Egevadluq Ragee

Sea Spirit

1965

This artwork titled "Indian Summer in Nantuckett" is an original offset lithograph on wove paper by American artist Jane Wooster Scott, born 1933. It is hand signed and numbered 681/750 in pencil by the artist. The image size is 27 x 20 inches, framed size is 39 x 32.25 inches. It is beautifully framed in a custom wood frame. It is in excellent condition. About the artist. Jane Wooster Scott grew up in the Philadelphia area and moved West following her dream to be a movie star. She quickly learned that goal was not for her, but became the host of a talk show where she interviewed movie stars. She photographs what she sees to recapture them later on canvas. However, few of her paintings are real, existing scenes. They are compositions drawn from her personal imagination. She has been exhibiting her work in Los Angeles and New York and most of her shows have completely sold out on opening night. In the "Guinness Book of Records" as one of the most reproduced artists in America, Jane Wooster Scott began copying work by folk artists such as Grandma Moses and gradually evolved into her own style. A turning point for her career was a joint showing at the Ankrum Gallery in Los Angeles with her comedian friend, Jonathan Winters. It was mostly a business crowd, and she sold 40 paintings in an hour. Her works hang in museums, in public buildings and private homes in Europe, Asia and South America as well as in the United States. She has become legendary for her exceptional scenes of America s celebrations and holidays, Among her collectors are Aaron Spelling, Sylvester Stallone, Charles Bronson, Kenny Rogers, Farah...

This artwork titled "Singing in the Bath, Tenakee Springs" 1996 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 1077/1100 in pencil by the artist. The image size is 13.5 x 10 inches, sheet size is 16 x 12.35 inches. It is in excellent condition, has never been framed. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...

This artwork titled "Steam Bath, Aniak" 1995 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 38/950 in pencil by the artist. The image size is 6.75 x 10 inches, sheet size is 10.5 x 14 inches. It is in excellent condition.. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...

This artwork titled "Feeding the Ravens" 1997 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 29/950 in pencil by the artist. The image size is 9.65 x 8.35 inches, sheet size is 13.85 x 12.25 inches. It is in excellent condition, has never been framed. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...

This artwork "Village en Hiver" c.1980 is an original color lithograph by French artist Madeleine (Mady) De La Giraudiere, 1922-2018. It is hand signed a...

Artist: Sadao Watanabe (1913-1996) Title: Christ Washing Feet of Disciples Year: 1970 Medium: Japanese Stencil Dyeing (kappazuri) with hand coloring Paper: washi paper Sheet Size: 27.75 x 23.25 inches Framed size: 34.75 x 30 inches Edition Size: 50; This one: 42/50 Signature: Brushed signature, date lower right, number lower left. This fine print is immediately recognizable as the work of Sadao Watanabe (1913-1996) It depicts Christ washing the feet of his disciples. The print and mat are in very good condition. It is floating; attached with three archival hinges to a mounting matboard in gray. It has a white mat. The framing is a simple white metal frame that is in good condition with some light scratches. Sadao Watanabe was born and raised in Tokyo. Watanabe was famous for his biblical prints rendered in the mingei (folk art) tradition of Japan. As a student of the master textile dye artist Serizawa Keisuke...

Jared Bernstein “Dumbbells” museum quality art print on canvas available in additional sizes upon request ed. 36 “Art is something that stimulates an individual's thoughts, emotions...

Jared Bernstein “Trust” museum quality art print on canvas available in additional sizes upon request ed. 36 “Art is something that stimulates an individual's thoughts, emotions, be...

Jared Bernstein “Trust” museum quality art print on canvas available in additional sizes upon request ed. 36 “Art is something that stimulates an individual's thoughts, emotions, be...

Born in 1940 in Shostka, Ukraine, Konstantin Bokov immigrated to New York City in 1974.Born the son of Viktor Bokov, the well known poet who perished in the Soviet gulag, Konstantin Bokov was an accordion player and sheep-herderbefore he became a self-taught artist and expelled dissident. When he appeared at the Morin-Miller Gallery in 1978 bearing a painting of a Tropicana juice carton, Carmen Morin brought it home. Jack Miller remembers his reaction: "We don't buy art, we sell it!" --- then their personal collection of Bokov's work grew to over a hundred pieces. Many paintings, sketches, collages and recycle assemblages were done, It's been said that Bokov’s canvases and recycled pieces offer an image of New York that is both a scathing critique and profession of love. This is especially evident in his pieces "Manhattan Madness (Road Repair)" and his Statue of Liberty series...

Born in 1940 in Shostka, Ukraine, Konstantin Bokov immigrated to New York City in 1974.Born the son of Viktor Bokov, the well known poet who perished in the Soviet gulag, Konstantin Bokov was an accordion player and sheep-herderbefore he became a self-taught artist and expelled dissident. When he appeared at the Morin-Miller Gallery in 1978 bearing a painting of a Tropicana juice carton, Carmen Morin brought it home. Jack Miller remembers his reaction: "We don't buy art, we sell it!" --- then their personal collection of Bokov's work grew to over a hundred pieces. Many paintings, sketches, collages and recycle assemblages were done, It's been said that Bokov’s canvases and collage recycled pieces offer an image of New York that is both a scathing critique and profession of love. This is especially evident in his pieces "Manhattan Madness (Road Repair)" and his Statue of Liberty series...

Óbuda was a city in Hungary that was merged with Buda and Pest on 17 November 1873; it now forms part of District III-Obuda-Békásmegyer of Budapest. The name means Old Buda in Hungar...