Items Similar to Kazakh Steppes
Want more images or videos?
Request additional images or videos from the seller
1 of 13
Richard Claude ZiemannKazakh Steppes1965
1965
$1,100
£852.40
€967.30
CA$1,576.58
A$1,731.40
CHF 891.26
MX$20,716.70
NOK 11,347.68
SEK 10,634.47
DKK 7,224.20
About the Item
This artwork titled "Kazakh Steppes" 1965, is an original etching on Wove paper by noted American artist Richard Claude Ziemann, b.1932. It is hand signed, titled, dated and numbered 45/50 in pencil by the artist. The plate mark (image) is 17.75 x 23.5 inches, framed size is 26.5 x 31.5 inches. Custom framed in original wooden silver frame, with off-white matting. It is in excellent condition. Please note: the small white area at the middle right side is not a part of the artwork, it is the reflection of the lighting.
About the subject:
The steppe grasslands of Eurasia were once among the most extensive in the world, stretching from eastern Romania, Moldova and Ukraine in eastern Europe (often referred to as the Pontic steppe) east through Kazakhstan and western Russia). Together, the Pontic and Kazakh steppes, often collectively referred to as the Pontian steppe, comprise about 24% of the world’s temperate grasslands. They eventually link to the vast grasslands of eastern Asia extending to Mongolia, China and Siberian Russia, together creating the largest complex of temperate grasslands on earth.
About the artist:
Richard Ziemann (b. 1932) has been called the ‘poet of landscape etching,’ he has resurrected the art of etching, breathing into it new life and making it a part of the world of modern art (from Peter Rose Gallery).
Ziemann began creating landscape drawings and etchings in the 1950s. His work is characterized by the thousands of strokes through which he creates his landscape elements—leaves, trees, rocks and hills. He received a BFA and MFA from Yale University, and in the 1960s and early 1970s, he taught at Hunter College, Yale University, and Lehman College. He has been artist in resident at Dartmouth College and the University of Massachussetts Amherst.
Artists who elect to work in a representational idiom often condemn themselves to the literal. They devote themselves to the familiar aspects of things as these may appeal to the eye and to the memory of the common observer, and they labor to make an apple look like an apple and a tree to look like a tree. This attachment to description can have a fine result and can reveal the application of a system of drawing or rendering that astonishes with evidence of surpassing skill. But this approach to the physical world produces mainly illustration, though possibly of the highest order. The more rewarding, the more resonate art is ours when the artist gives to the literal subject, sees it quirkily, partially, or with a strange sense of its formal properties. Greater representational art transcends brilliant transcription.
Richard Claude Ziemann may be thought of as an artist of nature. Landscape is his métier. There is nothing in his subject matter that is unfamiliar; fields of grass, the forest floor, interior woodlands, foliage and flowers. And there is nothing inaccessible in his imagery.
Characteristically, Ziemann works with the landscape of his immediate environment; he is not one of those artists who must travel to Mount Vesuvius. But if the nearby hills and fields will do for him, Ziemann brings to them something wholly uncommon. His subjects are so thoroughly mediated and understood that the images come to us with a dreamlike clarity and quietness that essentializes them. These hills and trees are timeless. They describe not appearances but the visual sensations of repeated vital experience.
We can acknowledge the romantic sense of Ziemann's drawings and etchings, their visual flavor, without losing sight of what I must call their basis in art. They are marks on paper, made directly or through the intermediation of etching plate and printing press. In both his drawings and his etchings, Ziemann works immediately in the landscape. Adjustments and refinements may be made in the studio, but the rich surfaces are mainly generated in the changing light of the natural environment.
In thousands of strokes with pen, brush, or graver, the artist has dealt not so much with leaves and trees, with rocks and hills, as with the integuments of light that give visible form and visual sensation to these objects. A Ziemann drawing or print, severely limited to light and shade, conveys on its flat surface a remarkable intelligence of space. There is nothing overtly illusionistic in the handling; we do not fly away on the wings of perspective; instead, we experience the scene in its special radiant atmosphere as part of an envelope in which we, too, exist. These prints and drawings put us where the artist was and make us their own.
The work of Richard Claude Zieman is held or has been exhibited in numerous museums, including, The Museum Of Modern Art, San Francisco, San Francisco The Smithsonian American Art Museum, Washington DC, The Brooklyn Museum Of Art, New York and The National Gallery Museum, Washington. In addition his work is held in numerous collections worldwide.
