School pageants, trick-or-treaters, family Christmas parties, dance recitals in
fancy dress, boy bands of the 1960s, beach scenes, ice skating teenagers,
and a high school Homecoming king and queen:  Rosalind Letcher is a singular
painter of childhood joy. Animated by her warm chromatic palette and glossy
surfaces, Letcher has spent a lifetime immortalizing her memories of growing up
amidst a thriving community. 
With painterly her alchemy, Letcher is able to crystalize the fleeting emotions
that emanate from the rituals and rites of passage that many kids of the baby
boom generation experienced, growing up after World War II.  Her paintings are
often annotated on their backs, with specific dates and events that inspired each
work —not unlike a family scrapbook.  Yet with her deft painterly skills and
emotive renderings, these scenes are committed to posterity, representing a near-
utopic vision of growing up Black in America.  
From the mid-1970s onwards, Letcher forged a unique style of narrative
figuration that emerged parallel with artists like Faith Ringgold who similarly
merged civil rights activism, education, and the power of storytelling into the
substance of their art.  Letcher's work has prefigured the current generation of
contemporary American artists of color whose work similarly focuses on scenes of
Black Joy.  Derrick Adams, Mickalene Thomas, Amy Sherold, and Danielle
McKinney are great examples of living artists who have inherited Letcher’s DNA
through optimistic and visually gratifying explorations of everyday life. 
Rosalind Letcher was one of the key members of a vibrant group of Black artists
called the Eastville Artists Association based in Sag Harbor—a community drawn
together by their social ties rather than an aesthetic program. “Africa, the Orient,
European Expressionism, Cubism blend here — yet above all, American
individualism is foremost.”  The curator of Eastville Artists Association exhibition
at Guild Hall in 1979 made this astute proclamation in her introduction to a
groundbreaking show of Letcher and her peers' work.  Since receiving her
professional artistic training at NYU and City College, Letcher forged a singular
approach to figurative painting that draws upon her childhood memories.  
This exhibition at Keyes Art will be her first public exhibition in 20 years that will
foreground her recently rediscovered oeuvre.

Rosalind Marie Letcher (born, 1953, New York City, lives and works on Long
Island)
 
Rosalind Letcher was born to a prosperous, joyful middle-class family—her father
was a decorated Lieutenant with the Tuskegee Airmen 99th Fighter Squadron
during World War II.  Her mother, Evelyn Harrison, studied education at Ohio
State University where she met her future husband. Both Rosalind’s parents
become teachers. Letcher’s father's first cousin was Duke Ellington—hence music
and culture permeated her extended family life.
 
Her family moved to Washington DC where Letcher’s love for art began at an
early age.  Her father owned The Letcher Art Studio in Washington DC where
both her parents taught. This studio was known for teaching returning WW II
African American veterans and young adults commercial art, sign painting,
architectural drafting, as well as teaching children the beauty of art and
expression.  Letcher was a regular student at her father's studio. Her parents and
their school community were a decisive influence on her decision to become an
artist.  
 
In high school, Letcher spent a summer in Kenya in 1969 with a group of students
on a project to build a road and cabin for the Christian Council of Kenya.  This
trip left a lasting impression that was often seen in her artwork. Her love for
African Art and African culture originated from this formative experience. After
her graduation in 1971, the family moved to Sag Harbor Hills, New York to live
permanently in a summer home that had been built by her father. 
 
Letcher attended New York University and graduated in 1976 with a Bachelor of
Science in Fine Arts. During her time at NYU, Letcher was able to attend the Sir
John Cass School of Art to in London England on a grant to study Art History and
Studio Art. Letcher worked as an art teacher in the New York City area schools
after her undergraduate training. Simultaneous to teaching, she continued her
studies and received her Master of Fine Art from City College of New York in
1986.  
 
As a vital member of the Eastville Artists of East Hampton from the late 1970's,
Letcher’s work flourished amid this community of East End artists. During her
involvement in the Eastville Artists group, Letcher began to paint her signature
themes: the joyful world around her in Sag Harbor Hills, as well as scenes rooted
in her childhood memories. Her house, friends, families, pets, the Sag Harbor
beach and the community of African Americans on the far end of Long
Island provided her main tropes. Letcher’s spirituality permeated her work, and
she also created a number of self-portraits. 
Music was ever present in Letcher’s home and often a recurring theme in her art.

