Artist Search
   
a b c d e f g h i j k l m n o p q r s t u v w x y z 

 Kevin B. O'Callahan  (1902 - 1977)

About: Kevin B. O'Callahan
 

Summary

Examples of his work  
 

Quick facts

Exhibits - current  
 

Biography*

Museums

 
 

Book references

Magazine references pre-2007  
 

Discussion board

Signature Examples*

 
 
Buy and Sell: Kevin B. O'Callahan
  For sale ads Auction results*  
  Wanted ads Auctions upcoming for him*  
 

Dealers

Auction sales graphs*  
 

What's my art worth?

Magazine ads pre-1998*  
 

Market Alert - Free

 
Lived/Active: New York/Maine      Known for: printmaking, design, crafts, painting, teaching

Login for full access
 
View AskART Services









*may require subscription
BIOGRAPHY for Kevin O'Callahan
Facts/Data
Birth
1902 (Buffalo, New York)
 
Death
1977 (Buffalo, New York)

Lived/Active
New York/Maine

   Share an Image of the Artist

Often Known For
printmaking, design, crafts, painting, teaching

Discussion Board
Would you like to discuss this artist?
AskART Discussion Boards
(0 Active)

Biography from Meibohm Fine Arts, Inc.:
Kevin B. O’Callahan (American, 1902-1977) graphic artist & designer, printmaker, craftsman, painter, lithographer, teacher, lecturer, writer and furniture designer. O’Callahan was primarily known for working in various intaglio & engraving processes including etching, wood engraving, woodcuts, linocuts, and lithography. He was born in Buffalo, NY, February 14, 1902 and was a lifelong bachelor and resident of the city. As a printmaker, O’Callahan was a founding member of the Buffalo Print Club in 1931 and served as president until about 1952-53. Over the course of his career, his work ranged from fantasy watercolors in the 1920’s, along with etchings and theatrical stage designs which were influenced by Art Deco, Art Nouveau, Asian, Arabian, Persian and American Arts & Crafts designs and motifs. In the 1930’s he moved towards more traditional black & white woodcuts and etchings and was later known for his industrial prints of landscapes done along Lake Erie. As a true precisionist, his later work presented a superior portrait of Western New York at the height of its industrial age, and critics applauded his efforts. He was also a member of the Buffalo Society of Artists (BSA) and later the Patteran Society in the early 1930’s, both located in Buffalo, NY. He was also a longtime friend of fellow artist Andrew Wyeth (American, 1917-2009) who was his neighbor at his summer home in Thomaston. ME. Over the course of his career O’Callahan won national acclaim in many different graphic mediums, and his work can be found in regional and national museums & galleries, as well as private and public collections worldwide.

O’Callahan initially studied at the Technical High School in Buffalo, NY, with the intention of becoming an engineer. Beginning is 1920, he studied at Carnegie Mellon Institute of Technology in Pittsburgh, PA, and within two years, he switched his path from engineering to commercial art. Though his early training was in technical engineering and commercial art, his printmaking skills were largely self taught.

I never had any courses in printmaking and have had to work much of it out for myself or from books. This has not been a very satisfactory way of learning lithography.”[1]- Kevin B. O’Callahan

