David Barnett Gallery Art

Gable like symbol of authority Ibibio, Nigeria, c1940

"Can't Get Her Off My Mind" is an original ceramic sculpture created by Steven Kemenyffy. 43"x30"x14" Ceramic Steven Kemenyffy (born 1943) is an American ceramic artist living and working in Pennsylvania. He is most recognized for his contributions to the development of the American ceramic raku tradition. He has served as a Professor of Ceramic Art at Edinboro University of Pennsylvania (formerly Edinboro State College) since 1969. He Has retired from teaching, but continues to produce artwork at his home studio in McKean, Pennsylvania. Kemenyffy is often characterized in regard to his contributions to American experimental ceramics of the late 1960s and early 1970s. More specifically, Kemenyffy’s contributions to American raku techniques are often cited. Kemenyffy has stated that his interest in raku came out of practical considerations: “We [Steven and Susan] were doing a variety of workshops in a variety of different media. Raku was always an official way of making pieces in a short period of time…In raku it seems to compress all the firings into one.” Kemenyffy, himself, describes his early work as “Biomorphic forms alluding to old ceramic traditions such as tiles, vases, and containers.” These works were often in excess of six feet tall and many times included mixed media elements. In 1974, Kemenyffy wrote about the work he was producing; “For several years now, my work has dealt with certain formal considerations. Chief among these is using clay in such a way as to crystallize the moment and permanentize the impermanent. These have been among the primary concerns of all potters since the earliest times.” Today, Kemenyffy continues his pursuit of biomorphic imagery and themes. He writes, “Personally I am most challenged by the business of transforming porous organics into porcelain.” For much of Kemenyffy’s career, he has worked in tandem with his wife, Susan Hale Kemenyffy. In 1987 Susan stated about their collaborative works: “Steven is the [sculptor], I am the drawer. These works would not exist if it weren’t for the sculpture; if it weren’t for the clay. The clay entity comes first and my drawings come second.” James Paul Thompson further clarifies this relationship (as observed in 1987): “Steven Kemenyffy uses patterns as a point of departure for his work, while Susan Kemenyffy...

Clay, Double Walled Porcelain Glazed signed on the bottom. 7 x 23 inches Karen Gunderman is an experienced artist based in the United States whose paintings have been exhibited nati...

19th Century Indonesian mask made from wood.

Oil pastel and acrylic on paper bag, signed lower right Art: 13 3/4 x 11 3/4 inches Frame: 19 5/8 x 17 5/8 inches Reginald K. Gee was born in Milwaukee on April 28, 1964 to Native ...

Art: 20"x 26" Frame: 28-1/2"x 32-1/2" Charcoal on paper. Signed, dated and inscribed to David Barnett. Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' É...

Art: 9-1/2"x12-1/2" Frame: 17-1/4"x 20-1/4" Abstract black marker on cream sketchbook paper. Signed Sylvania lower right. Silk lined matting and glazed in UV Clear Glass that filte...

Art: 5 1/2 x 4 3/8" Frame: 10 1/8 x 8 1/8" Original color woodcut on paper, signed in block. Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff...

Art: 10-3/4"x 8-1/4" Frame: 17-3/4"x15-3/8" Watercolor, stamped signature Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff...

2-1/4 x 7" Ceramic Bowl, signed and dated verso The ceramic sculptures of Wisconsin artist Michael Gross are personal narratives that reveal an unusual mix of earthly magic and primal vitality. The artist works in a variety of forms, including figurines, large vessels and furniture. With over a dozen museum exhibitions under his belt, the artist is a regular exhibitor at SOFA in New York...

9" dia. Ceramic, signed and dated The ceramic sculptures of Wisconsin artist Michael Gross are personal narratives that reveal an unusual mix of earthly magic and primal vitality. The artist works in a variety of forms, including figurines, large vessels and furniture. With over a dozen museum exhibitions under his belt, the artist is a regular exhibitor at SOFA in New York...

