Wisconsin - Art

"Tea Salon" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (126/200) in the lower left. This piece dep...

"Femmes au Bord de la Mer" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (140/200) in the lower left....

"Helen Goes Ahead- Crow" is an original lithograph proof signed by the artist Leonard Baskin. It depicts a Crow woman named Helen Goes Ahead in front of a red background. 19" x 12 ...

This Golek puppet was made by an unknown Indonesian artist using wood and cloth. It is approximately 24" tall. Traditional Wayang Golek plays can be comp...

"Red Oak Albuquerque, NM" is an original pastel drawing signed by the artist Peggy Leonard. It depicts a red oak tree among smaller green trees in a landscape. 9 1/2" x 12 1/4" art 19 3/4" x 22 1/4" frame Peggy Leonard received her BFA in painting and drawing and an associate’s degree in nursing from Miami University in Oxford, Ohio. She is both a registered nurse, and accomplished artist, residing in Milwaukee, WI. From the artist: “These paintings are my prayers,” muses Leonard, reflecting on her driving need to express herself through her art. “We are made of the stuff that requires us to respond with our hearts and hands. Often, it requires terrible sacrifice and suffering, something not everyone can understand. But it is done with reverence of life, not irreverence.” Leonard’s pastels and oil paintings capture her reverence of life and reflect her own life’s journey, including earlier forays into the wilderness. Her venture into art began in early childhood, as childless neighbors nurtured her natural ability to draw; concurrently, Leonard’s parents instilled a respect for academic excellence and the higher order of nurturing others. As a young nurse, Leonard “heard and saw poignant messages to travel while one was young and free…while one had one’s health.” Consequently, she took to the open road and public lands, camping across America for months at a time. During these years, her “celebration of the natural splendor of this country” helped shape her sense of artistic expression. She was moved by such sights as the sunset on St. Mary’s Lake...

"El Capitan (Yosemite National Park, CA)" is an original black and white archival pigment print. Using the original photograph taken in 1958. This is signed by the artist Thomas Ferderbar in the lower right and titled on the lower left using silver sharpie. It is a vast expanse landscape photograph. Artwork Size: 50" x 40" Frame Size: 54" x 44" I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box...

"Storm Watch 2" is an original pastel drawing on paper by Victoria Ryan. The artist signed the piece. This piece features an idyllic farm landscape with ro...

This wooden sculpture of a peacock-like bird (Garuda) was created by an unknown Indonesian artist. The beak is missing. The sculpture is 7 1/2" x 4 1/2". The Garuda is a legendary bird or bird-like creature in Hindu, Buddhist and Jain mythology. He is variously the vehicle mount (vahana) of the Hindu god Vishnu, a dharma-protector and Astasena in Buddhism, and the Yaksha of the Jain Tirthankara...

"Conversation Outside Castle" is an original etching by Jan Frans van Bloemen. It depicts a number of figures just outside the majestic walls of a castle. These groups of figures are engaged in their own conversations. 9" x 6 3/4" art 21 5/8" x 19 3/8" frame Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition. Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn...

In this print, Wenceslaus Hollar presents a portrait of an unidentified woman, copying a portrait by Hans Holbein the Younger. The identity of the sitter is a mystery: formerly, the portrait was believed to be of Catherine of Aragon, and the National Portrait Gallery in London identifies her as Queen Mary I...

"Creating Spirits" is an original red jasper sculpture by Farai Darare. It depicts an abstracted figure holding a pot. 19" x 6 1/2" x 3 1/4" Farai Walter Darare started working as a washer and polisher for his father's sculptures when he was seven years old. He worked and studied under the renowned Shona sculptors Chikumbirike, Runyanga, Muropa, and his father Casper Darare...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

"One" is an original oil painting on canvas by Alayna Rose, signed in the lower left. In this composition, Rose has abstracted the side-profile of a head by filling it with an array ...

"Hansen's Rexall Drugs" is an original signed watercolor by Bruce McCombs. It depicts front of a drug store and features its neon sign and reflective windows. This painting displays ...

