Wisconsin - Art

"Un Parisienne a Longchamp" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (126/200) in the lower left...

"Le Bateau a Conflans/Le Paysagiste au Bateau" or "The Boat at Conflans/Landscape with Boat" is an original etching by Charles Francois Daubigny...

"She Is" is an original oil painting on canvas, created by Alayna Rose. In this painting, Alayna Rose uses her abstract language to create the figure of a nude woman. The composition...

"Projet D'Assiette" is an original zincographie print by Paul Gauguin. It is from the first edition of 50, created in 1889. 18 7/8" x 13" art 24 3/4" x 21" framed Paul Gauguin (1...

12 x 18 inches, artwork 20.5 x 26.5 inches, frame Signed upper right Stamped with artist's signature, lower left Born in 1908, Sylvia Spicuzza was the daughter of noted painter Fran...

"Naked Loneliness" is a contemporary abstract landscape painting of light blue, light green, orange, violet and green. Oil on canvas, 2014. The artist signed the piece on the verso....

"1950s French Female Fashion Rendition" is an original drawing by Jorge Ruiz-Martinez. In this drawing, the artist clearly features the strong shoulders and the nipped-in waist silho...

"Drover" is an original yellow & green opal serpentine stone sculpture by Aaron Perkins Chikumbirike, a contemporary Shona stone sculptor. The artist signed the piece. It depicts an ...

In this oil on wood panel painting, Robert Richter places the viewer at the foot of a path that wraps around and beyond a small apple tree. The tree, with its ruby apples...

"Breakfast in Merida (Homage to Carmen Miranda)" is an original woven wool tapestry with velvet fruit by Joan Ward Summers. It is a decorative tableau which displays a background pat...

"Better Things to Come" is an original oil pastel drawing on board by Reginald K. Gee. The artist signed the piece on the back. It depicts two figures in conversation against a strik...

'Owl' is an original opal serpentine stone sculpture signed by the contemporary Zimbabwean artist Joel Nhete. The artist presents in this sculpture a highly abstracted figure of a wi...

"Animal Farm" is an original color collagraph by Joseph Rozman. This artwork, edition number 9/10, is from the artist's "Los Animales" portfolio. The artis...

"Sunrise," by American artist Matthew Schaefer, is a fauvist expressionist painting with bold, bright colors and gestural marks in a style similar to the abstractionists Willem de Ko...

"Waterfall in the Forest" is an original acrylic painting on masonite by David Barnett, signed on the verso. The work breaks down the image of the title to its most basic colors and ...

"Young Girl With Hat" is a classical Victorian portrait etching. It is signed in graphite in the lower right by the artist, F.M. Spiegle. It depicts a Victorian girl with curly hair ...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold 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...

"Mask, Baga Guinea" is a carved wooden mask created c. 1920. Where a face would go in the mask is actually the body of a woman figure. There are two breasts above a hole for the mask wearer...

"Three Hawaiian Spirits at Waikiki" is an original fine-art chromogenic photograph by Robert Kawika Sheer. The image is signed in the lower right and editioned in the lower left. Edi...

"Convention Speaker" is an acrylic painting on parchment paper by Reginald K. Gee. The artist signed the piece lower right. In Convention Speaker, a neo-Expressionistic work from 199...

A pair of African carved wood and cloth ancestral figures from Nigeria. Meant to be sold as a pair, these ancestral figures are meant to convey the achievements of those they represe...

"Reclining Nude with Black Stocking" is an original etching by Warren Brandt. This piece depicts a nude woman lying on patterned pillows while wearing long black stockings. The artis...

"Comme une Rose Sur l'Ecune des Vagues" ("Like a Rose on the Waves") is an original color lithograph by Theo Tobiasse. The artist signed the piece in the lower right and wrote the ed...

"Looks Like a Nice Getaway Spot" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece lower left. This piece features a surrealisti...

"Geronimo - Apache" is an original color lithograph by Leonard Baskin. TThis is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and label...

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

'Coming From the Fields' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Ma...

"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...

"Spirit Not in Flight," 1994, is a pastel work by Della Wells. The work depicts a nude black woman looking out from the picture, meeting the viewer's ...

"Egyptian Prayer Rug" is a wool tapestry by Joan Ward Summers. It was created in an edition of three and depicts a camel standing atop a column. With a geyser erupting in blue and br...

'Were We Ever Really Children?' is a rare early example of the small-scale assemblages that American artist Joel Jaeks began producing in the 1980s. As with all of his assemblages, t...

"7Eme Bal de l'AAAA Skater" is an original color lithograph poster by Ludovic Rodo Pissarro. The artist signed the piece in plate lower right. It depicts a wo...

'Under the Manhattan Beach Pier No. 2' exemplifies the long-exposure photography of Robert Kawika Sheer. The artist signed this piece in the lower right and editioned it in the lower...

