Wisconsin - Art

"Gypsy Wind II" is an original oil painting on canvas by Alayna Rose. The artist signed the painting in the lower left. This painting features a variety of abstract marks in green, y...

"Savoie (Societe National des Chemins de fer Francais)" is a signed offset lithograph of a pastoral landscape created for the Societe Nationale...

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

"Sketch Near Pittsfield" is an original etching signed by the artist Stephen Parrish. It depicts a small group of buildings next to a lake. A path runs next to them, and the entire s...

"Feria De Sombreros (The Hat Market)" by Peruvian artist Ernesto Gutierrez is a 2008 oil on jute painting, signed lower right. 36" x 46" art 48" x 58" framed Ernesto Gutierrez was ...

"Famous Artist Series: Homage to David Hockney - Tri-Color Water" is an original mixed media piece by David Barnett. The artist signed and dated the artwork lower right. It depicts a...

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

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...

"Windows of Opportunity" is an original serpentine sculpture by Van Damn. The artist signed the piece "Vandee" on the back bottom right of the sculpture. Sculpture Size: 9 5/8" x 9...

"Les Parisiennes" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (71/20...

"Nude (Bonjour)" is an original color lithograph by Paul Guiramand. The artist signed the piece in the lower right. This piece is from an edition of 600. It depicts a nude female fig...

"The Vagabond" is an original watercolor painting on paper signed in the lower left corner in red with 5/89 by the artist W. Forester. It depicts a large ship on a turbulent sea. 2...

"Nina Ponema - Puno (Young Girl from Puno)" is an original oil painting on canvas by Abelardo Marquez. The artist signed the piece in the lower right. This painting depicts a young g...

"Portrait of a Girl" is an original wood engraving by Barbara K. Warren Weisman. It features an an overhead view of a girl, with her arms crossed and eyes clothes. A plant sits on a ...

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

"Le Cirque 5-25" is American abstract artist John Baughman's 2002 mixed media artwork of warm golds with gestural marks of red, blue, green and white. Signed and dated lower right. 16" x 36" art 25 1/2" x 45 3/8" framed Baughman is a mixed media artist who is influenced by the work of Mark Rothko and Conrad Marcarelli...

"Bedroom" by Robert Richter is an oil painting on wood with the signature on the verso. The frame was made by the artist and hand-carved, making it an integral part of the piece. Per...

"Solid Red Bottle" is a hand blown glass signed by Ioan Nemtoi. This sculpture is vase like, with a large dark circular base and a long slender red neck. Art: 13 x 8.5 x 3 in IOAN...

"Light 2010 #3" is an original graphite drawing on paper by Bill Teeple, signed in pencil in the lower right. This small image of a sunrise over the water is surrounded by a large white mat, isolating this intimate work so that it may be viewed on its own. Art size: 2 3/4" x 1 1/2" Frame size: 11" x 14" "I am the Director of Iowa Contemporary Art (ICON) and Bill Teeple Fine Art, in Fairfield. I have been serious about making art for 50 years, with a degree in art from the University of California at Berkeley. I have taught art in Fairfield for the past 15 years." In the ’70s, Bill and his artist partner Lynn Durham were living in California. Their fantasy/fairy art...

