William Seltzer Rice Art

This 90 color hand pulled serigraph exhibits all of the subtle brushwork, light, and color that the artist is known for. "Afternoon Glow" is signed by the artist in an edition of 240 including Proofs, and this beautiful harbor scene is bathed in glowing light, with rich blues, greens, and grays. As a painter Cosby travels extensively painting what he sees and feels. Bold use of color and an energetic brush stroke combined with the truth of the place is what you will see and feel when viewing a painting by Cosby. Born in Hollywood California in 1955, Cosby was raised in the west. At an early age he began to draw and paint and was lucky enough to have been inspired by a grandmother who was an oil painter. "She would give me the paint, some brushes and a scrap of canvas and set me off to paint. This early experience took the fear out of creating a painting," said Cosby. Cosby started traveling at an early age. At 18 he was chosen as an advance man for the Executive Branch of the US Government, served under two Presidents and traveled the world. He met many interesting people and saw many things but what most interested him were the great works of art he encountered. "They haunted me and helped set the course for my career as a painter". After leaving the White House, Cosby rebuilt an old classic sailing sloop designed by Nathaniel Herrishoff. With a friend (who had dreams of being a writer) set sail up and down the eastern seaboard in the inland waterway for 3 years. Thus he began his art career. "Doing drawings of anything that moved me, things began to sell and my course was set," said Cosby. Upon his return to the California, Cosby began painting the sea and landscape of coastal California. With a strong gallery response, his success as a painter quickly followed. Cosby currently resides and maintains a studio in San Clemente CA. He works on location around the world and is represented by some of the finest galleries. Cosby was a founding board member of the prestigious “Laguna Plein Air Painters Association”, a Signature member of both Pleinair Painters of America and The California Art Club. He has served as an officer of these groups to help further the cause of Art. Cosby was also a founder of the Laguna Beach Plein Air Painting Invitational that was held at the Laguna Art Museum for thirteen years and is now in it's 18th year. With his bold contemporary style Cosby has captured the imagination of some very important collectors. His work can be found in many private, public and corporate collections around the world. Cosby is recognized internationally. List of Awards and Recent Exhibitions 2016 The Irvine Museum Summer Exhibition "A Summer Idyll" 2015 Commissioned by Big Canyon Country Club to paint a major painting 2015 Accepted into The Irvine Museum Permanent Collection 2015 Group Show “The Wild Side” Catalina Island Conservancy show 2014 The Fredrick Weisman Museum "On Location in Malibu" A CAC Show 2014 The Cape Cod Museum of Art "Looking East" a PAPA Show 2014 The Irvine Museum "Sunlight and Shadow/ The Tradition of Pleinair Painting...

This 90 color hand pulled serigraph exhibits all of the subtle brushwork, light, and color that the artist is known for. "Afternoon Glow" is signed by the artist in an edition of 240...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...

This Winslow Homer wood engraving entitled "On the Beach at Long Branch, The Children's Hour", was published in Harper's Weekly in the August 15, 1874 ed...

"Flood Waters" is an original wood engraving by Harold Wescott, It features a tree in the center, with its roots wrapping languidly over a form. High waters rise up from the back. Un...

This giclee on canvas called "Near Amalfi" by Howard Behrens is embellished and signed by the artist. It is numbered 11/25. Framing options are available.

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

A modernist fantasy winter scene created by Werner Drewes, this print brings key aspects of the period together. His cubist-inspired woodcut technique is utilized here to bring the s...

Floral design extraordinaire! This is a lithograph of an original watercolor signed by Palo Verdes, California artist Dian Clapp Bartz.

"Road to Cripple Creek, Colo." is an original woodcut print by Gerhardt H. Bakker. Lines full of expression and shape make up every bit of this print, fr...

It almost makes one want to board Aeroflot to see this firsthand…maybe going out of Istanbul? Well no. And yet, there’s a universal energy on full display in this view by a master im...

River Reflections Color woodcut, c. 1910 Unsigned Provenance: Dow Family Album, Cincinnati Condition: Excellent Image size: 2 1/2 x 4 inches Sheet size: 3 1/8 x 4 7/8” A color varian...