Katsushika Hokusai 1760 - 1849
Kajikazawa in Kai Province, from the series Thirty-six Views of Mount Fuji, c. 1830-32
woodblock print
10 x 15 inches
Frederick Hawkins Piercy (1830 - 1891)
The Great Salt Lake, 1855
Steel engraving
9 x 12 inches
Handsome western scenes produced for James Linforth's Route From Liverpool to the Great Salt Lake Valley ... These engravings were executed after illustrations by Frederick Piercy, and are done in tones of blacks and greys.
Frederick Hawkins Piercy (1830 - 1891)
View of the Missouri River and Council Bluffs From an Elevation, 1855
Steel engravings
9 x 12 inches
The engraving of the Missouri River and Council Bluffs show two crouching Indians in the lower left corner observing two wagons of Mormon settlers, as the Missouri River receeds in the distance. A small log building smolders in the lower right foreground, alluding to the imminent danger the settlers may soon encounter.
Frederick Hawkins Piercy (1830 - 1891)
Loup Fork Ferry Camp at Wood River and Camp at Wild River, 1885
Steel engravings
9.5 x 12 inches
The "Loup Fork Ferry" image shows a small, ramshackle log cabin beside a river. Three covered wagons, horses, and settlers stand to the left of the cabin, while in the background anouther group of wagons crosses the river by ferry. More wagons and settlers await the crossing in the far distance.
"Camp at Wild River" shows a large wagon train settling in for an evening beside a large grove of trees, while four cows laze in the foreground. "Piercy made a special trip to America (in 1853) to make sketches for the plates, which are some of the best western views of the period." (Streeter) Taft describes Piercy's illustrations for Linforth's book as "one of the basic sources of illustrated Western Americana of the period." Two important images in the history of the West.
James T. Harwood (1860 - 1940)
Old Brigham Young Mill Liberty Park, 1885
etching
3 x 4 inches
Signed and dated lower left
Harwood produced several paintings and etchings of the former farm and mill of Mormon colonizer Brigham Young, which later became Liberty Park in Salt Lake City. This lovely, gem-like etching recalls the French Barbizon School training that Harwood received in Paris, and which he successfully translated into a celebration of rural life in Utah. A late afternoon sun lights the cultivated fields, and on the mill's western adobe wall, as the days sets on land that is now part of an urban oasis.
Elbridge Ayer Burbank (1858 - 1949)
Chief Joseph, Nez Perce, c 1899
crayon on paper
13.5 x 10.5 inches
Thomas Moran (1837-1926)
The Grand Canyon of Arizona (from Hermit Rim Road), 1912
Chromolithograph
24 x 32 inches
Thomas Moran’s chromolithographs capture the grandeur and wonder of his watercolor paintings. Moran was involved in the production of the works, which involved a painstaking process which, due to its complexity and cost, went out of use in the 1920s. The Grand Canyon of Arizona (from Hermit Rim Road) captures the luminosity and sense of manifest destiny of the original painting.
Chiura Obata (1885 - 1875)
Windswept Tree on Mountain Top
ink on paper
15.5 x 20.75 inches
Chiura Obata was born in Sendai, Japan. At age seven, Obata began taking freehand drawing lessons from a local Japanese master artist. He continued his studies until age 15. He then studied at the Bijitsuin Art Institute in Tokyo.
He moved to San Francisco, California in 1903. During the 1906 earthquake and fire he made many sketches of the city in ruins. From 1912-1927, he illustrated for several local Japanese publications. In 1932, he moved across the Bay to Berkeley, and began teaching at the University of California. He remained in that capacity until 1954 (except for a period during 1954, when he was confined to a concentration camp in Utah).
Moved by his love of nature, he specialized in landscapes, portraits, still life images, and wood block prints.
Obata died in Berkeley, California on October 8, 1975.
He exhibited at the Oakland Museum, Crocker Museum, University of Redlands, California Art Club, California Watercolor Society, University of Southern California, Santa Barbara Museum, and the San Diego Fine Art Gallery (now the San Diego Museum of Art).
Source: AskArt.com
Frank Applegate (1881 - 1931)
Spring at Chimayo, N.M.
watercolor
11.5 x 17.25 inches
Frank Applegate, like many of his colleagues in the newly formed New Mexico Painters group, was informed by the modernism sweeping America. He focused on the geometric elements in nature, emphasizing them in his designs and employing them to convey emotion. In this powerful scene, Applegate uses broad and vivid strokes to draw our attention to the dramatic clouds over the mountains. Meanwhile, light filters through to illuminate the bucolic scene on the valley floor.
