Gallery of the Masters
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Straw Fields
By Joan Parker
Located in Missouri, MO
Joan Parker (20th C.)
"Straw Fields"
Oil on Canvas
Canvas Size: 10 x 20 inches
Framed Size: 21 x 31 inches
Joan Parker, is a Plein Air landscape painter and a native of California....
Category
21st Century and Contemporary American Impressionist Landscape Paintings
Materials
Oil, Canvas
The Home Place
By Joseph Orr
Located in Missouri, MO
Joseph Orr (b. 1949)
"The Home Place"
Acrylic on Canvas
Canvas Size: 9 x 12
Framed Size: approx 12 x 16
Joseph Orr, from Missouri, has been painting profes...
Category
2010s American Realist Landscape Paintings
Materials
Acrylic, Canvas
Banker's Dream
By Joseph Orr
Located in Missouri, MO
Joseph Orr (b. 1949, Missouri)
"Banker's Dream"
Acrylic on Canvas
Canvas: 9 x 12
Framed Size: approx 12 x 16
Joseph Orr, from Missouri, has been painting p...
Category
2010s American Realist Landscape Paintings
Materials
Acrylic, Canvas
The Grand Canyon
By Billyo O'Donnell
Located in Missouri, MO
Billyo O'Donnell (American, 20th C.)
"The Grand Canyon"
Oil on Panel
22 x 29 inches
32 x 38 inches framed
“For more than two decades I’ve been intrigued by the way a painting’s surf...
Category
21st Century and Contemporary American Impressionist Landscape Paintings
Materials
Panel, Oil
Red and Green Bubbles
By Victor Vasarely
Located in Missouri, MO
Victor Vasarely
"Red and Green Bubbles" c. 1970
Color Serigraph
Signed and Numbered Ed. 125
Framed Size: 34 x 29.5 inches
Image: approx 18 x 18 inches
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
Ferde
By Victor Vasarely
Located in Missouri, MO
Victor Vasarely
"Ferde" c. 1970
Serigraph
Signed and Numbered Ed. 250
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
Acoma Pueblo Pottery
By Acoma
Located in Missouri, MO
Acoma Pueblo Pottery c. Late 19th C.
Earthenware Clay
9.5 x 11 inches
Acoma Pueblo is the oldest continually inhabited community in the United St...
Category
Late 19th Century More Art
Materials
Earthenware
Mata Ortiz Black Pottery
By Griselda Camacho de Silveria
Located in Missouri, MO
Signed "Gris Camacho" on Bottom
This Mata Ortiz Black Pottery is a beautiful handmade jar created by Griselda & Juan Camacho. They are members of the Ca...
Category
Late 20th Century More Art
Materials
Clay
Maria Martinez San Ildefonso Pueblo Blackware Pottery
Located in Missouri, MO
Maria Martinez (Native American, 1887-1980)
San Ildefonso Pueblo
Blackware Pottery
approx 2 3/4 x 4
Signed "Maria Poveka" on Bottom
Maria Montoya Martin...
Category
Mid-20th Century More Art
Materials
Clay
Santa Clara Pueblo Pottery, Redware Pot
By Sharon Naranjo Garcia
Located in Missouri, MO
Sharon Naranjo Garcia (b. 1951)
Santa Clara Pottery
Red Earthenware Pot
approx. 8 x 8
Signed on the Bottom
Sharon Naranjo Garcia Santa Clara Peubl...
Category
Late 20th Century More Art
Materials
Clay
Pot with Red & Black Motif
By Griselda Camacho de Silveria
Located in Missouri, MO
Griselda Comacho de Silveria
"Pot with Red & Black Motif
Earthenware
4.5 x 6.5 inches
Signed on Bottom
Category
Late 20th Century More Art
Materials
Earthenware
Juan Tafoya San Ildefonso Native American Pottery
By Juan Tafoya
Located in Missouri, MO
Juan Tafoya (1949-2006) was a well-known San Ildefonso Pueblo potter who has been active since 1970. He passed away prematurely at age 57 years. Early on...
Category
1980s More Art
Materials
Clay
Historic San Ildefonso Pueblo Pottery
Located in Missouri, MO
San Ildefonso large pottery bowls are among the scarcest items made at the pueblo. One rarely sees them. Water jars or ollas are much more available.
