Herb Babcock

Herb Babcock "Glass Vase" Blown Glass White & Blue Background Red Splashes

1978

SALE ONE WEEK ONLY "Glass Fused Ceramic Vase" is vintage Mid-Century Modern. This handsome vase has an elongated neck with a white glass-fused inlay porti...

"Person on a Horse" is a concrete, glass and steel structure with horse in mid-stride looking up and forward. The person astride leans forward as in encouragement to the stead or in weariness of the journey, perhaps both. Leslie Hawk...

SALE ONE WEEK ONLY Douglas’s etched ceramic vase in a rich earthy green glaze expresses the Mid-Century Modern style of simplicity of lines, forms and color. Despite its formal shap...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 129, plate #236 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 92, plate #125 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

" Noon 2007" Portrait of Musician Ryan Bingham engraving by Kiki Smith of a young man looking directly at the viewer. His look is not one of challenge, but more of a questioning nature. It is numbered on verso 28/33, and dated 2007. Kiki Smith (1954 - ) is a West German-born American artist. Her work encompasses many themes: sex, birth, regeneration and death along with personal investigation of her life and those of her family. Her figurative work of the late 1980s and early 1990s confronted subjects such as AIDS and gender. Her recent works have depicted the human condition in relationship to nature. Smith lives and works in New York City and the Hudson Valley, New York State. Her father was sculpture artist, Tony Smith and her mother was actress and opera singer Jane Lawrence. Although Kiki's work takes a very different form than that of her parents, early exposure to her father's process of making geometric sculptures allowed her to experience formal craftsmanship firsthand. Smith was enrolled at Hartford Art School in Connecticut for eighteen months from 1974 to 1975, then moved to New York City in 1976 and joined Collaborative Projects (Colab), an artist collective. The influence of this radical group's use of unconventional materials can be in seen in her work. For a short time in 1984, she studied to be an emergency medical technician and sculpted body parts, and by 1990, she began to craft human figures. In addition to print making Kiki Smith has created in a number of different mediums such as film, sculpture, tapestries, books and the confines of commissions. She experimented in a wide range of printmaking processes. Some of her earliest print works were screen-printed dresses, scarves and shirts, often with images of body parts. In association with Colab, Smith printed an array of posters in the early 1980s containing political statements or announcing Colab events. In 1988 she created "All Souls”, a fifteen-foot screen-print work featuring repetitive images of a fetus, an image Smith found in a Japanese anatomy book...

Julia Mitchell Wool on Linen Tapestry, Boulders II Signed and dated JM 82 Julia Mitchell’s Biography Julia grew up in a family of artists, adopting tap...

Original hand made, hand woven wall hanging modern art tapestry. Manufactura de Tapecarias de Portalegre (Portugal) (TMP Fino) tapestries ar...

Wilhelm Hunt Diederich, 'Cossack Dancers', cut paper silhouette, c. 1920. Signed 'WHD' in pencil, lower left image. Black, wove, cut paper, laid on ...

Stripes Shipping price can change depending on location Artist Statement: Painting has been a powerful medium for expressing my emotions. Through my art, I am able to escape, dream,...

William Shields Jr., 1925-2010 "Brown, Blue Fusion" 1997 Mixed media, oil on panel 48"x48" artist framed Signed in pencil lower center William Stephens Shields, Jr., 1925 - 2010 He was born in san Francisco, in 1931, Bill moved to Texas, where he grew up. Moved to New York in 1940 and later joined the Naval Air Corps at the age of 18. He served as an Aviation Cadet in the U.S. Navy from 1943 to 1945. At the end of WWII, Bill returned to Texas. At 21, Bill re-focused his energy and enrolled in the Chicago Academy of Fine Art as an Illustration major. What followed was a whirlwind of success, great friendships and a sense of belonging he had never before experienced. Art was his calling and the art-world could not have been less prepared for the likes of Bill Shields. He took them by storm, first Houston, then San Francisco, followed by New York in the late 60's. For 35 years, Bill produced some of the country's best illustrations: fresh, playful, loose and innovative. His illustrations were coveted by such clients as Bantam Books, Time Life, MacMillan Publishing Co., and were awarded numerous gold medals by the Societies of Illustrators in New York, San Francisco and Los Angeles, and the Houston Artists Guild. Later, following inspirational trips to Mexico and France, Bill shifted his attention to the self-directed world of fine art. After years of sculpting, making assemblages, painting nudes and landscapes, he settled on the exploration of large abstract oil paintings. His paintings have been exhibited in galleries in San Francisco, Connecticut and New York. CV EDUCATION: Chicago Academy Of Fine Art San Antonio Art Institute MAJOR FIELDS OF PROFESSIONAL ENDEAVOR: Freelance graphic design and illustration Instructor of painting and illustration Landscape, figurative and abstract painting ART RELATED EMPLOYMENT: (Professor of Art) California College of Arts and Crafts, Oakland, CA Academy of Art College, San Francisco, CA San Francisco Art Institute San Jose State University AWARDS FOR ILLUSTRATION, Gold Medals: New York Society of Illustrators Los Angeles Society of Illustrators San Francisco Society of Illustrators Dallas-Fort Worth Art Director's Club Houston Artist's Guild BIBLIOGRAPHY: Feature articles in: American Artist, Communication Arts, Print, North Light. Architectural design featured in: Better Homes and Gardens, American Home, Sunset Magazine, Architectural Digest. ILLUSTRATION CLIENTS: Oil Companies: Champlin Oil Company, Mobil Oil Company, Continental Oil Company, Standard Oil Company, Humble Oil and Refining Company. Industrial: Hughes Tool Company, General Electric, United States Steel, Phelps Dodge, Sylvania Television, Texas Gulf Sulphur, Litton Industries, Houston Lighting and Power Company, International Business Machines. Institutional: National Aeronautics and Space Administration, United States Air Force, United States Department of the Interior, American Petroleum Institute, New York Stock Exchange, National Broadcasting Company, American Iron and Steel Institute, CBS Broadcasting Company, Vanguard Recording Company, Diners Club, Stanford Research Institute, Victoria Station, Neiman Marcus, Bank of America, Automobile Club of Southern California, Airlines: TWA, British West Indies Airlines, Pan American Airlines...

Jazz Players by Bill Hinz (1920-2009) Signature in Textile Bottom Left Unframed: 41.5" x 64" Framed: 42.5" x 64.75" Unique Piece made entirely out of a s...