Plant Landscape Drawings and Watercolors

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 12 x 16 inches Good condition. Provenance: from the artists esta...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 9.5 x 13 inches Very good condition. Provenance: from the artist...

Pen and ink on paper, inscribed 'Redhill' and dated 'June 24th 1872' lower left Image size: 4 x 8 inches (10 x 20 cm) Mounted and Framed Provenance Given to Ernest Pearce by Carlos Peacock, from the collection of Miss Louisa Twining (1820-1911), a pupil of Samuel Palmer. Carlos noted in his letter accompanying the work to Ernest Pearce that 'Going through my Palmer things for mounting the other day. I found this little sketch dating from the Redhill days. Thought you might like it by way of a Christmas gift'. Literature Carlos Peacock, Samuel Palmer , Shoreham and After, published by John Baker 1968, illustrated on page 67. This delicate pen and ink drawing depicts a view at Redhill, a town in the borough of Reigate within the county of Surrey, England. While Palmer's reputation rests mainly on his Shoreham work some of his later work, such as his sketches from Redhill, have recently received more appreciation. In 1872 Palmer was living in Redhill, at his last home, The Chantry at Cronks Hill. The Chantry is now Grade II listed due to the Palmer connection and Palmer Close, a cul-de-sac in Redhill (built in the 1960's), was also named in his honour. This work is an illustration of rural paradise, a vision of the natural world where there is a cosmic harmony between man and his environment. Indeed, Alfred Palmer, the artist's son, wrote 'Had the artist depended for his material solely on the fields, and woods, and hills around him, and had he used that material in a sordid way, he might have given us faithful representations of those he selected, but there would have been inevitable repetition, and he would never have shown us as he has undoubtedly done, the very spirit and quintessence of the loveliest and most poetic pastoral scenery - scenery which we may imagine as that of ancient England...

Ranulph Bye (American, 1916-2003) Rocks and Trees (Doylestown, PA), 1958 Watercolor on paper 14 x 21 in. Framed: 23 1/8 x 30 1/4 in. Signed bottom: Ranulph...

A Walk in the Woods - Original Watercolor Painting 1983 A watercolor of lush, variegated greens make up this forested trail of cypress and oak trees, a natural wonderland for any co...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 12 x 16 inches Very good condition. Provenance: from the artists...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 13.75 inches Very good condition. Provenance: from the arti...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 12 x 14.75 inches Very good condition. Provenance: from the arti...

By Tom Shefelman 9" x 12" Watercolor on Paper

Painting: Ink and Watercolor on Paper, Framed Dimensions: 25 in x 32 in, Framed 29 in x 37 in Unique Signed on Verso, includes a certificate of authenticity. Elena Chestnykh was bor...

Hans Dvořák (19th century). Shady hollow way in a sunny forest. Watercolour and pen-and-ink drawing, 58.5 x 43 cm (visible size), 70 x 55.5 cm (frame), signed and dated "Hans Dvořák ...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 9.5 x 12 inches Very good condition. Provenance: from the artist...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 9.5 x 12.5 inches Very good condition. Provenance: from the arti...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 8.25 x 14.25 inches Very good condition. Provenance: from the ar...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 9 x 12.75 inches Very good condition. Provenance: from the artis...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 9.5 x 12.5 inches Very good condition. Provenance: from the arti...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

Original watercolor of a waterfall with birch trees on illustration board by the well known American artist, William Paskell. Signed lower left. Condi...

THE GALLERY PURCHASED AND FRAMED THE DRAWINGS DIRECTLY FROM THE INDEGINIOUS ARTISTS IN THE CHACO.. PROCEEDS WILL GO BACK TO THE ARTIST TO SUPPORT HIS FAMILY AND ART CAREER. Framed 16" x 18 " The drawings are floating on a mat behind conservation glass. More detailed images can be provided. Articles can be found by Googling " Fondation Cartier Paraguay" One of Efacio Avarez's drawing was displayed in Asuncion. See photo below. Also shown are other drawings available. These are Ink Drawings from Paraguay which are very difficult to obtain. I heard about them from a South American collector who is on the Top 200 Art Collectors in the World List. Most of the research is in Europe. These are done by the indigenous people in the Chaco Region of Paraguay. Efacio Alvarez...

Alexander Frenz (1861 Rheydt - 1941 Düsseldorf). Plant impression in Locarno. Gouache and watercolour. 35 x 23,5 cm (visible size), 49,5 x 38,5 cm (fra...

Depiction of Town Lake in Austin, Texas from the shore by Tom Shefelman 20" x 28" Watercolor on Paper

"Brehal I" Landscape Watercolor Painting 10" x 14" inch by Inji Efflatoun Stamped and dated Inji Eflatoun pursued free studies in art. Since 1942, she has participated in the exhi...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State Academy of Arts and Indus...

