Charles Joseph Natoire

A pair of oval drawings for Ovid, Metamophoses

Untitled (Man at Desk) Pen and ink on paper, 2012 Signed lower right Series: Portraits of Community: Hidden in Plain Sight, 2012 References And Exhibitions: Illustrated: Swarthmore College video for their exhibition "Hidden in Plain Sight," Jan 24- Feb 24, 2013. Born in Fort Worth in 1975, Huckaby has been creating some form of art since his childhood. In 1995, he began his formal art studies at Texas Wesleyan University in Fort Worth. After a brief stay he transferred to Boston University, where he received a BFA degree. He then earned a MFA degree from Yale University in New Haven, Connecticut. Huckaby is known for his powerful use of color and his exploration of cultural roles and the heritage of the African American family. His work has evolved from portraiture to objects and interiors that venerate his personal family legacy rooted in Fort Worth, Texas. Portraying these familiar subjects on a large scale and pushing his use of materials, Huckaby defines the significance of family and tradition while touching on the subject of ethnographic stereotypes in our culture. For the past few years he has concentrated his efforts on a series of quilt paintings. One of the series he created is a tribute to both of his Grandmothers and a celebration of the African American quilting tradition. He used the actual quilts sewn by family members as models for his paintings. These quilts document significant events in his family history. According to Huckaby, the paintings represent an artistic family legacy. The colorful, rhythmic abstracted patterns come together like the musical notes in African American musician John Coltrane's famous jazz composition, A Love Supreme, from which the painting series acquired its name. He has earned national acclaim for his work over the past several years. Huckaby has received the 2001 Louis Comfort Tiffany Award and the 2004 Joan Mitchell Foundation Painters and Sculptors Grant Program Award. More recently, he was the 2008 recipient of the prestigious Guggenheim Fellowship Award, which allowed him to travel the country and paint African-American quilts from private and public collections. Past Guggenheim Fellowship Award winners include Ansel Adams, Langston Hughes, Henry Kissinger, and Isamu Noguchi. He has exhibited at the Resource Center of African American Art in Atlanta, the Danforth Museum in Framingham, and the Studio Museum in Harlem. His work, including a painting titled Study for Little D and the Dollar, in the collection of the Whitney Museum of American Art in New York, can be found in important collections throughout the United States, including the Whitney Museum of American Art, the Museum of Fine Arts Boston, the Art Institute of Chicago, and the Minneapolis Museum of Art. Currently, Huckaby’s 18-by-14-foot oil painting Hidden in Plain Site (2011) is on view in the Amon Carter Museum’s atrium through October. Public Collections: Wichita Falls Museum of Art at Midwestern State University, American Dad African American Museum, Dallas, Texas, Grandmother’s Quilt The Amon Carter Museum of American Art, Fort Worth, Texas, The 99% - Highland Hills The Art Institute of Chicago, Chicago, Illinois, "Girl World" Study for Sustenance Installation Ball State University Museum of Art, Muncie, Indiana, "The Truth about Hip Hop" Study for Sustenance Installation Blanton Museum of Art, Austin, Texas Brandywine Workshop, Philadelphia, Pennsylvania, The 99% - Highland Hills City of Fort Worth, Fort Worth, TX, The Welcome Space Dallas/Fort Worth International Airport, Corporate Aviation, Texas, A Place Between Dallas/Fort Worth International Airport, Hyatt Regency Hotel, Texas, William Madison (Gooseneck Bill) McDonald Fort Worth Central Library, Fort Worth, Texas, Hazel Harvey Peace Portrait Grace Museum, Abilene, Texas, Cobby Harvard Art Museum, Cambridge, MA, Selection from The 99% Holdworth Center, Austin, TX, Selection from The 99% Jesuit Dallas Museum, Dallas, Texas, “Gone But Not Forgotten: Sha” Kansas African American Museum, Wichita, Kansas, Self Portrait (2) McNay Art Museum, San Antonio, Texas, Untitled (Anthony) Minneapolis Institute of Art, Minneapolis, Minnesota (Untitled) Museum of Fine Arts, Boston, Massachusetts, Enocio Museum of Texas Tech University, Lubbock, Texas, Big Momma...

