Objects "Red Barn Studio Museum – Raymer Society"

William Wind McKim, aquatint, "Evening in Mestas, Astru

This original aquatint by artist William Wind McKim is titled "Evening in Mestas, Asturia" and is in good condition. The image measures 7.5 x 10.5 and is signed W. W. McKim by the artist in the lower right corner. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request. Well known for his highly representational egg tempera paintings of birds and animals, and his artisanship in printmaking and lithography, William Wind McKim was born on May 13, 1916 in Independence, Missouri. At a young age, McKim began his sketches of the vast western landscape and wildlife in the course of relocation with his minister father from Utah to Missouri. After graduating High School in 1934, he attended the Kansas City Art Institute, but soon dropped out due to the financial hardship of the Great Depression. After re-enrolling as a part-time student, McKim received a Howard Vanderslice Scholarship with the assistance of his two professors John De Martelly and Thomas Hart Benton who encouraged his full time attendance, noticing his budding talent. Following the 1939 New York World's Fair Exhibition of Contemporary American Art, in which he entered his first lithograph depicting a gamecock, McKim earned immediate notoriety by entering the Who's who in American Art. The following year, art critics Thomas Craven and Royal Cortissoz celebrated his collection of eight paintings portraying Aesop's Fables during a show of Benton students at the Associated American Artists galleries. Craven singled out McKim giving him high accolades in his review. Shortly after World War II began, he went to serve in the army as a second lieutenant, spending two years in the South Pacific region of New Caledonia. While he served in New Caledonia, he often kept a large notebook where he sketched the natives, scenery, and American service members there. Upon his return in 1945, the director of the Kansas City Art Institute invited him to join the staff to teach drawing and to reopen the Lithography department, which had been dormant during the war. He accepted the teaching position anticipating that it was only a temporary position. Having had a long fascination with printmaking, McKim found the printing equipment untouched at the Art Institute. Through reading instruction manuals on printmaking, he became self-taught in the process; eventually he wrote and published his own manual titled Printing from Stone. In 1946, he initiated the first printmaking class at the Art Institute, encouraging students to print their own designs from stones to plates, instead of leaving it to the residential technician. McKim balanced his art career as an artist and professor while exhibiting nationally and internationally; His work is in private collections in the U.S. and abroad, including a pianting and prints at the Ashby Hodge Gallery of American Art at Central Methodist College, Fayette, Missouri. Although he was an avid traveler, he resided in Kansas City, Missouri until his death on April 22, 1995.Read more

  • USAUSA
  • 7d 2h

"Pond with Cottonwood Trees

This original lithograph by Lindsborg, KS artist, Birger Sandzen, is titled "Pond with Cottonwood Trees" and is in good condition. The image measures 7" x 5.5" and is pencil signed by the artist in the lower right corner of the piece. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request. Born Blidsberg, Sweden, Feb. 5, 1871; died Lindsborg, June 19, 1954. Painter, specialized in landscapes. Etcher. Engraver. Lithographer. Teacher. Attended the College and Academy of Skara as a pupil of Olof Erlandsson. After graduation from Skara College, Sandzén spent a semester at Lund University attending art history lectures and continuing the study of French. Following Lund University he went to the technical high school at Stockholm, where he studied perspective and form drawing. Sandzén joined a group of young artists and they rented a studio at Anders Zorn's suggestion. They received instruction from Zorn as well as Richard Bergh, a well-known portrait painter and Per Hasselberg, one of Sweden's best sculptors. Sandzén then went to Paris to study with Aman Jean, where he began to associate with American students in the French studies. On returning home in 1894, a family friend sent Sandzén a booklet about Bethany College, Lindsborg and the town called "Little Sweden." Sandzén moved to Lindsborg in 1894 to teach French, voice, art history, drawing and painting at Bethany College where he remained on the faculty until 1946. He first painted in the Colorado Springs, CO area in 1916, and became a frequent visitor to Santa Fe and Taos, NM beginning in 1918. Sandzén spent the summers of 1923-24 teaching at the Broadmoor Academy in Colorado Springs (presently the Colorado Springs Fine Arts Center). Sandzén also taught at Chappell House (the forerunner to the Denver Art Museum), Utah State Agricultural College, Stephens College, the University of Michigan, and the 188 Kansas City Art Institute. Sandzén's style of painting is unusual in its thick and heavy application of impasto in bold and bright color combinations, interpreting the landscape of the western United States. He is known for very colorful renderings of mountain lakes with boulders, cypress and aspen trees and moonrises along waterways. Sandzén was an important advocate for art in the region, spending time talking to people about art, organizing exhibitions and establishing art clubs. He donated artwork to the local art club to help raise money for the purchasing of art books for the library, the financing of exhibitions, and the occasional awarding of a scholarship. He painted murals for the Halstead Post Office, Where Kit Carson Camped, in 1941, for the Lindsborg Post Office, Smoky River, in 1938, and for the Belleville Post Office, Kansas Stream, in 1939. He illustrated three books, With Brush and Pencil (1905), In the Mountains, (1925), The Smoky Valley, (1922).Read more