Original watercolor and gouache on archival paper of birch trees in winter along a fenced roadway with a quaint home in the background. Signed lower right. Condition is excellent. Circa 1960. The watercolor is in a solid mahogany frame under UV glass in fine condition. Overall framed measurements are 14 by 11 inches. Provenance: A East Hampton, Long Island, New York collector. Born in Queens, Long Island, NY, Impressionist landscape and seascape painter Francis Dixon studied at the Art Students League in New York City under Impressionists Frank Vincent DuMond, Cape Cod, Massachusetts artist, Charles W. Hawthorne, and modernist Robert Henri. Having a good singing voice Dixon was an Army and Navy Song Leader for the War Department during World War I. From 1915 to 1917 was living and painting in Los Angeles, Carmel and Point Lobos, California. Dixon exhibited his California paintings at Folson Galleries New York City in 1917. Dixon continued to travel and paint, visiting Bermuda in 1923 and 1925, and Europe in the mid-1920s. In the 1930s he was living on West 55th Street in Manhattan with a number of other artists. He was a member of the Allied Artists of America (NY); Connecticut Academy of Fine Arts; and the Salmagundi Club, NY. He exhibited at The Corcoran Gallery of Art, Washington, D.C. (1916); Folson Gallery (NY, 1917, solo); Society of Independent Artists (NYC, 1917-18, 1920-22, 1924); Salmagundi Club (NYC, 1917-1940, 1943, 1945); National Academy of Design (NYC, 1925); Studio Guild Galleries (NYC, 1937); Barbizon-Plaza Galleries NYC, 1939); Allied Artists of America (NYC, 1940); and Salons of America (NYC). Dixon’s solo exhibitions included Babcock Galleries (NYC, 1926 and 1927); Women's University Club...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State Academy of Arts and Indus...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State Academy of Arts and Indus...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State A...

Frank Nelson Wilcox (American, 1887-1964) Cows by Woodland Pond, Toledo, Ohio, c. 1920 Watercolor and graphite on board Signed lower right 22 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Dutch Watercolour classical building portrait by Tineke Goedhart. The painting is signed and dated bottom left and resigned, dated and located on t...

Cadets Football New Yorker Mag Cover Proposal American Scene Modern Illustration Antonio Petruccelli (1907 – 1994) Cadets Football Game New Yorker cover proposal, c. 1939 14 1/4 X 1...

In Japan they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. When I began this series of Gyotaku (Japanese fish printing) I studied the many varieties of Koi, each with their own unique colors and patterns. My particular favorites are the Tanchos which can be identified by the distinct red spot on their heads. To create these pieces I print common carp I catch myself with sumi ink using traditional techniques used by Japanese fisherman dating back the mid 1800's. I then tint the images using watercolor. In each piece I hope to translate a sense of movement to give the viewer a sense of calm one might experience watching the living versions lazily meandering around a serene pond. —Jeff Conroy Several koi swim in a circle while autumn leaves fall on the surface of the water in this Gyo-tako method of painting by artist Jeff Conroy. After inking and taking impressions of the koi, the artist then uses watercolors to enhance their beauty. By using marbled mulberry paper to print on, he has created the illusion of water with the swirls of the mulberry paper. The paper itself has a soft hue and slightly wavy texture adding the overall feel of the artwork. This artwork is unframed. Contact gallery for framing options. Jeff Conroy Autumn Cotillion sumi ink and colored pencil on mulberry paper 25h x 37w in 63.50h x 93.98w cm JEC103 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression. It is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing was used by fishermen to record their catches, but has also become an art form of its own. Gyotaku is a Japanese method of printmaking that traditionally utilizes fish, sea creatures or similar subjects as printing "plates" in its process. The literal translation of the word is "fish stone rubbing...

PEDRO J. LEMOS (American, 1882-1954) FOOTBALL STATUE THROUGH THE TREES - UC BERKELEY 1921 - THE ORIGINAL YEARBOOK PASTEL Pastel drawing on colored paper 12 5/8 x 9 5/8 inches. Full signature in pastel, Pedro J Lemos. In good condition. A few bits of old tape at the corners, verso. THE 1921 UC BERKELEY YEARBOOK CONTAINED SEVERAL LEMOS PASTEL REPRODUCTIONS. Pedro de Lemos was an important proponent of the Arts and Crafts Movement. He produced some of the finest color woodcuts of the period as well as fine pastels, paintings and architecture. He was also an instructor and director of the Stanford University Art Department, From Wikipedia: Pedro Joseph de Lemos (25 May 1882 – 5 December 1954) was an American painter, printmaker, architect, illustrator, writer, lecturer, museum director and art educator in the San Francisco Bay Area. Prior to about 1930 he used the simpler name Pedro Lemos or Pedro J. Lemos; between 1931 and 1933 he changed the family name to de Lemos, believing that he was related to the Count de Lemos (1576–1622), patron of Miguel de Cervantes. Much of his work was influenced by traditional Japanese woodblock printing and the Arts and Crafts Movement. He became prominent in the field of art education, and he designed several unusual buildings in Palo Alto and Carmel-by-the-Sea, California..... In 1911 he began teaching decorative design at the San Francisco Institute of Art.[8] In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John W. Winkler (1894-1979), went on to achieve significant fame as printmakers. He helped organize the California print...