Category
Late 19th Century Abstract Geometric More Art
Materials
Earthenware
Mountain Goat
By Jules Moigniez
Located in Missouri, MO
Jules Moigniez
"Mountain Goat"
Bronze
approx 11 x 9 x 4 inches
Signed
Jules Moigniez (1835-1894)
Jules Moigniez was born in Senlis sur L'Oise, France ...
Category
1870s Realist Figurative Sculptures
Materials
Bronze
Study Aim
By Carl Kauba
Located in Missouri, MO
Carl Kauba
"Study Aim" c. 1920
Bronze with Brown Patina
Signed
approx. 9.5 x 10 x 4
This Austrian sculptor was born in Vienna in 1865. His teachers were Karl Waschmann (1848-1905), known for his ivory sculptures and portrait plaquettes of contemporary celebrities, and Stefan Schwartz (1851-1924), who exhibited in Paris, including the Exposition Universelle of 1900 where he won a gold medal. Kauba's intricate bronzes, imported to the United States between 1895 and 1912, were cast at the Roman Bronze Works. Kauba was part of the nineteenth-century tradition of polychrome bronze sculpture. There were several types of patinas on a single statue: he could render the color of buckskin, variously tinted shirts, blankets, feathers, as well as beaded moccasins. Reportedly, Kauba came to America around 1886. Inspired by the Western tales of German author Karl May, he traveled to the West and made sketches and models. Critics, however, pointed out inaccuracies of costume and other details. For instance, the guns that his "mid-nineteenth-century" figures use are models produced after 1898. Apparently he did all of his works back in Vienna.
Besides the variety of color, Kauba's bronzes show a great range of textures and his style is highly naturalistic. The sculptor loved ornament, some of which he rendered with coiled wire for reins, rope and feathers in headdresses. He successfully rendered figures in motion and often executed compositions with more than one figure. Berman (1974) illustrates non-Western subjects by Kaula, such as the pendants Where? and There (ca. 1910), a seated Scottish couple, impressive in the expressions and the details on patterned fabrics of both sitters. Another genre piece is Buster Brown...
Category
Early 20th Century Realist Figurative Sculptures
Materials
Bronze
Going into Battle
By Carl Kauba
Located in Missouri, MO
Carl Kauba
"Going into Battle" c. 1920s
Bronze with Brown Patina
Signed
approx 10 x 10 x 4 (including wooden base)
This Austrian sculptor was born in Vienna in 1865. His teachers were Karl Waschmann (1848-1905), known for his ivory sculptures and portrait plaquettes of contemporary celebrities, and Stefan Schwartz (1851-1924), who exhibited in Paris, including the Exposition Universelle of 1900 where he won a gold medal. Kauba's intricate bronzes, imported to the United States between 1895 and 1912, were cast at the Roman Bronze Works. Kauba was part of the nineteenth-century tradition of polychrome bronze sculpture. There were several types of patinas on a single statue: he could render the color of buckskin, variously tinted shirts, blankets, feathers, as well as beaded moccasins. Reportedly, Kauba came to America around 1886. Inspired by the Western tales of German author Karl May, he traveled to the West and made sketches and models. Critics, however, pointed out inaccuracies of costume and other details. For instance, the guns that his "mid-nineteenth-century" figures use are models produced after 1898. Apparently he did all of his works back in Vienna.
Besides the variety of color, Kauba's bronzes show a great range of textures and his style is highly naturalistic. The sculptor loved ornament, some of which he rendered with coiled wire for reins, rope and feathers in headdresses. He successfully rendered figures in motion and often executed compositions with more than one figure. Berman (1974) illustrates non-Western subjects by Kaula, such as the pendants Where? and There (ca. 1910), a seated Scottish couple, impressive in the expressions and the details on patterned fabrics of both sitters. Another genre piece is Buster Brown...
Category
Early 20th Century Realist Figurative Sculptures
Materials
Bronze
Little Red Riding Hood Inkwell
By Antoine Bofill
Located in Missouri, MO
Antoine Bofill
"Little Red Riding Hood"
Bronze Inkwell
6H x 10W x 6D
Signed
Inscribed: 25 Septembre 1920
Antoine Bofill was born in Barcelona i...