School pageants, trick-or-treaters, family Christmas parties, dance recitals in
fancy dress, boy bands of the 1960s, beach scenes, ice skating teenagers,
and a high school Homecoming king and queen:  Rosalind Letcher is a singular
painter of childhood joy. Animated by her warm chromatic palette and glossy
surfaces, Letcher has spent a lifetime immortalizing her memories of growing up
amidst a thriving community. 
With painterly her alchemy, Letcher is able to crystalize the fleeting emotions
that emanate from the rituals and rites of passage that many kids of the baby
boom generation experienced, growing up after World War II.  Her paintings are
often annotated on their backs, with specific dates and events that inspired each
work —not unlike a family scrapbook.  Yet with her deft painterly skills and
emotive renderings, these scenes are committed to posterity, representing a near-
utopic vision of growing up Black in America.  
From the mid-1970s onwards, Letcher forged a unique style of narrative
figuration that emerged parallel with artists like Faith Ringgold who similarly
merged civil rights activism, education, and the power of storytelling into the
substance of their art.  Letcher's work has prefigured the current generation of
contemporary American artists of color whose work similarly focuses on scenes of
Black Joy.  Derrick Adams, Mickalene Thomas, Amy Sherold, and Danielle
McKinney are great examples of living artists who have inherited Letcher’s DNA
through optimistic and visually gratifying explorations of everyday life. 
Rosalind Letcher was one of the key members of a vibrant group of Black artists
called the Eastville Artists Association based in Sag Harbor—a community drawn
together by their social ties rather than an aesthetic program. “Africa, the Orient,
European Expressionism, Cubism blend here — yet above all, American
individualism is foremost.”  The curator of Eastville Artists Association exhibition
at Guild Hall in 1979 made this astute proclamation in her introduction to a
groundbreaking show of Letcher and her peers' work.  Since receiving her
professional artistic training at NYU and City College, Letcher forged a singular
approach to figurative painting that draws upon her childhood memories.  
This exhibition at Keyes Art will be her first public exhibition in 20 years that will
foreground her recently rediscovered oeuvre.

Rosalind Marie Letcher (born, 1953, New York City, lives and works on Long
Island)
 
Rosalind Letcher was born to a prosperous, joyful middle-class family—her father
was a decorated Lieutenant with the Tuskegee Airmen 99th Fighter Squadron
during World War II.  Her mother, Evelyn Harrison, studied education at Ohio
State University where she met her future husband. Both Rosalind’s parents
become teachers. Letcher’s father's first cousin was Duke Ellington—hence music
and culture permeated her extended family life.
 
Her family moved to Washington DC where Letcher’s love for art began at an
early age.  Her father owned The Letcher Art Studio in Washington DC where
both her parents taught. This studio was known for teaching returning WW II
African American veterans and young adults commercial art, sign painting,
architectural drafting, as well as teaching children the beauty of art and
expression.  Letcher was a regular student at her father's studio. Her parents and
their school community were a decisive influence on her decision to become an
artist.  
 
In high school, Letcher spent a summer in Kenya in 1969 with a group of students
on a project to build a road and cabin for the Christian Council of Kenya.  This
trip left a lasting impression that was often seen in her artwork. Her love for
African Art and African culture originated from this formative experience. After
her graduation in 1971, the family moved to Sag Harbor Hills, New York to live
permanently in a summer home that had been built by her father. 
 
Letcher attended New York University and graduated in 1976 with a Bachelor of
Science in Fine Arts. During her time at NYU, Letcher was able to attend the Sir
John Cass School of Art to in London England on a grant to study Art History and
Studio Art. Letcher worked as an art teacher in the New York City area schools
after her undergraduate training. Simultaneous to teaching, she continued her
studies and received her Master of Fine Art from City College of New York in
1986.  
 