'Dancing in the Wind' is an original opal serpentine sculpture by the Zimbabwean artist Wellington Karuru. The artist presents an elegant and curvilinear figure of a woman, her hair seeming to billow upward and behind her. The sculpture is on one hand a celebration of the stone material, and on the other it calls back to art historical precedent: her body is brought to a high polish, reflecting the softness of skin, while her hair is left rough-hewn to create the effect of the untamed wind. At the same time, the woman's body is highly stylized and emphasizes her hips and belly, recalling Paleolithic "Venus" sculptures like the lauded Venus of Willendorf and thusly ideas of maternity and womanhood. opal stone (serpentine) not signed 23" high x 8" widest point x 4" smallest point, sculpture 4"x4"x4", sculpture bottom 1 x 6 x 6 inches, base Overall excellent condition with no signs of wear Sculpture comes with base. Born on August 17, 1976, Wellington Karuru is the first born to a family of five children and has two brothers and two sisters. As the first born child in a Zimbabwean family, many responsibilities were shouldered upon Wellington. Both his brothers, Gilbert and Esau, are also talented sculptors. He completed his primary and secondary education in Mashonaland West Province and was involved in almost every sporting activity at the school. After he graduated, he was employed at National Foods LTD where he worked as a machine operator for a period of four years and was later promoted to work as a sales clerk. In his free time he assisted some well known artists in sculpting, was able to learn much from them and soon thereafter started to develop his own talent and unique style. Inspired by such well known sculptors such as Gardener Sango and Garison Muchinjili, Wellington started sculpting small pieces for himself and soon found a buyer for his favorite piece titled ‘A Cry For Help’. From that day forward, he has never looked back. He eventually went to work with Garison Machinjili whose influence is clearly shown in his work. Some of his pieces have been chosen already for international exhibitions and galleries. Well established and internationally renowned artists like Joe Mutasa...

"Sand, Sea & Sky" is an original watercolor painting by David Barnett. The artist signed the piece in the lower right. This piece features a waterscape in teal with brown sand bars and a deep blue sky...

"Manege rue Caulaincourt ou Le Petit Manege Aux Chevaux De Bois" is an original etching and aquatint signed by Jacques Villon. The artist signed the piece in the lower right. This is an artist proof in brown & black on arches paper. This piece depicts a number of figures on a horse-drawn carousel going through the street. 21 7/8" x 28 1/2" art 29 1/4" x 33 1/2" frame Jacques Villon (French, 1875 - 1963) 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; soon afterwards this new surname was combined with the family name by Raymond. Marcel Duchamp and their sister Suzanne Duchamp...

A contemporary abstract mixed media artwork by artist John Baughman. Rich layers of red, yellow, orange, brown, and green create an abstract, flowing landscape. Signed and dated lower right. 16" x 36" art 25 1/2" x 45 3/8" framed Born in 1947 in Grand Rapids, Michigan, John Baughman attended the University of Michigan, the University of California and the Otis Art Institute in Los Angeles, CA. John’s current work incorporates layers of color and wax on paper and canvas. An avid trout fisherman, he has always used veils...

"Le Philosophe Au Papillon", from Je Reve (I Dream) Portfolio, is an original color lithograph signed in pencil lower right by French Surrealist artist Andre Masson. This is H.C. XXV/XXV. It depicts a brightly colored man...

