Andrew Wyeth: “Sleep", Extremely Rare Original Vintage Bookplate Print, Pen And Ink Drawing Circa 1961. This plate is unique in that in addition to the plate print, there is an in-depth description, in Andrew Wyeth’s own words, regarding the subject(s) of the original painting. Paper size is approximately 10 3/4"x 8 1/4” Image size is 8 x 5 3/4 inches Excellent condition. Extremely Rare. Professionally extracted from 1970 book Please note this is an authentic 54-year-old vintage bookplate print, not a reprint or reproduction. W70 WHAT IS A BOOKPLATE PRINT? Book plates are page illustrations, pictures, or photographs, that are printed separately from the text of a book, but they are bound in during production. Pre-1960’s, bookplates had no writing or images on the reverse. In order to save money by the publishers, the majority of bookplates since the 1960’s have either writing on the bookplate, usually the title of the painting, and/or writing and images on the reverse. Due to the process used for platings, bookplates retain the color, texture, and intensity of the original painting. BUNDLE OFFER Buy any 4 bookplate prints and receive a 15% discount Enter code 4GET15PERCENT at checkout. SHIPPING: Your bookplate prints will be shipped in a sealed clear plastic sleeve, inside a rigid mailer, within 2-3 business days. A tracking number will be provided to you for easy tracking of your order. Combined Shipping: Purchase 1+ Bookplate Prints And Additional Prints Ship For Free. You only pay shipping for the first bookplate print. I stand behind my bookplate prints 100%. If your bookplate is damaged during shipping, you may return the plate to exchange for another bookplate print of your choice, of equal value. Buyer pays for return postage of bookplate and seller pays for exchange postage. I do not offer refunds, only exchanges. Please see my Returns and Exchanges section for more information. https://www.etsy.com/shop/JSMCollectibles
Exhibition to be held at the Fogg Art Museum and other places
Exhibition to be held at the Fogg Art Museum and other places
The incredible richness of this pencil drawing by Andrew Wyeth despite its basically sketchy nature. The fact that the long oar on the rock wall takes a definite shape from light end to blade in the shadows. A masterly drawing with rich tones that can teach any artist a lot about technique. How can a quick sketch be so brilliant? Well, talent helps . . .
Read Article: Andrew Wyeth: Helga On Paper by Catherine Quillman on Incollect.
Sure, bold strokes along with careful modeling - also found in his watercolors. Interesting composition. Wonderful use of erasures to provide transparency to the water. A masterful drawing.
Contemporary still-life painting of rustic objects sitting on a rustic chair.
To mark the 100th anniversary of Andrew Wyeth’s birth, the Brandywine River Museum of Art and the Seattle Art Museum organized an exhibition of over one hundred of his finest paintings and works on papers selected from major museums and private collections.
Read Article: Andrew Wyeth: Helga On Paper by Catherine Quillman on Incollect.
Exhibition to be held at the Fogg Art Museum and other places
This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell, the poet Marianne Moore and Sylvester Stallone, who gave Mr. Neiman cameo roles in three "Rocky" films. His many books included LeRoy Neiman: Art and Life Style, Horses, Winners: My Thirty Years in Sports, Big-Time Golf, LeRoy Neiman on Safari and LeRoy Neiman: Five Decades. In 1995, he donated $6 million to Columbia University's School of the Arts to endow the LeRoy Neiman Center for Print Studies.
In late August I was in Hammondsport,NY and ducked inside an antique shop to get out of the rain. Killing time I walked around and noticed this painting hanging near the entrance. It was in a god-awful frame of cheap pine, the glass was all dusty, and my first thought was,"Andrew Weth print-badly framed.". After a turn around the shop I came back to the print. I'm always interested in anything Andrew Wyeth. To my surprise the 'print' looked like an actual watercolor. I couldn't find a signature. The price was $50. I asked the lady working the desk if she had any information about the painting. She said the shop was a co-op and it wasn't one of her pieces - but I could take it outside in the better light if I wanted to examine it. I declined. The rain had stopped and the Hammondsport Square was filled for the Palette Auction. I walked out. After the auction my friends wanted to browse so we ended up back inside the antique shop. I pointed the painting out to them and said it was done in the 'style' of Wyeth, but it was unsigned. They encouraged me to buy the painting, saying even if it wasn't an actual Wyeth, it's still a nice watercolor. I hesitated. The style certainly looked like him: drybrush for the shrubs, fingernail dragged through darks, outstanding draftmanship...but the composition was bad. What was that white shape in front of the boat? A log? A bank of snow? And there was no signature. I know from my reading that Betsy had Andrew sign EVERYTHING, and his watercolors were usually signed "A.Wyeth" in pencil. Maybe there was a signature on the back of the painting? Stranger things had happened...heck they found a copy of The Declaration of Independence behind an old photo. You never know.... So I bought it. When I got home I took it apart to examine it closer. The paper was old. It had been taped off for a border. It was an original watercolor. There was nothing on the back, and no signature on the front. Hmmm...the size bugged me too. I knew Andy liked to paint on full-sized sheets, even when painting plein-aire. There are pictures of him walking around with 22x30s tucked under his arm. This painting is 15x19, an odd size. So the painting sat for two months. My Mom noticed it on a visit and asked if I'd painted it. (Thanks Mom!) I half-thought about contacting The Brandywine Museum to see what they had to say. Life goes on though and I never got around to photographing it. Then a couple of weeks ago I was photographing some paintings and pulled it out. I took some digitals, wrote a quick email and sent it off to the Brandywine Museum, pretty much addressed: "To whom it may concern, or (whoever is interested). This is what I wrote: "Hello, I was wondering who I would contact to find out if this is an original Andrew Wyeth? I bought the painting in a Hammondsport, NY antique shop. It is an unsigned original watercolor on older wc paper 15x19. The painting is smaller with a border approx. 11x15.5. Any help would be appreciated. Thank You, Jeff Perrault" Then I went for a run. Of course while running I played out various scenarios: the kids getting their college education paid for by an old, forgotten Wyeth, no answer at all and i live with the mystery. My favorite scenario was somebody at the museum asking to see the painting in person, and me getting my picture taken with Betsy. When I got back from my run - no emails. Oh well. Then at about dinner time I noticed an email from Mary Landa, and I must admit my pulse rate went up. Mary Landa is Betsy's personal assistant, and the one most knowledgeable about Andrew's paintings, (besides Betsy of course). She was there when Andrew revealed the Helga paintings to Betsy. She's the one putting the Catalogue Raisonne together. Apparently my email had been read, the attachments looked at, and it had been bumped up to the top. It was a definite "Holy Shit" moment. Here's the email: "Forward: Mary, What do you think? Lora Lora B. Englehart Public Relations Coordinator" and then: "Dear Mr. Perrault,This is a lovely little watercolor, but there is nothing to indicate it is by Andrew Wyeth. Wyeth’s records were quite complete and just about everything out there that was sold had a signature. Thank you for sending this – I wish I could help track down the artist. Mary Landa" Darn! Double Darn! But hey, it is a "lovely,little watercolor" very skillfully done. It was way underpriced. I'll give it a decent frame and a home. (Still would have liked to have my pic taken with Betsy, though.)