41x25x10" Ceramic Steven Kemenyffy (born 1943) is an American ceramic artist living and working in Pennsylvania. He is most recognized for his contributions to the development of the American ceramic raku tradition. He has served as a Professor of Ceramic Art at Edinboro University of Pennsylvania (formerly Edinboro State College) since 1969. He Has retired from teaching, but continues to produce artwork at his home studio in McKean, Pennsylvania. Kemenyffy is often characterized in regard to his contributions to American experimental ceramics of the late 1960s and early 1970s. More specifically, Kemenyffy’s contributions to American raku techniques are often cited. Kemenyffy has stated that his interest in raku came out of practical considerations: “We [Steven and Susan] were doing a variety of workshops in a variety of different media. Raku was always an official way of making pieces in a short period of time…In raku it seems to compress all the firings into one.” Kemenyffy, himself, describes his early work as “Biomorphic forms alluding to old ceramic traditions such as tiles, vases, and containers.” These works were often in excess of six feet tall and many times included mixed media elements. In 1974, Kemenyffy wrote about the work he was producing; “For several years now, my work has dealt with certain formal considerations. Chief among these is using clay in such a way as to crystallize the moment and permanentize the impermanent. These have been among the primary concerns of all potters since the earliest times.” Today, Kemenyffy continues his pursuit of biomorphic imagery and themes. He writes, “Personally I am most challenged by the business of transforming porous organics into porcelain.” For much of Kemenyffy’s career, he has worked in tandem with his wife, Susan Hale Kemenyffy. In 1987 Susan stated about their collaborative works: “Steven is the [sculptor], I am the drawer. These works would not exist if it weren’t for the sculpture; if it weren’t for the clay. The clay entity comes first and my drawings come second.” James Paul Thompson further clarifies this relationship (as observed in 1987): “Steven Kemenyffy uses patterns as a point of departure for his work, while Susan Kemenyffy...

22x23 Terra Sigillata Signed to underside B.S. in Art Education: University of Wisconsin-Stout in 1971 "This work is low-fired and unglazed. The obje...

New Guinea, Ceremonial Drum, Wood (Mahogany), Lizard skin 24 1/2 x 7"d.

African Wood c1930 Ceremonial Figure w/Vessel For Offering. Nigeria-Yoruba 32 1/2 x 16 x 10"

15 3/4 x 5 1/2 x 6 1/2" Bembe wood

1968 3-3/4 x 7 x 6 Construction, mixed media Joseph Rozman received his BFA (with honors in 1967) and MFA (1969) from UW-Milwaukee, and would later become a Professor at Mount Mary ...

Sheet: 9 7/8 x 11 3/8 inches Plate: 5.75 x 5.88 inches Frame: 14 x 14 inches Etching (A/P) Rozman received his BFA (with honors in 1967) and MFA (1969) from UW-Milwaukee, and would...

Art: 11-1/4 x 11-7/8 Color lithograph, signed (2/10) Rozman received his BFA (with honors in 1967) and MFA (1969) from UW-Milwaukee, and would later become a Professor at Mount Mary...

"Spirit Not in Flight," 1994, is a pastel work by Della Wells. The work depicts a nude black woman looking out from the picture, meeting the viewer's ...

Art: 30-1/8 x 22-3/8 inches Lithograph, from Portfolio Signed and numbered ‘80’, from the edition of 100” Famed worldwide for giving graphic definition to the postwar age, Saul Ste...

Art: 51 x 38 inches Frame: 53 x 40 inches Born in Port-au-Prince, Haiti. Mid-career artist. He was part of Expo Florida, 2000 in Coconut Grove and the 2...

Rusted steel patina 48 inches high and approx. 30 inches wide. Indoor or outdoor sculpture.

Pink steel patina 48 inches high and approx. 30 inches wide. Indoor or outdoor sculpture.

26" x 15" x 30" Black serpentine, signed. Colleen Madamombe (1964–2009) was born in Harare, Zimbabwe. Considered to be among the finest new talents from Zimbabwe, she won the award of Best Female Artist of Zimbabwe three years in a row, and became an established figure of the Second Generation of Zimbabwean stone...