Category
1920s Realist Figurative Sculptures
Materials
Bronze
Chien Braque (Tom)
By Pierre Jules Mêne
Located in Missouri, MO
Pierre Jules Mene
"Chien Braque" (Tom)
Bronze
approx. 5 x 9 x 4.25
Signed
PIERRE JULES MENE (1810-1879)
Pierre Jules Mene, (P. J. Mene), was born in Pa...
Category
1860s Realist Figurative Sculptures
Materials
Bronze
2 Seconds To Go
By Bob Scriver
Located in Missouri, MO
Bob Scriver (American 1914-1999)
"2 Seconds To Go" 1971
Bronze
approx. 24" H. x 12W
Signed and Titled on the Base
Ed. 18/35
sculptor who carried on the realist...
Category
1970s American Realist Figurative Sculptures
Materials
Bronze
The Hunter and Hound
By Pierre Jules Mêne
Located in Missouri, MO
Pierre-Jules Mene
"The Hunter and Hound" (Le Valet de Limier) 1879
Bronze
approx. 19 x 8 x 14 inches
Signed
PIERRE JULES MENE (1810-1879)
Pierre...
Category
1870s Realist Figurative Sculptures
Materials
Bronze
Two Golfers and a Caddy
By Frederick Conway
Located in Missouri, MO
Fred Conway
“Two Golfers and a Caddy” c. 1965
Pen, Ink & Watercolor on Paper
13 x 17 inches
Signed
A member of the faculty of the Washington University Art School from 1929 to 1970, Frederick Conway...
Category
1960s Abstract Abstract Drawings and Watercolors
Materials
Ink, Watercolor, Archival Paper, Pen
Native American in Canoe
By Carl Kauba
Located in Missouri, MO
Carl Kauba (1865-1922)
"Native American in Canoe"
Polychrome Bronze
Signed
approx 5.5 x 10 x 2.75 inches
This Austrian sculptor was born in Vienna in 1865. His teachers were Karl Waschmann (1848-1905), known for his ivory sculptures and portrait plaquettes of contemporary celebrities, and Stefan Schwartz (1851-1924), who exhibited in Paris, including the Exposition Universelle of 1900 where he won a gold medal. Kauba's intricate bronzes, imported to the United States between 1895 and 1912, were cast at the Roman Bronze Works. Kauba was part of the nineteenth-century tradition of polychrome bronze sculpture. There were several types of patinas on a single statue: he could render the color of buckskin, variously tinted shirts, blankets, feathers, as well as beaded moccasins. Reportedly, Kauba came to America around 1886. Inspired by the Western tales of German author Karl May, he traveled to the West and made sketches and models. Critics, however, pointed out inaccuracies of costume and other details. For instance, the guns that his "mid-nineteenth-century" figures use are models produced after 1898. Apparently he did all of his works back in Vienna.
Besides the variety of color, Kauba's bronzes show a great range of textures and his style is highly naturalistic. The sculptor loved ornament, some of which he rendered with coiled wire for reins, rope and feathers in headdresses. He successfully rendered figures in motion and often executed compositions with more than one figure. Berman (1974) illustrates non-Western subjects by Kaula, such as the pendants Where? and There (ca. 1910), a seated Scottish couple, impressive in the expressions and the details on patterned fabrics of both sitters. Another genre piece is Buster Brown...
Category
Early 20th Century Realist Figurative Sculptures
Materials
Bronze
Joies de Bretagne
By (after) Paul Gauguin
Located in Missouri, MO
Paul Gauguin (1848-1903)
Joies de Bretagne (Kornfeld 7 B)
zincograph, 1889, on simili Japon paper, from the second edition of circa 50 impressions, published by Ambroise Vollard afte...
Category
Early 1900s Fauvist Figurative Prints
Materials
Lithograph
Blue Profile with Pink Orb
By Peter Max
Located in Missouri, MO
Color Lithograph
Signed and Dated Lower Right
Numbered Lower Left 22/100
Image Size: approx. 23 x 29 inches
Framed Size: approx. 31 x 37.5 inches
Category
1970s Pop Art Figurative Prints
Materials
Lithograph
Hai-Ku Series
By Joan Miró
Located in Missouri, MO
Color Lithograph
Ed. 15/100
Signed and Numbered
Category
1960s Abstract Abstract Prints
Materials
Lithograph
Mother and Child In the Garden
By Gisella Loeffler
Located in Missouri, MO
Gisella Loeffler
"Mother and Child in the Gardenl" 1919
Gouache on Paper
Initialed Lower Right
Framed Size: approx 19 x 10 3/4 inches
In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos.
