Wisconsin - Art

"The Spirit of John Muir with Star Trails, Yosemite" is a performance chromogenic photograph created by Robert Kawika Sheer. The artist signed this work in the lower left and edition...

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...

"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...

"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"...

"Forever & Ever" is an abstract oil on masonite by artist Alayna Rose. A mix of warm reds, oranges and pinks blend together with bright pops of green. Text reads FOREVER AND EVER, t...

"Lion Dancer After Hirosada" is an original color lithograph by Michael Knigin from his "Osaka" series. The artist signed the piece lower right and titled it lower left. This is the ...

"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 ...

"Vestido de la Region (Regional Costume) - Cuzco" is an original oil painting on canvas by Abelardo Marquez. The artist signed the piece in the lower right. This painting depicts a w...

"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....

"Little Crow-Sioux" is an original lithograph created by Leonard Baskin. This is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and lab...

In this small painting, Sylvia Spicuzza presents the viewer with a simple trillium flower, the white petals framed by blue-green leaves. 4.5 x 8 inches, artwork 13 x 15 inches, fram...

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...

"Lady Parade III" is an original watercolor painting by Thea Kovac. The artist signed and titled the piece below the image. This piece features three women in brightly colored dress....

In this painting, Robert Richter depicts a view of a hill in winter, with a tree and craggy rocks in the immediate foreground in high contrast to the grey-white of the recent snowfal...

"Jumping Horse" is an original ink drawing on handmade amate paper by Miguel Castro Leñero. The artist initialed the piece lower right. This piece...

"Red Dragon" is an original color collograph by Wisconsin artist Joseph Rozman and part of his "Los Animales" portfolio. The edition, title, signature, and date are written beneath t...

'Saluting Bird' is an original opal serpentine sculpture signed by the Zimbabwean artist Canaan Musiyiwa Ngandu. The sculpture presents an abstract figure in Ngandu's quintessential ...

Circus Gymnast, 19th Century by Unknown (French) creator.

The present artwork is an excellent example of the woodcut engravings of Auguste-Louis Lepère (1849 - 1918). He was the son of the sculptor Francois Lepère, a...

"Unity" is an original mixed media piece createrd by Hsin-Lin Chiao. It is made using acrylic paint, molding paste, and colored pencil on canvas. This painting features different tec...

"Hotel Lobby" is a linoleum print by Alexander Tillotson. It features the view of a hotel lobby from the viewpoint of the back of two men. Thick lines and minimal negative space give...

In "City-New York" by Dan Muller you can see people dancing, walking, cars driving by, and buildings. Dan Muller's use of mixed media brings to life the chaos and excitement that com...

"French Air Show with Remarque of Head of Pilot" is an original lithograph and stencil print by Marguerite Montaut (GAMY). It depicts an early airplane flying above a crowd of specta...

This color pochoir was created in 1925 on Arches paper and depicts two women in Japanese kimonos. T he print is a bookplate pulled from a book that was issued in a numbered edition ...

"Railroad Bridge on Pittsburgh Street" is an original watercolor by Julia Taylor. This city scene is of Pittsburgh Street in Milwaukee, Wisconsin. It is a winter scene with a grey s...

"From the Series Cheval et Chevalier" is an original color lithograph signed in the lower right by the artist, Marino Marini. It depicts three red abstracted horses and their riders ...

"De La Bataille Vol. I, Homage a Leonard de Vinci" is a graphite drawing by Claude Weisbuch. The artist signed the piece lower right. This piece depicts a jumping horse inspired by L...

"Undersea Living" is an original ceramic sculpture by Bill Reid. The artist signed the piece on the back and the title is stamped into the front. Reid's narratives have many humorous...

'Fish Totem' is an original springstone sculpture by the Zimbabwean artist Obert Mukumbi. The sculpture presents an interactive and playful combination of subjects, both of which are beloved themes in the Shona tradition. As one faces the sculpture, they are presented at first with a pair of figures: an adult and child, one towering above the other. Surrounding them like a shawl is a mandorla-form, which emphasizes their tall upward posture and movement. This pair of figures emphasizes close relationships and family ties. As one walks around the sculpture, however, the almond shape transforms into the body of a boldly striped fish. This duality of human and animal brings mysticism and transformation to the sculpture and suggests the power and vitality of nature in sustenance and spirit. springstone signed "Obert Mukumbi" along bottom edge 34.5 x 7 x 12 inches concrete base included at buyer request hole drilled into bottom to accommodate steel support rod Overall excellent condition with no signs of wear or damage. Obert Mukumbi was born on February 11, 1974 in the village of Dengu in Bindura, some 86 kilometers north east of Harare, Zimbabwe, where he likewise completed his O-levels in school. During his education, he was interested in wood craft. By age twelve, however, he began working in stone under the guidance and encouragement of his brother Kennedy Musekiwa...

"After Rene Magritte With Lips" is an original watercolor and ink drawing by David Barnett. The artist signed, titled, and dated the piece in the lower right. This artwork depicts a ...

