Missouri - Paintings

Artist : Kory Twaddle Title : Local Interest Cell Mitosis Library Materials : Acrylic, clothes pins, buttons, rubber bands, bread ties, paper book shelf label, and mixed media on fo...

Artist : Kory Twaddle Title : Jewelry Cell Mitosis Library Materials : Acrylic, bread ties, paper, postage stamps, silica gel, crushed red pepper, paper book shelf label, and mixed ...

Artist : Kory Twaddle Title : Japan Cell Mitosis Library Materials : Acrylic, stickers, paper clips, rubber bands, salt, ribbon, string, paper book shelf label, and mixed media on f...

Artist : Kory Twaddle Title : India Cell Mitosis Library Materials : Acrylic, bread ties, paper book shelf label, and mixed media on foam core Date : 2019 Dimensions : 38 x 24 x 3 i...

Artist : Kory Twaddle Title : Home Decor Cell Mitosis Library Materials : Acrylic, postage stamps, bobby pins, bread ties, paper book shelf label, and mixe...

Artist : Kory Twaddle Title : Graphic Design Cell Mitosis Library Materials : Acrylic, tape, paper book shelf label, and mixed media on foam core Date ...

Artist : Kory Twaddle Title : Antiques/Decorative Arts Cell Mitosis Library Materials : Acrylic, string, ribbon, stickers, rubber bands, paper book shelf label, and mixed media on f...

Artist : Kory Twaddle Title : Children Cell Mitosis Library Series Materials : Acrylic, string, paper book shelf label, and mixed media on foam core Date : 2019 Dimensions : 38 x 24...

Artist : Kory Twaddle Title : Britain Cell Mitosis Library Series Materials : Acrylic, buttons, string, rubber bands, paper book shelf label, and mixed media on foam core Date : 201...

Artist : Kory Twaddle Title : Art...How To Cell Mitosis Library Materials : Acrylic, hair ties, bread ties, postage stamps, paper book shelf label, and mixed media on foam core Date...

Artist : Kory Twaddle Title : Art Survey--Modern Cell Mitosis Library Materials : Acrylic, paper book shelf label, and mixed media on foam core Date : 2019 Dimensions : 38 x 24 x 3 ...

Artist : Kory Twaddle Title : Art Survey--Impressionism Cell Mitosis Library Materials : Acrylic, buttons, paper clips, paper book shelf label, and mixed media on foam core Date : 2...

Artist : Kory Twaddle Title : Alphabetical by Author Cell Mitosis Library Materials : Acrylic, paper book shelf label, and mixed media on foam core Date : 2019 Dimensions : 38 x 24 ...

Artist : Kory Twaddle Title : Alphabetical by Artist Cell Mitosis Library Materials : Acrylic, string, seeds, rubber bands, plastic knobs, and paper book shelf label on foam core Da...

Artist : Kory Twaddle Title : Third Floor Systems Materials : Acrylic, tempera, gouache, glitter, paint brushes, and mixed media on drawing pad cardboard back with spiral Date : 201...

Artist : Kory Twaddle Title : Second Floor Systems Materials : Acrylic, tempera, gouache, glitter, paint brushes, and mixed media on drawing pad cardboard back with spiral top Date ...

Artist : Kory Twaddle Title : Remnant Materials : Acrylic, tempera, gouache, confetti, glitter, and mixed media on canvas Date : 2019 Dimensions : 11 x 56 x 0.2 inches Kory Twaddle...

Artist : Kory Twaddle Title : Nerve Center Materials : Acrylic, gouache, postage stamps, and mixed media on paper Date : 2018 Dimensions : 24 x 36 x 0.3 inches Kory Twaddle is a Ka...

Artist : Kory Twaddle Title : Map from Home to Kaz's Gallery Materials : Oil, acrylic, charcoal, conté crayon, oil pastel, pastel, paper, marker, and mixed media on paper Date : 200...

Artist : Kory Twaddle Title : First Floor Systems Materials : Acrylic, tempera, gouache, paintbrushes, and mixed media on drawing paper pad back with spiral Date : 2018 Dimensions ...

Artist : Kory Twaddle Title : California Monoprint Materials : Tempera on paper Date : 2008 Dimensions : 36 x 24 x .1 in. Kory Twaddle is a Kansas City based artist and Research A...

Artist : Daniel Brennan Title: Pitcher and Apples Materials : Oil on Canvas Date : 1960's Dimensions : 37 x 37 in. In the late 1960's, Daniel Brennan h...

Title: Still Life with Chess Materials : Oil on Canvas Date : 1960's Dimensions : 42 1/2 x 31 in. In the late 1960's, Daniel Brennan had a day job loading boxcars for Railway Express. During nights, he would go to a coffee house (Lawrence Gallery and Coffee House, at 43rd and Main St., KCMO), to sit and draw before heading home to paint. The gallery owners, Anne and Sidney Lawrence...

Title: Homage to Mirandi, Hamada Cups Materials : Oil on Canvas Date : 1960's Dimensions : 32 x 47 in. In the late 1960's, Daniel Brennan had a day job...

Title: Portrait with Cigarette Materials : Oil on Canvas Date : 1960's Dimensions : 46 1/2 x 32 in. COA provided In the late 1960's, Daniel Brennan had a day job loading boxcars for Railway Express. During nights, he would go to a coffee house (Lawrence Gallery and Coffee House, at 43rd and Main St., KCMO), to sit and draw before heading home to paint. The gallery owners, Anne and Sidney Lawrence...

Title : Woman in a White Blosue Materials : Oil on Canvas Date : 1960s Dimensions : 29 1/2 x 23 in. In the late 1960's, Daniel Brennan had a day job lo...

