Charles Sorlier Art

FRANCE World Cup Lithograph by Aldo Luongo c.1998 Limited edition France 98' World Cup - Official License From a very limited edition of 300. Pencil signed lower right. Edition 24/300 lower left. This is a rare, very small edition lithograph for the 1998 Soccer World Cup...

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The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...

The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Images like this were popular as ways of remembering loved ones, an alternative to portraiture of the deceased. This lithograph shows a man, woman and child in morning clothes next to an urn-topped stone monument. Behind are additional putto-topped headstones beneath weeping willows, with a steepled church beyond. The monument contains a space where a family could inscribe the name and death dates of a deceased loved one. In this case, it has been inscribed to a young Civil War soldier: William W. Peabody Died at Fairfax Seminary, VA December 18th, 1864 Aged 18 years The young Mr. Peabody probably died in service for the Union during the American Civil War. Farifax Seminary was a Union hospital and military headquarters in Alexandria, Virginia. The hospital served nearly two thousand soldiers during the war time. Five hundred were also buried on the Seminary's grounds. 13.75 x 9.5 inches, artwork 23 x 19 inches, frame Published before 1864 Inscribed bottom center "Lith. & Pub. by N. Currier. 2 Spruce St. N.Y." Framed to conservation standards using 100 percent rag matting and TruVue Conservation Clear glass, housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Pastel Landscape: Impressionist Trees is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the American artis...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Saint Bernard France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portrait...

This artwork "Mother and Children" c.1970, is a colors lithograph on paper by American artist Edna Hibel, 1917-2014. It is signed and numbered II 3/10 Ed. 200 in pencil by the artist. The The artwork (sheet ) size is 34 x 23 inches, framed size is 40 x 29 inches. Custom framed in original wooden decorated grey/silver frame. It is in excellent condition. About the artist: Edna Hibel, a painter of sentimental pictures of children, has had a more than 60-year career as painter and lithographer and promoter of peace through exhibitions of her artwork. She was born in 1917 in Boston, Massachusetts. Her parents were Abraham and Lena Hibel, and she was raised in the Boston area and educated at Brookline High School where she met her future husband, Theodore Plotkin. She began to paint when she was nine years old and learned watercolor during summers at the shore where her family vacationed in Maine and Hull, Massachusetts. Hibel studied at the Boston Museum School of Fine Arts, from 1935-39, receiving a Sturtevant Traveling Fellowship to Mexico. In Boston, in 1966, she began lithography, continuing in 1970 in Zurich, where she still works every year. She has created lithographic works with up to 32 stones (or colors) on paper, silk, wood veneer and porcelain. The latter pieces are called lithographs on porcelain and result from a complicated process, that she keeps a secret, whereby she transfers stone lithographic color separations onto Bavarian hard paste porcelain. Hibel has created the "Arte Ovale" series and various plaques with this technique. She organized the Edna Hibel Museum of Art, in Jupiter, Florida, to display and promote her work and also created a United Nations stamp, "Mother Earth." In 1995, she was commissioned by the Foundation of the U.S. National Archives to commemorate the 75th anniversary of women receiving the universal right to vote. At the ceremony, Ms. Lucy Baines Johnson referred to Hibel as the "Heart and Conscience of America." In November, 2001, the World Cultural Council based in Mexico City gave her the Leonardo da Vinci World Award of Arts. Hibel's work has been exhibited in museums and galleries in more than 20 countries including Russia, Brazil, China, Costa Rica, and the United States, and under the royal patronage of Count and Countess Bernadotte of Germany, Count Thor Bonde of Sweden, Prince and the late Princess Rainier of Monaco and Her Majesty Queen Elizabeth II of England. Pope John Paul II gave her a medal of honor as did the late Belgian King Baudouin. She also received honorary Doctoral degrees including from Eureka College, and Northwood University of Florida, Michigan and Texas. She also has received many humanitarian honors for her charitable efforts for children's and medical charities. Her exhibitions "Golden Bridge" and " Peace Through Wisdom" were efforts to promote peace and cultural understanding between China, the United States, Yugoslavia and Russia, and a television documentary titled "Hibel's Russian Palette" was based on her trips and art shows in Leningrad, now St. Petersburg. In 2001, Edna received a Lifetime Achievement Award from "Women in the Visual Arts," an organization of artists in the South Florida area. Works in Permanent Collections: Harvard University Boston University Museum of Fine Arts, Boston Springfield Museum of Arts, Massachusetts University of New Hampshire Fleischmann Collection, Cincinnati Detroit Art Institute Milwaukee Art Museum Phoenix Art Museum La Jolla Museum, California Lowe Gallery, University of Miami, Florida Columbus Museum of Arts and Crafts, Georgia WarrenHall Coutts, Ill, Memorial Museum of Art, El Dorado, Kansas Palais des Nations,Geneva, Switzerland United Nations Headquarters, New York City Norton Gallery, West Palm Beach, Florida de Saisset Museum, Santa Clara, California Russian Academy of Art, St. Petersburg, Russia Hibel Museum of Art, Lake Worth, Florida One Artist Exhibitions: Shacknow Museum of Fine Arts, Plantation, Florida, 2000 Cornell Museum of Art and History, Delray Beach, Florida, 1999 (and 1993) Klutznick National Jewish Museum, Washington, D.C., 1999 The Museum of Printing History, Houston, Texas, 1999 (and 1998) Mitsukoshi Fine Art Gallery, Tokyo, Japan, 1995 (and 1994) Lyme Academy of Fine Art, Old Lyme, Connecticut, 1994 Grenchen Art Museum, and Galerie BrechbUhl, Grenchen, Switzerland, 1992 Soviet Union Academy of Art, and Exhibition Hall of the Russian Union of Artists, Leningrad (St. Petersburg), Russia, U.S.S.R., 1990 Northern Indiana Arts Association Gallery, Munste~ Indiana, 1990 Galerie Vindobona, Bad Kissingen,West Germany, 1988 The National Museum of Women in the Arts, Washington, D.C., 1989 St. Peter An...

This is an exclusive handprinted limited edition cyanotype. "Lake Tahoe Panorama" shows a sequence of abstracted ripples of the calm Tahoe waters. Details: + Title: Lake Tahoe Panor...

Original poster, lithograph, linen-backed, Nathan Hale poster reading," I only regret that I have but one life to lose for my country." Step into history with this 1939 Kelly Read & Co. Rochester (NY) poster, a testament to the principles our patriots died for. This very rare original poster is the only documented copy remaining. Archival linen-backed and ready to frame. The poster features a stylized image of Nathan Hale, an American Revolutionary War soldier...

Original Annual Roll Call vintage poster. Archival linen backed. Original fold marks touched up during linen backing. With the red cross ship sailing on the horizon in this image; the two lost survivors floating on wooden planks out at sea can now be rescued. Saved by the Red Cross. Possibly a different outlook during wartime on the "Loose Lips Sink Ships" Very little information is documented about this artist, E. Seaver. Linen-backed, post-World War 1 Red Cross poster...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Newfoundland France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portraits...