31" in height roughly 12-15" wide Ceramic Steven Kemenyffy (born 1943) is an American ceramic artist living and working in Pennsylvania. He is most recognized for his contributions to the development of the American ceramic raku tradition. He has served as a Professor of Ceramic Art at Edinboro University of Pennsylvania (formerly Edinboro State College) since 1969. He Has retired from teaching, but continues to produce artwork at his home studio in McKean, Pennsylvania. Kemenyffy is often characterized in regard to his contributions to American experimental ceramics of the late 1960s and early 1970s. More specifically, Kemenyffy’s contributions to American raku techniques are often cited. Kemenyffy has stated that his interest in raku came out of practical considerations: “We [Steven and Susan] were doing a variety of workshops in a variety of different media. Raku was always an official way of making pieces in a short period of time…In raku it seems to compress all the firings into one.” Kemenyffy, himself, describes his early work as “Biomorphic forms alluding to old ceramic traditions such as tiles, vases, and containers.” These works were often in excess of six feet tall and many times included mixed media elements. In 1974, Kemenyffy wrote about the work he was producing; “For several years now, my work has dealt with certain formal considerations. Chief among these is using clay in such a way as to crystallize the moment and permanentize the impermanent. These have been among the primary concerns of all potters since the earliest times.” Today, Kemenyffy continues his pursuit of biomorphic imagery and themes. He writes, “Personally I am most challenged by the business of transforming porous organics into porcelain.” For much of Kemenyffy’s career, he has worked in tandem with his wife, Susan Hale Kemenyffy. In 1987 Susan stated about their collaborative works: “Steven is the [sculptor], I am the drawer. These works would not exist if it weren’t for the sculpture; if it weren’t for the clay. The clay entity comes first and my drawings come second.” James Paul Thompson further clarifies this relationship (as observed in 1987): “Steven Kemenyffy uses patterns as a point of departure for his work, while Susan Kemenyffy...

5x4x4-1/2 Bronze Reuben Kadish was an American artist, specializing as a sculptor, draughtsman, muralist, painter, and printmaker. In his later career he also taught art history and sculpture in New York...

Circus Gymnast, 19th Century by Unknown (French) creator.

The frame is included. Art size: 25" x 19" This is an original and very rare vintage art poster from a Jacques VILLON's exhibition. It took place ...

Gicleé print on white wove paper after original ca.1960 oil on canvas. Art: 13" x 9" Frame: 23" x 18.75" Signed in the image, lower left.

Watercolor on cream wove paper, signed by the artist. Art: 17.75" x 12" Frame: 25.63" x 19.13" Estate sale stamp on reverse Born in 1908, Sylvia Spicuzza was the daughter of noted ...

A folksy rendered hand-painted mother cow stands with her calf in a springtime field in this small wooden sculpture by self taught artist, Menno. This unique artwork makes a great gi...

"Rock, Mirror, Lake, Yosemite" is an original photograph created by Thomas Ferderbar. Ferderbar shows us a striking photo of a large rock sitting in a mirror still lake. The flow of nature takes the viewers eyes all around the image and back again with it's beautiful features. Ferderbar signed and dated the piece. This work is archivally framed with acid free foam board backing, museum glass, and a silver finished frame. Art: 34.63" x 24.88" Frame: 42.5" x 32.5" Titled, dated, and signed by the artist Interview With the Artist: "I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera...

"Yosemite Valley" is an original photograph by Thomas Ferderbar. This is an expansive landscape show of the yosemite valley. An amazing black and white view that emulates Ferderbar's...

Homage a Leonardo d'Vinci (Horse & Rider Attacking Foot Soldier from De La Bataille Vol. I) Original drypoint, signed lower right, ed. VIII/L Art: 11-5/8" x 15-1/2" Frame: 27-5/8"...

Joan Miró produced this original color lithograph especially for Rafael Alberti's text 'Maravillas con Variaciones Acrósticas en el Jardín de Miró' (Wonders with Acrostic Variations ...

Signed lower right by the artist. Francesco J. Spicuzza, born in Sicily on July 23, 1883, came to America at the age of 8. He supported himself as a fruit peddler until a newspaperman gave him $4 a week to go to school. He attended classes at the Milwaukee Art Students League, where he studied under Alexander Mueller. There he learned to paint in the then-fashionable "Munich School" technique, with detailed realism in heavy browns and grayed-out hues. Spicuzza completed eight grades in four years, and then in 1911, three businessmen advanced him enough money to allow him to study in New York under artist and teacher John Carlson. It was during this time that Spicuzza changed his style of painting, developing an impressionistic use of color, form and atmospheric renditions. After a period of grinding poverty, one of Spicuzza's pictures won a major New York competition. It was the first of 60 wins, both in the U.S. and Paris. He became a fashionable painter, and many of the leading collections have his work. Spicuzza's typical works were beach scenes, still life, landscapes and portraits done in pastels, oils, ink, charcoal and watercolors. Much of his work traced the history of Milwaukee in the early 1900s. He was probably best known for his scenes of women and children splashing in the waves...

