David Barnett Gallery Prints and Multiples

"Fan Shape with Dancers" is a silkscreen print by Schomer Lichtner in blue and pink. The print is signed in pencil lower right and is edition 13/200. In this work, the Matissean arabesque figures...

"A Round of Birds" is an original linocut by Mark Herrling. It depicts a radial pattern of black birds and abstract, geometric shapes. The artist signed, titled, and wrote the editio...

"Kill Spotted Horse" is an original lithograph created by Leonard Baskin. It was published by Fox Graphics. This is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and labelled the work as a proof in the lower left margin, written with graphite. It depicts Kill Spotted Horse, an Assinniboine Native American, in a feather headdress against a light blue background.  Artwork Size: 15" x 13 1/2" Frame Size: 27 1/2" x 26 3/8" Artist Bio: Leonard Baskin (1922-2000) was an american artist born in New Jersey and taught art classes in Massachusetts. He has received many public commissions (including a bas relief for the FDR Memorial), honors, and his work is owned by many major museums around the world. Additionally, Baskin was a teacher at Smith College in Northampton, Massachusetts. As a champion for human rights, Baskin created many pieces celebrating those who were seldom recognized.  Baskin’s interest in nineteenth century Native Americans was roused into acute attendance from ignorant indifference, when the National Park Service asked him to provide illustrations for the handbook that described the then called “Custer National Park”, now called “Little Big...

"Tokijiro, Midori, and Katsumi" is an original Japanese color woodcut by the artist Kuniyoshi. It was created in 1851 and depicts a scene from the play "Akegarasu Hana no Nureginu" (...

This woodblock print depicts two characters from the play Godairiki Koi no Fujime, Igami no Gonda and Koman, a Geisha. The play tells the story of Koman, who is in love with the nob...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

"En Auto" is an original color lithograph by Singils. The artist signed the piece in stone and wrote the title in the lower left. The edition number, also written lower left, is 46/5...

Printed in 1943, by the U.S. Government Printing Office for the U.S. Department of Agriculture Forest Service. The poster features the beloved Disney characters, Bambi (deer), Thumper (rabbit), and Flower (skunk) in wide-eyed shock leaning towards fear. With the slogan "Please, Mister, don't be careless" the poster is designed to tug at the heartstrings of the viewer and make them consider what actions they could take in their own lives to prevent forest fires. Poster: 20" x 14 1/4" Frame: 30" x 22 1/2" Framed to conservation standards with a 100% cotton fiber matboard border and UV clear glass that filters 99% of UV Rays. UV Rays can be especially damaging and cause fading to the inks used in poster making. All of these features are housed in a contemporary natural wood frame. Smokey Bear...

"Le Retour (Return)" is a color lithograph after the original 1940 painting by Rene Magritte. A bird which is really just the sky in the day and clouds. A nest bellow the bird has th...

"The Long White Road" is an original wood engraving by Lowell Merritt Lee. A long white road stretches past empty barren trees under a cloudy sky. Image: 6" x 5" Framed: 15.37" x 1...

"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...

"Untitled" is an original color lithograph by Angelika Thusius. This is an artist proof and a completely unique impression. This piece depicts two women sharing beans in front of a d...

"Passage a Village" is an original drypoint print by Hermine David. It depicts a number of figures on a path into a village using various forms of transportation. This piece is edition 120/150. 11" x 9 3/4" art 21 5/8" x 17" frame Hermine Lionette Cartan David (19 April 1886 in Paris-1 December 1970 in Bry-sur-Marne) was a French painter and the wife of Jules Pascin. She was also a great-granddaughter of the revolutionary painter Jacques-Louis David. Hermine David was one of the Ecole de Paris...

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame 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. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

"Le Rhone a Avignon" is an original hand colored etching signed by the artist Armand Coussens. This incredibly rare print depicts a church in Avignon, where Pablo Picasso had one of ...

"Road Landscape" is an original etching and aquatint by Felix Bracquemond. This piece depicts a shadowy path through the foliage. The artist signed the piece in the lower right and i...

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

"Ilsee's Palace" and "The Princess's Creation" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 67 & 68 of "...

"Going to Meet the Princess" and "Ilsee's Followers" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 53 & 5...

"Departing Beauty" and "Dreams" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 94 & 93 of "Ilsee, Princess...

"La Plage de la Panne" is an original etching by James Ensor. The artist signed the piece in plate in the lower right and signed, titled, and dated it below t...

Ilya Bolotowsky's Red/Blue/Black Diamond from around 1970, immediately shows the deep influence of Piet Mondrian's New-Plasticism. Bolotowsky first saw Mondrian's paintings in the 19...

