the animal lovers, students, teachers, collectors, writers, the young or old, and art historians alike. Dry Painting, Pastel, Drawing, Chalk Pastel, Oil Pastel, Painting, Contemporary Drawing, Contemporary Painting, Animal Drawings, Animal Paintings, colored pencil, pencil, large-scale drawings, portrait, portrait drawing, contemporary art, contemporary artists, Joan Miro, Max Ernst, Leonora Carrington, Vladimir Kush...

Reiner Schwarz "Die Melancholie" Year: 1973 Medium: Color Lithograph Edition: 100 Size: 25.98 x 19.68 in. Signed, numbered and titled After fleeing and expelling from Silesia, Reine...

Reiner Schwarz "Selbstbildnis (huendisch)" From Portfolio "Portrait #11 - Reiner Schwarz" with Karin Szekessy Year: 1972 Medium: Color Lithograph Edition: 100 Size: 23.9 x 16.6 in. P...

Signed in Pencil Lower Right "Marc Chagall" Numbered Lower Left 77/275 Image Size: approx. 11 3/4 x 9 1/4 inches Framed Size: approx. 24 x 21 inches

A Greater Yield, Contemporary Glass Sculpture, 15 x 8 x 7 inch, Jeremy Lepisto

John Selburg was born and raised in Peoria, Illinois. He holds a BFA in Drawing, Sculpture, and Graphic Design from Bradley University (2006), and an MFA from the University of Misso...

Nancy Charak Title: Geologies Series 9039 Materials: Drawing on 140# Fabriano Artistico Date: 2018 Dimensions: 22"x30" Nancy Charak makes paintings and drawings in her studio in Tuc...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

Hans Juergen Diehl "Protest:" 1972 Etching Edition: 19/25, Size: 33 ½ x 25 ½, Signed in pencil, Ketterer #5 Hans-Jürgen Diehl (born May 22, 1940 in Hanau ) is a German painter of th...

Klaus Staeck “Frembarbeiter-Situationen”, 1973 Silkscreen and collage, Edition: 6/50, 23 ½ x 19 ½ Signed in red ball point pen, From portfolio, Fremdarbeiger-Situationen COA provided...

Wolfgang Oppermann “Handzeichnung”, 1975 Colored lithograph Edition: 61 / 222 Signed in Pencil Size: 19.5 x 15.5 inches Wolfgang Oppermann (born September 19, 1937 in Hamburg , † March 11, 2001 ibid) was a German painter , graphic artist and sculptor of pop art and conceptual art . He was married to the artist Anna Oppermann...

Daniel Poensgen Title: In Memory of Santa Croce Medium: 2-Part Photograph on Agfa Paper Year: 1986-1987 Digned, dated and inscribed Size: 7.6 × 5.1 on 8.2 ...

Nancy Charak Title: Geologies Series 9048 Materials: Drawing on 140# Fabriano Artistico Date: 2018 Dimensions: 30"x22" Nancy Charak makes paintings and drawings in her studio in Tuc...

Title: Blumenstilleben No. 401 Year: 2009 Medium: Oil on Canvas Size: 100 x 70 cm (39 3/8 x 27 1/2 inches) Signed and dated by the artist Titled by hand on verso Gallery label on ver...

Albrecht Fuchs Title: Factory Workshop Medium: Color Photograph mounted on Di-bond Year: 2006/2007 Signed and dated by hand Size: 14.8 × 18.5 on 17.2 × 20.9 inches Albrecht Fuchs wa...

Bernd Berner Title: Untitled Gestural Abstraction Year: 1971 Medium: Color lithograph Edition: 22 Size: 19.5 × 17.3 on 25.4 × 19.5 inches COA provided

Title : Sylvesters Head in The Clouds Materials : stamps, ink, crayon,marker,pen Date : 2017 Dimensions : 8.5x11"

Title : Sylvester Admiring His Knockers Materials : stamps, ink, crayon,marker,pen Date : 2017 Dimensions : 8.5x11"

Title : Garfield, The Beauty Materials : stamps, ink, crayon,marker,pen Date : 2017 Dimensions : 8.5x11"

Roland Martin Abstract Geometric Composition Medium: Color Silkscreen Year: 1972 Signed, numbered and dated by hand Edition: 15 Condition: Minor Defects Size: 23.2 × 16.4 inches COA provided Roland Martin (born July 29, 1927 in Tuttlingen ) is a German sculptor . As a 16-year-old Martin was used in 1943 as a Luftwaffenhelfer, towards the end of the war he was taken prisoner. From 1946 to 1951 he studied at the Bernstein School in Glatt with Hans Ludwig Pfeiffer and Paul Kälberer In 1950 he was for a short time at the State Academy of Fine Arts Karlsruhe, Field Office Freiburg in Freiburg im Breisgau with Wilhelm Gerstel, from 1951 to 1952 he was a student of Fritz Nuss. Since 1952 Martin works as a freelance sculptor in Tuttlingen. Among his students is Jörg Bach...

Materials : Multimedia Date : 2016 Dimensions : 8″ x 6″ Anna Minnick's work explores the struggles of identity and mental illness. She hopes her work forms a dialog about these issu...

Title : Smug Materials : Stamp,xerox transfer,pastel,ink Date : 2015 Dimensions : 8×9″ COA provided Art school took Olivia Gibb away from Oklahoma and up to Kansas City, which she h...

Title : Wink Materials : Stamp,xerox transfer,pencil,ink Date : 2015 Dimensions : 8×9″ COA provided Art school took Olivia Gibb away from Oklahoma and up to Kansas City, which she’s...

Materials : Multimedia Date : 2016 Dimensions : 6″ x 2″ x 8″ Anna Minnick's work explores the struggles of identity and mental illness. She hopes her work forms a dialog about these...

THIS PIECE IS MADE TO ORDER. LEAD TIME MAY VARY DEPENDING ON THE ARTIST'S AVAILABILITY. PLEASE INQUIRE. CUSTOMIZATION SUCH ADDING PATTERNS, LETTERS, NAMES, ETC. IS POSSIBLE. Hand Bu...

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...

Alexandra LeVasseur was born in Quebec in 1982. She holds a BA in Fine Arts from University of Costa Rica (2006), a post-graduate in Illustration/Communication from EINA in Barcelona...

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...

Contemporary Figurative Oil Painting with Heavy Texture, 46 x 40 in, Victor Wang “My path through life has been adventurous, exciting, and dream-like. My experience of settling into...

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...

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...

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...

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...

LEONOR FINI Hatted Cats 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

“Green Bayou” is one in a series of works that was inspired by the satellite imagery of Google Earth near the Mississippi river Delta area. When looking at that site, different...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

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