Stow Wengenroth

Stow Wengenroth, Lock House, Lambertville, New Jersey

1942

Edition of 80. Signed and numbered in pencil. Really, no one could draw on a lithographic stone like Stow Wengenroth. He drew many animals and birds...

World traveler that he was, Bendiner was clearly at home in Paris. He found everyone fascinating and has made this print a compendium of local characters and types. Nothing escapes h...

The world was Bendiner's oyster, but here he shows us a all we need in a small corner of Paris. It's charming and safe: the 'Flic et Bonne' (gendarme and nursemaid) are together, goi...

The Place St. Andre des Arts, on the Left Bank in Paris, would have been a natural environment for Bendiner. It was the Latin Quarter, just south of the Louvre and near everything im...

Mostly known linocuts that combine social subjects with a modernist figure-ground style, Jacobi proves that 'artists have hands.' By that my old boss Sylvan Cole meant that even if they have a preferred medium, like Jacobi with linocut, they could do just about anything. And here the artist has made a New Jersey subject shine. The Raritan Bridge of course goes over the Raritan River that flows from the inland mountains (well, hills) of New Jersey to the Raritan Bay and then into the Atlantic Ocean. It was stolen from the Lenape by the Dutch and fought over by the English. It's role in American Industrial History is the stuff of legends. With the addition of a canal it transported anthracite coal from Pennsylvania helping to make the this part of New Jersey into a financial powerhouse. Sadly industry also polluted the entire region but now there is on-going restoration. Of course the bridge is also known to riders of the New Jersey Coast Line and drivers on the Garden State Parkway -- both take travelers 'down the shore,' This twist of heavy industry...

With the blind stamp of California printer Lynton Kistler, at the lower left. An impression of this subject is in the National Gallery of Art, Washington, DC.

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Strix Flammea” (Barn Owl) by John Gould, from his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Barn Owl perched on a log its three baby owls to the left. Another adult owl in the background on the right, presumably a male, watches over his family. There are leaves on the right contributing to this pleasant landscape composition. This striking framed Gould...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Le Contis Sharp-tailed Bunting, Male", No. 98, Plate 488 from Audubon's "Birds of America, litho...

This is an original 19th century John James Audubon hand-colored lithograph entitled "4128 Audubon, Purple Gallinule, Adult Male, Spring Plumage", No. 61, Plate 303 from Audubon's "B...

This is an original John James Audubon hand-colored lithograph entitled "Golden Eagle", No. 3, Plate 12 from Audubon's "Birds of America, lithographed, printed and colored by JT Bowe...

This is an original 19th century 1st octavo edition John James Audubon hand-colored lithograph entitled "American Bittern, 1. Male 2. Female", No. 73, Plate 365 from Audubon's "Birds of America, lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts male and female American Bittern birds standing on the ground, each looking in opposite directions. There is high grass in the background. This original 1st octavo edition hand-colored Audubon American Bittern lithograph is in excellent condition, other than a few tiny spots, which appear most likely inclusions related to the paper manufacture. The sheet measures 6.5" high by 10.25" wide. The original text pages, 94-98, from Audubon's 19th century publication are included with the lithograph. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Cacatua Ophthalimica” (Blue-eyed Cockatoo) by John Gould, from the supplement to his "Birds of Australia", published in London between 1851 and 1869. The print depicts a large blue-eyed cockatoo perched on a branch, with its head turned to the left. The scene is enhanced with leaves and sky and clouds in the background. This striking framed Gould...