Pasadena - More Art

This elegantly framed artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. A vision of delicacy and refinement, Cherries in a Saucer...

Frank Stella The Whale Watch Shawl (signed in indelible black marker), held in red silk presentation box; also with embossed COA hand signed by both Frank Stella and Kenneth Tyler, 1...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. This elegantly framed artwork transforms an everyday moment in...

A rich and evocative composition, Autumn Still Life encapsulates the quiet beauty of the changing seasons. A crisp red apple and a golden quince rest on a weathered blue wooden surface, their presence made all the more poetic by a single fallen leaf. The contrasting colors—a vibrant red, a muted green, and the warm yellows of decay—speak to the passage of time and the beauty of nature’s cycles. Titorenkov’s handling of texture is remarkable; the polished skin of the apple gleams with reflected light, while the rougher, imperfect surface of the quince tells a different story, one of rustic charm and natural imperfection. The worn wooden surface, marked by time, adds another layer of history to the scene, while the curled leaf suggests the quiet rustle of an autumn breeze. This painting is not merely an arrangement of objects—it is a meditation on impermanence, on the fleeting nature of ripeness and change. Autumn Still Life invites the viewer to reflect on time’s passage, to embrace both the vibrancy of the present and the nostalgia of the past. This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Artist bio: Born in 1963 in Kotel, Bulgaria, Alexander Titorenkov...

Very fine late 19th Century depiction of grape cluster pyrography (wood burning), C. 1900, double-sided. Perfect gift for wine enthusiast. Unsigned. Primitive still life on verso. Un...

IBRAM LASSAW (Russian-American, 1913-2003), Sculptural pendant Gold plated bronze Signed verso Measurements: 2-7/8''h, 2-1/4''w. Ibram Lassaw was born in Alexandria, Egypt, of Russian Jewish émigré parents. After briefly living in Marseille, France, Naples, Italy Tunis, Malta, and Constantinople, Turkey his family settled in Brooklyn, New York, in 1921.His family settled in Brooklyn, New York. He became a US citizen in 1928. Ibram Lassaw, one of America's first abstract sculptors, was best known for his open-space welded sculptures of bronze, silver, copper and steel. Drawing from Surrealism, Constructivism, and Cubism, Lassaw pioneered an innovative welding technique that allowed him to create dynamic, intricate, and expressive works in three dimensions. As a result, he was a key force in shaping New York School sculpture.He first studied sculpture in 1926 at the Clay Club and later at the Beaux-Arts Institute of Design in New York. He made abstract paintings and drawings influenced by Kandinsky, Sophie Taeuber Arp, and other artists. He also attended the City College of New York. Lassaw’s encounter with avant-garde art in the International Exhibition of Modern Art (1926), organized by the Société Anonyme at the Brooklyn Museum, made a powerful impression on him. In the early 1930s he explored new materials and notions of open-space sculpture. The ideas of László Moholy-Nagy and Buckminster Fuller were important to him, and he knew the work of Julio González, Pablo Picasso, and the Russian Constructivists. After experimenting with plaster, rubber and wire, Lassaw began working with steel, which became a frequent medium for the artist, along with other metals. His work reflects the influence of Surrealist artists such as Alberto Giacometti and Joan Miro as well as American Modernist Alexander Calder.A pioneer of abstract sculpture in the United States, in 1936 Lassaw was a founding member of the organization American Abstract Artists. Between 1933 and 1942 he worked for various federal arts projects: the Public Works of Art Project, Civil Works Authority, and WPA, the Works Progress Administration Federal Art Project. In 1938 he produced his first welded work. He served with the U.S. Army, where he learned direct welding techniques. During the 1940s he experimented with cage constructions and with acrylic plastics, adding color to his sculptures by applying dye directly to their surfaces. In 1949 Lassaw was a founder of the Club, an informal discussion group of avant-garde artists that had developed from gatherings at his studio, on Eighth Street. During the mid-1930s, Lassaw worked briefly for the Public Works of Art Project cleaning sculptural monuments around New York City. He subsequently joined the WPA as a teacher and sculptor until he was drafted into the army in 1942. Lassaw's contribution to the advancement of sculptural abstraction went beyond mere formal innovation; his promotion of modernist styles during the 1930s did much to insure the growth of abstract art in the United States. He was one of the founding members of the American Abstract Artists group, and served as president of the American Abstract Artists organization from 1946 to 1949. In 1951, Samuel Kootz invited Lassaw to join his gallery in New York. He also had a summer gallery in Provincetown, MA. Lassaw had been summering in Provincetown since 1944, and in 1951 rented an apartment next door to the Kootz Gallery. Among the artists in the Kootz Gallery were Jean Arp, William Baziotes, Georges Braque, Jean Dubuffet, Herbert Ferber, Arshile Gorky, Adolph Gottlieb, David Hare, Hans Hofmann, Fernand Leger, Georges Mathieu, Joan Miró, Robert Motherwell, Pablo Picasso, Pierre Soulages, and Maurice de Vlaminck. Lassaw is a sculptor who was a part of the New York School of Abstract expressionism during the 1940s and 1950s. Jackson Pollock, Lee Krasner, James Brooks, Willem de Kooning, and several other artists like Lassaw spent summers on the Southern Shore of Long Island. Lassaw spent summers on Long Island from 1955 until he moved there permanently in 1963. SELECT EXHIBITIONS 1961 International Exhibition of Modern Jewelry 1890–1961, organized by the Worshipful Company of Goldsmiths in association with the Victoria and Albert Museum, London 1967 Exhibition of Jewelry by Painters and Sculptors, organized for circulation by MoMA 1973 Jewelry...

Sam Francis Suite of Four Limited Edition Ceramic Plates, ca. 2000 Set of four (4) limited edition ceramic plates in original museum box Edition of 2000 7 × 7 inches Unframed Note: M...

A still life filled with whimsy and contrast, Composition with Cherries and Dice is a playful yet sophisticated exploration of balance and harmony. The delicate porcelain cup, adorned with golden accents, holds a single cherry—an unexpected, almost surreal placement that immediately draws the eye. A blue-rimmed saucer brims with more cherries, their glossy surfaces rich in warm reds, while a lone cherry rests precariously at the edge, as if caught between stillness and motion. Titorenkov’s use of light transforms the objects into something almost sculptural—the porcelain gleams with cool reflections, while the cherries appear soft and sumptuous in contrast. The inclusion of a red die in the corner adds an element of intrigue, a playful disruption to the classic still life arrangement. Its presence hints at chance, at unpredictability, and perhaps, at the fleeting nature of life’s sweetest moments. This painting is a masterful fusion of classical still life and contemporary wit. Composition with Cherries and Dice invites the viewer to engage with its unexpected elements, to savor its delicate beauty, and to contemplate the hidden narratives within the arrangement. This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Artist bio: Born in 1963 in Kotel, Bulgaria, Alexander Titorenkov...

A nice abstract oil painting by American artist Donald Hugo Stoltenberg (1927-2016). Stoltenberg was born in Milwaukee, WI, attended public grade school in Chicago, and High School i...