  • USAUSA
  • 7d 2h

Birger Sandzen, nailcut, "Veteran Pines"

This original nailcut by Lindsborg, KS artist, Birger Sandzen, is titled "Veteran Pines" and is in good condition. The image measures 4" x 5" and is pencil signed by the artist in the lower right corner of the piece. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request. Born Blidsberg, Sweden, Feb. 5, 1871; died Lindsborg, June 19, 1954. Painter, specialized in landscapes. Etcher. Engraver. Lithographer. Teacher. Attended the College and Academy of Skara as a pupil of Olof Erlandsson. After graduation from Skara College, Sandzen spent a semester at Lund University attending art history lectures and continuing the study of French. Following Lund University he went to the technical high school at Stockholm, where he studied perspective and form drawing. Sandzen joined a group of young artists and they rented a studio at Anders Zorn's suggestion. They received instruction from Zorn as well as Richard Bergh, a well-known portrait painter and Per Hasselberg, one of Sweden's best sculptors. Sandzen then went to Paris to study with Aman Jean, where he began to associate with American students in the French studies. On returning home in 1894, a family friend sent Sandzén a booklet about Bethany College, Lindsborg and the town called "Little Sweden." Sandzen moved to Lindsborg in 1894 to teach French, voice, art history, drawing and painting at Bethany College where he remained on the faculty until 1946. He first painted in the Colorado Springs, CO area in 1916, and became a frequent visitor to Santa Fe and Taos, NM beginning in 1918. Sandzen spent the summers of 1923-24 teaching at the Broadmoor Academy in Colorado Springs (presently the Colorado Springs Fine Arts Center). Sandzen also taught at Chappell House (the forerunner to the Denver Art Museum), Utah State Agricultural College, Stephens College, the University of Michigan, and the 188 Kansas City Art Institute. Sandzen's style of painting is unusual in its thick and heavy application of impasto in bold and bright color combinations, interpreting the landscape of the western United States. He is known for very colorful renderings of mountain lakes with boulders, cypress and aspen trees and moonrises along waterways. Sandzen was an important advocate for art in the region, spending time talking to people about art, organizing exhibitions and establishing art clubs. He donated artwork to the local art club to help raise money for the purchasing of art books for the library, the financing of exhibitions, and the occasional awarding of a scholarship. He painted murals for the Halstead Post Office, Where Kit Carson Camped, in 1941, for the Lindsborg Post Office, Smoky River, in 1938, and for the Belleville Post Office, Kansas Stream, in 1939. He illustrated three books, With Brush and Pencil (1905), In the Mountains, (1925), The Smoky Valley, (1922).Read more