Hiroshi Yoshida (1876 - 1950)
Mt. Rainier, c. 1920's
woodblock print
16 x 21.25 inches
Hiroshi Yoshida (1876 - 1950)
Grand Canyon, 1925
woodblock print
10 1/4 x 15 5/8 inches
A romantic realist, Yoshida’s style resembles that of an English 19th Century watercolorist applied to Japanese themes. Yoshida is noted for subtle colors and naturalistic atmosphere. This stunning print captures the stark contrasts of light and shadow, red rock and white snow of the Grand Canyon in winter solitude.
James T. Harwood (1860 - 1940)
Sand Market in Cannes, France, 1927
colored etching
8.5 x 10 inches
Torii Kotondo (1900 - 1976)
Nagajuban (Long Undergarment), c. 1929
Woodblock Print
18.5 x 11.88 inches
A dai oban print embossed on the lower margin, dated Showa yonen shichigatsu (Showa 4 [1929], 7th month), signed Kotondo ga, sealed Torii, lower left with embossed publisher seal Sakai-Kawaguchi go ban (Sakai Kawaguchi, joint publication), reverse with hand-numbered limited edition paper label Gaikoku-yuki ni-hyaku-mai kagiri zeppan, dai yonjuni-go, Torii Kotondo (for foreign export, limited edition of 200 printed, number 42, by Torii Kotondo)
Kawase Hasui (1883 - 1957)
Umagome no tsuki (Moon at Umagome) Showa era (1926-1989), 1930
woodblock print
15.5 x 10.375 inches
signed "Hasui"
An oban tate-e print of Umagome no tsuki (Moon at Umagome), from the series Tokyo nijukei (20 Views of Tokyo), dated 1930, with publisher cartouche of Watanabe Shozaburo
Ina Agnes Annett (1901 - 1990)
Rock Candy Mountain, Utah, 1931
watercolor
9 x 13 inches
Influenced by her association with Georgia O’Keefe, Ina Annett (Annette) (1901 – 1990) embraced modernism in her portrayals of the American Southwest. She is listed in many publications, including Women Artists of the American West. In this depiction of the southern Utah geological feature made famous by Wallace Stegner’s autobiographical novel Big Rock Candy Mountain, Annett employs semi-abstraction and deft brushwork to create a flowing, almost sinuous portrayal.
Kiyoshi Saito (1907 - 1997)
Garden Tenryuji Kyoto, 11/80 1950
Sosaku woodblock print
28.2 x 21.5 inches
Lee Deffebach (1928 - 2005)
Odd-Lot System, 1964
Newsprint, ink on paper
27.75 x 32.5 inches
Signed upper center
Odd-lot System echos national trends in mixed-media works, combining seemingly disprate elements of newsprint and line to creat vibrant composition rooted in a consciousness of time.
Lee Deffebach (1928 - 2005)
Untitled, 1965
Collage
18 x 23 inches
signed lower left
The Volkswagen bug and bus were not only ubiquitous in American marketing but they are now iconic symbols of the 1960s. Deffebach staggers the vehicles to create the illusion of space in the composition but she leaves her own mark by incorporating oil paint. Her swatches of color are limited but serve to give the work balance and focus the viewer’s eye on the vehicles.
Deffebach’s collages coincide with the Pop art work of Claes Oldenburg, Roy Lichtenstein, and Andy Warhol, among others. Springing to life just as the robust economy of the 1950s intersected with the burgeoning consumer culture of the 1960s, Pop art rejected the masculine work of the Abstract Expressionists, and instead included marketing schemes and advertisements. Unlike its process-driven predecessor, Pop art could be made quickly and it shadowed America’s demand for novelty and convenience.
George Dibble (1904 - 1992)
untitled
watercolor
22 x 30 inches
Russell Chatham (1939 - )
Missouri Headwaters, February, 1985
lithograph
34 x 45 inches
This stunning work demonstrates why Russell Chatham is considered one of the art world’s leading lithographers. One of the scenes in his Headwaters of the Missouri series, it exemplifies Chatham’s fascination with the spiritual qualities of spiritual qualities of landscape as captured by changing seasons and light.
