Wisconsin - Art

John Sloan's Westminster Abbey portfolio is among the most rare of his printmaking output, and a complete set like this is even more unusual. Etched in dark brown ink in on a sturdy ...

"Art Deco Sailboat in Abstract Landscape #740" is an original colorful crayon drawing on paper by Sylvia Spicuzza, signed in pencil in the lower right corner. The sailboat of the title is in the center, set against a deep blue sky upon a dark green sea. It is framed by a abstract shapes of bright color that flow into one another in curving lines. The horizon line is maintained throughout the composition, and the effect is something like looking through a kaleidoscope. Art size: 8 1/2" x 7 1/4" Frame size: 16 1/4" x 14 1/2" 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...

"The Ocean Spirit, Pupukea, Oahu" is a long-exposure limited edition photograph by Robert Kawika Sheer. The artist signed this piece in the lower right and editioned it in the lower ...

Circus 2 is a wall sculpture inspired by the playful musings of Alexander Calder’s Circus. The wit and whimsy of the circus are referred to in the colors, forms, spontaneity and move...

'Le Chef D'Oeuvre Inconnu,' or in English 'The Unknown Masterpiece,' is an original signed lithograph by the contemporary artist Claude Weisbuch – and it is an excellent example of t...

"Gnomes I, II, & III" are three original etchings by Jenny Tapping. Each etching is signed, titled, and numbered by the artist, and all three are in one frame. Each etching depicts a...

'Per l'avventura I' is an exquisite and colorful abstract painting signed by the American artist Alayna Rose. The painting is a quintessential example of her work, borrowing the lang...

A signed oil painting representing the portrait of a woman in the bath. Contemporary painting. Height 40" x 28" Length

Artist Statement My paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acry...

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...

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

"Orange Matte Egg" is hand blown glass signed by Ioan Nemtoi. This egg shape is orange in the background with splattering of colors in blue, yellow, and green. An abstract black vine...

Framed: 17.50 x 17.50 in Evan Kuhn is a Milwaukee-based artist originally from the Chicagoland area. His creative body of work centers primarily on realism and takes inspiration fro...

"Les Erophages" is an etching and aquatint with gold ink on Japanese paper signed by Andre Masson. Coming from the corner on the lower left was a boarder of pink with lines and circl...

"Ellen's Diner, NYC" is an original photorealist watercolor painting by Bruce McCombs. The artist signed the piece lower right. This piece features a city diner's neon sign and clock...

"Woman Manicuring Her Nails" is an original lithograph by Maximilien Luce. The artist signed the piece lower right and it is numbered (#7). It features a woman seated in an interior taking care of her nails. 8 1/4" x 5 3/4" image 14 1/8" x 10 3/4" paper 19 1/4" x 16 1/2" frame Maximilien Luce (1858 – 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style. In contrast to Seurat's detached manner, Luce's paintings were passionate portrayals of contemporary subjects, depicting the "violent effects of light". In addition to Pissarro and Signac, he met many of the other Neo-impressionists, including Seurat, Henri-Edmond Cross, Charles Angrand, Armand Guillaumin, Hippolyte Petitjean, Albert Dubois...

"Matinee a l'Odeon" is an original etching by Maurice Asselin. The artist signed and titled the print below the image. This piece is edition 13/30 and depicts three figures watching ...

'Maple Peach Beat' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly...

Antonio Diaz Cortes, a Mexican artist influenced by Pablo Picasso and Rufino Tamayo, employs the Cubist idiom to create a portrait with elements of pattern in Brazilian Girl of 1969....

Edition2/10 Signed to lower right Ananda Kesler was born in Haifa, Israel. In 2002 she received her BA in Fine Art from the University of Iowa. She has continued her art education ...

Out West 3 is from a series of wall sculptures inspired by the open spaces of sky and landscape of the American West. The landscape is abstracted to painterly and geometric forms and...

"La Lecon Du Professor Tulp" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition (ETAT) in the lower left. This piece depicts ...

"Worm-Wood Hare" is an original color lithograph by John James Audubon. It depicts three brown rabbits in a landscape. No. 18, Plate LXXXVIII, On Stone by W.E. Hitchcock. 6" x 8" ar...

'Scratching Bird' is an original serpentine stone sculpture signed by the Zimbabwean artist Rangarirai Makunde. In the sculpture, a long-beaked bird, that might be a shoebill, sits l...

