Wisconsin

This painting, 'Bread on Carpet,' presents a simple still life using the humor and irony common to Robert Richter's oeuvre. The oval loaf is central in the composition, its golden br...

"Self Portrait in N.Y., 20th St." is an original gouache, ink, and pastel drawing by Dan Muller. The artist signed the piece lower right. This artwork features a seated, abstracted f...

"Chicago in Early Days" is an original color lithograph by Kurz & Allison. This piece features multiple views of the city of Chicago. 16 3/4" x 23 1/4" art 28 1/8" x 33 7/8" frame ...

Queen Elizabeth I by Towle sterling silver flatware set - 67 pieces. This set includes: 12 knives, 9" 12 forks, 7 1/2" 12 salad forks, 6 3/4" 12 teaspoons, 6" 12 place soup spoons, ...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. 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. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 Carol Summers (1925-2016) 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 Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

El grandee by Towle sterling silver flatware set 32 pieces. This set includes: eight knives, 9", eight forks, 7 1/2", eight salad forks, 6 3/4", eight ...

Dinner size beaded by Georg Jensen sterling silver flatware set, 56 pieces. This set includes: 8 dinner size knives, short/wide handles, 8 7/8"...

English provincial gold by Reed & Barton sterling silver flatware set - 24 pieces. Gold flatware is on trend and makes a bold statement on your table. This set is vermeil (completely...

Mount Vernon by Lunt sterling silver flatware set - 91 pieces. This set includes: 12 knives, 8 1/2". 12 forks, 7 1/8". 12 salad forks, 6". 12 teaspoons, 5 3/4". 12 flat handle butte...

"Grévy's Zebra" is an original oil painting on canvas by Peruvian painter Lucre Chura. The artist signed the painting in the lower right. The Grévy's zebra, also known as the imperia...

"Egg" is an original ceramic sculpture by Atelier Madoura. It is 2 3/4" high and was created around 1974. Atelier Madoura created ceramic sculptures in the shape of eggs. Item not si...

"Fringed Gentians" is an original watercolor by Alicia Czechowski. The artist signed the piece in the lower right. This artwork depicts purple flowers in a lush green garden. 12 1/...

Large 18K yellow gold pin featuring 3 carved bluish-grey chalcedony flowers with 3 jade leaves. The pin is handmade, and the gold work looks like detailed leaves and stems. The carved stone flowers...

Whiting. Sterling silver beautiful Art Nouveau cast 3-D figural page turner/paper knife by Whiting. This is a superb piece weighing over 14 troy ounces and measuring almost 18” long...

'Scratch The Earth, Let The Telephone Ring' is a rare early example of the small-scale assemblages that American artist Joel Jaeks began producing in the 1980s. As with all of his assemblages, the artwork is constructed inside an envelope-sized paper board box – then filled with what can only be called memories, ideas and fading dreams. 'Scratch The Earth, Let The Telephone Ring' is covered on the exterior and interior by splatters of blue and red paint, applied with the same vigor as the Abstract Expressionist canvases of Jackson Pollock. On the back, four squares cut from a screenprint of a winter landscape form a window to the themes on the inside: pasted on the back, a Victorian postcard...

10K yellow gold ring featuring an emerald cut peridot weighing 3.73 carats. The vibrant lime green peridot measures about 10mm x 8mm. The ring fits a size 6.75 finger, weighs 1.79dwt...

Art Deco 14K white gold filigree ruby ring. The ring features 3 genuine earth mined round pinkish-red rubies weighing .80cts total. The rubies measures about 3.5mm. The ring fits a s...

This Golek puppet was made by an unknown Indonesian artist using wood and cloth. It is approximately 26" tall. Traditional Wayang Golek plays can be comp...

"Two Rams Facing Each Other" is an original etching by Karel DuJardin. The artist signed the plate. DuJardin completed many delicate etchings of rams. ...

"Sunrise" is an original oil painting by Wisconsin artist Robert Richter, signed on the verso. The frame was created and hand-carved by the artist, making it an integral part of the ...

"The East Light 2" is an original mixed media painting on paper by Xiao Ming. The artist signed the piece lower right. This artwork features a variety of abstracted and simplified fi...

"Season's Greetings" is an original color silkscreen by Schomer Lichtner. The artist signed the piece in the screen on verso. This piece features abstract, linear patterns in blue and white on a brown paper background. 6 1/4" x 4 5/8" art 14" x 12 1/2" frame Milwaukee artist, Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Schomer Lichtner was well known for his whimsical cows and ballerinas, such as his "Ballerina Dancing on Cow" sculpture below. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre, " joy of life," and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows and elegant ballerina dancers. Lichtner also painted all sorts of combinations of beautiful women, flowers and country landscapes. James Auer, former Milwaukee Journal Sentinel art critic, said that his art eventually "exploded into expressionistic design elements with bold, flat areas of color and high energy that anticipated Pop Art." Auer went on to describe Lichtner’s work as full of "wit, vigor and virtuosity." As early as 1930, Lichtner’s work was shown at the prestigious Carnegie International Exhibition in New York and at museums throughout the Midwest. As a student, he was a protégé of another icon of 20th century American art, Gustave Moeller...