Intriguing and Unusual Imagery Name: Intriguing and Unusual Imagery Year: 1984 Venues West Bend Gallery of Fine Arts Susan Potts is a Wisconsin-based ar...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...

Graphite and charcoal on paper signed by the artist. 7.38" x 8.63" 16.75" x 15.5" frame Framed to conservation standards. Float mounted on 100% cotton matboard and glazed in UF5 Plexiglass that filters 99% of UV Rays to ensure the preservation of the piece. All housed in a bold miter jointed bevel frame in distressed silver finish with reflective accents. Francesco J. Spicuzza, born in Sicily on July 23, 1883, came to America at the age of 8. He supported himself as a fruit peddler until a newspaperman gave him $4 a week to go to school. He attended classes at the Milwaukee Art Students League, where he studied under Alexander Mueller. There he learned to paint in the then-fashionable "Munich School" technique, with detailed realism in heavy browns and grayed-out hues. Spicuzza completed eight grades in four years, and then in 1911, three businessmen advanced him enough money to allow him to study in New York under artist and teacher John Carlson. It was during this time that Spicuzza changed his style of painting, developing an impressionistic use of color, form and atmospheric renditions. After a period of grinding poverty, one of Spicuzza's pictures won a major New York competition. It was the first of 60 wins, both in the U.S. and Paris. He became a fashionable painter, and many of the leading collections have his work. Spicuzza's typical works were beach scenes, still life, landscapes and portraits done in pastels, oils, ink, charcoal and watercolors. Much of his work traced the history of Milwaukee in the early 1900s. He was probably best known for his scenes of women and children splashing in the waves...

Woodcut in colors on Japanese paper. Signed and titled by artist. 24.25" x 24.25" art 34.88" x 34.63" frame Carol Summers (1925-2016) has worked as an artist throughout the second ...

29 3/4 x 21 1/2 paper 34 x 25 1/4 framed Signed lower right. Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' École des Beaux-Arts de Nancy, France. As ...

"Derrière le Miroir (Terres de Grand Feu)" from the exposition "Terres de Grand Feu Miró-Artigas" at Galerie Maeght June-July 1956. This is an original color lithograph on Arches paper, with three works on one sheet from the catalogue for the exhibition of ceramic work produced by Joan Miró and Llorens Artigas...

"Nkondi Bakongo Fetish - Zaire" is a sculpture created out of wood, cloth, nails, and twine in circa 1930. This statue is large and formidable. The figure's limbs are wrapped up in a...

"Maternity-Bacongo, Zaire," is a carved wood and glass sculpture created in what is now the Democratic Republic of Congo circa 1940. The nude, woman figure rests on her knees. In her...

This small portrait of gallerist David Barnett is an intimate example of the watercolors of Estherly Allen. She was a student of George McNeil, an important Abstract Expressionist, a...