In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention.
Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.
In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s.
Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico.
Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images.
In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed.
In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.
Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...
Category
1910s Modern Figurative Drawings and Watercolors
Materials
Gouache
Three Girls
By Gisella Loeffler
Located in Missouri, MO
Gisella Loeffler
"Three Girlsl" c. 1919
Gouache on Paper
Initialed Lower Left
Framed Size: approx 19 x 13 inches
In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos.
In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention.
Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.
In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s.
Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico.
Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images.
In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed.
In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.
Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...
Category
1910s Modern Figurative Drawings and Watercolors
Materials
Gouache
The Necklace and the Pot
By Gisella Loeffler
Located in Missouri, MO
Gisella Loeffler
"The Necklace and the Pot" c. 1919
Gouache on Paper
Initialed Lower Left
Framed Size: approx 15 x 15 inches
In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos.
In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention.
Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.
In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s.
Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico.
Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images.
In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed.
In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.
Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...
Category
1910s Modern Figurative Drawings and Watercolors
Materials
Gouache
Going for a Stroll
By Gisella Loeffler
Located in Missouri, MO
Gisella Loeffler
"Going for a Stroll" c. 1919
Gouache on Paper
Initialed
Framed Size: approx 17 x 13 inches
In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos.
In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention.
Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.
In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s.
Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico.
Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images.
In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed.
In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.
Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...
Category
1910s Modern Figurative Drawings and Watercolors
Materials
Gouache
The Statue of Liberty in a Panorama of New York City in 1886
By John Stobart
Located in Missouri, MO
John Stobart
"The Statue of Liberty in a Panorama of New York City in 1886"
Color Lithograph
approx 32 x 43 inches framed
Signed in Pencil and Numbered 914/950
A marine painter of ...
Category
1970s American Realist Landscape Prints
Materials
Lithograph
St. Louis, Gateway to the West
By John Stobart
Located in Missouri, MO
John Stobart
"St. Louis, Gateway to the West"
Color Lithograph
30 x 42 inches framed
Signed in Pencil and Numbered 434/750
Category
1970s American Realist Landscape Prints
Materials
Lithograph
A View of St. Louis
By John Stobart
Located in Missouri, MO
John Stobart
"St. Louis, A View Through the Arches of the Eads Bridge" 1979
Color Lithograph
32.5 x 37.5 inches framed
Signed in Pencil and Numbered 221/75...
Category
1970s American Realist Landscape Prints
Materials
Lithograph
Lotus
By Angelo Savelli
Located in Missouri, MO
Angelo Savelli (1911-1995)
"Lotus" c. 1965
Collage and Lithograph
Signed, Titled and Numbered
Ed. 58/200
Framed Size: approx 26 x 21 inches
Image Size: approx. 23 x 19 inches
Octob...
Category
1960s Modern Abstract Prints
Materials
Lithograph
Zero Horizontal (Zero I)
By Peter Max
Located in Missouri, MO
Peter Max
"Zero Horizontal" (Zero I) 1973
Color Lithograph
Ed. 194/300
Signed and Numbered
Framed Size: approx. 32 x 25 inches
Print Size: approx 20 x 26 inches
Peter Max is a multi-dimensional artist focused on contemporary events. When he left art school in the 1960s he began producing, "cosmic imagery . . . that caught on right away, and before you knew it, I got an eight-page cover story in Life magazine." He explores all media, including mass media as a "canvas" for his creative expression.
His decorative designs are on a Boeing 777 Continental, Dale Earnhardt's #3 Millennium race car, U.S. postage stamps and 235 U.S. border murals. He created two 155-foot murals for the U.S. Pavilion at the Seville World's Fair in Spain, 12 postage stamps for the Earth Summit in Rio de Janeiro, Brazil, and a 600-foot stage mural for Woodstock 2. He has also painted for five U.S. presidents, as well as the Beatles, Aerosmith and the Rolling Stones.