'Cobalt Bird' is an original signed sculpture by the Zimbabwean artist Wonder Mazhindu Bumhira. Trained in the Shona carving tradition, Mazhindu often sculpts abstracted birds, as in this example. This sculpture is playfully interactive: Even though the bird has one body, there is a head carved on each side, asking the viewer to walk around to see it peeking back at them. At the same time as he is considering the viewer's interaction with the artwork, the sculptor is likewise displaying his skills as a sculptor. Cobalt stone is notoriously brittle, as well as rare, making it difficult to work with and to acquire. The efforts are however rewarding, as the polished stone reveals dramatic patterns of greens and blacks. cobalt stone 17 x 12 x 5.5 inches 50 lbs signed 'Wonder M.' along base Overall good condition with no losses, cracks or signs of wear. Born on January 17th, 1982 in East Mashonaland, Harare, Wonder (often spelled Wander) is the fifth born of a family of 6...

'Stork Bird' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Jonathan Nhete. The artist presents in this sculpture a highly abstracted figure of a bird, the long beak and eye of which emerges shining and polished from within a heroic almond-shaped loop formed by the bird's wings. Such abstracted forms recall traditional African sculpture as well as the work of modern masters like Constantin Brancusi who looked to non-Western sources for inspiration. The sculpture's surface is brought to a beautiful polish, allowing the green of the serpentine to create a glittering depth as immense as a lake or river. opal serpentine 32 x 19 x 6 1/2 inches, sculpture 2.75 x 12 x 12 inches, concrete and marble base (included at request of buyer) 34 .75 x 19 x 12 inches, overall 85 lbs signed "Nhete Jonathan" along bottom edge on reverse with hole drilled in foot to accommodate 0.5-inch steel support rod overall good condition; brown stain at base of bird neck; some minor scratches Jonathan Nhete was born on November 16, 1972 into a family of 5 boys. He decided to explore in the art industry and was fascinated by the works made by a local artist Dudzai Mushawepwere...

"Le Carnival 5-18" is an original mixed media painting by John Baughman. The artist signed, titled, and dated the artwork in the lower right. This abstract piece features mostly yell...

'The Turquoise Suite' is a portfolio of three original color lithograph by the renown printmaker R.C. Gorman. From Arizona, the artist's later works fo...

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 ...

"Dauphine" is an offset lithograph of a pastoral landscape created by Paul Kelsch for the Societe Nationale des Chemis de fer Francais, the French National Railways. 24" x 39" paper 30 1/2" x 21 1/8" image 48" x 33" frame Small hole in each corner, crease in paper and image upper left, small holes lower left. The SNCF, the French National Rail system, commissioned multiple posters to advertise and celebrate the connected locations on their routes after the Second World War. "Dauphine", created by Paul Kelsch, showcases a small village at the foot of a mountain bathed in the light of a sunset. Kelsch's technique employed impasto brush strokes and bright colors to capture the beauty of the landscape. This scene is in stark contrast to the destruction that the war had wrought in this area during the 1944 invasion. Because of this, the set of posters...

"Texas Afternoon" 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 artw...

"Portrait of a Soldier from Tehran" is an original oil painting by Cyrus Afsary. The artist signed the painting in the lower right. This piece depicts an Iranian man with a white head scarf, a Keffiyeh. Artwork Size: 27 1/2" x 19 3/4" Frame Size: 34 1/4" x 26 1/4" Artist Bio: Cyrus Afsary studied art under the strict discipline of the Russian Realist style of painting, graduating with two degrees. He has won numerous awards, including the Best of Show at the C M Russell show of Original Western Art and the Exceptional Merit Award from the National Arts Club at the 1986 Pastel society of America show. He has also received gold and silver medals from the National Academy of Western Art and was the first recipient of the coveted Lougheed Memorial Award. Cyrus won the Painting Award for “ mystical Transformation” at the Buffalo Bill Art Show in 2006 and also shared in the choice award. In 2007 he was awarded the Best of Show at the Eiteljorg Museum and in 2009 at the Charles Russell Museum he received the staff choice award, for “Entrance to Shrine” and in 2010 the Williams Award for Collectors’ reserve at the Gilcrease Museum. Oklahoma. Cyrus is an artist /member of the Cowboy Hall of Fame. He participates annually in the Prix de West invitational, and the Masters of the American West Exhibition at the Autry Museum in CA. The Eitejorg Museum in Indianapolis, IN and also the Buffalo Bill show in Cody Wyoming. Cyrus was featured in the 2002 Gilcrease Museum Rendezvous in Tulsa, Oklahoma. He is also a member of the Northwest Rendezvous Group. Cyrus and his work appear in numerous publications, including American Artist, Art of The West, South West Art...