Original Oil on Canvas Illustration for Hearst/Cosmopolitan Aug. 1925 "Land Where Men Forget the Past, The Coconut Pearl" Caption: " 'Anyone who's knocked ...

Artist : Kory Twaddle Title : Doorway Materials : Acrylic and sand medium on photographic advertisement board (cardboard) Date : 2018 Dimensions : 8 x 10 x...

Siegfried Reinhardt "Surreal Landscape and the Artist with his American Underslung and Rolls Roys" 1948/50 Oil on Panel Signed and Dated Twice Lower Right Panel Size: approx. 11 x 24 inches Framed Size: approx. 13.5 x 26.5 inches Siegfried Gerhard Reinhardt born July 31, 1925 in Eydkuhnen, Germany, died October 24, 1984 in St. Louis, Missouri was a prolific artist and teacher based for most of his career, 1955-1970 at Washington University in St. Louis, where he had taken his Bachelor of Arts degree in English Literature in 1950. He was also a prominent member of the St. Louis Artists Guild. He was the son of Otto Frederick and Minni (Kukat) Reinhardt, and emigrated with them in 1928 (naturalized in 1936). His best-known work is perhaps the series of murals he executed at Lambert International Airport illustrating the history of aviation. He was a pioneer in combining elements of realism and surrealism in a style known sometimes as superrealism. From 1949 to 1984 he worked with Emil Frei in the design and execution of stained glass windows, including the (1960) Easter Window in the Lutheran Church of the Resurrection, in Sunset Hills, Missouri, of which Reinhardt said: "The 'flame' symbolizes the Holy Spirit as it descended in tongues of fire over the heads of the disciples in the miracle of the upper room in the presence of the Lord Jesus...

Carl Iver Gilbert (1882-1959) "A Place in the Sun" Oil on Canvas Signed Image: 10 x 12 inches Framed Size: 15 x 18.5 inches Carl Ivar Gilbert was a...

Pierre Eugene Duteurtre (1911-1989) "La Lecture" c. 1960 Oil on Canvas Signed Canvas Size: 18 x 22 inches Framed Size: approx 26.5 x 30.5 inch...

Francois Gerome (b. 1895) "Marche aux Fleurs, L'Arc de Triomphe" c. 1950 Oil on Canvas Signed Lower Right, "F. Gerome L'Etoile a Paris" Canvas Size: 20 x 24 inches Framed Size: appr...

Francois Gerome (b. 1895) "Le Panier de Fleurs, L'Arc de Triomphe" c. 1950 Oil on Canvas Signed "F. Gerome" Lower Right Canvas Size: 20 x 24 inches Framed Size: approx. 26 1/2 x 30 ...

Antoine Blanchard "Boulevard de la Madeleine sous la Neige" Oil on Canvas Signed Canvas Size: 13 x 18 inches Framed Size: approx 18 x 23 inches Antoine Blanchard French (1910-1988)

Antoine Blanchard "Quai de Louvre" Oil on Canvas Signed Canvas Size: approx 13 x 18 Framed Size: approx. 22 x 26

Cecil Crosley Bell "Snow and Gray Sky with Rusty" c. 1950 Oil on Panel Signed Lower Right *Original Kraushaar Galleries, New York Label on Verso ** There is another landscape painti...

Cecil C. Bell "The Blind Peanut Vendor" 1958 Oil on Panel Signed; Titled & Dated Verso Panel Size: approx. 14 x 18 inches Framed Size: approx 21.25 x 25.25 inches Cecil Bell was b...

Francois Gerome "Champs Elysees" Oil on Canvas approx 12 x 8 inches approx. 21.5 x 18.5 framed FRANCOIS GEROME French, 1895 Francois Gerome was born i...

Francois Gerome "Rue de la Paix, Paris" c. 1940s Oil on Canvas approx. 10 x 8 inches approx 13 x 11 inches framed FRANCOIS GEROME French, 1895 Francois Gerome was born in Budapest ...

Francois Gerome "The White Dress" c. 1940s/50 Oil on Canvas approx. 10 x 8 inches approx. 16 x 13 inches framed FRANCOIS GEROME French, 1895 Francois Ger...

Edith Stone Philips (American 1900-1988) "Maelstrom" 1965 Oil on Canvas 30 x 40 inches Signed and Dated Lower Left EDITH STONE PHILIPS, 88 St. Louis Post-Dispatch (MO) - Sunday, Oc...

“Untitled” 2018-2019 Porcelain, Paper Clay Cone 6 Size: 32.5 in. x 48.75 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be s...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5in. x 5.5in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in.

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 5.5 in. x 5.5 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be se...

“Untitled” 2019 Porcelain Unfired Poplar Wood, Plex Size: 8 in. x 8 in. Danielle Weigandt explores the construct of events in time and their role in our lives. Time cannot be seen, ...

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...

William Quinn (American b. 1929) "The Boneheaded Cat Spies the Red Mouse Hole" Oil on Canvas approx 45 x 55 inches An artist who synthesized the element...

Antoine Blanchard (French, 1910-1988) "Along the Louvre" Oil on Canvas Signed Lower Right approx 18 x 22 inches (site) approx. 26.5 x 30 inches (framed) Notes on the Authentication of Antoine Blanchard’s Paintings: The vast majority of Blanchard’s paintings were smaller works, which were sent to the United States in tubes and stretched and framed by the galleries that sold them. Virtually all of these Blanchards were painted in European centimeter sizes, which convert to 13” x 18” or 18” x 21 1/2?, but on very rare occasions he painted much larger works in American sizes – such as 24” x 36” – on commission for dealers such as Howard Morseburg in Los Angeles or the dapper Wally Findlay, who had a chain of galleries. The first way to assess the authenticity of a Blanchard...