"Zarathustra" is an original color woodcut by Carol Summers. The artist signed the piece in the image. This woodcut depicts an erupting volcano in simplified color fields. The editio...

"Acquacaliente" is an original color screenprint by Carol Summers. The artist signed the piece in the lower right. This screenprint depicts a fountain spouting rainbows in the backgr...

"See Ya Next Week" is a giclee print on paper after a 1999 acrylic and pastel on grocery bag signed by Reginald K. Gee. A male and a female embrace in the foreground. The man's face ...

"Door County Wisconsin" is an original silkscreen by Schomer Lichtner. The artist signed the piece lower right in pencil and in the screen. This piece feat...

"L'Entree en scene (The Emergence)" is a color lithograph after a 1961 original piece by Rene Magritte. A transparent bird flies over the ocean. The body of this bird shows through it a clean light sky with fluffy clouds. The view around the bird is instead the dark night, stars shine at the top of the scene. Clouds blow by and the waves are turbulent. Art: 20.25 x 14.25 in Frame: 31.38 x 25.38 in René-François-Ghislain Magritte was born November 21, 1898, in Lessines, Belgium and died on August 15, 1967 in Brussels. He is one of the most important surrealist artists. Through his art, Magritte creates humor and mystery with juxtapositions and shocking irregularities. Some of his hallmark motifs include the bourgeois “little man,” bowler hats, apples, hidden faces, and contradictory texts. René Magritte’s father was a tailor and his mother was a miller. Tragedy struck Magritte’s life when his mother committed suicide when he was only fourteen. Magritte and his two brothers were thereafter raised by their grandmother. Magritte studied at the Brussels Academy of Fine Arts from 1916 to 1918. After graduating he worked as a wallpaper designer and in advertisement. It was during this period that he married Georgette Berger, whom he had known since they were teenagers. In 1926, René Magritte signed a contract with the Brussels Art Gallery, which allowed him to quit his other jobs and focus completely on creating art. A year later he had his first solo show at the Galerie la Centaurie in Brussels. At this show Magritte exhibited what is today thought of as his first surrealist piece, The Lost Jockey, painted in 1926. In this work a jockey and his steed run across a theater stage, curtains parted on either side. Throughout the scene, there are trees with trunks shaped somewhat like chess pawns with musical scores running vertically up their sides and branches sticking out from all angles. Critics did not enjoy this style of art; it was new, different, and took critical thought to understand, but The Lost Jockey was only the first of many surrealist artworks Magritte would paint. Because of the bad press in Brussels, René and Georgette moved to Paris in 1927, with the hope that this center of avant-garde art would bring him success and recognition. In Paris, he was able to become friends with many other surrealists, including André Breton and Paul Éluard. They were able to learn from and inspire one another, pushing the Surrealist movement further forward. It was also in Paris that Magritte decided to add text to some of his pieces, which was one of the elements that made his artwork stand out. In 1929, he painted one of his most famous oil works: The Treachery of Images. This is the eye-catching piece centered on a pipe. Below the pipe is written “Ceci n’est pas un pipe,” which translates to “This is not a pipe.” This simple sentence upset many critics of the time, for of course it was a pipe. Magritte replied that it was not a pipe, but a representation of a pipe. One could not use this oil on canvas as a pipe, to fill it with tobacco and smoke it. Thus, it was not a pipe. In 1930, Magritte and Georgette moved back to Brussels. Though they would travel to his exhibitions elsewhere, their home going forward would always be in Brussels. Magritte had his first American exhibition at the Julien Levy Gallery in New York City in 1936 and his first show in England two years later in 1938 at The London Gallery...