"Carved Horse Head" is a bas relief sculpture hand-carved from mahogany by Marshall "Buster" Shields. In features two horses in profile, one behind the other, rearing back with their...

"Back Into the Future" is a fine example of the mid-career work of Ugandan artist Sanaa Gateja. It comes from a period in his work in the early 2000s w...

"La Danse Sous Les Arbes (The Country Dance)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum and the Louvre. Publisher: Ma...

"Spirit Flow" is an acrylic on canvas signed by Reginald K. Gee. This piece has a mixture of circular doodles of color creating the figure in the middle and its surrounding. The figu...

"Smile For Me" is an original mixed media piece on watercolor paper. Alayna Rose, the artist, signed the piece in the lower right. This piece features a variety of abstract marks in ...

"Diane Chasseresse" is an original color lithograph signed by the artist Gaston de Latenay. It is edition 36/100, which is written in the lower right...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' When it came to depicting the Columbia River, as seen in the present print, Stanley chose to depict the river's characteristic rock formations and choppy waters. The figures in the image give the viewer a sense of the vase scale of the imposing landscape. Other explorers that reached the site years before the Pacific Railroad Survey, such as Lewis and Clark, observed this scene with wonder and awe – and it is clear Stanley felt the same way. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 13.25 x 16.25 inches, frame Artist 'Stanley Del.' lower left Entitled 'Kettle Falls, Columbia River' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XLVII' upper right Framed to conservation standards using 100 percent rag matting and Museum Glass to inhibit fading; housed in a brass-surface aluminium moulding. Print in overall good condition; wrinkles in upper margin and upper right corner; frame in excellent condition. John Mix Stanley...

This small hand-built plate, 'White Stoneware (Face),' is an intimate and exciting example of the ceramic work of Estherly Allen. She was a student of George McNeil, an important Abs...

"Piggy Back Pyramid KMH 013" is an original acrylic and mixed media painting by Katherine Hartley. It depicts a tower of animals and brightly-colored patterns. The artist signed the ...

"Man Looking Through a Window" is an original etching by Cornelis-Pietersz Bega. It depicts a figure leaning through a window. Publisher: Pearce #37. 3 1/8" x 3" art 14 3/4" x 13 1/...

"Scene de Brigands" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Louvre and the Art Institute of Chicago. Publisher: Mannocci #11. 5" x 7...

"Wee Fun" is Joseph Rozman's second artist's proof of a relief etching. The piece is in black and white and depicts many intricate interactions between figures, animals, and objects....

"Evening Sky" is an original oil painting on wood by Robert Richter. The artist signed, stamped his initials, and titled the piece on the back. The painting features trees encroachin...

This photo frame was hand-made in Romania and features 12K white gold leafing. It is made out of wood and includes archival plexiglass to protect anything displayed in it from fading...

The present work is an original screen print signed by Lester Johnson, from his 'Street Scene Portfolio.' It features four figures, all wearing fashiona...

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...

"Bright Eyes" is an original oil paint on canvas mounted on board by Pauline Palmer. It depicts a young child in blue with wide eyes smiling in front of a ...

"Syndic Des Drapiers" is an original color lithograph by Claude Weisbuch. The artist signed the piece in the lower right. "EA" is written in the lower left to signify the edition number. This print depicts five men (and a floating face) in an interior space. Each man wears drapery and a hat, and they all appear to be in deep discussion. 22 1/4" x 30 1/4" art Claude Weisbuch was born on February 8th, 1927 in Thionville, France. His art includes drawing, painting and lithographs. Inventive and unique with his style he uses color range that is warm and rich in tone, certainly equal to that of Rembrandt. The fluidity of line and creation of motion is even more vigorous that in the work of Daumier or Toulouse Lautrec. His creativeness in composition is awesome and seems to have infinite possibilities of variation and vision. Weisbuch died in 2014. Exhibitions Herve Odermatt Gallery Paris, France Escole de Paris Paris, France David Barnett Gallery...

