Ifpda International Fine Print Dealers Association Interior Drawings and Watercolors

This very early original drawing in blue ink is signed bt Jackson Lee Nesbitt. Jack was a student of Thomas Hart Benton at the Kansas City Art Institute during this period. The drawing shows three men working to replace a wheel on a piece of industrial equipment. The sketch is drawn on the back of a lithograph called Pastry Pups. Jack often drew on anything that was handy when an idea came to him.. Jackson Lee Nesbitt, a noted printmaker and painter of the American Scene, dedicated his artistic career to the portrayal of ordinary people going about the business of their lives. A native of Oklahoma, Nesbitt created scenes from the Midwest during the 1930s and 1940s, but in the 1950s, when interest in his work diminished, he moved to Atlanta and established a second career in advertising. Thirty years later, Nesbitt sold his business and resumed his artistic career from Atlanta. He was born in McAlester, Oklahoma, on June 16, 1913, the only child of LuCena Grant and Howard Nesbitt. The family resided in Muskogee, Oklahoma, where his father owned a commercial printing business. Jack, as Nesbitt was known, helped out in the family business until 1931, when he enrolled at the University of Oklahoma in Norman. Two years later Nesbitt enrolled at the Kansas City Art Institute in Missouri. As a first-year student, he learned etching from John deMartelly, attended Ross Braught's painting class, and met his future wife, Elaine Thompson, who was a costume design student. Thomas Hart Benton, who joined the faculty in the fall of 1935, quickly became a close friend and mentor to the younger artist. In 1937 the management of the Sheffield Steel Corporation contacted deMartelly concerning an etching commission. Because Nesbitt was an outstanding student, his teacher suggested him for the job. When Nesbitt arrived at the plant one afternoon, he was taken to the open-hearth furnace area, where he diligently sketched anonymous workers in that dramatic setting until five o'clock the following morning. On the strength of his sketches, he was commissioned to create a series of etchings illustrating different phases of the steel industry. The commission launched Nesbitt's career as a professional artist. The commission with Sheffield Steel Corporation provided the financial security that enabled Jack and Elaine Nesbitt to marry on June 1, 1938. He graduated from the Kansas City Art Institute about the same time. Working as a freelance artist, Nesbitt augmented his commissioned work with genre scenes of the Midwest, and he routinely went with Benton on sketching trips to rural Arkansas. Beginning in 1939 Nesbitt's work gained widespread recognition. Open Hearth Door, a Sheffield Steel Corporation painting, was chosen to represent Missouri in the American Art Today exhibition at the New York World's Fair. Associated American Artists selected one of his etchings, Watering Place, for an edition of 250 prints that were sold through subscription. Having a print published by the association ensured national distribution, and four more of Nesbitt's works, all of rural southern genre scenes, were later selected by the print publisher. Over the next decade Nesbitt's work was exhibited in California, Colorado, Illinois, Missouri, New York, and Oklahoma. He was awarded the Eames Prize by the Society of American Etchers in 1946, and his work was included in the book American Prize Prints of the Twentieth Century, by Albert Reese. Major corporations with operations in the Midwest, including Brown and Bigelow, Butler Manufacturing Company, Humble Oil and Refining Company, Omaha Steel Works, Pratt and Whitney...

Mastery is a word seldom heard today in the hallowed halls of the arts. Striving for technical excellence, a life-time self-teaching quest, the great game which once represented the sole qualification by which an inspiring artist could first qualify for recognition in the noble craft of painting, this long apprenticeship dedicated to a hand-eye coordination guided by the inspiration of the mind has lost the prestige it once held. The craft of which we are speaking is, similar to the life-rendition to which novelists once aspired, the arcane knowledge of how to apply wet pigment to a dry surface in order to celebrate the world. TONY GREEN has resisted the temptation to take the easy way, the glib fashionable conformity of the post-1968 caravan which for more than forty years has offered the quick itinerary for climbing the slopes of Parnassus. TONY GREEN has stuck to his guns. The easy option of jumping on the band-wagon of the avantgarde was beneath consideration. Art in our time has become the exclusive realm of ideology, and whoever requests a membership card in this essentially politically (correct) movement with all its conformities, will thus qualify as participant in the exclusivity of the "contemporary." This gambit had already grown stale by the year 1920, when Raymond Radiguet memorably provoked the already accepted rebels of Paris by saying, "Don't shock the bourgeoisie: shock the avantgarde." A lesson which only the chosen few since then, from Paul Derain to Giorgio de Chirco, have heeded. TONY GREEN stands among those who, coming from across the Atlantic, have followed in the footsteps of masters such as James McNeill Whistler and John Singer Sargent. The concert violinist after endless years of practice suddenly has the awareness during a particularly difficult passage in a concert performance that the angel has touched his shoulder -- the moment when excellence becomes effortless: this is mastery. Likewise the painter, especially those who take on the challenge of the seemingly simple manuality of painting in oils, much less the tricky elusive craft of watercolour --a club to which all but a very few aspiring practicioners qualify-- who after years dedicated to the perfection of his art, knows for a fleeting instant while at work that he too has felt the brush of the angelic plumes. "Painting is a glimpse," Willem de Kooning said, that small eternity to which Henry James often made reference. Those who look at paintings live in the Before and in the After; it is the privilege of the artist alone to live in the During. It is strange that the rules of visual art have in recent decades been so modified by "intellectual" fashion while the synthax of every best selling novel of today has continued to be expressed in the "conventional" prose of a hundred years ago. In his native New Orleans on the Golf of Mexico, as in his adopted Adriatic gateway of Venice, TONY GREEN looks, perceives, observes the pageant of life as it is, and as it has always been. But to capture it, in our photo-saturated times, how many now can render it in paint? ALAN JONES...