The present artwork is an original etching by American artist Leonard Baskin. Here, he presents a portrait of the Flemish Renaissance artist Peter Breughel the Elder in profile, executed after the engraving by Johannes Wierix published in 1572 by Volcxken Diericx and Hieronymus Cock. In the portrait, Baskin displays a love of line and texture, using the etching technique to exaggerate and draw attention to the wrinkles of the face, while leaving the hair and clothing like a study or sketch. Like in the work of contemporary artist Claude Weisbuch, the result for Baskin is an image that recalls the old masters and displays the mastery of contemporary printmakers, but that also places mid-century formal concerns at the forefront of portraiture and figuration. etching in black in on Rives paper 17.5 x 17.5 inches, plate 29.75 x 22 inches, sheet 33.5 x 25.88 inches, frame Entitled "Breughel" in pencil, lower left Edition 9/50 in pencil, lower center Signed in pencil, lower right "PB" in the plate, upper left "PB" in the plate, upper right (faint) Label for Irving Galleries, Milwaukee on reverse Label for David Barnett Gallery on reverse Framed behind glass in a distressed cassetta-style moulding Artwork in overall good condition; general toning to the paper; some scattered foxing; frame in good condition with some losses to finished surface revealing white ground Born in 1922 in New Brunswick, New Jersey, Baskin was reared in Brooklyn, New York. The son of a Rabbi, Baskin was educated at a yeshiva (Jewish religious college), which had a profound effect on his aesthetic. Committed to art at an early age, Baskin had his first exhibition. of sculpture, at the Glickman Studio Gallery, New York, at the age of seventeen. He studied at Yale University from 1941 to 1943 and received his B.A. at the New School for Social Research in 1949. Baskin spent 1950 and 1951 abroad, studying in Paris and Florence. In 1953 he began teaching printmaking and sculpture at Smith College in Northampton, Massachusetts, where he remained until 1974. It was while he was at Smith College that he founded Gehenna Press, a small private press specializing in fine book production. He moved to England in 1974 and stayed till 1983 when he returned to America.. These nine years were enormously productive and besides sculptures he created a fine selection of prints and paintings. Baskin became intrigued by Greek history, philosophy and mythology at an early age and this study inspired many of his sculptures and paintings. Other influences were early 20th century sculptors, notably Ernst Barlach Leonard Baskin was one of the universal artists of the 20th century. He was a sculptor of renown. He was a writer and illustrator of books ranging from the bible to children's' stories and natural history. He was a talented water-colourist and a superb, prolific print-maker. His prints ranged from woodcuts through lithography and etching; his subjects covered portraits...

Signed with stamp, J.V. 7-5/8" x 4-3/4" art 19" x 15-1/4" frame Jacques Villon (French, 1875 - 1963) French painter, printmaker and illustrator. The oldest of three brothers who became major 20th-century artists, including Raymond Duchamp-Villon and Marcel Duchamp, he learnt engraving at the age of 16 from his maternal grandfather, Emile-Frédéric Nicolle (1830-94), a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre. At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon...

Glazed stoneware, wheel thrown with hand-built slabs, signed on the bottom by Dennis McLaughlin. 7' x 10" diameter McLaughlin’s artistic sensibilit...

Hand Thrown Glazed Stoneware signed on bottom by Robert Piper 3 1/2 x 5 1/2"dia.

'Bowl' is an original glazed stoneware by Mark Shekore. The artist signed the piece on the bottom. It is 8" tall and has a diameter of 6 1/2". Mark Shekore attended the Universit...

'Bowl (Blue & White)' is a hand-thrown glazed stoneware bowl made by Mark Shekore, signed with his last name on the bottom of the piece. 3.75 x 8.75 in Mark Shekore attended the Un...

Signed with estate stamp, J.V. double sided. 6-3/4" x 4-3/4" art 18" x 15-1/4" frame Jacques Villon (French, 1875 - 1963) French painter, printmaker and illustrator. The oldest of three brothers who became major 20th-century artists, including Raymond Duchamp-Villon and Marcel Duchamp, he learnt engraving at the age of 16 from his maternal grandfather, Emile-Frédéric Nicolle (1830-94), a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre. At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon...