"Majestic Manner" is an original color lithograph by Michael Knigin. The artist signed the piece lower right and titled it lower center. This piece features a swan in front of an abs...

"Giant Sequoia Star Trail" is a limited edition long-exposure photograph signed by the artist Robert Kawika Sheer. This piece is signed by the artist in the lower right, and is editi...

'Under the Manhattan Beach Pier No. 1' exemplifies the long-exposure photography of Robert Kawika Sheer. The artist signed this piece in the lower right and editioned in the lower le...

"La Fuite en Egypte (The Flight into Egypt)" is an original etching by Claude Lorrain (Claude Gelee). This piece depicts the biblical story of Mary, Joseph, and the infant Jesus goin...

"Boldest Flyer" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and editioned/titled it lower center with graphite. This piece featu...

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

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' Along with the image, Stanley also noted in the report of the Maple River: "It would be an excellent plan for an emigrant travelling through the country, before reaching one of these rivers on which he expects to camp, to catch a few frogs, for the purpose of fishing in these streams, which abound pike, picarel, and large catfish. Frogs are by far the best bait that can be used." This note from the artist perhaps describes some of the actions of the figures in the camp in the foreground of the image. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 13.25 x 16.25 inches, frame Artist 'Stanley Del.' lower left Entitled 'Maple River' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE VIII' upper right Framed to conservation standards using 100 percent rag matting and Museum Glass to inhibit fading; housed in a brass-surface aluminium moulding. John Mix...

"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...

'Walkover Bridge - Small Canal' is an original watercolor by Craig Lueck. These petite watercolors that make up Lueck's portfolio serve as windows into the artist's world. Scenery fr...

'Paths (Contemporary)' is an original drawing by the American artist Jorge Ruiz-Martinez. The artist works in an art deco style, imagining graceful figures in historic costume throug...

An original color lithograph by Jules Cheret numbered 52 of three dancers. 31 5/8" x 23 3/4" art 37 1/2" x 29 5/8" framed Jules Chéret (31 May 1836 – 23 September 1932) was a Frenc...

"Waiting to Catch Up" is an original oil painting on canvas signed on the verso by the artist Deidre Schanen. It depicts a field of yellow and a field of blue separated by a green li...

'Greetings' is an original black serpentine sculpture by the celebrated second generation Shona artist Colleen Madamombe. The sculpture presents a character common to Madamombe's wor...

"Sophie-Broncheau" is an original lithograph by Leonard Baskin. This is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and labelled the ...

"Red Cloud-Oglala" is an original color lithograph by Leonard Baskin. It is an artists proof, and signed in the lower right under the image. It is a portrait of one of the most well ...

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...

"Retablo Exvotos (Replica Family with Cow's Vision)" is an original oil painting on tin by Monica Flores Martinez. The artist signed the piece. This artwork features a family kneelin...

"Les Chevres (The Goats)" is an original etching by Claude Lorrain. It depicts two pairs of goats and a shepherd watching over them. This etching is also in the collections of the Me...

"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...

"Whale in a Sea of Symbols" is an original ink and charcoal on handmade amate paper by Miguel Castro Leñero. The artist initialed the piece lower right. This piece features an abstra...

"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 ...

"Dancing Doll" is a painted steel sculpture by Ralph Wickstrom created in 1994. One of Wickstrom's more representational pieces, though still considered abstract. Yet, at first glance, the viewer may not catch the whimsical dancing figure. Arms outstretched and hollow head with a triangle body, the sculpture resembles the stick figures so often seen on restroom signs...

"Red Sails in the Moonlight" is an original oil painting created by Thomas Buchs. Artwork Size: 18" x 18" Frame Size: 22 1/8" x 22 1/8" Artist Stat...

"Whew!" is an original oil pastel drawing on a grocery bag by Reginald K. Gee. The artist signed the piece in the lower left. It depicts a man on a motorcycle doing a wheelie on a be...

"Kish-Ke-Kosh, A Fox Brave (Sauk-Fox)" is an original hand-colored lithograph by McKenney & Hall. This piece features a Native American man. Reference: Page 200 of The North American Indian Portfolios in the Library of Congress. 13 1/4" x 9 3/4" art 27 1/4" x 22 3/8" frame American lithograph publishers. Most well-known for "History of the Indian Tribes of North America," a collection of 125 images that included biographical sketches and anecdotes of principal chiefs. Thomas Loraine McKenney (1785-1859) served as Commissioner of Indian Affairs from 1824 to 1830. In that capacity he commissioned and collected portraits of Native Americans...

African (Shona) 49 Shona Stone Samples with Specimen Box

"Loyal To Me" is an original color lithograph by Michael Knigin. The artist signed and dated the piece in the lower right with graphite. Then editioned and titled it in the lower lef...