"Galerie Maeght" lithograph poster. This poster holds Bazine's name in harsh orange lines near the top of the piece. Diagonally bisecting the b and a in Bazaine is a teal line. Bellow this horizontally against the white backgrounds are two lines, one painted yellow and the other blue. Unsigned. Image: 29 x 21 in Jean Bazaine was a French painter, designer of stained glass windows, and writer. He was the great great grandson of the English Court portraitist Sir George Hayter. In 1949/1950 he had his first major one man show at the Galerie Maeght, who remained his art dealer thenceforth. From then on it was a steady progress of major exhibitions: Bern, Hanover, Zürich, Oslo... 1987 a retrospective exhibition in Galerie Maeght, 1988 a retrospective of his drawings in the Musée Matisse and finally in 1990 the Exposition Bazaine in the Galeries Nationales du Grand Palais, Paris., which was accompanied by the reissue of his major texts on painting in art theory as Le temps de la peinture (Paris, Aubier 1990). "The motley crowds of international tourists and souvenir-shoppers who fill the ancient streets of the Latin Quarter in Paris spend most of their time admiring the open-air displays of seafood outside the Greek restaurants in the rue de la Huchette. They ignore the beautiful church of St Severin in the same street, for have they not already "done" Notre Dame? So they miss one of the most wonderful series of stained-glass windows in France: Jean Bazaine's vivid, dynamic works irradiating the sombre ambulatory and apsidal chapels. These windows represent the seven sacraments of the Church, portrayed as essential forms from nature in all its glory and symbolising Water, Fire and Light, sacred emblems of Divine Grace. An appropriate biblical verse is inscribed beneath each. Only Pierre Soulages with his "luminous black" windows at l'Abbaye de Conques (1998) can stand comparison with the majesty of these contemporary works by Bazaine, created between 1965 and 1970. Bazaine was fortunate in his friends. He received at an early stage in his student career support and advice from another master colourist, Pierre Bonnard. In his youth he knew Leger, Braque, James Joyce and Marcel Proust. One of his great personal friends was Jean Fautrier, with whom he shared his first exhibition in 1930. His work gradually developed as a form of bold tachisme - brilliantly composed but well-controlled "splashes" of sumptuous colour. He rejected the term "abstract" which he considered a denial of the essentially intimate relationships between art and reality. He quoted his friend Braque: "The canvas must efface the idea behind it." In 1941, during the Nazi occupation, at a time when Hitler was destroying many works of modern art, Bazaine had the courage to organise in Paris a first "avant-garde" exhibition of 20 French artists. In 1948, he wrote his first book, an unpedantic, unacademic view of contemporary painting, Notes sur la peinture d'aujourd'hui. He quotes Braque on Cezanne: "He's a painters' painter - other people think it's unfinished." Bazaine, too, reverenced Cezanne: Three lines drawn by Cezanne overturn our whole concept of the world, proclaim the liberty of man, his courage. The great painters have never had any other aims. The painter says: "I exist, therefore you exist. I am free, therefore you are free. Or at least he tries to. It's his one aim in life." After the Second World War, Bazaine produced vast compositions with virtuoso colour structures, mostly with references to nature, like the breathtaking Vent de mer (1949, now in the Museum of Modern Art, Paris) and Orage au jardin (1952, now in the Van Abbemuseum at Eindhoven). His Earth and Sky (1950) is in the Maeght Foundation at Saint Paul de Vence. One of his greatest works, L'Arbre tenebreux (1962), was sold to the Sonja Henie...

"Protected Spirits" is a sculpture carved from Opal stone signed Picket, who is part of the Shona tribe in Zimbabwe. It depicts two abstracted figures, presumably spirits, seeming to float upwards. 38 1/2" x 13 1/2" x 7 1/4" Picket Mazhindu Bumhira was born 1968 in the Seke communal lands about 5 km. from Harare, Zimbabwe. Picket had a passion for art from childhood and during his school days he loved drawing and painting. He was very inspired by sculpture of the late John Takawira, one of Zimbabwe's first generation of Shona sculptors, whom he met when Picket went to Chapungu. They then agreed to work together. Later he started to sculpt on his own. Some of his works made the headlines in the newspapers, including "Spirit of Love," which was exhibited in Victoria Falls during Arts Gala. He exhibited in the UK and in Germany. He was among the sculptors who went to China for an exhibition at the Poverty Reduction Summit. Picket likes working on springstone and opal and especially enjoys making abstracts. Shona artists and crafts people have been working in different media for generations. These include paintings, pottery, basket ware, wood carvings, and sculpture done in metal as well as the stone carvings. While there is not a long standing tradition of sculpture in what is now Zimbabwe (formerly Southern Rhodesia), stone carvings dating from the 15th century were seen in Great Zimbabwe, an excavated temple near Bulawayo. Most of the artifacts from this location have been moved to museums in Cape Town, South Africa or London. It is generally agreed that Zimbabwean stone sculpture...

"Shell" is an original etching by Arthur Luiz Piza. It depicts an abstract, textured shell in the shape of an egg. The artist signed the piece lower right and wrote the edition numbe...

"Senufo Mask of Ceremonies (from Republic Ivory Coast)" is an carved wood artifact from the Senufo people of Africa, in the northeastern cote d'Ivoire. The...

"I Don't Know Either" is an original oil pastel drawing on canvas board by Reginald K. Gee. The artist signed the piece in the lower right. It depicts multiple abstracted faces. 40...