Signed with the artist's initials lower right Color ink on Yupo paper Framed in a white shadowbox presentation. Image: 12 x 8 7/8"

Unsigned Provenance: FAR Gallery, New York, NY Private Collection, New Jersey Reference and Notes: Daumier was a prolific draftsman. This drawing of a lawyer was once part of a...

Watercolor on Yupo Signed by the artist DRS #1, lower right.

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Descent to the artist's niece, daughter of Will Hess. David Salzman Robert Henry Adams Fine Art, Chicago Ronald C. Sloter, Columbus One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy: AskArt “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

Signed with the artist's initials lower right Darius Steward is establishing himself as a master of the medium of watercolor and large public murals. In 2018, Steward created two l...

18th Century French Sanguine drawing, possibly a preparatory sketch for the painting by Nattier after the painting by Rubens. Presented in shaped 'marie-louise' mount in plain gold wood frame with collection label. The subject is the Queen Marie de' Medici seated on a grand throne, the baby is in the arms of Health while Justice looks over him. Fecundity brings a cornucopia of fruit with the heads of the other children the Queen will bear. The Sun rides his chariot across the sky to indicate that Louis XIII was born in the morning and the calm figure of France surveys the whole scene. An engraving exists (see the Wellcome Collection) of this same image: 'The birth of King Louis XIII', after the engraving by B. Audran the younger after the painting by Jean-Marc Nattier after the oil painting of Peter Paul Rubens in the Louvre 'La Naissance du Dauphin (future Louis XIII) à Fontainebleau, le 27 septembre 1601'. Jean-Marc Nattier (17 March 1685 – 7 November 1766) was a French painter. He was born in Paris, the second son of Marc Nattier (1642–1705), a portrait painter, and of Marie Courtois (1655–1703), a miniaturist. He is noted for his portraits of the ladies of King Louis XV's court in classical mythological attire. He received his first instruction from his father, and from his uncle, the history painter Jean Jouvenet (1644–1717). He enrolled in the Royal Academy in 1703 and applied himself to copying pictures in the Luxembourg Palace, making a series of drawings of the Marie de Médici painting...

Provenance: Ivan E. Phillips, Montreal and New York, until 2023. The brothers Bartolomé Carducho and Vicente Carducho, both born and trained in Florence, settled in Spain where they made their careers. Vicente worked on numerous commissions for both the church and the Spanish court...

Pen, black ink, wash, and white heightening on blue paper Provenance: with F. R. Meatyard, London, around 1925; where acquired by: Dan Fellows Platt, Englewood, New Jersey; by descent to his wife: Ethel Bliss Platt; by whom given to: The Princeton University Art Museum; by whom consigned to: Schaeffer Galleries, New York, 1944; where acquired by: Wilhelm Suida; thence by descent to: Robert L. and Bertina Suida Manning, New York, 1959-1996 Private Collection, USA Literature: Janos Scholz, “Italian Drawings in The Art Museum, Princeton University,” The Burlington Magazine, vol. 109, no. 770 (May 1967), pp. 296, 299. Elaine Claye, “A Group of Portrait Drawings by Jacopo Amigoni...

Ray Swanson (1937-2004) "Native American" Original Pen & Ink c.1960s Fine portrait of a Native American Indian by listed Western artist Ray Swanson. Dime...

"Mother," is a contemporary pen and ink drawing by Katherine Filice. This piece is one of her newest works featuring a surrealistic figure. This piece is one of the few of hers that ...

"Ether" is a meditative pen and ink drawing by Katherine Filice. Filice's work is all deeply personal, and she pours hundreds of hours into her practice. She is an internationally ...