"Composition" is an abstract lithograph in purple, red, and yellow by Paul Jenkins. 10" x 7 1/2" art 20 1/2" x 18" framed Paul Jenkins was a monumental figure of American Abstract...

"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...

'Ready for Marriage' is an original opal serpentine sculpture signed by the Zimbabwean artist Washington Msonza. The sculpture features a single elegant figure in a flowing gown, standing tall and averting her gaze as she clutches the veil that envelops her. Msonza emphasizes the materiality of the work, as is so desired of artists trained in the Shona tradition, by differentiating between the dark, smooth polish of her skin and the lighter textured surface of her clothes. Even more, passages of the surface are left in the serpentine's rough natural state, allowing the green-colored stone to contrast with the red-orange oxidization of its environment. opal stone (serpentine) 33 x 12 x 12 inches signed "Msonza W" on reverse along base Overall good condition; some minor scratches, likely as the sculpture left artist's studio. Base in photographs is not attached and is included at request of buyer. Washington Msonza was born in 1966 in Domboshava where he attended primary school. He then moved to Chitungwiza to attend secondary schooling. While in school, he spent most of his time watching his sculptor brother-in-law Albert Mamvura, whose workshop was close to his house. In 1988 Msonza began assisting Albert full time, while simultaneously gaining experience by watching other well known artists in the area including Gedion Nyanhongo...

'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...

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...

"The Conversation" is an original etching by Cornelis-Pietersz Bega. It depicts three men conversing in a dark interior. Publisher: Pearce #43. 3" x 2 1/4" art 12 3/4" x 11 5/8" fra...

"And I Think Of Yoouu...Night and Daaayyyy..." is an original acrylic painting on canvas signed by Reginald K. Gee. It depicts a man in a spotlight singing. The artist signed the pie...

"Daring Mind Birds on Easy Wings" is an oil on canvas by Sue Bartfield. It is an abstract piece in many shades of blue and pink. 80 1/2" x 67 3/4" art 82" x 69 3/4" frame Sue Bart...

The present aquatint is an excellent example of the multifigural works of Lester Johnson. The print presents the viewer with three seated figures, their...

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, ...

"Les Matelassiers (The Mattress Makers)" is an original etching by Auguste Brouet. It depicts people creating a mattress outside. The artist signed the...

"Vieja del Sitio (Old Woman) - Cuzco" is an original oil painting on canvas by Abelardo Marquez. The artist signed the piece in the lower right. This painting depicts an elderly woma...

Untitled, for "XXe Siècle (20th C.)" magazine is an original color lithograph by Latin American artist Wifredo Lam. It depicts a variety of surreal and abstract lines and figures in ...

This mask, created by an unknown Indonesian artist, features a bright salmon-colored face with heavily slanted eyes. It also has a mustache made of animal fur. It is approximately 7"...

"Car La Race" is an original woodcut on blue paper by Louis Auguste LePere. It depicts a centaur capturing a nude human woman in a flurry of motion and muscle. 16" x 13 3/8" art 16...

Alternative sizes and media available: 16 x 16 16 x 20 16 x 24 20 x 20 20 x 30 28 x 28 28 x 35 30 x 45 40 x 40 40 x 50 40 x 60 Matte photo paper or canvas available on...

'Eye Witness' is an original opal serpentine sculpture signed by the Zimbabwean artist Josphat Makenzi. Makenzi was trained in the contemporary Shona stone carving tradition, and thus his works take on themes from African as well as from European art history. His sculptures of the human face have the abstracted qualities of traditional African sculptures and masks...

"Solid Yellow Bottle" is hand blow glass signed Ioan Nemtoi. This glass sculpture is pumpkin shaped. The neck of the sculpture is thin and very long and a greenish yellow. Whereas th...

A vibrant oil painting by neo expressionist American artist Matthew Schaefer depicting an abstracted banana plant. oil on canvas 38" x 27" art 40 3/8" x ...

"Circus" is an original lithograph by Henri-Gabriel Ibels. The artist signed the piece lower right and wrote the edition number (12 out of 100) in the lower left. This piece depicts a few disconcerted circus performers. 17 1/2" x 20 1/2" art 19 1/2" x 22 1/2" frame Henri-Gabriel Ibels (30 November 1867 Paris – February 1936 Paris), was a French illustrator, printmaker, painter and author. He studied at the Académie Julian with Pierre Bonnard and Édouard Vuillard and was a member of Les Nabis...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. 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...