The present illuminated folio page contains a fine miniature depicting three figures hunting while on horseback, an image meant to accompany a historic epic. During the medieval period, hunting was an important pastime of male nobility throughout the Islamic world. The Quran itself explicitly endorses hunting and the use of animals to aid in capturing prey: "Lawful to you are foodstuffs that are good to eat and any game that, at your wish, is captured by beasts of prey which train as you do dogs, according to the method that Allah has taught you, after you have spoken the name of Allah over it." (Q 6:4) Muslim princes and nobles enjoyed the chase of the prey via horseback, using bow and arrow, crossbows, and blowpipes to capture their prey Horseback riding itself trained young men in the necessary skills for armed combat and warfare, developing their speed and strength. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

This giclee print on canvas is hand embellished with acrylic gel brushstrokes after the 2001 original oil painting. Depicting brightly colored flowers in a vase, this beautiful artwo...

This poster, produced for the 1978 International Meeting of Fine Art Dealers in Washington, features prominently one of Claude Weisbuch's dynamic images: Le Condottiere. It is an original color lithograph advertising his new works, and is one of only twenty-five that bears the artist's signature in the lower right. In line with Weisbuch's interest in the Renaissance and Baroque in Europe, this image looks back to the early modern period. Condottieri were Italian captains...

"Musee National d'Art Moderne" is a po ster by Victor Brauner for an exhibition of his work in Paris. It features abstracted heads in yellow, orange, and blue, with a border in pastel pink, green, blue, and yellow. It is framed with gold moulding. 33 1/2" x 19 5/8" art 40 1/2" x 26" frame Victor Brauner was born in Piatra Neamt, in 1903, and died in Paris, in 1966. He was the son of a timber manufacturer from Piatra Neamt who settled in Vienna with his family for a few years. It is there that young Victor attended the elementary school. When his family returned to the country (1914), he continued his studies at the evangelical school in Braila; he began to be interested in zoology in that period. He attended the Art School in Bucharest (1919-1921) and H. Igiroseanu’s private school of painting. He visited Falticeni and Balcic and started painting landscapes à la Cézanne. Then, as he testified himself, he went through all the stages: "Dadaist, Abstractionist, Expressionist". On September 26, 1924, the Mozart Galleries in Bucharest hosted his first personal exhibition. In that period he met poet Ilarie Voronca, together with whom he founded the "15HP" magazine. It was in this magazine that Brauner published the manifesto "The pictopoetry" and the article "The surrationalism". He painted and exhibited "Christ at the Cabaret" (in the manner of Graosz) and "The Girl in the Factory" (in the manner of Holder). He participated to the "Contemporanul" exhibition (November 1924). In 1925 he undertook his first journey to Paris, from where he returned in 1927. In the period 1928-1931 he was a contributor of the "Unu" magazine (an avant-garde periodical of Dadaist and Surrealist conceptions), which published reproductions of most of his paintings and graphic works: "clear drawings and portraits made by Victor Brauner to his friends, poets and writers" (Jaques Lessaigne - "Painters I Knew"). In 1930 he settled in Paris, where he met Brancusi, who initiated him into the photographic art. In that same period he became a friend of the Romanian poet Benjamin Fondane and met Yves Tanguil, who would later introduce him to the circle of the Surrealists. He lived on Moulin Vert St., in the same building as Giacometti and Tanguil. He painted "Self-portrait with a plucked eye", a premonitory theme. In 1933, Andre Breton opened Brauner’s first personal exhibition in Paris, at the Pierre Gallery. The theme of the eye was omnipresent: "Mr. K’s power of concentration" and "The strange case of Mr. K" are paintings that Andre Breton compared with Alfred de Jarry’s play "Ubu Roi", "a huge, caricature-like satire of the bourgeoisie". In 1935 he returned to Bucharest. He joined the ranks of the Communist Party for a short while, without a very firm conviction. On April 7, 1935, he opened a new personal exhibition at the Mozart Galleries. Sasa Pana wrote about it in his autobiographical novel "Born in 02": "April 7, 1935… An exhibition surrealist in character. The catalogue shows 16 paintings; they are accompanied by verses, surrealist images that are exquisite by their bizarreness - they are perhaps the creations of automatic dictation and they certainly bear no connection to the painting itself. They are written in French, but their colorful taste remains in the Romanian translation too. The exhibition brought about many interesting articles and takings of position regarding Surrealism in arts and literature." Another remark about Brauner’s participation to Surrealist exhibitions: "Despite its appearance of abstract formula,… this trend is a point a transition to the art that is to come." (R. Trost, in the"Rampa" of April 14, 1935) In the "Cuvantul liber" of April 20, 1935, Miron Paraschivescu wrote in the article "Victor Brauner’s exhibition": "In contrast to what one may see, for instance, in the neighboring exhibition halls, Victor Brauner’s painting means integration, an attitude that is a social one, as far as art allows it. For V. Brauner takes attitude through the very character and ideology of his art." On April 27, he created the illustrations for Gelu Naum’s poetry collection - "The Incendiary Traveler" and "The Freedom to Sleep on the Forehead". In 1938 he returned to France. On August 28 he lost his left eye in a violent argument between Dominguez and Esteban Frances. Brauner attempted to protect Esteban and was hit by a glass thrown by Dominguez: the premonition became true. That same year, he met Jaqueline Abraham, who was to become his wife. He created a series of paintings called "lycanthropic" or sometimes "chimeras". He left Paris in 1940, together with Pierre Malbille. He lived for a while in Perpignan, at Robert Rius’, then at Cant-Blage (Eastern Pyrenees) and at Saint Feliu d’Amont, where he was forcibly secluded. However, he kept in touch with the Surrealists that had taken refuge in Marseille. In 1941, he was granted the permission to settle in Marseille. Seriously ill, he was hospitalized at the "Paradis" clinic. He painted "Prelude to a civilization" (now in the Gelman collection). After the war, he took part to the Venice biannual exhibition; he traveled to Italy. In 1959, he settled in the workshop on Lepic St. In 1961 he traveled to Italy again. He settled in Varengeville, where he spent most of his time working. In 1965 he created an ensemble of object-paintings full of inventiveness and vivacity, grouped under the titles "Mythologie" and "Fêtes des mères...