After September 11th, 2001 Peter Max began a project by finishing 356 portraits of the firefighters that were lost in the attack. His portraits were then given to the victims' families. In addition, from a special request from President George W. Bush, he recently created another 356 portraits for a firefighters' memorial.
Peter Max has worked with oils, acrylics, water colors, finger paints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cells...
Category
1970s Pop Art Figurative Prints
Materials
Lithograph
Carriage Ride in the Park
By Constantin Ernest Adolphe Hyacinthe Guys
Located in Missouri, MO
Constantin Guys (1802-1892)
"Carriage Ride in the Park" c. 1860s
Ink and Wash on Paper
Original Labels Verso
Site Size: approx. 8 x 11.5 inches
Framed S...
Category
1860s Realist Figurative Drawings and Watercolors
Materials
Ink, Paper, Watercolor
The Encounter
By Ernest Trova
Located in Missouri, MO
Ernest Trova
"The Encounter" 1994
Chrome Plated Steel
Approx 24 x 26 x 24 inches
Edition 1/8
Known for his Falling Man series in abstract figural sculpture, he created hard-edge ima...
Category
1990s American Modern Figurative Sculptures
Materials
Stainless Steel
Ministry of Education, Mexico City (Workers' Meeting)
By (after) Diego Rivera
Located in Missouri, MO
after Diego Rivera
"Ministry of Education, Mexico City" (Workers' Meeting) 1933
from the portfolio "Frescoes of Diego Rivera"
Published by the Museum of Modern Art, NY
Signed by the artist lower center
Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...
Category
1930s Modern Figurative Prints
Materials
Lithograph
Chapel of the Agricultural School, Chapingo (Ceiling Detail, Workers)
By (after) Diego Rivera
Located in Missouri, MO
(after) Diego Rivera
"Chapel of the Agricultural School, Chapingo" (Ceiling Detail, Workers) 1933
from the portfolio "Frescoes of Diego Rivera"
Published by the Museum of Modern Art, NY
Size with the Matt: 18.5 x 13.5 inches
Hand-Signed by the Artist
Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...
Category
1930s Modern Figurative Prints
Materials
Lithograph
National Palace Mexico City, Persecution of the Indian, Revolution, Independence
By (after) Diego Rivera
Located in Missouri, MO
(after) Diego Rivera
"National Palace Mexico City, Central Stairway" (Persecution of the Indian, Revolution, Independence) 1933
from the portfolio "Frescoes of Diego Rivera"
Published by the Museum of Modern Art, NY
Hand-Signed by the Artist
Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...
Category
1930s Realist Figurative Prints
Materials
Lithograph
National Palace, Mexico City (Juarez and the Reform Laws)
By (after) Diego Rivera
Located in Missouri, MO
(after) Diego Rivera
"National Palace, Mexico City (Juarez and the Reform Laws) 1933
from the portfolio "Frescoes of Diego Rivera"
Published by the Museum of Modern Art, NY
Hand-Signed by the Artist
Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...
Category
1930s Modern Figurative Prints
Materials
Lithograph
Chapel, Agriculture School, Chapingo
By (after) Diego Rivera
Located in Missouri, MO
(after) Diego Rivera
"Chapel, Agriculture School, Chapingo" 1933
from the portfolio "Frescoes of Diego Rivera"
Published by the Museum of Modern Art, NY
Approx. 18.5 x 13.5 with Matting
Hand-Signed by the Artist
Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...
Category
1930s Modern Interior Prints
Materials
Lithograph
Chapel of the Agriculture School, Chapingo (Forces Under the Earth)
By (after) Diego Rivera
Located in Missouri, MO
(after) Diego Rivera
"Chapel, Agriculture School, Chapingo" (Forces Under the Earth) 1933
from the portfolio "Frescoes of Diego Rivera"
Published by the Museum of Modern Art, NY
Approx. 18.5 x 13.5 with Matting
Hand-Signed by the Artist
Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...