In 1931, with guidance from O’Callahan, many of Buffalo’s finest printmakers came together to form the Buffalo Print Club. They met in the basement of the Albright Art Gallery (now the Albright-Knox Art Gallery). Around 1940, the club moved into O’Callahan’s home located at 620 Niagara Street in the city. At its peak in 1943, there were only 21 active members in the club. Of all the club members, Kevin O’Callahan was perhaps the finest printmaker and served as president of the club from its inception to about 1952-53. “Kevin B. O’Callahan initiated leadership for printmakers in the Buffalo area—those artists who, up to this time, struggled to gain equal recognition with painters and sculptors. O’Callahan single-handedly created the Buffalo Print Club and remained its driving force for more than twenty years. Under his direction, the Club developed its mission: to share expertise with colleagues, to have a place to fraternize and discuss ideas, and to make mutual use of a printmaking studio with its presses, chemicals and equipment.”[2] Not only did he exhibit in all of the club’s annual exhibitions, he also participated in numerous club exhibitions in various other national locales and venues. ??“He worked meticulously and criticized other printmakers for slighting the technical aspects of their craft. He believed that such neglect greatly diminished much contemporary printmaking. O’Callahan worked from carefully made sketches, and developed his perspectives from tracings. Often, he worked from memory, relying on his thorough knowledge of the subject. Most of the exquisite shipbuilding prints fall into this category. At other times, especially when doing rural landscapes, he worked from sketches made on the spot.”[3]

Good craftsmanship is a much neglected phase of all art today. Too many artists do not take the time to learn their trade.”[4]-Kevin B. O’Callahan
?Two other prominent artists that stood out in the club with their dedication to their craft were: Master draughtsman, Niels Yde Andersen (1888-1952) known for his etchings and often referred to as the most artistic of the printmakers, and William J. Schwanekamp (1893-1970) who is best known for his Buffalo Alley series. More can be read about the club, its members and their exhibition history on our Buffalo Print Club page.

Circa the 1930’s, O’Callahan spent the summers vacationing in Thomaston, ME, where he enjoyed sketching the shipyards and docks. He was greatly fascinated by the craftsmanship of the boatbuilders, and produced a series of study sketches from the initial phase of hull construction to the finished boat, later creating etchings and wood engravings from the drawings. One particular print O’Callahan prized titled, “Ship’s Skeleton” (Plate V) was later featured in the book American Prize Prints of the 20th Century, by Albert Reese, (1949). He liked the subject matter of wooden shipbuilding and its craftsmanship because it offered excellent possibilities for interesting patterns and also because it was something that was constructed. His shipbuilding prints are elegant examples of his wood engraving skill, which offer a stark contrast between the high whites and deep blacks. As a Buffalo art critic once stated, “These works stand out more than any of his other work. They show a sensitive feeling for the patterns of light and shadow, for the grain of wood, and for the poetry of ships’ architecture.”[5] At his summer home in Thomaston, ME, O’Callahan’s close neighbors and friends were Andrew Wyeth and his family. The two artists became very good friends when Wyeth and his wife Betsy would come to East Aurora, NY, to visit her parents. The two artists would often sketch in and around the Buffalo area together.

During the 1940’s O’Callahan was regarded as Buffalo’s premier graphic artist and was well known nationally. He exhibited in numerous regional shows as well as in New York City, Philadelphia, Denver, San Francisco, Seattle, Washington, DC, and Laguna Beach. He often spoke on radio programs and also wrote on different graphic techniques. Around this same time, he taught etching at the Art Institute in Buffalo, NY, and they also honored him with a solo exhibition entitled “Prints and Drawings by Kevin B. O’Callahan” in 1944. Throughout his career, he was very active in the Albright Art Gallery (now the Albright-Knox Art Gallery) and became a life member in 1947, and in 1949 he was chosen to design the benefactors plaque for the gallery.

Circa the 1950’s, O’Callahan took a position teaching mechanical drawing at the University of Buffalo’s School of Engineering and taught there until he retired in 1968. It was around that same time that he moved from his mother’s home to Winspear Avenue which was within walking distance of the University. Later in his career O’Callahan had to contend with failing eyesight, eventually giving up all graphic printmaking. Sometime around 1952-53, O’Callahan retired as president of the Buffalo Print Club, and was succeeded by William J. Schwanekamp. After his departure from the Buffalo Print Club in the early 1950’s, O’Callahan did however manage to continue drawing, especially while on his summer vacations in Maine. His close friend Andrew Wyeth, in a personal letter to him written October 15, 1961, pleaded with him to continue drawing and wrote, “I consider your drawing the very best in the country.”[6]

