Wisconsin

With a dedication to perfection and quality, Christofle flatware creations unite craftsmanship and modern technique, resulting in flatware to be handed down through generations. Cre...

ALEXANDER McQUEEN S/S 2002 “Dance Of The Twisted Bull” Polka Dot Blazer Jacket Brand / Manufacturer: Alexander McQueen Collection: S/S 2002...

Timeless and elegant, Buccellati sterling silver is the ultimate heirloom, treasured by each generation in turn. Simple elegance, handcrafted from sterling silver. Made in Italy by t...

SALVATORE FERRAGAMO c.2000’s Men’s Dark Brown 3 Button Leather Sport Coat Jacket Circa: 2000’s Label(s): Ferragamo Style: Blazer jacket Color(s): D...

Designed with an eye for balance and proportion, each piece of Tiffany & Co. flatware is a masterpiece of form and function. Dinner Size Windham by Tiffany & Co. Sterling Silver fla...

Spanish Lace by Wallace sterling silver flatware set of 46 pieces. This set includes, 8 knives, 9 1/4" 8 forks, 7 5/8" 8 salad forks, 6 3/4" 8 teaspoons, 6 3/8" 8 place soup spoons,...

EMILIO PUCCI c.1960's Multicolored Velvet Abstract Printed Top Handle Mini Hand Bag Brand / Manufacturer: Emilio Pucci Circa: 1960's Style: Structured t...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

"Celebrations (C-56)" is an original black serpentine stone sculpture by Colleen Madamombe. The artist signed the piece, and it weighs 228 pounds. This piece features a woman with a ...

COUTURE c.1920’s One-of-a-kind Champagne Silk Floral Glass Beaded Rhinestone Flapper Dress Circa: 1920’s Style: Flapper Dress Color(s): Champagne Lined: No Unmarked Fabric Conten...

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With a dedication to perfection and quality, Christofle flatware creations unite craftsmanship and modern technique, resulting in flatware to be handed down through generations. Mon...

GUCCI S/S 2016 Orange Black White Pleated Silk Scripture Print Maxi Skirt Brand / Manufacturer: Gucci Collection: Spring/Summer 2016 Designer: Alessandro Michele Style: Maxi Skirt Color(s): Shades of orange, white, black Lined: No Marked Fabric Content: "100% silk" (primary fabric) Unmarked Fabric Content (feel of): metal (zipper pull hardware) Additional Details / Inclusions: Gucci S/S 2016 maxi skirt. Flowy, lightweight material, no stretch or give. A-line silhouette, drape to material. Facing on interior at waistband; pleating detail at waistband of skirt; material flows out from pleats. Black and white Gucci...

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MM6 MAISON MARGIELA c.2019 Black White Platform Ribbon Bow Wrap Lace Sneaker Shoes Brand / Manufacturer: MM6 Maison Margiela Circa: 2019 Designer: Heikki Salonen Style: Platform Sneakers Color(s): Black, White Insole: Yes Unmarked Fabric (feel of): Neoprene (upper part and tongue), Rubber (insole and sole) Twill tape (laces) Suede (heel cap) Additional Details / Inclusions: MM6 Maison Margiela platform...

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Gorgeous Dinner Size Du Barry by International sterling silver flatware set with unique all around floral handle, 33 pieces. This set includes: 6 Dinner Size Knives, 9 3/4" 6 Dinner...

DESCRIPTION: ALEXANDER McQUEEN S/S 1995 "The Birds" Iconic "Bumster" Skirt w/ Hair Label RARE Brand / Manufacturer: Alexander McQueen Collection: Spring / Summer 1995 “The Birds”; Runway look #7 Designer: Alexander McQueen Manufacturer Style Name: Bumster skirt Color(s): Off white Lined: Yes Unmarked Fabric Content (feel of): Shell: Cotton blend; Lining: Rayon blend Additional Details / Inclusions: Alexander McQueen’s iconic...

"Requiem" is an original etching and aquatint by Joan Snyder. The artist signed the piece, and the edition is of 120. This piece features abstract, expressionist text and an striking portrait of a woman with red lipstick on a pink background. 25 5/8" x 20" art 32" x 26" frame Joan Snyder was born on April 16, 1940, in Highland Park, New Jersey. She received her AB from Douglass College in New Brunswick, New Jersey (1962), and an MFA from Rutgers University in New Brunswick, New Jersey (1966). She was the recipient of a National Endowment for the Arts Fellowship (1974) and a John Simon Guggenheim Memorial Fellowship (1983). Snyder lives in Brooklyn and Woodstock, New York. Although Snyder’s paintings are often placed under various art-movement umbrellas—Abstract...

"The Orange Cart, Mazatlan, Mexico" is an original watercolor painting signed and dated in the lower right by artist F. Douglas Greenbowe. It depicts a ...

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Named for King Richard I of England. Described as truly a royal pattern with regal dignity drawn from the romantic background of the pomp and pageantry of Richard the Lion-hearted an...

Mid-Century Modern Crystal by International sterling silver flatware set of 54 pieces. This set includes: 12 knives, 9 1/4". 12 forks, 7 1/2". 12 salad forks, 7". 12 teaspoons, 6 1/...

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