Read Article: Andrew Wyeth: Helga On Paper by Catherine Quillman on Incollect.
A tribute to an American legacy, N.C. and Andrew Wyeth Andrew Wyeth 1917-2009 “I prefer winter and fall, when you feel the bone structure of the landscape – the loneliness of it, the dead feeling of winter. Something waits beneath it, the whole story doesn’t show.” – A. W. Andrew Wyeth was born in the idyllic Pennsylvania farming village of Chadds Ford in the Brandywine River Valley on July 12 1917. Was a widely-known but solitary figure in contemporary American art, and created some of that country's most recognizable images; his meticulous depictions of rural scenes, figures and interiors, painted with a realism doggedly adhered to during the decades of abstract expressionism and pop art, Wyeth's subjects were always indigenous to the small area around his homes in Maine and Pennsylvania, and his powerful but often unsettling and melancholy pictures were a barometer of American popular taste. No other contemporary artist was so closely identified with the American nation's vision of its rural soul. Andrew, 2007 Andy in his dad's studio, Chadd's Ford His father NC Wyeth was a well-known beloved illustrator of Treasure Island, Robin Hood and other children's classics, and Andrew grew up in an atmosphere that encouraged his tendency towards the theatrical. Sinus trouble prevented him from attending school, and he was tutored privately at home, with time to take long solitary walks in the hills.The family was in the habit of spending the summers at Port Clyde, in Maine, and Andrew Wyeth's watercolour landscapes and seascapes of Maine made up the greater part of his first one-man show in 1937. Andy: age 12 boating in Maine Despite its success, he felt that these early works were too facile and spontaneous, and he returned to his father's studio to concentrate on painting the human figure. At his father's suggestion, he painted a skeleton from every angle.After his first one-man show sold out in 1937, at Manhattan's Macbeth Gallery Andy at Chadds Ford, circa 1947 Home schooled on his families farm, Andy never spent a day in a classroom- In 1955 he was given an honorary doctorate from Harvard. President Lyndon Johnson awarded him America's highest civilian honor, the Medal of Freedom. In 1970, at the invitation of President Nixon, Wyeth's paintings were exhibited in the first one-man show ever held in the White House, and the president toasted him as "the man who has caught the heart of America" President George W Bush presented him with a National Medal of the Arts In 2006 a Wyeth retrospective at the Philadelphia Museum of Art attracted more than 175,000 visitors, the highest-ever attendance at the museum for a living artist. See this documentary, it's amazing**** DVD Snow Hill: Andrew Wyeth __________________________________________________ N.C. Wyeth illustrator 1882-1945 Newell Convers Wyeth was born in Needham, Massachusetts. Growing up on a farm, he developed a deep love of nature. As a teen, Wyeth traveled to Wilmington, Delaware, to study under Howard Pyle, one of the country's most renowned illustrators. Pyle was an inspired teacher and Wyeth an attentive pupil. The master emphasized the use of dramatic effects in painting and the importance of sound, personal knowledge of one's subject, teachings Wyeth quickly assimilated and employed throughout his career. N.C. would later surpass Pyle to become one of most beloved illustrators of the Golden Age. By age 25, Wyeth was heralded as "one of our greatest painters of American outdoor life. N.C.'s studio at Chaddsford, Pa go visit**** http://www.brandywinemuseum.org/ncstudio.html In 1911, with the proceeds from his illustrations for Treasure Island, the artist N.C. Wyeth purchased 18 acres of land on Rocky Hill in the village of Chadds Ford, Pennsylvania. Possessed of "the most glorious sight in the township," Wyeth built his home and studio overlooking the valley. Here he set down roots which for nine decades have nourished a family of extraordinary creativity. N.C died at a railroad crossing in Chadds Ford in 1945, when an oncoming train hit his car. He had lived long enough to see his children excel in talents he had nurtured-Nathaniel as an inventor; Henriette, Carolyn and Andrew as painters; and Ann as a musician and composer. “It took a locomotive to stop N.C. Wyeth” - Andrew Wyeth
Wind from the Sea – Andrew Wyeth – National Gallery of Art “Wind from the Sea is a window, curtains, and a distant landscape. Windows, of course, have fascinated artists for cent…