Category
1930s Modern Figurative Prints
Materials
Lithograph
The Cellist
By Ferdinand Victor Leon Roybet
Located in Missouri, MO
Ferdinand V.L. Roybet (1840-1920)
"The Cellist" c. 1880s
Oil on Panel
Site: 20 x 14 inches
Framed Size: 28 x 14 inches
Ferdinand Roybet is considere...
Category
1880s Realist Figurative Paintings
Materials
Wood Panel, Oil
Bareback Act, Old Hippodrome
By Gifford Beal
Located in Missouri, MO
Gifford Beal (1879-1956)
"Bareback Act, Old Hippodome" 1950
Lithograph
Signed Lower Right
With original Associated American Artists label verso
image: 6 3/8 x 9 5/8 in. (16.2 x 24.6 cm)
sheet: 12 x 16 in. (30.4 x 40.6 cm)
framed: 17 x 20 in.
Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist."
His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World.
He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work."
Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...
Category
1950s American Realist Figurative Prints
Materials
Lithograph
The Circus Dressing Room
By Dame Laura Knight
Located in Missouri, MO
Dame Laura Knight
"The Circus Dressing Room" 1925
Etching
Ed. 20
Signed Lower Right
Image Size: approx. 14 x 10 inches
Framed Size: approx. 23.5 x 17.75 inches
An English impressio...
Category
1920s Realist Figurative Prints
Materials
Aquatint
Ponte di Donna Onesta, Venice
By John Marin
Located in Missouri, MO
Very rare etching by John Marin.
"Ponte di Donna Onesta, Venice" 1907
Original Etching
Hand Signed Lower Right
Titled Lower Left
Edition: c. 30
Cat. Rais: ...
Category
Early 1900s Abstract Landscape Prints
Materials
Etching
Nasiterna Pygmae
By John Gould
Located in Missouri, MO
John Gould (British, 1804-1881)
Nasiterna Pygmae c. 1849-1861
Hand Colored Lithograph
Image Size: approx 19.5 x 13.5 inches
Framed Size: 27 3/8 x 21 1/2 inches
John Gould was an English ornithologist and bird artist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, On the Origin of Species.
Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent.
This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers.
In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...
Category
Mid-19th Century Naturalistic Animal Prints
Materials
Lithograph
Nasiterna Bruijni
By John Gould
Located in Missouri, MO
John Gould (British, 1804-1881)
Nasiterna Bruijni c. 1849-1861
Hand Colored Lithograph
Image Size: approx 19.5 x 13.5 inches
Framed Size: 27 3/8 x 21 1/2 inches
John Gould was an English ornithologist and bird artist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, On the Origin of Species.
Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827.
Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent.
This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841.
When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers.
In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...
Category
1850s Naturalistic Animal Prints
Materials
Lithograph
Morning Reflection
By Hans Amis
Located in Missouri, MO
Hans Amis (AKA An He)
"Morning Reflection"
Oil on Canvas
30 x 40 inches, site
38 x 48 inches framed
An He was born in Guangzhou, China into an artistic family. He was drawn to the...
Category
1990s Impressionist Figurative Paintings
Materials
Oil, Canvas
Sunset
By James Fairman
Located in Missouri, MO
James Fairman
"Sunset" c. 1880
Oil on Canvas
Signed Lower Left
Site: 32.5 x 29.5 inches
Framed: 46 x 42 inches
James Fairman worked as a landscape painter, critic, lecturer, musicia...
Category
1880s American Realist Landscape Paintings
Materials
Oil, Canvas
The Flirtation
By Allesandro Battaglia
Located in Missouri, MO
Allesandro Battaglia (1870-1940, Italian)
"The Flirtation" 1906
Watercolor on Paper
Signed "A. Battaglia, Roma 1906"
Site Size: 30 x 20 inches
Framed Size: approx 41 x 33 inches
Son of Clelia Bompiani and Ercole Battaglia, he was trained by his grandfather Roberto Bompiani...
Category
Early 1900s Realist Figurative Drawings and Watercolors
Materials
Archival Paper, Watercolor
Harmonville
By Daniel Garber
Located in Missouri, MO
DANIEL GARBER
"Harmonville, Pennsylvania" c. 1925
Etching printed in black ink on wove paper.
7 7/8 x 11 3/4 inches, full margins.
Signed, titled and inscribed "DG imp" in pencil, ...
