David Barnett Gallery Drawings and Watercolor Paintings

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...

'Warehouses' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that make up Lueck's portfolio serve as windows into the artist's world. S...

'Walkover Bridge - Small Canal' is an original watercolor by Craig Lueck. These petite watercolors that make up Lueck's portfolio serve as windows into the artist's world. Scenery fr...

'Grand Canal With Gondolas' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that shape Lueck's portfolio serve as windows into the arti...

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...

'Triple Birthday Bouquet Variation' original painting signed and dated by David Barnett. 23" x 33" art 32" x 42.25" frame David Barnett an artist, collector, appraiser and galleris...

Original drawing signed and dated by David Barnett. David Barnett an artist, collector, appraiser and gallerist has been passionate about art from the early age of five. David’s car...

'On The Beach Sanibel Island' original watercolor signed and dated by David Barnett David Barnett an artist, collector, appraiser and gallerist has bee...

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...

'Gathered Flowers' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that shape Lueck's portfolio serve as windows into the artist's worl...

'Open Waters' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that shape Lueck's portfolio serve as windows into the artist's world. 5...

'Cabbage Rose' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that shape Lueck's portfolio serve as window...

'Siena Building' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that shape Lueck's portfolio serve as windows into the artist's world...

'Side Canal with Bridge' is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that shape Lueck's portfolio serve as windows into the artist...

"Campo Dei Gesuiti After Sargent" is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that make up Lueck's por...

"River Patterns in Colorado" is an original watercolor on Holbein watercolor paper by Craig Lueck. These petite watercolors that make up Lueck's portfolio serve as windows into the a...

In this painting, Sylvia Spicuzza demonstrates her skill as an illustration artist, representing the Milwaukee character Billie the Brownie with a growing spring of a tree. An illustration like this could grace the pages of a children's book or illustrated magazine, or as an advertisement for Schuster’s Department Store. Watercolor, gouache and graphite on paper 8 x 5.75 inches, artwork 14 x 12 inches, frame Stamped with artist signature, below image, lower left. Presented in a new custom frame with a gold-finish neoclassical wood moulding, archival matting and mounting materials; and UV glass to inhibit fading. 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 Elementary School in Shorewood, WI. During this time Sylvia produced a magnificent body of work that was undiscovered until her death. Sylvia's work is rich, diverse and fascinating collection of drawings, watercolors and prints from the 1920's to the 1990's. Her style ranges from early figurative drawings to regionalism, Art Deco, lyrical abstractions of every conceivable subject (both real and imagined), as well as figurative paintings that reflect the work of Picasso, Kandinsky and Max Ernst in the 1930's and 1940's. Biomorphic and organic, Modernist images are presented with Sylvia Spicuzza's own unique sense of style, humor and fantasy. Billie the Brownie was a multi-media star of Christmas in Milwaukee from the 1920s to the 1950s. Years earlier, the writer and artist Palmer Cox...

David Barnett's 'Desert Mountain Paths' is an exercise in using limited materials. Depicting the winding paths of Desert Mountain in Scottsdale, AZ, the composition simulates found a...

Wisconsin artist David Barnett's mixed media "Grand Finale: Statue of Liberty" is a mixed media (oil pastel and watercolor) depicting the Fourth of July. Fireworks, the Statue of Liberty, and the American flag are all shown. It is signed lower right. David's love of fireworks which he views as environmental art...

"Boats Amongst the Mangroves" is an original watercolor and gouache painting on paper by Doris Lee. The artist signed the piece lower right. It depicts boats and other objects on a f...

'Deep Blue With Pamela' is an original signed pastel portrait. The drawing presents a portrait, presumably of Pamela, who Reggie has rendered in greens and yellows and pinks against ...

David Barnett’s ‘Buddha Board Water Series’ marks the use of a new medium for the artist. In this series, Barnett experimented with the Buddha Board, a reusable canvas that allows us...

David Barnett’s ‘Buddha Board Water Series’ marks the use of a new medium for the artist. In this series, Barnett experimented with the Buddha Board, a reusable canvas that allows us...

'Woman Vaping Juul' is an original color pencil drawing by Elise Rise, produced as part of her 'Hinged' series. This series presents small-scale drawings and panel paintings of conte...