As a vital member of the Eastville Artists of East Hampton from the late 1970's,
Letcher’s work flourished amid this community of East End artists. During her
involvement in the Eastville Artists group, Letcher began to paint her signature
themes: the joyful world around her in Sag Harbor Hills, as well as scenes rooted
in her childhood memories. Her house, friends, families, pets, the Sag Harbor
beach and the community of African Americans on the far end of Long
Island provided her main tropes. Letcher’s spirituality permeated her work, and
she also created a number of self-portraits. 
Music was ever present in Letcher’s home and often a recurring theme in her art.

School pageants, trick-or-treaters, family Christmas parties, dance recitals in
fancy dress, boy bands of the 1960s, beach scenes, ice skating teenagers,
and a high school Homecoming king and queen:  Rosalind Letcher is a singular
painter of childhood joy. Animated by her warm chromatic palette and glossy
surfaces, Letcher has spent a lifetime immortalizing her memories of growing up
amidst a thriving community. 
With painterly her alchemy, Letcher is able to crystalize the fleeting emotions
that emanate from the rituals and rites of passage that many kids of the baby
boom generation experienced, growing up after World War II.  Her paintings are
often annotated on their backs, with specific dates and events that inspired each
work —not unlike a family scrapbook.  Yet with her deft painterly skills and
emotive renderings, these scenes are committed to posterity, representing a near-
utopic vision of growing up Black in America.  
From the mid-1970s onwards, Letcher forged a unique style of narrative
figuration that emerged parallel with artists like Faith Ringgold who similarly
merged civil rights activism, education, and the power of storytelling into the
substance of their art.  Letcher's work has prefigured the current generation of
contemporary American artists of color whose work similarly focuses on scenes of
Black Joy.  Derrick Adams, Mickalene Thomas, Amy Sherold, and Danielle
McKinney are great examples of living artists who have inherited Letcher’s DNA
through optimistic and visually gratifying explorations of everyday life. 
Rosalind Letcher was one of the key members of a vibrant group of Black artists
called the Eastville Artists Association based in Sag Harbor—a community drawn
together by their social ties rather than an aesthetic program. “Africa, the Orient,
European Expressionism, Cubism blend here — yet above all, American
individualism is foremost.”  The curator of Eastville Artists Association exhibition
at Guild Hall in 1979 made this astute proclamation in her introduction to a
groundbreaking show of Letcher and her peers' work.  Since receiving her
professional artistic training at NYU and City College, Letcher forged a singular
approach to figurative painting that draws upon her childhood memories.  
This exhibition at Keyes Art will be her first public exhibition in 20 years that will
foreground her recently rediscovered oeuvre.

Rosalind Marie Letcher (born, 1953, New York City, lives and works on Long
Island)
 
Rosalind Letcher was born to a prosperous, joyful middle-class family—her father
was a decorated Lieutenant with the Tuskegee Airmen 99th Fighter Squadron
during World War II.  Her mother, Evelyn Harrison, studied education at Ohio
State University where she met her future husband. Both Rosalind’s parents
become teachers. Letcher’s father's first cousin was Duke Ellington—hence music
and culture permeated her extended family life.
 
Her family moved to Washington DC where Letcher’s love for art began at an
early age.  Her father owned The Letcher Art Studio in Washington DC where
both her parents taught. This studio was known for teaching returning WW II
African American veterans and young adults commercial art, sign painting,
architectural drafting, as well as teaching children the beauty of art and
expression.  Letcher was a regular student at her father's studio. Her parents and
their school community were a decisive influence on her decision to become an
artist.  
 
In high school, Letcher spent a summer in Kenya in 1969 with a group of students
on a project to build a road and cabin for the Christian Council of Kenya.  This
trip left a lasting impression that was often seen in her artwork. Her love for
African Art and African culture originated from this formative experience. After
her graduation in 1971, the family moved to Sag Harbor Hills, New York to live
permanently in a summer home that had been built by her father. 
 
Letcher attended New York University and graduated in 1976 with a Bachelor of
Science in Fine Arts. During her time at NYU, Letcher was able to attend the Sir
John Cass School of Art to in London England on a grant to study Art History and
Studio Art. Letcher worked as an art teacher in the New York City area schools
after her undergraduate training. Simultaneous to teaching, she continued her
studies and received her Master of Fine Art from City College of New York in
1986.  
 