"Le Bouquet tout fait (The Ready-made Bouquet)" is a color lithograph after a 1954 original painting by Rene Magritte. A bourgeois "little man" faces away from the viewer looking towards a fall forest. Flora, the goddess of flowers and season of spring, from Sandro Botticelli's "Primavera" is painted on the back of the man. This juxtaposes fall and spring. Art: 12 x 9.75 in Frame: 22.38 x 20.38 in René-François-Ghislain Magritte was born November 21, 1898, in Lessines, Belgium and died on August 15, 1967 in Brussels. He is one of the most important surrealist artists. Through his art, Magritte creates humor and mystery with juxtapositions and shocking irregularities. Some of his hallmark motifs include the bourgeois “little man,” bowler hats, apples, hidden faces, and contradictory texts. René Magritte’s father was a tailor and his mother was a miller. Tragedy struck Magritte’s life when his mother committed suicide when he was only fourteen. Magritte and his two brothers were thereafter raised by their grandmother. Magritte studied at the Brussels Academy of Fine Arts from 1916 to 1918. After graduating he worked as a wallpaper designer and in advertisement. It was during this period that he married Georgette Berger, whom he had known since they were teenagers. In 1926, René Magritte signed a contract with the Brussels Art Gallery, which allowed him to quit his other jobs and focus completely on creating art. A year later he had his first solo show at the Galerie la Centaurie in Brussels. At this show Magritte exhibited what is today thought of as his first surrealist piece, The Lost Jockey, painted in 1926. In this work a jockey and his steed run across a theater stage, curtains parted on either side. Throughout the scene, there are trees with trunks shaped somewhat like chess pawns with musical scores running vertically up their sides and branches sticking out from all angles. Critics did not enjoy this style of art; it was new, different, and took critical thought to understand, but The Lost Jockey was only the first of many surrealist artworks Magritte would paint. Because of the bad press in Brussels, René and Georgette moved to Paris in 1927, with the hope that this center of avant-garde art would bring him success and recognition. In Paris, he was able to become friends with many other surrealists, including André Breton and Paul Éluard. They were able to learn from and inspire one another, pushing the Surrealist movement further forward. It was also in Paris that Magritte decided to add text to some of his pieces, which was one of the elements that made his artwork stand out. In 1929, he painted one of his most famous oil works: The Treachery of Images. This is the eye-catching piece centered on a pipe. Below the pipe is written “Ceci n’est pas un pipe,” which translates to “This is not a pipe.” This simple sentence upset many critics of the time, for of course it was a pipe. Magritte replied that it was not a pipe, but a representation of a pipe. One could not use this oil on canvas as a pipe, to fill it with tobacco and smoke it. Thus, it was not a pipe. In 1930, Magritte and Georgette moved back to Brussels. Though they would travel to his exhibitions elsewhere, their home going forward would always be in Brussels. Magritte had his first American exhibition at the Julien Levy Gallery in New York City in 1936 and his first show in England two years later in 1938 at The London...

"La Grande Guerre (The Great War)" is a color lithograph after the 1964 painting by Rene Magritte. A Victorian lady stands in white facing the viewer. A bouq...

"La Bataille de l'Argonne (The Battle of Argonne)" is a color lithograph after the original 1959 painting by Rene Magritte. The landscape is shrouded by ...

An original color silkscreen print by Ruth Grotenrath. A lovely assortment of different foods both vegetable and animal alike. The photos do not do this piece justice. The dark color...

"Annette" is a black and white lithograph after Alberto Giacometti, published in Derriere le Miroir. It depicts the bust of a nude woman in scratchy lines. Annette was Alberto's wife and frequently modeled for his sculptures and drawings. 10" x 7 1/4" art 21 1/4" x 18 5/8" frame Alberto Giacometti (1901-1966) was born in Borgonovo, a Swiss municipality, to the post-impressionist painter Giovanni Giacometti. In 1922 he moved to Paris to study under the sculptor Antoine Bourdelle, an associate of Auguste Rodin. It was there that Giacometti experimented with cubism and surrealism and came to be regarded as one of the leading surrealist sculptors. Among his associates were Joan Miró, Max Ernst, Pablo Picasso, Bror Hjorth and Balthus. Between 1936 and 1940, Giacometti concentrated his sculpting on the human head, focusing on the sitter's gaze. He preferred models he was close to, his sister and the artist Isabel Rawsthorne (then known as Isabel Delmer). This was followed by a unique artistic phase in which his statues of Isabel became stretched out; her limbs elongated. Obsessed with creating his sculptures exactly as he envisaged through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After his marriage to Annette Arm in 1946 his tiny sculptures became larger, but the larger they grew, the thinner they became. Giacometti said that the final result represented the sensation he felt when he looked at a woman. In 1962, Giacometti was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it worldwide fame. Even when he had achieved popularity and his work was in demand, he still reworked models, often destroying them or setting them aside to be returned to years later. The prints produced by Giacometti are often overlooked but the catalogue raisonné, Giacometti - The Complete Graphics and 15 Drawings by Herbert Lust (Tudor 1970), comments on their impact and gives details of the number of copies of each print. Some of his most important images were in editions of only 30 and many were described as rare in 1970. In his later years Giacometti's works were shown in a number of large exhibitions throughout Europe. Riding a wave of international popularity, and despite his declining health, he travelled to the United States in 1965 for an exhibition of his works at the Museum of Modern Art in New York. As his last work he prepared the text for the book Paris sans fin...

