by Mersad Berber (1940-2012)
Combined Techniques
1999
42.5 x 55cm
by Mersad Berber (1940-2012)
Combined Techniques
1999
40 x 53cm
by Mersad Berber (1940-2012)
Combined Techniques
1999
48 x 52cm
by Mersad Berber (1940-2012)
Combined Techniques
1999
45 x 66cm
by Mersad Berber (1940-2012)
Mixed Media on Paper
1998
49 x 68cm
by Mersad Berber (1940-2012)
Giclée
61 x 76cm
by Mersad Berber (1940-2012)
Combined Techniques
1999
50 x 70cm
by Mersad Berber (1940-2012)
Combined Techniques
2000
50 x 70cm
by Mersad Berber (1940-2012)
Combined Techniques
2002
65.5 x 46cm
by Mersad Berber (1940-2012)
Lithography/Silkscreen
2004
44 x 68cm
by Mersad Berber (1940-2012)
Silk Screen
2001
69 x 50cm
by Mersad Berber (1940-2012)
Combined Techniques
1999
48 x 67cm
by Mersad Berber (1940-2012)
Combined Techniques
1996
96 x 60.5cm
by Mersad Berber (1940-2012)
Combined Techniques
2000
100 x 70cm
by Mersad Berber (1940-2012)
Combined Techniques
2000
100 x 70cm
by Mersad Berber (1940-2012)
Combined Techniques
2000
70 x 100cm
by Mersad Berber (1940-2012)
Combined Techniques
2000
100 x 70cm
Shepard Fairey Limited Print
Shepard Fairey Limited Print
"Gun Culture"
Jim Marshall captured what at first glance is regarded as an innocent child playing with a toy gun in Greenwich Village, New York, in 1963.
In many ways, I see this image as predicting the increase in gun violence that has taken place in the ensuing years in New York City as well as the rest of the country. Thirty-three thousand people per year lose their lives from guns, and I attribute this to an American gun culture that glorifies gun ownership and puts gun rights ahead of safety. Jim Marshall's image was ominous to begin with, but it was important to me that I use the American flag and gun violence articles in the art, to make the connection between an ingrained gun culture as part of the fabric of America and the resulting devastatingly high statistics of gun violence.
Shepard Fairey Limited Print
"Two Americas"
Jim Marshall's photograph of a coal mining family in Hazard, Kentucky, taken while he lived with them, says a lot with what it shows, which is a mother and two children huddled together in support of each other, but it says just as much with what it lacks. There is a conspicuous absence of material necessities and a father. I don't know whether the father was working in a coal mine when the photograph was taken or had potentially died young because of the health risks of working under dangerous conditions, but it is clear that the family is struggling and lacking.
In my illustration, I brought the figures of the family closer together to emphasize that love and support are essential to surviving hardship. My inclusion of news clippings about the perils and low wages of the coal mining industry are meant to illustrate the concept of 'Two Americas.' The America many of us like to believe in holds industrial power in high regard, but the less-talked-about America suffers from the low wages and health risks of that same industry.
Shepard Fairey Limited Print
Johnny Cash is one of my favorite musicians and also one of my favorite storytellers and social commentators. Cash felt compassion for the less fortunate, and I think his religious beliefs shaped his view that no human being is beyond redemption. He played live shows at San Quentin Prison and at Folsom Prison (where Jim Marshall shot the photograph that inspired my art piece) to do something kind for the inmates but also to draw attention to mass incarceration.
In this image, I wanted to capture Cash's iconic nature as well as the harsh exterior of Folsom Prison; Cash was fortunate enough to be standing outside rather than inside of this prison wall. Prisoners and prison rights are often looked over, and I felt it was important to incorporate news clippings and graphics relating to their difficulties and raise awareness. The United States has the highest incarceration rate on the planet, with almost 25 percent of the world's total prison population.
Shepard Fairey Limited Print
Johnny Cash, photographed in 1969 by Jim Marshall Photography. Limited-Edition Print.
Gerald Johnson Original
Found in Lighthouse
By Thom “Tex” Wheeler.
7"x2"
By Thom “Tex” Wheeler.
7"x2"
By Thom “Tex” Wheeler.
acrylic on canvas 40"x30"
By Thom “Tex” Wheeler.
acrylic on canvas 30"x40"
By Thom “Tex” Wheeler.
acrylic on canvas 30"x40"
By Thom “Tex” Wheeler.
metal sculpture with turquoise 20"x15"
By Thom “Tex” Wheeler.
acrylic on canvas 36"x36"
This checkered house with red Italian Spruce and happy clouds in a blue sky, uses color to depict the warmth and happiness of home.
By Thom "Tex" Wheeler.
Indian pony and colt racing into the sunset, hooves, manes and feathers flying. This painting to me expresses the power and speed of the western pony.
By Thom "Tex" Wheeler.
My appaloosa stallion is racing across the cactus studded western prairie, feathers flying under a lightning stroked ,cloud filled sky. The images on this sculpture capture my dream of the vast, beautiful and wild Southwest. There is the turtle of life, war feathers, tee pee, buffalo skull, snake dancer, flying arrows and my hand of peace that incorporate into many of my sculptures.
This sculpture is finished with marine spar varnish and can be displayed in a protected outdoor space.
hand painted from late 1800's
Copyright 1904 by Hayes Lithograph. CO., in original antique frame
By Susan Davis
signed print. unframed
framed: $700
Lithograph
framed original art
Found in Newport
Pastel on Paper
artist: Vladian Hogea
Czechoslovakian, 1936 -
Etching, in excellent condition
Image size: 38.5 x 30
Frame size: 43.5 x 35.5
Edition: size: 23/75
The faces and torso of two women - one looking at the viewer, the other in profile with ghost images are suspended in the grey washes of the inks.
Signature: lower center, dedicated in plate to Irene Gerling
Color photograph of Marilyn Monroe topless in red shorts and a red cowgirl hat. The photograph was taken by Laszlo Willinger c.1952 and reprinted later. Stamped "Silver Screen" on verso. 13 3/4 by 11 inches Found in Newport
30" x 74" framed, a garden of tulips in various colors, signature on verso, excellent condition
Paul McCartney photographed by Richard Avedon in a NASA Mercury Space Suit. It was photographed in April 1965 for Harper's Bazaar Magazine.
Avedon photographed for Harpers Bizarre then worked for Vogue for 20 years. He was the first staff photographer at The New Yorker.