  • USAUSA
  • 7d 2h

John Taylor Arms etching "Rodez" 1927

This original etching on paper by Prairie Print Maker, John Taylor Arms is titled "Rodez" and is dated 1927. The image measures 12" x 5" and is in good condition. It is pencil signed by the artist in the lower right corner of the piece. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request. John Taylor Arms was, without question, one of the most respected American printmakers in the first half of the 20th Century. His etchings are in most of the major print collections in the United States and Europe. Additionally, Arms' involvement in organized efforts to promote printmaking includes serving as president of the Society of American Etchers and publishing the Handbook of Print Making and Print Makers in 1934.The most distinctive characteristic of an etching by John Taylor Arms is the exquisitely fine detail he developed. In many cases, a magnifying glass is needed to adequately appreciate the artist's work. Of special note are his depictions of Gothic architecture from Europe. Both Birger Sandzen and his son-in-law, Charles Pelham Greenough, were captivated by Arms' etchings, and this exhibition features thirty-four of the finest examples from their respective collections.John Taylor Arms was born in Washington, D.C. in 1887. His family of businessmen, clergymen and teachers descended from a knitter of stockings who settled in Massachusetts in the seventeenth century.In 1907, upon graduation from Lawrenceville School in Washington, D.C., Arms transferred to the Massachusetts Institute of Technology to study architecture. He received a Master of Science degree in 1912 and that year joined the firm of Carrere and Hastings in New York as a draftsman. He stayed with the firm for two years, after which he went into partnership with Cameron Clark, a well-known designer of houses in the Colonial Revival style. Arms soon tired of the day-to-day paperwork routine of his profession that did not satisfy his need for creative expression. He began spending evening hours on drawings he was not able to do at the office.In 1913, Arms married Dorothy Frothingham Noyes. She gave him a small etching kit for Christmas which brought about his first print in 1914, titled Sunlight and Shadow.In 1916 he dissolved his partnership with Clark and joined the Navy as a navigational officer on convoy duty during World War 1. Upon discharge in 1919 he decided to make etching his life's work. The romance and nostalgia for old buildings and churches drew Arms to Gothic architecture imagery. He developed a plan to record the major Gothic churches in prints. During the 1920s, he began three of his most important series of etchings: The French Churches, The Spanish Churches, and The Italian Series. Arms continued to travel in Europe in the 1930s. He and his wife were particularly fond of Venice, with its intricate buildings and bridges combining Gothic and Byzantine architecture. Toward the end of the decade, the Arms' found a new home-away-from-home in England. There he made many etchings of the small village churches until 1937. In the late thirties and during World War II, when travel in Europe became difficult, Arms and his family traveled to Mexico. He studied and drew Pre-Columbian ruins and Spanish Baroque architecture with his customary attention to detail and local color.Arms developed his etchings from drawings made on location. After he had settled into a location, he would select a spot with a view of the subject he found satisfying and, perched on his camp stool, would spend ten days to two weeks on one drawing. These drawings were used as preparatory plans, with details added later, sometimes with the use of photographs. To begin an etching, he used the main areas of his drawings to trace an outline on a grounded etching plate. The transferred lines appeared as distinct red markings and served as a guide when he began to draw with the etching needle on the plate.Arms often used ordinary sewing needles set in wooden handles to draw through the ground, exposing the plate surface. Once the image was satisfactory, he would print an edition of prints from the plate. Occasionally he used a magnifying glass to draw the closely packed dots and lines that suggest tonal values of sunlight and shadow on stone. The most difficult prints to make were the miniature images, with their extreme detail.Henry Noyes Arms, the son of John Taylor Arms, characterized his father as a man who felt he had been "born to draw Gothic architecture." Arms wanted those who saw his prints to have the same emotional experience he enjoyed in the presence of the great cathedrals and other imagery he represented.Read more