In 1962 O’Callahan’s mother died, and it was at this time that he discontinued all artistic and graphic interests. Once he lost his enthusiasm for the creative process and printmaking, the Buffalo Print Club ceased to exist, though he did continue maintaining his studio on Niagara Street where he occasionally designed and built pieces of furniture. “For the last ten years of his life, O’Callahan became a forgotten recluse. His artistic accomplishments became totally forgotten, his memory remaining alive only with a few close friends, including Mrs. Jean McKay Henrich, Rixford Jennings and other former members of the Buffalo Print Club. Kevin O’Callahan died in 1977.”[7]  

Chronology with Select Exhibitions:

1902- Born, February 14, to a father who was a doctor and mother who was a housewife who also painted in watercolors, Buffalo, NY.

1920-24- Began studies at the Carnegie Mellon Institute of Technology, and switched majors two years later from engineering to commercial art, Pittsburgh, PA.

1924- Moved to New York City and worked as a free-lance commercial artist, along with designing theatrical stage sets, architectural models and working on his fantasy watercolor paintings and etchings. Exhibited, December, group show, former students of the Buffalo Technical High School, woodblock prints shown, Buffalo, NY.

Circa mid 1920’s- Designed and built theatrical stage sets for the opera “Peleas and Melisande”, done for the Carnegie Institute production; Designed theatrical sets for the play “Fabiola”, for the Holy Cross Dramatic Association (unknown location); and Designed table & chairs in the Stickley Arts & Crafts style for the opera “Carmen” (unknown location).

Circa 1925- Returned to Buffalo, NY, and lived with his mother in their large Victorian home at the corner of Niagara Street and Porter Avenue, Buffalo, NY.

1926- January, designed and built theatrical stage settings and backdrops for the George Bernard Shaw (Irish, 1856-1950) play “Androcles and the Lion”, directed by Jerome Callamore, Buffalo Players Playhouse, Allen Street, Buffalo, NY. April, designed and built theatrical stage settings for the Edward Locke (English, 1869-1945) play “The Climax”, directed by Jerome Callamore, Buffalo Players Playhouse, Allen Street, Buffalo, NY.

1930- Became seriously interested in printmaking.

1931- Co-founded the Buffalo Print Club and served as president until circa 1952-53, Buffalo, NY.

circa 1932-c1962- O’Callahan exhibited in all the Buffalo Print Club’s annual exhibitions, as well as in numerous club exhibitions in other regional & national locales and venues.

Circa 1933-mid 30’s- Became an early member of the Patteran Society of Artists, Buffalo, NY.

1934-35- Exhibited, group show, Albright Art Gallery (now the Albright Knox Art Gallery), Buffalo, NY.

1936- Spring, exhibited, group show, “First National Print Show of the Buffalo Print Club”, 670 different types of prints were shown by 128 exhibitors, Buffalo Print Club members and national printmakers were shown in six galleries, Albright Art Gallery (now the Albright-Knox Art Gallery), Buffalo, NY. Exhibited, group show, Pennsylvania Academy of the Fine Arts, Philadelphia, PA.

1936-38- Exhibited, group show, National Academy of Design, NYC.

1937- Exhibited, group show, Society of American Etchers (previously the Brooklyn Society of Etchers before 1931, and later the Society of American Graphic Artists), NYC. Exhibited, group show, Buffalo Print Club, coffee room gallery, William Hengerer Company, Buffalo, NY.

1937-38- Exhibited, group show, Philadelphia Print Club, Philadelphia, PA.

1937-41- Exhibited, group show, Albright Art Gallery (now the Albright Knox Art Gallery), Buffalo, NY.