- Creator:Richard Claude Ziemann (1932, American)
- Creation Year:1965
- Dimensions:Height: 26.5 in (67.31 cm)Width: 31.5 in (80.01 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:Seller: zie/kaz/ste/011stDibs: LU666317162972
About the Seller
5.0
Platinum Seller
Premium sellers with a 4.7+ rating and 24-hour response times
Established in 1999
1stDibs seller since 2017
858 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Shipping from: San Francisco, CA
- Return Policy
More From This Seller
View AllSummer Field
Located in San Francisco, CA
This artwork titled "Summer Field" 1965, is an original etching on Wove paper by noted American artist Richard Claude Ziemann, b.1932. It is hand signed, titled, dated and inscribed ...
Category
Late 20th Century American Modern Landscape Prints
Materials
Etching
Landscape
By Robert Kipniss
Located in San Francisco, CA
This artwork "Landscape" c.1980 is an original color lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand signed and numbered 168/200 in pencil by the...
Category
Late 20th Century American Modern Landscape Prints
Materials
Lithograph
Summer Landscape III
By Peter Milton
Located in San Francisco, CA
This artwork titled "Summer Landscape III" 1962, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, dated, titled and numbered ...
Category
Mid-20th Century American Modern Landscape Prints
Materials
Drypoint, Etching
A Burro Train, New Mexico
By Peter Moran
Located in San Francisco, CA
This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163.
About the artist:
The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer.
Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs.
In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...
Category
Late 19th Century American Realist Animal Prints
Materials
Etching
Landscape with Trees
By Robert Kipniss
Located in San Francisco, CA
This artwork "Landscape with Trees" c.1980 is an original lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand si...
Category
Late 20th Century American Modern Landscape Prints
Materials
Lithograph
Riverwash
By Anne Popperwell
Located in San Francisco, CA
This artwork titled "Riverwash" 1985 is an original watercolor on Arches watermarked paper by noted American artist Anne Popperwell, born 1948. It is signed at the lower right corner by the artist. The artwork size is 22 x 30 inches, framed is 28.25 x 36.25 inches. It is custom framed in a metal bronze color frame. It is in very good condition.
About the artist.
Anne Popperwell was born in Oakland, California, in 1948 and studied art at the San Francisco Art Institute from 1968-1970 with a major in painting and a minor in photography. She has been painting and exhibiting her work in both private and public galleries, primarily in Canada, since 1981. She paints in watercolour on paper and acrylic on canvas, though not exclusively, using nature-based imagery. Shortly after her arrival in Canada in 1976, Anne moved to an island off the West Coast to paint a particular landscape, the eroded sandstone shoreline. In the course of this eight-year series of paintings, she experimented with point of view, scale and colour, developing a method of working that creates the effect of light coming from within the subject itself. Her paintings are included in private, corporate and public collections in Canada and in private collections in the United States, Mexico and Europe.
Solo Exhibitions:
2016 "Shades of Saturna", Artlink Canada, Jaydon Gallery, Vancouver, British Columbia
2009 “Beauty” Casa Dahlia Galeria, San Jose del Cabo, Mexico
2008 “Tropical Flowers” Casa Dahlia Galeria, San Jose del Cabo, Mexico
996- "Why Don't You Just Leave?" paintings and video installation
1998 tour to 11 British Columbia regional galleries,
originating at the Art Gallery of Greater Victoria
Victoria, British Columbia
1993 Fran Willis Gallery, Victoria, British Columbia
1991 Fran Willis North Park Gallery, Victoria, British Columbia
1990 Fran Willis North Park Gallery, Victoria, British Columbia
1986 Robert Vanderleelie Gallery, Victoria, British Columbia
Thomas Gallery, Winnipeg, Manitoba
1984 Grace Gallery, Vancouver, British Columbia
Winchester Galleries, Victoria, British Columbia
1982 Kyle's Gallery, Victoria, British Columbia
1981 Kyle's Gallery, Victoria, British Columbia
Art Gallery of Greater Victoria, Victoria, British Columbia
Burnaby Art Gallery, Burnaby, British Columbi1980 Kamloops Public Art Gallery, Kamloops, British Columbia
Selected Group Exhibitions:
2014 Insight Art Gallery, Galiano, B.C
2012 The Field Gallery, San Jose del Cabo, Mexico
2002 “European Media Arts Festival”, Osnabruck, Germany
1997 “Open House”, Canadian Cultural Centre, Paris, France
1994 "Spring Run", Baux-Xi Gallery, Vancouver, British Columbia
1994-1996 Government House, Victoria, B.C.