"Three Men with Horse & Building" is an original tempera painting by an unknown Persian artist from the late 19th century. It features a number of figu...

This is a 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. An unnumbered impression, apart from the numbered edition of 50. 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...

"Brush Tree" is an original oil painting on wood by Robert Richter. The artist signed, stamped his initials, and titled the piece on the back. This painting depicts a tree among a ye...

"Sun Totem" is an original acrylic painting on canvas signed and dated lower center by the artist Prospere Pierre Louis. It depicts a few contorted human figures in a totem pole arrangement in black and white, a yellow sun with a face in the center, and various brightly colored patterns on the sides. Artwork Size: 62 5/8" x 38 5/8" Frame Size: 73"x 49" Artist Bio: Prospere Pierre-Louis was born in Bainet, in the south of Haiti, on October 12, 1947. As a young boy, he did not go to school but did teach himself to play the drums and the violin. He assisted his father, a houngan (Vodou priest), in preparing Vodou ceremonies. At age 16 he moved to Port-au-Prince where he apprenticed as a barber for a time before working as a waiter at the home of Maude Robard who would in 1973, with the Haitian artist Tiga, organize a community of peasant artists, singers, dancers, craftspeople, actors and painters into a movement that was named Saint Soleil. Prosper followed his friend Maude to the community at Soisson-la-Montagne on the mountain above Laboule and eventually became the most prominent painter in the group. The Saint Soleil movement gained international recognition in 1975 when the French cultural icon Andre Malraux visited the community. It is said that Malraux was seated in a chair on a grassy knoll while the artists of Saint Soleil ascended the slope, encircling him, each holding a piece of their art. Malraux was blown away by the scene and immortalized the movement by featuring Saint Soleil prominently in his last book, " L'Intemporel." Saint Soleil disbanded after only a few years but five of the artists, Prosper Pierre-Louis, Levoy Exil...

"Veduta Presso di San Stefano Rotondo" is an original engraving by Israel Silvestre, titled along the bottom of the image. This small etching shows an unusual view of the church San ...

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

"Indian Pow-Wow" is an original painting in tempera, signed in the lower right. It features gestural blue outlines, decorated in shades of yellow, blue, and green. Art size: 24" x 1...

"The Approach" is an original oil pastel drawing by Reginald K. Gee. The artist signed the piece on the back. It features two figures reaching toward each other in front of a black b...

"Trees" is an original wood engraving print by Betsy Ritz Friebert. It features a man walking down a large path underneath tall barren trees. Unsig...

"Feeling Roostery!" is an original oil painting by Cathryn Ruvalcaba. Here, she depicts a colorful rooster strutting though a green pasture. Cathryn paints in the Russian Impressioni...

Artist Statement My paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acry...

'The Dealer' is an original lithograph from John Doyle's 'Gambler' series. The suite included ten different prints, each image capturing the exhilaration and danger of the games of chance played by casino goers. In one of the prints, a woman pulls the lever of a slot machine; in another, men queue before a lottery ticket window. In 'The Dealer,' a man faces the viewer directly. His stern gaze is hidden behind dark glasses as he springs cards between his hands in a flurry of aces and spades. His clothes reflect both the fashion of the 1970s while also hearkening to the villains of Western films. All the while, he is framed from behind by the arch of a blackjack table, which is itself lined by glistening lights of the casino. 29.5 x 20.5 inches, artwork 37.75 x 28.75 inches, frame Signed "doyle" in pencil, lower right Entitled "Dealer" in pencil, lower left Series title "Gamblers" in pencil, lower left Edition "XXXIII/XL" (33/40) in pencil, lower left Publisher blindstamp, lower left Framed to conservation standards using archival materials including 100 percent rag matting, UV Clear glass to inhibit fading, and housed in a maroon-tinted mock tortoise shell finish wood moulding with a gold finish bevel. Artwork in excellent condition; housed in a new custom frame. John Lawrence Doyle...

"Fig Trees-Antibes" is a signed (lower right) color lithograph by Paul Guiramand. It depicts leaves in light green covering most of the surface as well as two...

"Nicolas Poussin, Homage" is an original color lithograph by Claude Weisbuch. The artist signed the piece in the lower right and wrote the edition numb...

This color pochoir from the La Garconne Series was done in 1925 on Arches paper No. 738/750 depicting a couple sitting at a cafe. Pochoir or stencil has been used to print limited ed...