"Hinting" is an original etching and aquatint made with Chine Colle by Molly McKee. The artist signed the piece in the lower right, titled it lower center, and wrote the edition numb...

"Nude, with Foot on Chair" is a charcoal figure drawing by Estherly Allen. The artist signed the piece. It depicts a nude woman lounging on a c...

"Greetings, 'Starflower'" is a linocut with white ink on blue paper by Sylvia Spicuzza. A smiling star is centered in the piece with Greetings written bellow them. Art: 4.88 x 3.88 ...

"Giant Hybrid Hibiscus Butterfly with Flower" is an original mixed media work by David Barnett that incorporates iridescent oil pastel, a dried hibiscus flower, and watercolor. It is...

'Me and My Family' is an original opal serpentine sculpture signed by the Zimbabwean artist Picket Mazhindu Bumhira. Family groupings like this are a beloved theme seen in the works ...

"Red, Yellow, Blue & Green" is an original color woodcut by Carol Summers. The artist signed the piece in the lower left. This woodcut depicts four color fields. The edition number i...

"Horse in Desert with Teepee & Branches" is an original ink drawing on handmade Amate paper by Miguel-Castro Lenero. The artist initialed the piece in the lower right. This piece is ...

This flat shadow puppet was created by an unknown Indonesian artist using water buffalo hide. This shadow puppet, 14" high with movable arms, was used in Indonesian Wayang puppet shows. This puppet is an archer. Wayang (Krama Javanese: Ringgit ꦫꦶꦁꦒꦶꦠ꧀, "Shadow"), also known as Wajang, is a form of puppet theatre art...

The present artwork is a vibrant and colorful example of the woodcut prints of Carol Summers. The image is dominated by the form of a red tropical flower, closely cropped around the petals like in the photographs of Imogen Cunningham and the paintings of Georgia O'Keeffe. 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. 9.63 x 11.63 inches, artwork 21 x 23 inches, frame Edition 16/50 in pencil, lower right Titled in pencil, lower right Signed in pencil, lower center Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile gold gilded wood moulding. 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 non-western 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...

"Red & White Tondo" is a signed silkscreen print by Ilya Bolotowsky. It is a geometric circle with red, yellow, and black lines of differing widths going vertically and horizontally ...

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"Over Here" is an original acrylic painting on canvas panel by Reginald K. Gee. The artist initialed the piece on the back. This artwork features an abstracted figure in pink waving ...

"Alphabet Colors" is an original mixed media drawing on canvas by Tom Shelton. The artist used crayon, colored pencil, and ink. The artist says: “Looking at cursive writing teachin...

The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...