As a vital member of the Eastville Artists of East Hampton from the late 1970's,
Letcher’s work flourished amid this community of East End artists. During her
involvement in the Eastville Artists group, Letcher began to paint her signature
themes: the joyful world around her in Sag Harbor Hills, as well as scenes rooted
in her childhood memories. Her house, friends, families, pets, the Sag Harbor
beach and the community of African Americans on the far end of Long
Island provided her main tropes. Letcher’s spirituality permeated her work, and
she also created a number of self-portraits. 
Music was ever present in Letcher’s home and often a recurring theme in her art.

Quigley (not to be confused with WAX’s CEO and co-founder, William E. Quigley), born in Philadelphia in 1961, is famed for his unique ability to bring historic figures to life. Having sold out his first show in 1985 (right out of college) alongside the legendary icon Andy Warhol, Quigley has displayed his work in some of the most famous and prestigious art galleries in the world — including the Philadelphia Museum of Art, Art Basel, the Miro Foundation, MOCA LA, Manny Silverman Gallery, Karl Hutter Fine Art, Keyes Gallery, AB NY Gallery, and Art Chicago.

His works have been appraised for millions of dollars and are owned by superstar athletes, celebrities, and politicians. Some collectors have been supporting Quigley’s art for years - like oncologist Dr. Ken and son Karl Tokita, retired CEO of Cantor Fitzgerald Phil Marber, Henry S. McNeil, Giel and Diane Milner (owning over 35 works), Pete Francis, of the band Dispatch, Shaquille O’Neal, Yandex founder John and Johanna Boynton, philanthropist Gregory Brown, and owner of Electric Lady Studios Keith Stoltz (over 15 works). In 2015, entrepreneur Alexander Zweig purchased 13 works off Instagram in a single day through the introduction of collectors Senter Johnson and Brian Sullivan, who are now producing a documentary on the artist's illustrious career.

In 2013, Quigley’s unique take on his 2006 portrait of Donald Trump sold for $70,000 to President Trump and is now valued at more than $1.3 million. Another contemporary masterpiece, based on a 1973 Avengers Marvel comic book cover, was created for actor Robert Downy Jr. and was commissioned for $50,000 by fellow star Chris Evans (recently valued at just shy of $1 million). Currently, Quigley is painting a $100,000 commission of Jimi Hendrix for Electric Lady Studio in NYC.

In the Skrapper Legends NFT series, collectors will have the opportunity to receive one (1) of three (3) bold, animated renditions of the original, heart-warming photo. The cards are designed with Quigley’s contemporary flair, while staying true to the integrity of the original art.

Each pack contains a single (1) NFT collectible and retails for $100. All NFTs on the WAX platform are pre-minted, allowing collectors to open packs at their own pace.

All collectors are guaranteed equal odds of receiving a low mint, regardless of time opened. Once opened, NFTs can be kept safe in the WAX Cloud Wallet, traded with friends, or resold on the secondary marketplace.

“WAX is proud to partner with William Quigley to further celebrate and solidify Babe Ruth’s legacy,” said William E. Quigley, Co-Founder of WAX. “By immortalizing this unforgettable moment in sports history, it brings together three powerhouses that are so relevant to today — crypto, art, and sports for an unforgettable NFT experience.”

Quigley (not to be confused with WAX’s CEO and co-founder, William E. Quigley), born in Philadelphia in 1961, is famed for his unique ability to bring historic figures to life. Having sold out his first show in 1985 (right out of college) alongside the legendary icon Andy Warhol, Quigley has displayed his work in some of the most famous and prestigious art galleries in the world — including the Philadelphia Museum of Art, Art Basel, the Miro Foundation, MOCA LA, Manny Silverman Gallery, Karl Hutter Fine Art, Keyes Gallery, AB NY Gallery, and Art Chicago.

His works have been appraised for millions of dollars and are owned by superstar athletes, celebrities, and politicians. Some collectors have been supporting Quigley’s art for years - like oncologist Dr. Ken and son Karl Tokita, retired CEO of Cantor Fitzgerald Phil Marber, Henry S. McNeil, Giel and Diane Milner (owning over 35 works), Pete Francis, of the band Dispatch, Shaquille O’Neal, Yandex founder John and Johanna Boynton, philanthropist Gregory Brown, and owner of Electric Lady Studios Keith Stoltz (over 15 works). In 2015, entrepreneur Alexander Zweig purchased 13 works off Instagram in a single day through the introduction of collectors Senter Johnson and Brian Sullivan, who are now producing a documentary on the artist's illustrious career.