"Isidora y su Hija (Isidora and Her Daughter)" is an original oil painting on jute by Ernesto Gutierrez. The artist signed the piece lower right. It depicts a seated woman hanging on...

Kees van Dongen (b. 1877, Delfshaven – d. 1968 Monte Carlo) He is considered a Fauvist, but his style is still nevertheless closely related to the German Expressionists. He is appr...

9" dia. Ceramic, signed and dated The ceramic sculptures of Wisconsin artist Michael Gross are personal narratives that reveal an unusual mix of earthly magic and primal vitality. The artist works in a variety of forms, including figurines, large vessels and furniture. With over a dozen museum exhibitions under his belt, the artist is a regular exhibitor at SOFA in New York...

"Milwaukee Harbor" is an original woodcut print by Lowell Merritt Lee. Different aspects of the milwaukee harbor come together in a collage-like fashion. Image: 6" x 5" Frame: 14.31...

"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...

"Stardust Dine-o-Mat" is an original watercolor painting by Bruce McCombs. The artist signed the piece lower center. This piece depicts a photorealist rendition of a bright and color...

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

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 ...

"Flaking Red" is an original fine art photography print by James Auer. The artist signed and titled the piece on the mat. It depicts a close-up image of flaking red paint, abstractin...

"Artiesten Winterfest" is an original color lithograph poster designed by Jan Sluijters. It depicts a brightly colored woman with long orange hair and su...

In images such as this, the influence of Ansel Adams and the other members of the group f.64 is clearly evident. The group f.64 was intent on truth in the medium of photography, wanting to push the camera to see even more clearly than the human eye. To do this, they used the small aperture, marked by the f-stop 64, which allows the camera to have an expansive depth of field. In this image, the earthy and sensuous textures of the brick and stone walls stand in direct contrast to the clean lines and graphic finish of the Route 66 sign. Ferderbar's mastery of the camera as an instrument brings out these contrasts following the legacies of the earlier American masters. 10 x 8 inches, image 13.75 x 11.5 inches, sheet 16.13 x 13.88 inches, frame Signed lower right Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile silver finish wood moulding. ARTIST STATEMENT: I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. -Tom Ferderbar

'Flower' is an original fruit serpentine sculpture signed by the Zimbabwean artist Benjamin Mundara. The title 'Flower' in this case is more suggestive than definitive, as the sculpt...

'Músicos Andes' is an original oil painting signed by the Peruvian-American painter Ernesto Gutierrez and is an excellent example of the work he has been producing in recent years. The composition shows four musicians, playing a harp, flute, guitar and violin respectively. The composition is unified by the repeating pattern of the figures, like the repeating motifs of a song, all of whom wear the same hat in their arrangement across the canvas. Paintings like this show the artist's observation of daily life on the streets of Peru, but at the same time elevate these figures with mystery and magic. oil on jute 38.5 x 70.38 inches, canvas 50 x 82 inches, frame signed "E. Gutierrez 2020" lower center signed and inscribed "ERNESTO GUTIERREZ / to David Barnett / 70 x 38 OIL ON CANVAS / "MUSICOS ANDES"" in ink on reverse, upper left excellent overall condition presented in a new custom frame with 3-inch linen liner and modern profile matte black and gold trim moulding...