In the mid-seventeenth century, views of historic landscapes and classical structures were increasingly popular among print collectors, and artists like the Frenchman Israel Sylvestre were eager to fill that demand. In this example, Sylvestre captures a view of the Arch of Constantine...

"Venise" is an original etching and chine colle by Edgar Chahine. This is an artist's proof, the third state of the etching, and the artist signed the piece in pencil lower right. Th...

"Billboard" is an original digital photograph print by Philip Krejcarek. This piece features the silhouette of a billboard in black with falling feathers. 18" x 23 1/2" image 24" x 30" frame EDUCATION: M.F.A. - University of Wisconsin - Milwaukee (1973) B.S. in Art - University of Wisconsin - Oshkosh (1968) POSITION: Professor of Art, Carroll College (began1977) Co-Chairman, Art Dept. COLLECTIONS Milwaukee Art Museum Haggerty Museum of Art, Milwaukee Denver Art Museum Wustum Museum of Fine Arts, Racine City of Milwaukee Milwaukee Journal Sentinel The University of Wisconsin - Milwaukee, Fine Art Gallery The University of Wisconsin Center - Waukesha Oshkosh Public Museum Wisconsin Artists Collection, Carroll College ONE-PERSON EXHIBITIONS 1972 University of Wisconsin Center - Waukesha 1974 Tom Hayes...

This lithograph was one of sixteen Federico Castellón produced in 1968, published by Aquarius Press, to illustrate Edgar Allan Poe's 1832 story 'The Mask of the Red Death.' The image...

This mask was created by an unknown artist from New Guinea. It depicts an elongated face with carved wood and cowry shells for eyes. Mask: 29 x 8 in, incl...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

"Colmar CA-3" is a pastel drawing on paper by Jan Richardson-Baughman. It is signed in pencil in the lower right corner and titled in the lower left, both of which are visible in the matting. The work is framed and matted with acid-free mat board. The image depicts rolling hills in shades that range from chartreuse to a dark forest green, dotted with trees and accented by a cloudy blue sky. Art size: 22 1/2" x 36" Frame size: 36 1/4" x 49 3/4" 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 to 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...

Charles Francois Daubigny's etching from around 1865 is an example of the Barbizon painters' preoccupations. Entitled "Les Vendages," the work depicts peasants bringing in the harves...

This poster, published in Paris, was produced for a 1978 exhibition of the prints of contemporary artist Claude Weisbuch. This example is rare and unusual in that it is signed by the artist and inscribed to David Barnett, one of his most significant US dealers...

"Eagle & Bear" is an original yellow speckled Brazilian soapstone sculpture by Leroy Henry. The artist signed and dated the piece on the bottom. This sculpture depicts the head of an...

"The Catch (Les Mains du Pecheur)" is an original color aquatint by Le Corbusier. The artist signed the piece in the lower right and wrote the edition number, 10/30, in the lower lef...

"Blue Bunny" is an original woodcut print signed by the artist Santiago Moix. It depicts a blue rabbit juggling yellow apples. 26 1/2" x 25 7/8" art 29 1/8" x 29 3/4" frame Santia...

This mask, which features a face with round eyes, fangs, and a beet red face, was created by an unknown Indonesian artist. It is approximately 7 1/2" high and...

This Golek Puppet was created by an unknown Indonesian artist using wood and cloth. It is approximately 24 1/2" tall. Traditional Wayang Golek plays can ...

"Nina Alfarera (Child Making Pottery) - Puno" is an original oil painting by Abelardo Marquez.It depicts a young girl holding a baby alpaca or llama. This painting was completed in b...

"Lady Mary Stanhope" is an original pencil and pastel drawing by Constance de Rothschild. This piece depicts a woman facing to the right. The artist also cre...

"Figure" is an original linoleum print by Gerrit Sinclair, signed in plate the lower left corner. It features a woman fixing her hair in front of a mirror, her nude body visible to the viewer from the back and front reflecting in the mirror. Image: 6" x 5" Framed: 13.37" x 12.43" Gerrit Sinclair brought the charming style of American Regionalism painting...

"Pink Summer KMH 010" is an original acrylic and mixed media painting by Katherine Hartley. The artist signed the piece lower right. This piece depicts a line of girls in dresses amo...

"Tall Jar with Figures" is an original ceramic by Christine LePage. The artist signed and dated the piece on the bottom. It features silhouettes of figures as...

"Garden by the Sea 1" is an original pastel drawing on paper by Victoria Ryan. It depicts a garden of lush flowers and bushes in front of a columned fence and bright blue sky. The ar...

"A Self-Portrait" is an original mixed media piece by Hsin-Lin Chiao. This piece is an abstracted self-portrait. The artist signed and dated the piece in the lower left and the artis...

"Mythological Scene--Satyr & Goat Herder" is an etching by Italian artist Giovanni Benedetto Castiglione. It depicts a satyr lounging on the left and an approaching goat herder on th...