In 2013, Quigley’s unique take on his 2006 portrait of Donald Trump sold for $70,000 to President Trump and is now valued at more than $1.3 million. Another contemporary masterpiece, based on a 1973 Avengers Marvel comic book cover, was created for actor Robert Downy Jr. and was commissioned for $50,000 by fellow star Chris Evans (recently valued at just shy of $1 million). Currently, Quigley is painting a $100,000 commission of Jimi Hendrix for Electric Lady Studio in NYC.

In the Skrapper Legends NFT series, collectors will have the opportunity to receive one (1) of three (3) bold, animated renditions of the original, heart-warming photo. The cards are designed with Quigley’s contemporary flair, while staying true to the integrity of the original art.

Each pack contains a single (1) NFT collectible and retails for $100. All NFTs on the WAX platform are pre-minted, allowing collectors to open packs at their own pace.

All collectors are guaranteed equal odds of receiving a low mint, regardless of time opened. Once opened, NFTs can be kept safe in the WAX Cloud Wallet, traded with friends, or resold on the secondary marketplace.

“WAX is proud to partner with William Quigley to further celebrate and solidify Babe Ruth’s legacy,” said William E. Quigley, Co-Founder of WAX. “By immortalizing this unforgettable moment in sports history, it brings together three powerhouses that are so relevant to today — crypto, art, and sports for an unforgettable NFT experience.”

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Berd Vay’e is the brainchild of artisans Eduard (Eddie) Kurayev and Albert Akbashev. Inspired by their fascination for watchmaking, and the harmony in which watch components work together, they launched Berd Vay’e in 2014.They source thousands of vintage watches and watch components from around the globe with the final goal of the preserving their venerable history into objets d’arts. The name "Berd Vay’e" represents a culmination of syllables from the designer's names, an homage to their each of their personal passions for horology itself.

Julia Dogan's art is
a reflection of psychological processes
that happens in people's minds and souls
when we decided to become the best
version of ourself, to achieve our
goals and go to make our dreams come
true.
The way of growing could be very difficult and requires a lot of
energy and efforts, we need to have strong intention and
power to beat our inner demons that prevent us from
developing.
Artworks sending viewer to a breathtaking journey to his
hidden part of soul: everyone interprets each artwork in their
own unique way that bares their own state of mind, fears,
strength and weakness. It is the dialogue with your soul caused
by the artwork.
https://juliadogan.com

Julia Dogan's art is
a reflection of psychological processes
that happens in people's minds and souls
when we decided to become the best
version of ourself, to achieve our
goals and go to make our dreams come
true.
The way of growing could be very difficult and requires a lot of
energy and efforts, we need to have strong intention and
power to beat our inner demons that prevent us from
developing.
Artworks sending viewer to a breathtaking journey to his
hidden part of soul: everyone interprets each artwork in their
own unique way that bares their own state of mind, fears,
strength and weakness. It is the dialogue with your soul caused
by the artwork.
https://juliadogan.com

Julia Dogan's art is
a reflection of psychological processes
that happens in people's minds and souls
when we decided to become the best
version of ourself, to achieve our
goals and go to make our dreams come
true.
The way of growing could be very difficult and requires a lot of
energy and efforts, we need to have strong intention and
power to beat our inner demons that prevent us from
developing.
Artworks sending viewer to a breathtaking journey to his
hidden part of soul: everyone interprets each artwork in their
own unique way that bares their own state of mind, fears,
strength and weakness. It is the dialogue with your soul caused
by the artwork.
https://juliadogan.com

Julia Dogan's art is
a reflection of psychological processes
that happens in people's minds and souls
when we decided to become the best
version of ourself, to achieve our
goals and go to make our dreams come
true.
The way of growing could be very difficult and requires a lot of
energy and efforts, we need to have strong intention and
power to beat our inner demons that prevent us from
developing.
Artworks sending viewer to a breathtaking journey to his
hidden part of soul: everyone interprets each artwork in their
own unique way that bares their own state of mind, fears,
strength and weakness. It is the dialogue with your soul caused
by the artwork.
https://juliadogan.com