These are two separate works that can be sold together or separately. They are dark, moody, wet, detailed, oil paintings, on medium-sized panels. They portray natural landscapes of the ground, right after a fresh rain. Mihee Nahm...

Trees is a Black Marker Drawing realized by Reynold Arnould in the Mid-20th Century. Good conditions No signature. The artwork is through confident strokes.

Work on paper Golden wooden frame with glass pane 44 x 54 x 2.5 cm

Tenterden by Lucien Pissarro (1863-1944) Watercolour, ink, pen and coloured crayon 16.5 x 24 cm (6 ¹/₂ x 9 ¹/₂ inches) Signed with monogram and titled lower right Provenance: The Redfern Gallery...

Ellen Williams Iris VIII Original Drawing Coloured Pencil on A4 150gsm Paper Image Size: H 29.7cm x W 21cm Signed Sold Unframed This drawing is one in a series of botanical...

Flower Moon 2:30pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 series based on images captured during the 13 Moons of the year. It is a one of a kind botanical artwork...

A lovely vibrant watercolour capturing a shimmering English river John Newberry (born 1934) Stream at Wytham, Oxford Signed Watercolour 4¼ x 5¾ inches unframed 9 x 11 inches with fr...

An Enlightening Afternoon Near Oregonia - Watercolor Landscape on Paper A cool pond and walking trail sprawl below an autumn canopy of trees in complementary reds and purples accent...

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Little Island is an original pastel drawing on paper by artist Cornelia Fitzroy. Cornelia FitzRoy ​is a Norfolk landscape plein air artist who uses co...

Winter 1969, paper/watercolor, 29x40.5 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet School of Latvian and many military cou...

THE GALLERY PURCHASED AND FRAMED THE DRAWINGS DIRECTLY FROM THE INDEGINIOUS ARTISTS IN THE CHACO.. PROCEEDS WILL GO BACK TO THE ARTIST TO SUPPORT HIS FAMILY AND ART CAREER. Framed 16" x 18 " The drawings are floating on a mat behind conservation glass. More detailed images can be provided. Articles can be found by Googling " Fondation Cartier Paraguay" One of Efacio Avarez's drawing was displayed in Asuncion. See photo below. These are Ink Drawings from Paraguay which are very difficult to obtain. I heard about them from a South American collector who is on the Top 200 Art Collectors in the World List. Most of the research is in Europe. These are done by the indigenous people in the Chaco Region of Paraguay. Efacio Alvarez...

Painting titled "Ode to Angelo - Fall Sunflowers" by Maryanne Pollock. Mixed media on D'Arches paper, signed and dated 2022 on reverse. Measurements are 22" x 30". Maryanne Pollock...

On our trip to Ireland, we stopped at the Power Court estate, which reminds me a bit of the architecture of St. Petersburg.I saw people playing golf near the park. The weather was cloudy and the environment was sinking in sfumato, I wanted to immerse the viewer in this environment. The transparency of the watercolor made it possible to realize my idea. Exhibition: 2009 Exhibition at the Game of Imagination Gallery in the Press Centre of the Izvestiya Publishing House, Moscow. 2012 “Visible Images”, personal exhibition at the exhibition hall of the Russian Auction House in Gostiny Dvor, Moscow. 2024 The exhibition "Tail-wind". Museum and exhibition complex "Academy of Watercolor and Fine Arts of Sergey Andriaka". (Moscow) Publication: Златоверховникова О.Н. Семён Кожин. – М.: Принт люкс, 2007. – 120 с. Page 45 Златоверховникова О.Н. Семён Кожин. – М.: Белый город, 2009. – 64 с. – (Мастера живописи. Русские художники). ISBN: 9785779317184 Page 34 Семён Кожин. Зримые образы: [каталог персональной выставки] / Российский аукционный дом. – СПб.: Рекламное агентство MCMG, 2012. – 32 с. Page 25

Work on watercolor paper Golden wooden frame with glass pane 46 x 56 x 1.3 cm

Original pastel on archival paper by the well known Hudson River artist, George Douglas Brewerton. A Northern California scene near Mount Shasta. Signed lower left and dated 1876. Recently professionally matted and framed in new antique silver style gallery frame. Overall framed measurements are 27 by 36 inches. Under glass. Condition is excellent. Provenance: A Pennsylvania collector. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

In this work, the artist returns to a favorite spot in Alley Pond Park, Queens, to memorialize the ever-evolving carved names and glyphs in this majestic trunk. She is documenting no...

Work on watercolor paper Golden wooden frame with glass pane 46 x 56 x 1.3 cm

Illustration for book by Agnieszka Frączek 'Who needs a mammoth' JOANNA RUSINEK Printmaker, illustrator of children's books, author of press ill...

This is an exclusive handprinted limited edition cyanotype. Lovely scene of a hidden pond in a Scandinavian forest. Details: + Title: Scandinavian Enchanted Forest + Year: 2022 + Edition Size: 50 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

Work on paper

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...