'Study for Connecticut at Putney' is an original pastel drawing by American artist Wolf Kahn. The landscape is an exploration of color and light: it is rendered in cool blues and purples with fields of subtle yellow, the pastels treated with the same gesture as Kahn's paintbrush on a canvas. Indeed, this pastel was a study executed en plein air for a painting – the painting now sometimes called 'Bend in the River' – that he later created in the studio. This process of creating studies, selecting the best of the studies, and then recreating them as paintings was typical of Kahn's studio process and makes this pastel a significant example of the artist's creative output. 9 x 11 inches, artwork 15.5 x 18.13 inches, frame Signed 'W. Kahn' lower right Framed to conservation standards using archival materials including 100 percent rag matting. Housed in a gold finish wood moulding. Acquired directly from the artist. Wolf Kahn, the youngest of four siblings, was born into a well-to-do artistic family. His father was the conductor of the Stuttgart Philharmonic Symphony, and his mother came from a family of art collectors.(1) During 1938, Kahn took his first art lessons, but most of his initial drawings were of military or historical events. The next year Kahn was sent to England for safety following the ascendancy of Hitler to power, and in 1940, he immigrated to the United States. In 1942, he entered New York's High School of Music and Art, and while there, he was employed by a commercial art firm doing illustrations. After a stint in the Navy, Kahn entered Hans Hofmann's school, and among his fellow students were Neil Blaine, Jane Freilicher, Allan Kaprow and Larry Rivers. His initial results were done with a dark palette and abstracted forms, and although Hofmann's style of teaching was difficult, Kahn has consistently praised him for teaching him the value of control and understanding.(2) Kahn's first exhibition was a 1951 group show in a loft with several other artists in lower Manhattan. From this impromptu show, a group effort evolved called the Hansa Gallery Cooperative.(3) In 1953, Wolf Kahn had a one-man show at this gallery, which was reviewed by Fairfield Porter, and at this same time bolder, more vivid colors began to appear in his work. By the mid-1950's, on a summer trip to Provincetown, Kahn's paintings indicated a new direction of softening warm colors in the manner of Bonnard. He was included in Meyer Shapiro's seminal exhibition, The New York School: The Second Generation at the Jewish Museum, and by the end of the 1950s, he had developed his abstracted landscape style for which he is best known. In 1966, he made his first "barn" painting on Martha's Vineyard that reduced the complexities of detail of the architecture to a more basic shape, a stylistic convention that is evident in the Museum's painting. Kahn has since commented frequently on his use of color as a unique and specific component of each work as the situation demands, where the gradual buildup of the colors resembles the beauty and translucent nature of pastels.(4) Since then Kahn has had one-person exhibitions at the Kansas City Art Institute, Chrysler Museum, San Diego Museum of Art, Fort Lauderdale Museum of Art and the Columbus Museum, among others. His work is in the permanent collections of numerous museums throughout the United States. Footnotes: 1. Much of the biographical information is drawn from Justin Spring, Wolf Kahn (New York: Harry N. Abrams, 1996). 2. Spring, 21. Wolf Kahn draws this from a 1973 address to the College Art Association. 3. This group included Jane Wilson...

Valerie Christell's large pastel drawings from the early 1980s take the landscape and make it abstract. In them, she tries to emulate the experience of seeing the land while driving at high speed on the back of a motorcycle. The resulting imagery is rendered in energetic and gestural line work that morphs into large fields of color. This example, 'Orange/Black abstract,' takes on the appearance of nighttime, lit only by the light of the motorcycle headlight...

Following in line with artists before her, like Rembrandt and van Gogh, Sandra Sweeny here presents a self portrait. The image is direct but subtle in its handling of materials, but ...

Though signed "Yolanda," the artist of this gouache and watercolor painting is unknown. The still life, contained and symmetrical, is dominated by the form of a pear. On either side,...

In this small, intimate drawing, Angelika Thusius presents an image of a woman kneeling on the ground before a river. Foliage bursts all around her, framing her in the oasis. In the distance, two other figures kneel, engaged in a similar task. The simple yet stylized form of her body and skirt recall the images of lauded Latinx artists like Diego Rivera and Alfredo Ramos Martínez...

Artworks in David Barnett's 'Boston Tea Party' series present a playful vision of one of the foundational narratives of the United States. In the imag...

Artworks in David Barnett's 'Boston Tea Party' series present a playful vision of one of the foundational narratives of the United States. In the imag...

Artworks in David Barnett's 'Boston Tea Party' series present a playful vision of one of the foundational narratives of the United States. In the imag...

The present watercolor is an excellent example of Joseph Rosman's early style, presenting contemporary American life though a child-like, abstracted lens. In the image, a man, woman ...

The present painting is an excellent example of Joseph Rozman's pictographic style. The composition is dominated by abstracted vignettes: A fashionable woman beneath the sun, a car, ...

In this drawing, Milwaukee-based artist Joan Dvorsky presents a drawing after a sketch by Edgar Degas. Degas' original drawing was a study for an 1863 painting entitled 'Les malheurs...

