Unknown

Antique Italian Engraving - Goddess Bellona

Circa 1650

Alluring black and white fine art stone lithograph of three females frolicking in the shallow water around a dock by artist McVey, circa 1950. Signed lower right. Original one-of-a-...

Engrossing black and white fine art lithograph of several village women sitting at the docks and appearing to look out to sea in wait of returning seamen by artist JP Tertre, circa 1...

Warmly hued French lithograph of couples dancing and enjoying live music at elegant venue by artist Torrallardona, circa 1960. Signed lower right and...

Captivating black and white etching of a crowd gathered to watch performers with hula hoops by Huchs, 1939. Titled and signed in lower margin. Original artw...

Bold woodblock print of a woman by J. Duffy (American, 20th Century). The subject is staring directly at the viewer, creating a compelling yet delicate composition. The ink appears t...

1970's modernist anthropomorphic animals at a bar by Stephen Martin (American, 20th Century). Several animals sit at a bar, with a few in the b...

A late 1960's modern Pop Art etching of horses by Marc Foster Grant (American, b.1947). The galloping horse motif is repeated, in the style of Warhol...

Mid-century portrait of a young girl by a window by acclaimed California artist Ben Messick (American, 1891-1981). Signed "Ben Messick" in plate, and in pencil in the lower right corner, by the estate. Presented in an off-white mat. Unframed. Paper size: 12"H x 12"W The following is submitted by Jim Lafferty whose sources include the autobiography of the artist: William Washington Messick married Sarah A. Bristow January 2,1889 and from this marriage a son, Benjamin Newton Messick was born on January 9, 1891 on a farm near Strafford, Missouri. His art talent was apparent from the time he was a child and later recognized by his commanding officer in World War I. He completed his training in Los Angeles at Chouinard in the late-1920s and is well-known for his Regionalist scenes and Modernist paintings. He was an instructor at Chouinard through the 1950s & influenced a generation of LA Modernists. Little is recorded in his autobiography about Messick's life from his teen years and service during the War. He enrolled at Chouinard Institute in the Fall of 1925, and was given a three-year scholarship by Mrs. Chouinard. In 1925 he won a cash award at the Los Angeles County Fair for a group of pen and charcoal drawings done in the parks and streets of Los Angeles. These works give the appearance of being spontaneous and fluid. In 1930 Messick left Chouinard as a full-time student and rented an apartment on West Eighth Street to use as a studio and living quarters. He had his own ideas on what he was trying to accomplish in art. "If you should ask what is the message of my drawings, I should say that they may explain themselves or may be just a technical exercise." By the mid 1940s, Messick's position in the art world had been well established as a teacher, painter, printmaker, writer and critic. Over his life time he had over 400 shows and exhibitions. Starting in 1939 he produced a number of stone lithographs that appear to the untrained eye as original drawings. To Messick the image was the most important aspect of his lithographs, and his signature in the plate was sufficient. Hand signing each lithograph did not seem necessary to him. He exhibited prints widely including the Albany Print Club and the Metropolitian Museum. To further substantiate the authenticity of Messick's prints the Eclectic Gallery under the authority of the Messick family posthumously pencil signed each estate-acquired stone lithograph. Messick had a childhood fascination with the circus and started drawing and painting the circus in 1935. His circus work, especially his clown studies, and his lithographs became his trademark work for in the 1940s and 1950s. A critic for ART REVIEW described his Big Top work this way: "His circus canvases...