Howard Chandler Christy

The Grand Entrance

1909

William Andrew (Willy) Pogany was a native of Hungary and his first studies in Budapest and Paris were in engineering. Success in caricaturing led him to pursue and art career, first in London and then in America. His influences were the Oriental artists and illuminated books, and much of his career was devoted to book illustration. Among his many successes were The Rubaiyat, The Kasidah, The Children’s Book of Northern Myths, The Witch’s Kitchen, The Frenzied Prince, Sonnets from the Portuguese, Fairy Flowers, Forty-Four Turkish Fairy Tales, Tales of the Persian Genii, A Treasury of Verse for Little Children, Stories to Tell the Littlest Ones, Hungarian Fairy Book...

Approximate Date: November 1902 Medium: Pencil on Paper Laid on Board Signature: Signed Lower Left Sight Size 19.125" x 14.75", Framed 27.00" x 22.75" The Century Magazine...

Medium: Oil on Pencil on Paper Sight Size 22.00" x 17.50;" Framed 30.00" x 25.50" Signature: Unsigned Study for Cover of Saturday Evening Post Magazine, December 18, 1937 Exhibitio...

Date: 1944 Medium: Oil and Graphite on Paperboard Sight Size 14.00" x 11.00", Framed 22.00" x 19.00" Study for cover of The Saturday Evening Post, May 27, 1944 Norman Rockwell disc...

Three young children bobbing for apples. Jessie Wilcox Smith never married, but throughout her long career, specialized in drawing a...

The Peg Legged Man Arthur Burdett Frost was our best illustrator of rural America. He usually treated his characters with humor, and in his drawings there was a directness and honesty which showed his sympathetic understanding of his subjects. His sound draughtsmanship was combined with an intimate knowledge of nature. The details in his pictures are always very specific, as though drawn on the spot, and so artfully chosen and placed as to carry out the picture’s idea in a natural and entirely convincing manner. He may be best remembered now, however, for his charming illustrations for the Uncle Remus...

Artist: Jacques Lipchitz (1891-1973, French) Title: Prometheus & the Vulture Medium: Gouache & Pencil on Paper Movement: Modern, Cubist Year of Work: Circa 1938 Signature: Top Left ...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

'Towards Le Scathe Cove'. Contemporary mixed media landscape painting, Cornwall Original Artwork, Unframed _________________ January morning, heavy swell and a strong southwester, rain imminent, sheltering beneath lichen furred granite outcrops. A plein air painting from the series 'Holan ha Dor' (Meaning 'Salt and Earth in Cornish). West Cornwall is a harshly beautiful peninsula, jutting out into the wild tireless ocean, shaped and moulded by powerful salt laden Atlantic winds, and criss-crossed by ancient, tangled hedgerows. Drawn to the immediacy of moments, underpinned by enduring narratives, Sophia's fluid expressive paintings explores the flux and balance in the nature of all things: The freedom of the air and solidity of the soil; Of anchored stone and rhythmic water; Of human narratives written in the wild landscapes; In the sensual interplay of light and shadow. They capture an essence of the equilibrium between wild raw energy and serene stillness; chaos and harmony; and the enduring and the effervescent. Mixed media on watercolour paper Signed and inscribed Unframed 23 x 30cm / 9 x 12 inches __________________________ About The Artist Sophia Milligan is a contemporary multidisciplinary artist, exploring discourses on permanence & evanescence; the eternal, cyclical absolutes of birth & death; motherhood & childhood; and ancient immutable connections. With resonating ripples of intuition and instinct Sophia illuminates the presence of the ordinary, creating moments of sublime present. 'Born among the wild cliffs and tempestuous seas of west Cornwall, I grew with the intimate details in the twisting lanes and the intense changing light throughout the turbulent seasons. I formed a primordial connection with a deep instinctual sense of being part of the natural narrative, and wherever in the world I may be, this connectivity underpins my practice. Like the wind sculpted hawthorns and sensual coves of weather worn granite, I have been shaped by the powerful energy entwined in this ancient raw environment.’ ‘We are the stories of the journeys that came before. I weave into my work the tales of transitory circumstance; of struggle and survival; of forms and textures holding records of evolutionary millennia. I paint, I draw: with marks, mixtures, photography, words; the raw earth; the restless oceans; the whispered breeze. I work with time, and the immeasurable spaces of experience within, giving subtleties of existence a pause for contemplation. There is beauty in such poignant breaths. All moments are significant, every pebble of now forms the vast mountain of yesterday, and the great realm of tomorrow's possibilities'. Sophia has a 1st class honours Bachelor of Arts Degree in Visual Arts and World History, and a Masters Degree in Contemporary Visual Arts. Her work is held in prestigious international private collections, and exhibitions of her interactive, immersive installation, photography and mixed media works include 'Tabula Rasa', London; 'Superlative', Plymouth; 'Transition', Newlyn; The Eden Project, Cornwall; The European Parliament, Brussels; Kew Gardens, London; and 'The Cameraless Film Festival', Chicago...

'Gratitude and Grace (Worn out Blue Jeans and Hydrangeas in September)' Original Artwork, Unframed _____________________ Early Autumnal nostalgia, hazy light on pillows of fading hy...

Last year I focused on botanicals. How can I make a flower even more compelling than it already is? It held my attention and I’ll likely come back to it again. Now, in my love for ‘t...