Category
1920s American Impressionist Landscape Prints
Materials
Etching
Feeding Time
By Paul E. Harney Jr.
Located in Missouri, MO
Paul E. Harney, Jr.
"Feeding Time" 1909
Oil on Wood Panel
Signed and Dated
Panel Size: approx 8 x 12 inches
Framed Size: approx. 16 x 19 inches
Paul Harney (1850-1915)
Born in New ...
Category
Early 1900s American Realist Animal Paintings
Materials
Wood Panel, Oil
La Cothurne
By Agathon Léonard
Located in Missouri, MO
"La Cothurne" 1901
Gilt Bronze
Approx 21.5" High (to raised hand)
Signed and Dated
Foundry Mark "Susse Freres"
Originally modeled in white biscuit porcelain this Greek dancer is a from a set of eight created for a dining table. They were immediately successful when they were exhibited in the Sevres pavilion at the 1900 Exhibition. Individual figures could be ordered and "La Cothurne" proved the most popular. Their success led to the firm of Susse buying the right to cast versions in metal.
Agathon Leonard (1841-1923) is one of the well-known French Art Nouveau sculptors. Born in Lille in 1841, he first studied there before moving to Paris where he studied at the Ecole des Beaux Arts under Eugene Delaplanche.
He gained recognition at the annual Expositiones Universelles, winning a Silver Medal there in 1889 and gold in 1900. His most important piece, Jeu L'echarpe, was the best known series of Sevres production at the turn of the century and sold out at the 1900 Expo in Paris and later was given as a gift by the French Gov't to Nicholas II at the Hermitage.
His bronzes were cast at the Susse Freres Editeurs Foundry. He worked also in marble, quartz and ivory. He also produced Art Nouveau medallions...
Category
Early 1900s Art Nouveau Figurative Sculptures
Materials
Bronze
Herring Gulls
By Jamie Wyeth
Located in Missouri, MO
Jamie Wyeth
"Herring Gulls" 1978
Color Lithograph
Signed Lower Right
Numbered Lower Left 149/300
Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest.
One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose.
Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human."
Based on hours of study and sketching of JFK's brothers Robert and Edward -
documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion."
In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures.
James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister.
He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today.
As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program.
Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever."
Wyeth's sketch of early-morning crowds lined up outside the Supreme Court
building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest.
The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition.
Painting White House...
Category
1970s American Modern Animal Prints
Materials
Paper, Lithograph
Blowing Bubbles
By Edmund Adler
Located in Missouri, MO
Edmund Adler (Rode)
"Blowing Bubbles"
Oil on Canvas
22 x 27 inches
32 x 37 inches framed
Signed Lower Right
Edmund Adler (Austrian) 1876-1965
Kno...
Category
1920s Realist Figurative Paintings
Materials
Oil, Canvas
Katia en Rose, au Jardin de Marras
By Hughes Claude Pissarro
Located in Missouri, MO
Hughes Claude Pissarro
"Katia en Rose, au Jardin de Marras" 1989
Pastel on Paper
approx 14 x 18.5 inches
approx. 23 x 26.75 inches framed
Signed Lower Left
Category
1980s Impressionist Landscape Drawings and Watercolors
Materials
Rag Paper, Pastel
Sampler by Elizabeth Uncle, Aged 11, National Girls School
Located in Missouri, MO
This is a traditional American sampler created in 1871 by Elizabeth Uncle, Aged 11 while attending the National Girls School.
Category
1870s Folk Art More Art
Materials
Textile
Montmartre at Sacre Coeur
By Jean Dufy
Located in Missouri, MO
Jean Dufy
"Montmartre et La Basilique du Sacre Coeur" c. 1950s
Color Lithograph
Signed in Pencil Lower Right
Numbered 78/250 Lower Left
Image Size: approx...
Category
1950s Impressionist Landscape Prints
Materials
Lithograph
Blue/Green Flower Holder with Original Frog Insert
By Van Briggle
Located in Missouri, MO
Blue/Green Flower Holder with Original Frog Insert
Approx 8 x 5 x 3.5 inches
In 1899, when Artus Van Briggle stepped off the train in Colorado Springs he must have felt worlds away ...
Category
1930s Art Nouveau More Art
Materials
Ceramic