Missouri - Color Photography

Jason Dailey Yellow Rope Barn Archival Pigment Print Year: 2024 Visible Size: 9.5 x 9.5 inches Framed: 12.875 x 12.875 inches Signed: On Label COA provided *White frame with standar...

Christo and Jeanne-Claude Wrapped Reichstag (I) (German Parliament, Blue Sky) Color Photograph on Archival Paper Year: 1995 Size: 11.81 x 15.74 inches (30 x 40 cm) Photographer: Wolf...

Jeff Burk Construction on Main Street Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed i...

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

Jason Dailey Red Grain Bins Archival Pigment Print Year: 2024 Visible Size: 9.5 x 9.5 inches Framed: 12.875 x 12.875 inches Signed: On Label COA provided *White frame with standard ...

Shirley Harryman Floating Over Missouri Archival Pigment Print Year: 2024 Visible Size: 12 x 12 inches Framed: 22.25 x 21.25 x 1.25 inches Signed: On Label COA provided *Black galle...

Shirley Harryman Tiger Swallowtail Archival Pigment Print Year: 2024 Visible Size: 12 x 12 inches Framed: 22.25 x 21.25 x 1.25 inches Signed: On Label COA provided *Black gallery f...

Paul and Linda McCartney, 1971 Henry Diltz (American, b. 1938) Photo Print Laid to Foamcore Board 17 x 11 inches (image) 20 x 16 inches (overall) Hand-signed Lower Right Titled and D...

Bert Stern Here's To You, Marilyn Monroe, 1962, 1978 Photograph Framed Dimensions: 33.25 x 32.25 inches (84.5 x 81.9 cm) Artwork: 20.5 x 19.25 inches (52.1 x 48.9 cm) Edition of 250

Cornell Capa Marilyn Monroe on the set of 'The Misfits', 1960 Gelatin silver print Framed Dimensions: 16.5 x 20.25 inches (41.9 x 51.4 cm) Image Dimensions: 12.25 x 8.25 inches (31...

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

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 ...

Jaquelin Carioscia Golden Maze II Archival Pigment Print Year: 2024 Visible Size: 11.5 x 17.5 inches Framed: 15 x 21 x 0.75 inches Signed: On Label COA provided *Ready to hang; fram...

Deanna Dikeman Donna in her Garden Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a...

Jaquelin Carioscia Golden Maze III Archival Pigment Print Year: 2024 Visible Size: 11.5 x 17.5 inches Framed: 15 x 21 x 0.75 inches Signed: On Label COA provided *Ready to hang; fra...

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...

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...

Anna Archinger Marwaris, The Sentinel (Equestrian Photography, Horse, Marwari, India, Rare Breed) Archival Pigment Print on Canson® Infinity Pla...

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

Jolynne Martinez Bee Pollinating Cutleaf Coneflower Archival Pigment Print Year: 2024 Visible Size: 7.5 x 11.25 inches Framed: 14 x 18 x 1 inches Signed: On Label COA provided *Read...

Claus Goedicke (German) Kitchen Rag (Some Things Series) Archival Pigment Print on Hahnemühle Photo Rag Year: 2013 Size: 23.38 x 16.53 on 24.4 x 17.32 inches (59.4 x 42 on 62 x 44 cm...

Kevin Vivers Devotion Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal blac...

Beverly Ahern Then There Were Four Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a...

Angie Jennings Bri, Postal Carrier Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a...

Vicki Stewart Tyrion Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal black...

Keith Barnhart Back Alley Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal ...

Don Porter Kaw Point Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal black ...

Kirk Decker Kim Loves Color Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minima...

Richard Klopfenstine Library Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minim...

Shirley Harryman Morning Light Archival Pigment Print Year: 2024 Visible Size: 12 x 12 inches Framed: 22.25 x 21.25 x 1.25 inches Signed: On Label COA provided *Black gallery frame ...

Angie Jennings Burger Me Archival Pigment Print Year: 2024 Visible Size: 10 x 15.125 inches Framed: 14 x 19.75 inches Signed: On Label COA provided *Black frame with standard plex ...

Jolynne Martinez Leaves Archival Pigment Print Year: 2024 Visible Size: 11 x 17 inches Framed: 15.25 x 21.25 x 1 inches Signed: On Label COA provided *Ready to hang; matted and fram...

Deanna Dikeman Kitchen Window Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a mini...

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...

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 ...

Jeffrey Tamblyn Traffic Court Archival Pigment Print on Hahnemuehle Baryta Rag Year: 2021 Size: 9x16 inches Edition: 25 Signed, dated and numbered by hand on label COA provided Ref.:...

Jarrett Redd Alligator Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal bla...

Jason Dailey July 4th over Water Archival Pigment Print Year: 2024 Visible Size: 8 x 12 inches Framed: 13 x 17 inches Signed: On Label COA provided *Black frame with standard plex ...

Kay Tibbs Under the Skin Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Gary Hodson Slow – Children At Play 2024 Archival Pigment Print Visible Size: 13.75 x 10.25 inches Framed Size: 20.75 x 16.5 x 1.25 inches Edition: 25 Signed, titled and dated on lab...

Denita Benyshek Arkansas River, Sunset Archival Pigment Print Year: 2023 Visible Size: 7.5 x 10.25 inches Framed: 16.25 x 19 x 2 inches Signed: On Label COA provided *Framed and mat...

Gary Hodson Farmaceuticke Muzeum 2024 Archival Pigment Print Visible Size: 9.5 x 17 inches Framed Size: 17 x 21 x 1 inches Edition: 25 Signed, titled and dated on label COA provided ...

Jacia Phillips Bedazzled at Little Theater High Gloss Metal Print with Float Mount Hanger Year: 2024 Size: 16 x 20 x 1 inches Signed: On Label COA provided *Printed on metal with an...

Randy Hudson Sunday Morning Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minima...

Nick Vedros DC III Runway Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped COA provid...

Lord Fauntleroy Nash (Americana, Rusty, Classic Cruiser, Retro, Timeless) 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24 x 24 in...

Kelly Ludwig WABG Radio Archival Pigment Print Year: 2024 Visible Size: 11.5 x 15.5 inches Framed: 18 x 22 inches Signed: On Label COA provided *Black frame with standard plex Kel...

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 ...

Randy Hudson 39th Street Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Jason Tajchman Satchel Paige Stadium Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in...

Elise Gagliardi Easy Inn Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Unknown Artist Rust & Dust - Ford F3 Truck, 1948 Photographic Print (already matted) Year: Unknown 9.44 x 14.96 on 17.71 x 22.83 inches (24 x 38 cm on 45 x 58 cm) Unsigned as issued ...

Anne Clark Overland Park Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal b...

Paul Garcellano Wornall Ice Hut Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a mi...

Gary Hodson Sunday Morning Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal...

Connie Kendall Union Station Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minim...

Kalli Brelsford Downtown Views – Looking Up Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provide...

Jason Dailey West Bottoms Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal...

Unknown Artist Untitled Color Photograph on Kodak Paper Year: Unknown 11.81 x 7.82 inches (30 x 20 cm) Edition: 800 Signed by hand, verso Tags: #ColorPhotograph #KodakPaper #ArtPhot...

Erin Eggerman Betty Rae’s and the Streetcar Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and fr...