  • USAUSA
  • 7d 2h

Lester Raymer, watercolor, untitled, 1987

This original watercolor by Lindsborg, KS artist, Lester Raymer, features the image of a seated clown and is dated 1987. Measuring 8.75" x 5" and is signed "Raymer" in the lower center corner of the piece. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request. Lester Raymer, born in 1907, grew up on a farm just southwest of Alva, Oklahoma. Raymer worked with a variety of art forms beginning in his early grade school years and continuing throughout his artistic career. He received his bachelor's degree in art from the Art Institute of Chicago. From 1936 to 1945 Raymer lived on his family farm again and continued to develop his artwork. Raymer met Ramona Weddle, his future wife, at the Art Institute.Ramona was born in 1909 at the Brunswick Hotel in Lindsborg, Kansas. She attended the Art Institute of Chicago during the same time period as Raymer. After her graduation in 1936, Ramona came back to Lindsborg and taught in the Art Department of Bethany College. In 1945, Lester and Ramona married and decided to create a home in Lindsborg. Although Ramona assisted Raymer with the pottery during their first years of marriage, she produced very little art of her own. Her focus was to be supportive of Raymer's work.Raymer's art was influenced by a number of factors. The circus came to Alva often during Raymer's childhood. He worked for a poultry business where he did drawings and paintings in his spare time. The "Bible" was a source of imagery beginning in his childhood. Raymer's painting professor at the Chicago Art Institute was Boris Aslov from Russia, and his art history professor was Helen Gardner, author of "Art Through the Ages", long-time used as a textbook of American art. Raymer talked often of the great influence his trips to Mexico had on his artwork and of his desire to remodel his studio in the style of a Mexican home.Raymer won major awards and international recognition with his religious art work and liturgical commissions. He taught one year at Bethany College in the art department and then made his living from the sale of his artwork. He utilized a variety of materials to produce a diverse body of artwork. Lamps, candleholders, furniture, and many of the sculptures in the studio were made for the studio use, not to sell. His paintings were most significant to him.Raymer was a studio artist in Lindsborg, Kansas until his death in 1991.Read more

  • USAUSA
  • 7d 2h

William Gropper, lithograph, untitled

This original lithograph by artist William Gropper features the image of a red Calvary and is in good condition. The image measures 14" x 18" and is signed by the artist in the lower right corner. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request. \New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. During the 1930s, working as a part of the Federal Arts Project, he produced some of the most gripping social protest works of the Great Depression. Subjects included industrial strikes and incidents of strike breaking, especially in the coal mining and steel-production centers. He did much illustration-cartoon work for the New York Tribune newspaper, Vanity Fair magazine and the politically 'left-wing' publication, "New Masses."Gropper's painting, Youngstown Strike, has received much attention for its strong, social-realist impact and was apparently prompted by the extended strikes staged in 1936-37 by workers at the Youngstown Sheet and Tube Company, Youngstown, Ohio. During these years chaos frequently reigned throughout much of the city. In one incident, following a savage confrontation with police guards by workers and their families, the police tear gassed and shot at the workers; two strikers were killed and twenty-eight injured. Gropper visited Youngstown during this period, and commented on the incident in an article and a series of descriptive action sketches published in The Nation.Some of his other pieces focused on the hypocrisy of government figures, especially members of the United States Senate.As a young man, William Gropper was a student of Robert Henri and George Bellows at the Ferrer School from 1912 to 1915. He did fine-art painting on the side until the early 1920s, and had his first solo exhibition in 1936. In 1938, he completed a mural for the Department of the Interior in Washington DC. Winning bids are packaged and shipped by UPS. Shipping estimates are available upon request.Read more

  • USAUSA
  • 7d 2h

Blog posts about "Red Barn Studio Museum – Raymer Society"

Realised prices "Red Barn Studio Museum – Raymer Society "

Red Barn Studio Museum – Raymer Society has 138 objects in the categories.

Find address and telephone number to Red Barn Studio Museum – Raymer Society

Advert