Wisconsin - Art

This original lithograph is one of six produced by Joan Miró especially for the fourth volume of the catalogue of his lithographs. These are excellent examples of his later work and ...

The work of Ruth Leavitt (1944, Saint Paul, Minnesota) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three ax...

"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...

"Circus" is an original color lithograph on japon nacre paper by Constantin Terechkovitch. The artist signed the piece lower right, and wrote the edition (EA) in the lower left. Thi...

Harold Altman was born in New York City in 1924. He attended the Art Students League, the Black Mountain College, the Academie de la Grande Chaumiere in Paris, and was a graduate of ...

Signed with stamp, J.V. 7-5/8" x 4-3/4" art 19" x 15-1/4" 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...

The work of Ruth Leavitt (1944, Saint Paul, Minnesota) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three ax...

The work of Ruth Leavitt (1944, Saint Paul, Minnesota) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three ax...

This sculpture was created by an unknown Baule artist from Ivory Coast. It depicts a man in a suit with a white hat. He stands with his hands in his pockets. 18 1/2" x 6 1/4" sculpture The Baule or Baoulé are an Akan people and one of the largest groups in Côte d'Ivoire. The Baoulé people are talented in African art. Their sculptures are renowned for their refinement, form diversity and the labor they represent. The sculptures do not only include face masks and human figurines...

Harold Altman was born in New York City in 1924. He attended the Art Students League, the Black Mountain College, the Academie de la Grande Chaumiere in Paris, and was a graduate of ...

Part of the artist’s ‘The Chaos of My Mind’ series, Ariel McClearin’s ‘Dreaming while Sunbathing at the Beach’ is an original signed acrylic painting on canvas board. The painting’s rich palette coupled with the contrasting dynamism of hard and soft geometric shapes evokes the dreamlike state of sunbathing referenced in the title. A series of striped angles recalls the patterned designs of beach towels, while a flock of v-shaped birds takes flight in the outline of a human in the lower right corner, possibly the prone figure of the sunbather themselves. acrylic painting on canvas board 14 x 11 inches Signed and dated in ink on reverse Framed in a modern profile silver-finish float moulding ARTIST STATEMENT: I was born in Rock Falls, Illinois where I lived until I was fourteen. I began living in Germany in high school and, during that time, was able to travel across Europe: Italy, France, England, Belgium, The Netherlands, Mallorca, and Switzerland. I am at my heart a performance artist and spent my adolescence participating in musicals ranging from “Into the Woods” to “Guys and Dolls.” Since leaving the performing arts after high school to pursue my business degree, I have been exploring with fashion design and have aspirations to start my own fashion line. Designers like Kate Spade and Minju Kim have inspired both my fashion – and my paintings – with their unique sense of patterns and color composition. I maintain a love of dance and spend time at the ballet watching shows such as “Swan Lake” and “Giselle.” I started painting as a creative outlet during quarantine this year. I wanted to capture a range of emotions that I was unable to express in other creative outlets. I like abstraction and pattern for its ability to reflect emotion as well as for how it allows for open-ended interpretations. I draw inspiration from artists like Kindah Khalidy...

"Stampede" is an original etching by Moishe Smith. This etching depicts a crowd of people looking at a stage. The viewer sees only the backs of the heads in the crowd. This is editio...

No. 305. Prestel. Ed. Ralf Michler and Lutz W. Lopsinger. Catalog Raisonne of Dali's Etchings and Mixed-Media Prints, 1924 - 1980. From the Faust Series (La Nuit de Walpurgis). This ...

'Fish Eagle' is an original springstone sculpture signed by the Zimbabwean artist Terence Paradzai Nehumba. Terence was trained in the Shona stone carving t...

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 ...

Harold Altman was born in New York City in 1924. He attended the Art Students League, the Black Mountain College, the Academie de la Grande Chaumiere in Paris, and was a graduate of ...

This photo frame was hand-made in Romania and features 22K gold leafing. It is made out of wood and includes archival plexiglass to protect anything displayed in it from fading or ot...

The present painting, titled 'Black Mat,' is a small and intimate work by the American artist Fred Reichman. An intimate work measuring only ten by ten i...

"Impressions of Mexico City: Three Doors" is an original watercolor painting by David Barnett, signed in the lower right. Bright colors capture the experience of walking through Mexi...

Watercolor on archival cold press paper. Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by...

This tribal cloth was created by an unknown artist from the Fulani tribe in Gambia, Africa. This tribe has a population numbering between 20 and 25 millio...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

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 compared to European and North America: most performances revolve around Kings, Queens, Princes and Princesses who fight against evil, mystical, beings to (usually) end happily. Three-dimensional Indonesian puppets...

"Retablo Excotos (Replica Bride & Groom)" is an original oil painting on tin by Monica Flores Martinez. The artist signed the piece. This artwork features a bride and a groom and an ...

"Boy With Book Looking Out Window" is an original lithograph print by James Ormsbee Chapin. The artist signed the piece in pencil lower right. This piece depicts a boy looking out th...

"Jam Session II" is an original oil painting on canvas by Alayna Rose. This painting features a variety of abstract marks in bright green and yellow over a bright pink background. ...

The present work is an excellent example of the erotic Shunga prints produced by Utagawa 'Ando' Hioshige and his school. Shunga imagery became especially widespread in Japan with the...

'Spring Bud Bay Leaf' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all...

