Frances H. Gearhart Art

Kate Heiss Sunflower Fields Linocut Edition of 30 Image Size 30 x 30cm Mounted size 40x 40cm Oil based inks on 300GSM Soft white Somerset Velvet Paper Signe...

Artist: John Maxon (American, born 1947) Title: Dust Time Year: 1993 Medium: Color lithograph Edition: Numbered 146/210 Paper: Arches Image size: 26.5 x 39.75 inches Paper size: 31.5 x 44 inches Signature: Hand signed in pencil by the artist Condition: Excellent, has never been framed About the artist. Coming from a very western tradition in Wyoming, John Maxon developed an expansive view of nature . Moving eventually to the San Francisco Bay area, John's delight in the effects of light and color led him to the decision to become an artist at the young age of 15. His natural ability was encouraged, and at 16 he began figurative art classes with Howard Brodie, the artist well known for his WWII correspondence, drawings and the Watergate trial drawings. Education San Francisco Art Institute B.A., Painting, San Jose State University M.F.A., Painting, University of California, Davis Stanford University, Palo Alto, California Cabrillo College, Aptos, California Selected Solo Exhibitions 2018 Gallery Panza Verde – Antigua Guatemala, Guatemala 2015 Desert Art Collection - Palm Desert California 2015 Galeria Antigua – Antigua, Guatemala 2014 Galeria Panza Verde – Antigua, Guatemala 2008 Linda Durnell Gallery – Los Gatos, California 2006 Linda Durnell Gallery – Los Gatos, California 2005 Robert Allen Fine Art Gallery – Sausalito, California 2004 Ellis West Gallery – Durango, Colorado 2002 Ellis West Gallery – Durango, Colorado 2001 Robert Allen Fine Art Gallery – Sausalito, California 1997 Stanford University Faculty Club – Stanford, California Selected Group Exhibitions 2018 Chemers Art Gallery – Los Angeles, California 2009, 2010, 2016, 2017 & 2018 Robert Allen Fine Art – Sausalito, California 2017 Christopher Hill Gallery - St Helena, California 2013 / 19 Gallery North - Carmel, California 2015 Desert Art Collection - Palm Desert, California 2014 Paul Scott Gallery - Bend, Oregon 2014 Christopher Hill Gallery Healdsberg, California 2013 Firehouse Art Center - Pleasanton, Ca. 2013 2011 - 2013 Robert Allen Fine Art – Sausalito, California 2010 - 2012 Susan Street Gallery – Solano Beach, California 2010 (Awarded 1st place) and 2012 “Contemporary Landscape Painters of California” – Awarded 1st Place 2011 - 2012 Salisbury Fine Art – Avila Beach, California 2010 Bryant Street Gallery – Palo Alto, California 2009 Museum Art and History – Santa Cruz, California 2008 Cabrillo College – Aptos, California 2006 Christopher Hill Gallery – St. Helena, California 2005 Fort Lewis College – Durango, Colorado 2001 St. Supery Winery & Fine Art Gallery, Napa California 2001 Napa Valley Wine Auction – St. Helena, California 1997 West Coast Painting and Sculpture – Ocean Side, California 1997 Wolk Gallery – St. Helena, California Selected Museum Collections Interior Museum, Department of the Interior, Washington D. C. Santa Cruz County Art Museum – Santa Cruz, California University of California – Berkeley, California University of California – Davis, California Napa Valley Art...

"Trees in Ranchitos II" is a striking 1975 color lithograph by acclaimed modernist artist Andrew Michael Dasburg (1887–1979). This collectible artwork, initialed in the lower right, beautifully captures the serene landscapes of New Mexico, reflecting Dasburg’s signature fusion of Post-Impressionism and Cubist influences. The composition conveys the tranquil rhythm of trees and desert terrain, combining geometric abstraction with lyrical naturalism. The lithograph is presented in a custom frame measuring 30 ½ x 36 ¼ inches, with an image size of 16 ½ x 23 ¼ inches, making it a sophisticated and visually compelling addition to any collection of Taos Modernist art, American modernism, or Southwestern landscape prints. About Andrew Michael Dasburg (1887–1979): Born in Paris, France, Dasburg immigrated to New York City in 1892, where his early talent was recognized. He trained at the Art Students League of New York under notable instructors including Robert Henri, Kenyon Cox, and Birge Harrison. In 1908, he returned to Paris and encountered the works of Henri Matisse and Paul Cézanne, experiences that ignited his lifelong commitment to modernism. After settling in Woodstock, NY, Dasburg immersed himself in the avant-garde scene, collaborating with Morgan Russell...

This set of two are hand painted limited edition on Giclee. Each edition is 80% hand-painted with Shizico’s own oil, gesso, and acrylic—every colour hand-mixed, every surface individ...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

This is a rare hand-painted Artist's Proof by contemporary artist Shizico Yi, created on a deluxe matte-finish giclée aluminium panel. Each edition is 90% hand-painted with Shizico’s...

Kiyomi Barrier & Seiken Temple Near Okitsu - Japanese Woodcut Print on Rice Paper Woodblock print of boats in a harbor by Utagawa Hiroshige (Japanese, 1797-1858). Originally publish...

A vibrant celebration of Taos life and culture, Saturday Morning (Market, Taos Plaza, New Mexico) is a striking 1950s modernist linocut print by acclaimed New Mexico artist Barbara L...

Artist: Harold Altman (American, 1924-2003) Title: Three Chairs Year: 1978 Medium: Original color lithograph Edition: Numbered 61/185 in pencil Paper: ...

Lawrence Nelson Wilbur (1897-1988), 'Tranquil Harbor' (Gloucester, Massachusetts), wood engraving, edition 55, 1958. Signed in pencil, and signe...

An exceptional original color aquatint etching by renowned American printmaker George Elbert Burr (1859–1939), depicting the iconic peaks of Longs Peak and Mount Meeker in Colorado's...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...