In this drawing, Sylvia Spicuzza presents the viewer with a dark, subtle view of a milkweed pod, bursting forth with cotton. Examples like this show the ...

In this small painting, Sylvia Spicuzza presents the viewer with a simple trillium flower, the white petals framed by blue-green leaves. 4.5 x 8 inches, artwork 13 x 15 inches, fram...

In this intimate drawing, Sylvia Spicuzza presents the viewer with a young woman crouched down in a garden. The image is framed by foliage and fields of color. 3.75 x 5.25 inches, ...

This still life is an unusual example of Sylvia Spicuzza's work, as most of her most significant output are geometric and biomorphic abstract images. The objects in the image - a sea shell, a pitcher, a heavy necklace - are objects the artist likely had at home and staged for the image. But of particular significance is the insertion of the artist's hand, as though she was reaching into the still life while she was painting. The hand has been a significant symbol of the artist throughout art history as a source of creation: Albrecht Dürer's 'Self Portrait at the Age of Twenty-Eight' (1500) highlights the artist's hand much like traditional images of Christ giving gestures of blessing. Likewise, Ernst Ludwig Kirchner's 'Self Portrait as a Soldier' (1915) shows the artist in military uniform but with a severed hand as a symbol of helplessness during the First World War. Another important comparison, given Spicuzza is a Midwestern artist, is Ivan Albright's magic realist work 'That Which I Should Have Done I Did Not Do (The Door)' at the Art Institute of Chicago. The massive painting...

In this drawing, Sylvia Spicuzza presents the viewer with a bust-length view of two elegant women dressed in East Asian costume. Their faces reflect the ideal of beauty during the 19...

In the 1960s, Sylvia Spicuzza made several watercolor abstractions with biomorphic qualities like the one presented here. While being a playful abstraction, the watercolor also seeps...

In the 1960s, Sylvia Spicuzza made several watercolor abstractions with biomorphic qualities like the one presented here. While being a playful abstraction, the watercolor also seeps...

In this drawing, Sylvia Spicuzza presents the viewer with a scene from the theater or opera, showing five women on stage. Three of the women have their backs to the viewer, while one...

In the 1960s, Sylvia Spicuzza made several watercolor abstractions with biomorphic qualities like the one presented here. While being a playful abstraction, the watercolor also seeps...

In the 1960s, Sylvia Spicuzza made several watercolor abstractions with biomorphic qualities like the one presented here. This example takes on the appearance of a flower, while the ...

In this small work, we can see Sylvia Spicuzza experimenting with watercolor, trying to achieve a jagged, rock-like texture. The image is dominated by warm ochres and browns. 5.75 x...

In this drawing, Sylvia Spicuzza is clearly taking influence from the Fauvist works of Henri Matisse, especially his famous 1904 composition "Luxe, calme et volupté." Like in that pa...

In this drawing, Sylvia Spicuzza presents the viewer with a lakeside cabin under the shade of a massive tree. This drawing is reminiscent of the work done by her father Francesco, wh...

In this drawing, Sylvia Spicuzza presents us with something of a self portrait, showing an instructor at the head of a classroom, her students looking forward intently. Sylvia hersel...

12 x 18 inches, artwork 20.5 x 26.5 inches, frame Signed upper right Stamped with artist's signature, lower left Born in 1908, Sylvia Spicuzza was the daughter of noted painter Fran...

In this drawing, Sylvia Spicuzza takes influence from the Fauvist works of Henri Matisse, especially his famous 1904 composition "Luxe, calme et volupté." This influence is more pron...

The present work, drawn with black Conté crayon on a calendar sheet, Sylvia Spicuzza presents the viewer with a rhythmic vision of an urban lakefront. The beach scene is dominated by...

In this pastel drawing, Sylvia Spicuzza presents the viewer with a rhythmic view resembling waves and rolling hills. The colors of the repeating patterns and softness of the undulati...

In this drawing, Sylvia Spicuzza presents the viewer with a view of children jumping on a trampoline near the entrance to the grounds of the Wisconsin State Fair...

Examples like this of Sylvia Spicuzza's work offer a chance to see a musical composition, with repeating curvilinear lines and patters dancing across the image like Jazz music though...

In this drawing, Sylvia Spicuzza presents the viewer with a dark, subtle view of two apples, still clinging to their leaves. Examples like this show the ability of Spicuzza to draw i...

In this monotype print, Sylvia Spicuzza presents the viewer with a scene of two young men relaxing within a pastoral landscape. On the back of the print, Spicuzza has left her prepar...

In this drawing, Sylvia Spicuzza presents the viewer with a duck in a watery landscape, rendered in her elegant modernist style. Other forms in the drawing appear to shoot up like le...