Titled, signed, and dated in lower margin. A move to an eighty-acre farm in Western Michigan from Detroit suited Janet Richardson Baughman to a tee. She and her three siblings loved country life, and relished the many humorous adjustments to their new surroundings. The one-room schoolhouse she attended, for example, contrasted sharply to her earlier city school. Sports programs had been fairly sophisticated in the city. Rural sports consisted of her teacher piling everyone in her car, including the trunk, and then driving the children to another one-room schoolhouse for games. When Janet reached the sixth grade, a chapter in American history closed because all of the one-room schoolhouses were annexed by the nearest cities, but that unusual educational experience is something Janet fondly remembers. Growing up in a family that was very artistic, it is not surprising that Janet loved drawing. She and her brothers and sisters would make Christmas decorations for the Christmas tree and had ongoing art projects all year long. Her architect father was an artist in his free time. As the children have become adults, they are all involved in artistic endeavors from carving to sculpture. Janet's high school years were spent riding and showing her horses. "That was my life," she says. Living on the farm allowed her freedom to indulge her love of animals including the dogs that were so special to her. Active in 4H, Janet became an accomplished seamstress and an excellent cook. She took no art classes in high school although she sometimes helped her father with drafting. Starting college with the intention of majoring in speech and drama, Janet took an art class only because it was required. She found the art classes so appealing that she took one after another. Eventually, having taken every art class offered, the university had to design independent studies for her. With her beloved horses back on the farm, Janet discovered a new passion, and that was ceramics. First working as a waitress during college to earn income, Janet later became a Student Assistant and lived at the Ceramics Studio. As an assistant, she would make clay and glazes, fire the kiln, and assist the instructor however she could. At first, she had planned to become a high school teacher, but she was encouraged to earn her graduate degree and pursue her artistic endeavors, in addition to teaching. Janet graduated in 1975 with a BFA in Ceramics and Weaving from Central Michigan University in Mt. Pleasant, MI. Following her mentor's advice, she went to Indiana State University in Indiana for her graduate work where she studied under Dick Hay. Demanding, but very laid back personally, he expected a lot from Janet, and she grew from his expectations. She joined the National Council for Education in the Ceramic Arts (NCECA) which is a ceramics networking organization. It has a national conference each year where ceramists, educators and studio artists meet. She was on the Board of Directors for two years. Janet received her MFA in 1977. Moving back to Western Michigan, Janet found teaching positions with various colleges and taught art history, ceramics and a myriad of classes. However, she never forgot her mentor's advice, which was to continue her craft. Janet met a businessman/artist, John Baughman, who sold her artwork around the country. Janet bought a studio and her work was selling so well that she no longer needed to supplement her income with teaching. Janet and John had a business relationship for several years until life took one of those magical twists, and their relationship blossomed into much more. Later, the two of them were married. John and Janet bought acreage and moved to the country. Turning one of their buildings into a studio, the pair became extremely successful influencing them to concentrate only on their artwork and discontinue the sales end of his business. Janet says it has been very, very good for them and has caused different things to happen. The challenges of commissions make her think in directions that it is unlikely she would have done on her own. Janet is an extremely talented artist. It is difficult to believe when one sees her pastel, mixed media of pencil, oils and collage landscapes done on paper that this is the same artist that designs and makes very sophisticated and stylized ceramics. The natural beauty that abounds where she lives inspires her artwork. Interestingly, she also derives inspiration from her ceramics for her paintings although the two are quite different in style. Her paintings are stylized and readable, but she does not look for minute detail when she paints. These soft landscapes create a feeling of bucolic peace and serenity although Janet does not consciously paint a message. Janet says of her work, that it is like a dance or conversation in her head, which she expresses through her art. Janet lives an almost idyllic rural existence with her artist/husband who she says is "the love of her life." They work together everyday, and for them it is the perfect partnership because they compliment one another so well. Together they raise and train horses, and are expecting three foals within a year. In addition, she loves to garden and after the tradition of her grandmother and mother, has a huge vegetable garden. She and her husband love to cook. They enjoy golfing together as well. Their three grown children are still very important in their lives, and Janet sews intricate costumes for her daughter when she shows her horse. In the future, Janet thinks that living in Virginia with horses and continuing with her art would be perfect. She, along with her husband, would like to spend a summer in Provence...