DIEGO RIVERA (1886 – 1957) (Inv. list NY 10) MURAL STUDY FOR THE CALIFORNIA SCHOOL of FINE ARTS (SF ART INSTITUTE) ca.1930-31 Important early study of one of Rivera’s first works in the United States. Depicts San Francisco and the Bay with California Allegorical elements. Also shows early ideas for the nave that were never executed at all. Unsigned, but annotated by Emmy Lou Packard...

Dry brush ink drawing Note: The church sits just to the north of the village green in Litchfield, CT Related to: Stow Wengenroth, Serenity (Litchfield, C...

Glenny created beautiful miniature watercolors, mostly still life. This i is a unique work of art. Glenora Richards was a member of the American Society of Miniature Painters, and won the National Association of Women Artists' medal of honor for her work in 1953. She began her career studying at the Cleveland School of Art and her work has been widely exhibited in Philadelphia and New York. Glenora Case was born in 1909 in New London, Ohio. Her parents were Bertha and Tracy Case.She attended high school in Litchfield, Ohio, where she played the violin. She studied art at the Cleveland Institute of Art (CIA) in the 1920s She met her future husband, Walter DuBois Richards, also a student at the CIA, while she was sketching at a department store. The couple married and moved to New York City. In 1941, the family moved to New Canaan, Connecticut, where she lived until just before her death in 2009. Richards painted miniature portraits and designed postage stamps. In 1953, she was awarded the medal of honor by the National Association of Women Artists and The National Association of Women Artists Prize at the organization's 1962 Annual Exhibition. Her miniature portrait of the prize-winning poet Edna St. Vincent Millay was the basis for a U.S. postage stamp, issued in 1981. She also designed a postage stamp to commemorate Dr. Mary Edwards...

Glenny created beautiful miniature watercolors, mostly still life. This image of a bronze vase with multi colored flowers surrounded by birds and gnome is a unique work of art. Gl...

Glenny created beautiful miniature watercolors, mostly still life. Fern Tree is a unique work of art. Glenora Richards was a member of the American Society of Miniature Painters, and won the National Association of Women Artists' medal of honor for her work in 1953. She began her career studying at the Cleveland School of Art and her work has been widely exhibited in Philadelphia and New York. Glenora Case was born in 1909 in New London, Ohio. Her parents were Bertha and Tracy Case.She attended high school in Litchfield, Ohio, where she played the violin. She studied art at the Cleveland Institute of Art (CIA) in the 1920s She met her future husband, Walter DuBois Richards, also a student at the CIA, while she was sketching at a department store. The couple married and moved to New York City. In 1941, the family moved to New Canaan, Connecticut, where she lived until just before her death in 2009. Richards painted miniature portraits and designed postage stamps. In 1953, she was awarded the medal of honor by the National Association of Women Artists and The National Association of Women Artists Prize at the organization's 1962 Annual Exhibition. Her miniature portrait of the prize-winning poet Edna St. Vincent Millay was the basis for a U.S. postage stamp, issued in 1981. She also designed a postage stamp to commemorate Dr. Mary Edwards...

Glenny created beautiful miniature watercolors, mostly still life. This image of a tall glass vase with orange flowers is a unique work of art. Glenora Richards was a member o...

Glenny created beautiful miniature watercolors, mostly still life. This image of two white vases with white flowers against yellow background is a unique work of art. Glenora Rich...

Glenny created beautiful miniature watercolors, mostly still life. This image of a tall blue vase with white flowers is a unique work of art. Glenor...

Glenny created beautiful miniature watercolors, mostly still life. This images of a mortar and pestle presented against a vivid blue background and surrounded by pears. This is a u...

Glenny created beautiful miniature watercolors, mostly still life. This image of a bronze jug with yellow flowers is a unique work of art. Glenora Richar...