Julia Dogan's art is
a reflection of psychological processes
that happens in people's minds and souls
when we decided to become the best
version of ourself, to achieve our
goals and go to make our dreams come
true.
The way of growing could be very difficult and requires a lot of
energy and efforts, we need to have strong intention and
power to beat our inner demons that prevent us from
developing.
Artworks sending viewer to a breathtaking journey to his
hidden part of soul: everyone interprets each artwork in their
own unique way that bares their own state of mind, fears,
strength and weakness. It is the dialogue with your soul caused
by the artwork.
https://juliadogan.com

Julia Dogan's art is
a reflection of psychological processes
that happens in people's minds and souls
when we decided to become the best
version of ourself, to achieve our
goals and go to make our dreams come
true.
The way of growing could be very difficult and requires a lot of
energy and efforts, we need to have strong intention and
power to beat our inner demons that prevent us from
developing.
Artworks sending viewer to a breathtaking journey to his
hidden part of soul: everyone interprets each artwork in their
own unique way that bares their own state of mind, fears,
strength and weakness. It is the dialogue with your soul caused
by the artwork.
https://juliadogan.com

Art is an energy. Painting is a transmission of life.
Shimova once came to this conclusion when she was thinking about the purpose of art.
She was born in 1985. Her creative abilities woke up at the age of 5 and she began to paint all the time. Then she entered the art school where she studied academic painting in the style of Aivazovsky.
She also took extra lessons from the famous Moscow artist Satarov, whose artworks are in the Kremlin, to improve her painting technique.
In 2015 Shimova became an artist-restorer. Now she works in Miami and focuses on contemporary art.
Shimova twice participated in the Art Basel Week in Miami, Palm Beach Modern + Contemporary, Artexpo in Dallas. Also she is involved in NFT-projects. Not her works are in private collections of European and American art collectors.
https://shimovaart.com/

Art is an energy. Painting is a transmission of life.
Shimova once came to this conclusion when she was thinking about the purpose of art.
She was born in 1985. Her creative abilities woke up at the age of 5 and she began to paint all the time. Then she entered the art school where she studied academic painting in the style of Aivazovsky.
She also took extra lessons from the famous Moscow artist Satarov, whose artworks are in the Kremlin, to improve her painting technique.
In 2015 Shimova became an artist-restorer. Now she works in Miami and focuses on contemporary art.
Shimova twice participated in the Art Basel Week in Miami, Palm Beach Modern + Contemporary, Artexpo in Dallas. Also she is involved in NFT-projects. Not her works are in private collections of European and American art collectors.
https://shimovaart.com/

Art is an energy. Painting is a transmission of life.
Shimova once came to this conclusion when she was thinking about the purpose of art.
She was born in 1985. Her creative abilities woke up at the age of 5 and she began to paint all the time. Then she entered the art school where she studied academic painting in the style of Aivazovsky.
She also took extra lessons from the famous Moscow artist Satarov, whose artworks are in the Kremlin, to improve her painting technique.
In 2015 Shimova became an artist-restorer. Now she works in Miami and focuses on contemporary art.
Shimova twice participated in the Art Basel Week in Miami, Palm Beach Modern + Contemporary, Artexpo in Dallas. Also she is involved in NFT-projects. Not her works are in private collections of European and American art collectors.
https://shimovaart.com/

Art is an energy. Painting is a transmission of life.
Shimova once came to this conclusion when she was thinking about the purpose of art.
She was born in 1985. Her creative abilities woke up at the age of 5 and she began to paint all the time. Then she entered the art school where she studied academic painting in the style of Aivazovsky.
She also took extra lessons from the famous Moscow artist Satarov, whose artworks are in the Kremlin, to improve her painting technique.
In 2015 Shimova became an artist-restorer. Now she works in Miami and focuses on contemporary art.
Shimova twice participated in the Art Basel Week in Miami, Palm Beach Modern + Contemporary, Artexpo in Dallas. Also she is involved in NFT-projects. Not her works are in private collections of European and American art collectors.
https://shimovaart.com/