"The Shower" is an original oil painting on wood by Robert Richter. The artist signed the piece on the back, and hand-carved the frame so it becomes an integral part of the artwork. This piece depicts a nude woman from behind, taking a shower. 33" x 21" art 35 7/8" x 24" frame Artist Statement: "I was born in Milwaukee over half-a-century ago in the year of the horse...

"Underwater Series: Coral Reef" is an original mixed media piece by David Barnett that incorporates watercolor and acrylic on rag museum foam board, signed in the lower right. This ...

Truly Divine Art Decorative Antique Northeast Khorassan-Mashad 10/10 Piece W/ Gorgeous Palmettes About: Majestic piece - simply one of the most attractive and decorative antique r...

"Pajaro Caballo (Bird House)" is an original acrylic painting on canvas by Miguel-Casto Lenero. Abstract representations of animals are rendered in thick acrylic paint in dark pastel...

Stunning Cambridge Gold by Gorham sterling silver flatware set of 48 pieces. Gold flatware is on trend and makes a bold statement on your table. This set is vermeil (completely gol...

With a dedication to perfection and quality, Christofle flatware creations unite craftsmanship and modern technique, resulting in flatware to be handed down through generations. Gorgeous unknown pattern made in Argentina...

14k Gold 2 Carat Blue Genuine Natural Sapphire and Diamond Halo Ring (#J3800) 14k white gold ring featuring a very fine round blue sapphire weighing 1.53 carats. The sapphire has ve...

Story Book - Paradise Tabriz with pink & blue with greens & more true art with animal subjects Size: 9 x 12 Age: Antique, c. 1920's Pile: Low/Med...

Dinner size Bittersweet by Georg Jensen sterling silver flatware set - 53 pieces. This set includes: Six dinner knives, 9", six ...

10K rose gold ring featuring a gold vein quartz cabochon. The quartz is a grey color with lots of yellow gold veining. It measures 15mm x 9.2mm and weighs 5.10 carats. Included is a ...

"Galerie Maeght" is an Original Lithograph Poster bu Valerio Adami. This poster was created to advertise Adami's show at the Galerie Maeght in 1976. The print is orange on the left s...

"Wolf '06" is an original watercolor by Julia Taylor. The gentle wolf looks right at the viewer; there is no fear in its eyes. Image: 15 x 22.3 in Frame: 19.63 x 25.63 She was the most famous wolf in the world born in Yellowstone in 2006. She was idolized in the New York Times, PBS , the LA Times, London’s Daily Mail and National Geographic. She outran other wolf packs...

"Morph Dog Series: Dark Clouds Over Chenequa" is an original mixed media painting by David Barnett, incorporating ink, oil pastel, and iridescent acrylic. ...

"Low Tide" is an original oil painting on canvas by Raymond Suchomel. The artist signed the painting in the lower right. This painting depicts three boats washed up...

Bent Knudsen Sterling Silver Neck Ring with Amethyst Bullet Cabuchon Designer: Bent Knudsen Maker: Bent Knudsen Design #: Circa: Dimensions: 4 5/8” x...

"Amay" is an original oil pastel and watercolor drawing on red paper by Reginald K. Gee. The artist signed the piece on the back. It features abstracted figures and mountain shapes i...

"Mother of Cajamarca" is an original oil painting on jute by Ernesto Gutierrez. The artist signed the piece lower right. It depicts a mother in a white hat embracing her child. 48"...

"The Traveler (Starbucks Coffee)" by Wisconsin artist Robert Richter is an oil paint on wood with the signature on the verso. The frame was constructed and hand-carved by the artist,...

In this small painting, Sylvia Spicuzza presents the viewer with a simple trillium flower, the white petals framed by blue-green leaves. 10 x 7.25 inches, artwork 19.75 x 17.25 inch...

"The Nature of Things" is an original oil pastel drawing on paper by Reginald K. Gee. The artist initialed the piece on the back. This work features a variety of abstract techniques-...

14K white gold filigree ring featuring an European cut diamond weighing about 3/4 carat. The diamond has SI2 clarity and I-J color. It measures...

"Madre Joven (Young Mother)" is an original oil painting on jute by Ernesto Gutierrez. The artist signed the piece lower right. It depicts a woman cradling her child. 22" x 20" art...

"Abstract with Grass and Poppies II" is an original watercolor, iridescent acrylic, and ink painting on watercolor paper by David Barnett. The artist signed the piece lower right. Th...