"Wolf Lake I-5" by Janet Richardson-Baughman is a pastel drawing on paper. It is signed in the lower right and titled in the lower left, both in pencil. The work is framed and matted with an off-white acid-free mat and museum glass. This view of the edge of a forest is unique for its vibrant use of color. The field bears a spot of orange, while the mostly-blue sky includes a streak of violet just above the treeline. The trees blend together in yellows and greens with delicately-made lines to indicate their trunks and branches. Art size: 22" x 22" Frame size: 36 1/4" x 36 1/4" A move to an eighty-acre farm in Western Michigan from Detroit suited Janet Richardson Baughman to a tee. She and her three siblings loved country life and relished the many humorous adjustments to their new surroundings. The one-room schoolhouse she attended, for example, contrasted sharply with her earlier city school. Sports programs had been fairly sophisticated in the city. Rural sports consisted of her teacher piling everyone in her car, including the trunk, and then driving the children to another one-room schoolhouse for games. When Janet reached the sixth grade, a chapter in American history closed because all of the one-room schoolhouses were annexed by the nearest cities, but that unusual educational experience is something Janet fondly remembers. Growing up in a family that was very artistic, it is not surprising that Janet loved drawing. She and her brothers and sisters would make Christmas decorations for the Christmas tree and had ongoing art projects all year long. Her architect father was an artist in his free time. As the children have become adults, they are all involved in artistic endeavors from carving to sculpture. Janet's high school years were spent riding and showing her horses. "That was my life," she says. Living on the farm allowed her freedom to indulge her love of animals including the dogs that were so special to her. Active in 4H, Janet became an accomplished seamstress and an excellent cook. She took no art classes in high school although she sometimes helped her father with drafting. Starting college with the intention of majoring in speech and drama, Janet took an art class only because it was required. She found the art classes so appealing that she took one after another. Eventually, having taken every art class offered, the university had to design independent studies for her. With her beloved horses back on the farm, Janet discovered a new passion, and that was ceramics. First working as a waitress during college to earn income, Janet later became a Student Assistant and lived at the Ceramics Studio. As an assistant, she would make clay and glazes, fire the kiln, and assist the instructor however she could. At first, she had planned to become a high school teacher, but she was encouraged to earn her graduate degree and pursue her artistic endeavors, in addition to teaching. Janet graduated in 1975 with a BFA in Ceramics and Weaving from Central Michigan University in Mt. Pleasant, MI. Following her mentor's advice, she went to Indiana State University in Indiana for her graduate work where she studied under Dick Hay...

"Cat Scratching Table" is an original oil painting on canvas by Nicolas Dreux. The artist signed the piece lower left. It depicts a cat and a bird in a pastel-colored interior. 18" x 14" art 27 1/4" x 23 1/4" frame Nicolas Dreux was born on March 10, 1956 in Port-au-Prince, Haiti. He began to paint as a student of painter Calixte Henri...

"Road I Travel #6" is an original watercolor on paper by Kevin Knopp. The artist signed and dated the piece lower right. This piece features a dirt and gravel road. 6" x 6" art 13"...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...

This halftone print was included in the 1898 report of the Bureau of Ethnology to the Smithsonain Institution. The sap buckets and yoke are from the Menomin...

"Le Portrait Termine" is an original drypoint etching by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (21/50) in...

"Las Esquinas del Tiempo (The Corners of Time)" is an original mixed media on canvas by Teresa Olabuenaga. It depicts abstract forms, a figure in a sarcophagus, a nude breast...

This shamanic figure was created by the Nepalese Dolpo people. It depicts a figure with arms in a possible gesture of prayer. 10 1/2" x 2" x 1 3/4" figure Dolpo is a region in Nepa...

"Listen (Dust is the Only Secret)" is an original lithograph with nylon string by Lesley Dill. The artist signed the piece lower left. It depicts the silhouette of a man constructed ...

"The Red Barn - Wisconsin Landscape Series" is an original oil painting on canvas by Dan Muller. The artists signed the painting in the lower left....

"Hurdles" is an extremely rare original color lithograph by Claude Weisbuch. This print is the trial proof (blind stamp Hors Commerce) and has no edition number. It depicts two expertly-drawn men jumping over hurdles. 19 1/4" x 25 1/2" art 29 3/4" x 36" frame 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...

"Hobby Lobby Meets Menards" is Ananda Kesler's 2021 acrylic painting on canvas board. Signed on reverse. 11" x 14" Art 12" x 15" Frame Ananda Kesler was born in Haifa, Israel. In 2002 she received her BA in Fine Art from the University of Iowa...

This shamanic figure was created by the Nepalese Dolpo people. It depicts a man with arms at his side. 11 1/2" x 2 1/4" x 1 1/2" figure Dolpo is a region in Nepal. The Dolpo peopl...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

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