"Soiree Chez Maxine" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (94/200) in the lower left. This piece depicts fashionable people in a party interior space. 19" x 24" image 22" x 30" paper 32" x 35 3/4" frame Francois Batet was born in 1921 in Barcelona, Spain. He studied painting at the School of San Jordi (Beaux Arts) and also at Tarrega Academy. When he lived in Madrid he studied the masters like Goya and Valasquez. He then moved to Paris and studied famous French impressionistic painters. He has lived and worked in France since 1950. Batet's classic School of Paris style recalls the spirit of Paris in the 1920's and 1930's. In addition to being a master print maker, he has illustrated over 100 books...

"Egg" is an original ceramic sculpture by Atelier Madoura. It is 2 3/4" high and was created around 1974. Atelier Madoura created ceramic sculptures in the shape of eggs. Item not si...

"Pan" is a fauvist-expressionist-figurative oil on canvas painting by American artist Matthew Schaefer. Primary colors of red, yellow, and blue fill the figure with brown hair and is...

"Fair Passer" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and titled/editioned (65/300) in the lower left with graphite. This ar...

"Sitting Bull, Dakota" is an original oil painting on canvas by Ernesto Gutierrez. The artist signed the piece lower right. It depicts the famed Lakota (South Dakota) chief Sitting Bull...

"La Bataille de l'Argonne (The Battle of Argonne)" is a color lithograph after the original 1959 painting by Rene Magritte. The landscape is shrouded by the mist of twilight. A cresc...

tabletop sculpture, indoor sculpture, metal sculpture, wood sculpture, rusted steel; My series of "Gathering" sculptures are table-top pieces made from laminated plywood and rusted s...

"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...

This large canvas allows for exploration of the vocabulary of color and marks as a way to record, without literal references, the thoughts and memories of a singular day or place in ...

Framed 26.63 x 31.50 in

"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 ...

"Raku Vase with Fireworks" is an original ceramic vase by Marty Marcus. The artist signed the piece on the bottom. It features brightly colored abstract patterns on an earth-toned background. The vessel is a unique piece of décor priced well under $900. Part of the Design Lovers Sale...

"La Monja, Hermana Orcotura, Peru" is an original oil painting on jute by Ernesto Gutierrez. The artist signed the piece lower right. It depicts a nun in a yellow outfit...

Framed 27.38 x 37.50 in

"Original Lithograph VI" is an original color lithograph by Joan Miro, published in "Miro Lithographs II, Maeght Publisher" in 1975. It depicts Miro's signature biomorphic abstract s...

Ceramic Bowl, signed by artist. 16.5" x 18"

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

Harold Altman was born in New York City in 1924. He attended the Art Students League, the Black Mountain College, the Academie de la Grande Chaumiere in Paris, and was a graduate of ...

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

"Bambara Queen, Rep. Mali" is a carved wood sculpture with abstracted human and animal figures. 20" x 6" x 3" The Bambara are a Mande ethnic group native to West Africa, primarily ...

9.75 x 12.63 inches (sheet), 9 x 11.88 inches (block) Framed 20 x 17.25 in linoleum block print on laid paper Signed and titled to lower margin

tabletop sculpture, indoor sculpture, metal, colorful; “Shelter – Chennai” is from my Shelter Series of tabletop sculptures. They make reference to the basic design of the human shel...

This poster, produced for an exhibition at the Milwaukee Art Museum, features the bold work of American architect and designer Frank Lloyd Wright. Beneat...

"Le Clown" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (E.A.) in the lower left. This piece is a portrait of a ...

"Elizabeth Stein Gallery A/P" is a color lithograph poster. This piece features an abstract and geometric design in yellow. Unsigned. 40" x 26" Born in Russia in 1907, Ilya Bolotowsky left his native country in his early childhood. The family was forced to emigrate as a result of his parent’s anti-Communist sentiments. They traveled first to Constantinople, then settled in New York City in 1923. Bolotowsky enrolled at the National Academy of Design in 1924. He tried out many styles in this period, ranging from the representational and classical to the abstract and expressionistic. In the early 1930s he became a designer of textiles. In 1932 Bolotowsky spent ten months in Europe. Although he was already familiar with prevailing modernist movements, the opportunity to study a wide range of these works and to meet some of the artists who had made them affected Bolotowsky profoundly. As a result of this trip, Bolotowsky began to synthesize aspects of Cubism with the abstract Surrealism of artists like Miro and Arp. These softer, floating forms gave way to a rectilinear geometry as he became more influenced by the Constructivists and Mondrian. Upon his return to the United States, Bolotowsky married his fellow painter Esphyr Slobodkina...

Acrylic on canvas

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

"Minutiae V" is a fiber collage mixed media piece by Jeanne Smith. This abstract piece is mostly blue on the front and mostly green on the back. The artist wrote on a small beige-col...

Framed 17.75 x 19 in No. 201 in the Catalogue Raisonne of Chagall's lithographs This lithograph was created by Chagall especially for this edition of the book "Chagall" by Jacques ...

"Untitled" is an original color lithograph by Angelika Thusius. This is an artist proof and a completely unique impression. This piece depicts two women sharing beans in front of a d...

"Orient Express" is a lithograph poster by Pierre Fix-Masseau. The artist signed his name in the lower right of the image. This piece depicts a fashionable woman smoking in one of the rooms of the Venice Simplon...

The present work is an excellent example of the erotic Shunga prints produced by Utagawa 'Ando' Hioshige and his school. Shunga imagery became especially widespread in Japan with the...