"Rayon des Soieries, Opera Bouffe en un Acte" is an original color lithograph poster by Maurice Dufrene. The artist's name is written lower right. This piece depicts an Art Deco repr...

"Narrow is the Way Which Leads" is an original watercolor on paper by Reginald K. Gee. The artist signed the piece in the lower left. It depicts a forest in fall. 11" x 15" art Co...

"The First Bird with Egg, Duckling Abstraction" is an original oil pastel on board by Reginald K. Gee. The artist initialed the piece on the back. It features an abstracted duckling ...

"Tarkan" is an original oil pastel drawing on a paper bag by Reginald K. Gee. The artist signed the piece on the back. It features an abstract portrait in bright, expressionistic col...

"Directions Park (The Fall Collection)" is an original acrylic painting on canvas by Reginald K. Gee. It depicts two figures walking through a forest, which the artist has rendered i...

A pair of 18K yellow gold genuine earth mined emerald stud earrings with diamond halos. The emerald cut emeralds measure about 6mm x 4mm and have medium dark color and fine clarity. ...

"Geraniums" is an original oil painting on wood by Wisconsin artist Robert Richter and signed on the verso. The frame was created and hand-carved by the artist specifically for this ...

"Pond Dream #2" is an original pastel and gouache on paper by Victoria Ryan. This piece depicts a number of pond plants and flowers in bright colors and realistic detail. 31 1/2" x...

Beautiful AMERICAN CLASSIC BY EASTERLING sterling silver Flatware set - 32 Pieces. This set includes: 8 KNIVES, 8 3/4" 8 FORKS, 7 1/4" 8 SALAD FORKS, 6 3/4" 8 TEASPOONS, 6" Includ...

Platinum Art Deco pendant with 2 carats of diamonds accented by specialty French calibre cut synthetic sapphires. Beautiful design with bows and a central rosette. There are about 11...

"Campions" is an original color lithograph by Sheila Stafford. The artist signed the piece in the lower right and titled it and wrote the edition number (24/24) in the lower left - b...

Eight knives 9 1/4", eight forks 7 1/8",  eight salad forks 6 1/8",  eight teaspoons 6", eight hollow handle butter spreaders 6 1/8",  eight iced tea spoons 7 5/8", one gravy ladle ...

"Watching the Whitecaps on the South Atlantic Shore, Ghana, Africa" is an original acrylic painting on paper by Samuel B. Kpetenkple. It depicts six women in colorful dresses carrying watching the ocean. The artist signed the piece on the bottom of the painting. 2 3/4" x 4 1/2" art 10 3/4' x 12 3/8" frame Artist Statement: "As often said there are some few "indigenous and naturals" who seem to have been born with brushes and pallet knifes in their hands. Nii Kpetenkple Samuel is one of such gifted and talented Artist; Painting to me, is one of the eloquent media for expressing myself about all the corners of the world and all that it holds; Of course it is not by accident, that i went into Painting. Nii Kpetenkple was born and bred in a coastal town, a suburb of Accra called NUNGUA, it's only 10 miles away from Accra. I am now in my late twenties. Nii Kpetenkple, had his training as an Artist at one of the secondary schools in Accra - Ghana. Later I had my tertiary training at Ultimate school of Art, (u.s.a) Ghana. I enjoy sketching, swimming, reading and music that keeps me working always. My childhood experiences with fishermen in their fishing expedition, fish mongers, market women, local houses or structures and meaningful Ghanaian symbols with abstract figures made me one of the expert in that area. As an Artist, art enables me to see nature as eternal, grasp a fragment of the Almighty's plan, even a bit of land scape, few pieces of fruits or a human form. Throughout my period of contemplation and years of uninterrupted close contact with nature, vast truths flashed upon my mental horizon, to which i gave expression in my paintings. I had no doubt that, i had discovored a new realm in the world of painting and would carry on to a fuller completion with what many gurus of the Art industry like Picasso, Leonardo Da Vinci, Michelangelo, Rembrandt, Cezanne, Van gogh, Gauguin, Ablade Grover, Amon Kotei...

"Artist in Heliopolis" is an original acrylic painting by Randall Berndt. It depicts a skipping artist with a few other distorted figures. "Heliopolis", in the title of the painting, may refer to the ancient Egyptian city. 50" x 64" canvas Artist signature along top edge of back frame Randall Berndt grew up on a farm near Markesan, Wisconsin, and holds an M.F.A. degree in painting from the University of Wisconsin-Madison. His work has been exhibited in many museum and gallery shows, both juried and invitational. These include, in recent years, the Butler Institute of American Art in Youngstown, Ohio (where he received the Juror's Choice Award), the Sioux City...

"Except for Then" is a contemporary abstract painting of warm golds, pinks, peach and orange. Oil on canvas, signed on verso. 2010 48" x 36" canvas Deirdre Schanen artist statemen...