1992 "Hanging Gardens", Fran Willis Gallery, Victoria, British Columbia
1990 "Bumbershoot Festival 1990", Seattle, Washington
1986 "Images B.C." The British Columbia Pavilion, Expo 86
Vancouver, British Columbia
1985 "Hot Water Colour", Harbourfront, Toronto, Ontario
"B.C. Women Artists"
Art Gallery of Greater Victoria, Victoria, British Columbia
1983 "National Watercolour Exhibition"
Contemporary Art Gallery, Vancouver, British Columbia
1981 “Painter’s Day”, Kyle’s Gallery, Victoria, B.C.
Public Collections
British Columbia Art Collection, Victoria, British Columbia
Art Gallery of Greater Victoria, Victoria, British Columbia
Maltwood Art Museum, Victoria, British Columbia
City of Vancouver, Vancouver, British Columbia
Esso Resources Canada, Ltd., Calgary, Alberta
Canada Council Art Bank, Ottawa, Ontario
Grants and Awards
1995 British Columbia Cultural Services Branch grant
1973 City of Vancouver Purchase Grant
Exhibition Reviews, Catalogues and Articles
"A Sense of Place", Aqua magazine, Salt Spring Island, B.C. (Summer 2014) illus.
“Why Don’t You Just Leave?”, Exhibition Catalogue, Art Gallery of Greater Victoria, Victoria, B.C. (April, 1996) illus.
Cover, Preview Magazine, Vancouver, B.C., (May/June 1990)
Waterman, Jennifer A. “Planetary Visions, Sacred Images of the Earth” Herizons, Winnipeg, Manitoba (Volume 4 #8, December, 1986) p. 44, illus.
“B.C. Women Artists”,Exhibition Catalogue, Art Gallery of Greater Victoria, Victoria, B.C. (October, 1985) illus.
Orford, Emily Jane, “Anne Popperwell’s Intimate Earth”, Victoria Times-Colonist, Victoria, B.C. (October 7, 1984) p. 8
Hartog, Diana, “Body Landscapes...
Category
Late 20th Century American Modern Landscape Drawings and Watercolors
Materials
Watercolor
You May Also Like
1933 American Art Lithograph, Clear Creek Canyon by Ross Braught, Colorado
By Ross Eugene Braught
Located in Denver, CO
This striking original lithograph, Clear Creek Canyon I (Colorado), was created in 1933 by acclaimed American artist Ross Eugene Braught (1898–1983). A master of landscape and form, ...
Category
1930s American Modern Landscape Prints
Materials
Lithograph
'Navajo Reservation Landscape' — Southwest Regionalism
By Ira Moskowitz
Located in Myrtle Beach, SC
Ira Moskowitz, 'Navajo Reservation Landscape', lithograph, 1945, edition c. 30. Signed and titled in pencil. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (1 3/8 to 2 inches), in excellent condition. Matted to museum standards, unframed.
Image size 12 3/4 x 15 3/4 inches (324 x 400 mm); sheet size: 15 1/2 x 19 inches (394 x 482 mm).
ABOUT THE ARTIST
Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972.
After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001.
Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955).
Moskowitz’s lithographs of American Indian...
Category
1940s Landscape Prints
Materials
Lithograph
Tual, Surrealist Landscape Mezzotint by Robert Kipniss
By Robert Kipniss
Located in Long Island City, NY
Artist: Robert Kipniss, American (1931 - )
Title: Tual
Year: circa 1980
Medium: Mezzotint, signed and numbered in pencil
Edition: Trial Proof
Image Size: 14.75 x 11.75 inches
Frame:...
Category
1980s American Impressionist Landscape Prints
Materials
Mezzotint
Dunes Together, Signed Lithograph by Oliviero Masi
By Oliviero Masi
Located in Long Island City, NY
Dunes Together
Oliviero Masi
Italian (1948)
Year: Circa 1985
Lithograph, signed and numbered in pencil
Edition of 1/99
Size: 12.75 x 19.5 in. (32.39 x 49.53 cm)
Category
1980s Modern Landscape Prints
Materials
Lithograph
John Winkler, View from Colby Meadows
Located in New York, NY
Winker is pulling out all the stops to make as stunning a Western Landscape as possible. The sky in this impression is open. There are also impressions with clouds in the sky.
Sign...
Category
1960s American Modern Figurative Prints
Materials
Etching
Le Leze II, American Realist Lithograph by Ivan Theimer
By Ivan Theimer
Located in Long Island City, NY
Ivan Theimer, Czech (1944 - ) - Le Leze II, Year: 1982, Medium: Lithograph, signed and numbered in pencil, Edition: 200, Size: 21 x 30 in. (53.34 x 76.2 cm)
Category
1980s American Realist Landscape Prints
Materials
Lithograph