Titled, signed, and dated in lower margin. A move to an eighty-acre farm in Western Michigan from Detroit suited Janet Richardson Baughman to a tee. She and her three siblings loved country life, and relished the many humorous adjustments to their new surroundings. The one-room schoolhouse she attended, for example, contrasted sharply to her earlier city school. Sports programs had been fairly sophisticated in the city. Rural sports consisted of her teacher piling everyone in her car, including the trunk, and then driving the children to another one-room schoolhouse for games. When Janet reached the sixth grade, a chapter in American history closed because all of the one-room schoolhouses were annexed by the nearest cities, but that unusual educational experience is something Janet fondly remembers. Growing up in a family that was very artistic, it is not surprising that Janet loved drawing. She and her brothers and sisters would make Christmas decorations for the Christmas tree and had ongoing art projects all year long. Her architect father was an artist in his free time. As the children have become adults, they are all involved in artistic endeavors from carving to sculpture. Janet's high school years were spent riding and showing her horses. "That was my life," she says. Living on the farm allowed her freedom to indulge her love of animals including the dogs that were so special to her. Active in 4H, Janet became an accomplished seamstress and an excellent cook. She took no art classes in high school although she sometimes helped her father with drafting. Starting college with the intention of majoring in speech and drama, Janet took an art class only because it was required. She found the art classes so appealing that she took one after another. Eventually, having taken every art class offered, the university had to design independent studies for her. With her beloved horses back on the farm, Janet discovered a new passion, and that was ceramics. First working as a waitress during college to earn income, Janet later became a Student Assistant and lived at the Ceramics Studio. As an assistant, she would make clay and glazes, fire the kiln, and assist the instructor however she could. At first, she had planned to become a high school teacher, but she was encouraged to earn her graduate degree and pursue her artistic endeavors, in addition to teaching. Janet graduated in 1975 with a BFA in Ceramics and Weaving from Central Michigan University in Mt. Pleasant, MI. Following her mentor's advice, she went to Indiana State University in Indiana for her graduate work where she studied under Dick Hay. Demanding, but very laid back personally, he expected a lot from Janet, and she grew from his expectations. She joined the National Council for Education in the Ceramic Arts (NCECA) which is a ceramics networking organization. It has a national conference each year where ceramists, educators and studio artists meet. She was on the Board of Directors for two years. Janet received her MFA in 1977. Moving back to Western Michigan, Janet found teaching positions with various colleges and taught art history, ceramics and a myriad of classes. However, she never forgot her mentor's advice, which was to continue her craft. Janet met a businessman/artist, John Baughman, who sold her artwork around the country. Janet bought a studio and her work was selling so well that she no longer needed to supplement her income with teaching. Janet and John had a business relationship for several years until life took one of those magical twists, and their relationship blossomed into much more. Later, the two of them were married. John and Janet bought acreage and moved to the country. Turning one of their buildings into a studio, the pair became extremely successful influencing them to concentrate only on their artwork and discontinue the sales end of his business. Janet says it has been very, very good for them and has caused different things to happen. The challenges of commissions make her think in directions that it is unlikely she would have done on her own. Janet is an extremely talented artist. It is difficult to believe when one sees her pastel, mixed media of pencil, oils and collage landscapes done on paper that this is the same artist that designs and makes very sophisticated and stylized ceramics. The natural beauty that abounds where she lives inspires her artwork. Interestingly, she also derives inspiration from her ceramics for her paintings although the two are quite different in style. Her paintings are stylized and readable, but she does not look for minute detail when she paints. These soft landscapes create a feeling of bucolic peace and serenity although Janet does not consciously paint a message. Janet says of her work, that it is like a dance or conversation in her head, which she expresses through her art. Janet lives an almost idyllic rural existence with her artist/husband who she says is "the love of her life." They work together everyday, and for them it is the perfect partnership because they compliment one another so well. Together they raise and train horses, and are expecting three foals within a year. In addition, she loves to garden and after the tradition of her grandmother and mother, has a huge vegetable garden. She and her husband love to cook. They enjoy golfing together as well. Their three grown children are still very important in their lives, and Janet sews intricate costumes for her daughter when she shows her horse. In the future, Janet thinks that living in Virginia with horses and continuing with her art would be perfect. She, along with her husband, would like to spend a summer in Provence...

Chiefs Staff (Elaborate Carving) c 1900-1925 Wooden staffs were used by Maori chiefs and other notables as a physical sign of their status. They were hel...

Indonesian Architectural Ornament carved/painted 19th Century The architecture of Indonesia reflects the diversity of cultural, historical, and geographic influences that have shap...

Indonesian mask Barong, or a masked figure, is an important part of traditional Indonesian dances. Native tribes still perform traditional masked dances to represent nature or ances...

Indonesian shadow puppet/Wayang kulit, 19th century Wayang kulit, or Indonesian shadow puppets are typically carved out of water buffalo hide and wood. T...

"Sarpta" is an original oil on canvas painting created by Antoni Tapies. This is a fantastically dark mid-century abstract painting. There is a monstrous figure barely visible on the left side of the painting. Also a sinister face breathing smoke out of the right side of the painting. This piece is perfect for a collector that enjoys a more avantgarde style. Tapies signed...