This is an original drypoint and aquatint artwork by Jacques Villon. The artist signed in pencil on the lower right. As well as signed in plate at the top right of the image. This is a wonderful artwork of different intaglio processes being brought together in a beautiful almost seamless harmony. The thin pencil like markings and hair detailing are made using the Drypoint printmaking method. Whilst the color details around the girls are made using the Aquatint etching method. Jacques Villon shows his skills as a printmaker with the way these pieces line up perfectly and with how clean the rest of the plate is around the girls. Catalogue Raisonne E101, pg. 66-67 (Ginestet & Pouillon. It depicts two young girls. 15" x 11 1/2" art 25 1/8" x 20" frame 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...

"Family of Six" is an original black and white lithograph by John Biggers. The artist signed and dated the piece in the lower right and titled and editioned it (AP III) in the lower ...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

Art: 16"x15-3/4" Frame: 18-3/4"x 18-3/4" Giclee print on board after mixed media textile Stacy Wiatrak is a textile artist from Milwaukee, Wisconsin a...

Original lithograph signed VII/L Art: 23 1/8"x17" Frame: 32 3/4"x26 5/8 Signed and number lower margin. Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' ...

"Farewell" is an original color woodcut by Carol Summers. The artist signed the piece. This woodcut depicts a river flowing through green hills beneath a blood-red sky. The edition number is 20/50. 24 1/4" x 37" art 32" x 45" frame Carol Summers has 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 it’s 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 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 which would have 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...

Art: 29-3/8"x 21-1/8" Frame: 31'x 22-1/2" Original signed lithograph poster Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' École des Beaux-Arts de Nanc...

Art: 26-3/4"x19-3/4" Frame: 27"x20" Poster, signed & inscribed to Philip Barnett lower left (43/58) Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' Écol...

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...

Sheet: 9 7/8 x 11 3/8 inches Plate: 5.75 x 5.88 inches Frame: 14 x 14 inches Etching (A/P) Joseph Rozman was born on December 26, 1944 in Milwaukee, WI. He was the first artist to ...

Art: 11-1/4 x 11-7/8 Color lithograph, signed (2/10) Joseph Rozman was born on December 26, 1944 in Milwaukee, WI. He was the first artist to have a solo exhibition at the David Barnett Gallery...

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.

4.88 x 6 inches, folded sheet - David originally printed this as a greeting card in 2008 from Sylvia's block. In 2022 he had it cut down to the image size and stamped on face with es...

"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...

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 ...

Milwaukee's iconic spots are captured in watercolor and available as hand-embellished giclée. They are printed on archival quality watercolor paper and specially hand embellished so each giclée is a unique mixed media piece of artwork. The artist Julia Taylor added special original touches to each print in 'The Milwaukee Series 2020' Art: 22" x 21" Growing up in a small farming community in Indiana, I learned to draw early in life. I earned spending money by sketching portraits at county fairs and illustrations in weekly papers. Art teachers in high school and college taught me ways to master drawing fluidly from life. In college, my small stained glass...

8" x 8" art 18.25" x 18.25" frame In this artwork, Milwaukee-based artist Joan Dvorsky presents the viewer with an image of three blue trees that almost appear to glow in their envi...

"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...

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 ...

Milwaukee's iconic spots are captured in watercolor and available as hand-embellished giclée. They are printed on archival quality watercolor paper and specially hand embellished so each giclée is a unique mixed media piece of artwork. The artist Julia Taylor added special original touches to each print in 'The Milwaukee Series 2020' 32" x 22" art Growing up in a small farming community in Indiana, I learned to draw early in life. I earned spending money by sketching portraits at county fairs and illustrations in weekly papers. Art teachers in high school and college taught me ways to master drawing fluidly from life. In college, my small stained glass...

Milwaukee's iconic spots are captured in watercolor and available as hand-embellished giclée. They are printed on archival quality watercolor paper and specially hand embellished so each giclée is a unique mixed media piece of artwork. The artist Julia Taylor added special original touches to each print in 'The Milwaukee Series 2020' 32" x 22" art Growing up in a small farming community in Indiana, I learned to draw early in life. I earned spending money by sketching portraits at county fairs and illustrations in weekly papers. Art teachers in high school and college taught me ways to master drawing fluidly from life. In college, my small stained glass...

Milwaukee's iconic spots are captured in watercolor and available as hand-embellished giclée. They are printed on archival quality watercolor paper and specially hand embellished so ...

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...

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...

26 1/4" x 18" art 28.25" x 20" frame Poster for Untitled, 2017 Poster Series Curated by Christophe Boutin and Mélanie Scarciglia for Untitled, Miami Beach, 2017.