1938- Spring, exhibited, group show, “Second National Print Show of the Buffalo Print Club”, 118 artists showed 259 prints in three galleries, 30 contributions by ten Buffalo Print Club members were included, sponsored by the Society of American Etchers, Albright Art Gallery (now the Albright-Knox Art Gallery), Buffalo, NY. Exhibited, group show, Patteran Society’s first exhibition, “Buffalo River” (1936, 1-13/16 x 4”) wood engraving was shown and was on the cover the catalog, Riverside Museum, NYC. Exhibited, group show, Pennsylvania Academy of the Fine Arts, Philadelphia, PA.

1939-40- Exhibited, juried group show, “New York World’s Fair: Exhibition of Contemporary American Art”, for the industrial landscape print “Lakeport Landscape” (wood engraving, 1936) which was chosen by the World’s Fair art committee to be exhibited, Flushing Meadows-Corona Park, NY.    

1940- Spring, exhibited, group show, “Third National Print Show of the Buffalo Print Club”, 227 prints by 124 artists, 21 by members of the club, were shown in two galleries, Albright Art Gallery (now the Albright-Knox Art Gallery), Buffalo, NY. Exhibited, group show, Society of American Etchers (previously the Brooklyn Society of Etchers before 1931, and later the Society of American Graphic Artists), NYC.  

Circa 1940- The Buffalo Print Club moved out of the basement at the Albright Art Gallery and moved into O’Callahan’s home located at 620 Niagara Street, Buffalo, NY.

Circa the 1940’s- O’Callahan also exhibited in numerous regional shows as well as in New York City, Philadelphia, Denver, San Francisco, Seattle, Washington, DC, and Laguna Beach. He often spoke on radio programs and also wrote on different graphic techniques. Around this same time, he also taught etching at the Art Institute in Buffalo, NY.

1940-41- Exhibited, group show, Pennsylvania Academy of the Fine Arts, Philadelphia, PA.

1940-44- Exhibited, group show, Philadelphia Print Club, Philadelphia, PA.

1941-42- Exhibited, group show, National Academy of Design, NYC. Exhibited, group show, Denver Art Museum, Denver, CO.

1941-43- Exhibited, group show, San Francisco Museum of Art (now called the San Francisco Museum of Modern Art), San Francisco, CA.

1942- Exhibited, group show, Society of American Etchers (previously the Brooklyn Society of Etchers before 1931, and later the Society of American Graphic Artists), NYC.

1942-44- Exhibited, group show, Northwest Print Makers, Seattle, WA.

1943- Spring, exhibited, group show, “Fourth National Print Show of the Buffalo Print Club”, 143 prints by 124 artists, 5 by members of the club were shown, Albright Art Gallery (now the Albright-Knox Art Gallery), Buffalo, NY. May 8, O’Callahan along with fellow Buffalo Print Club members Niels Yde Andersen, Edward J. Kelley, Douglas W. Gorsline and Carlo Nisita gave a demonstration on the “Making of a Print”, to coincide with the “Fourth National Print Show of the Buffalo Print Club”, Buffalo, NY. Exhibited, group show, Pennsylvania Academy of the Fine Arts, Philadelphia, PA.

1943-44- Exhibited, group show, Library of Congress, Washington, DC.

1943-45- Exhibited, group show, Laguna Beach, CA.

1943-46- Exhibited, group show, Albright Art Gallery (now the Albright Knox Art Gallery), Buffalo, NY.

1944- Exhibited, solo show, “Prints and Drawings by Kevin B. O’Callahan”, Art Institute of Buffalo, Buffalo, NY. Exhibited, group show, National Academy of Design, NYC.

1946- Exhibited, group show, National Academy of Design, NYC. Circa early 1946, lectured at the Albright Art Gallery (now the Albright-Knox Art Gallery), at the exhibition of modern architecture, entitled “Why & Wherefores of Modern Furniture”, Monday, April 15, lectured on furniture design at the April meeting of the Home Economic Club, Niagara Hudson Building, Niagara Falls, NY.

1947- Became life member at the Albright Art Gallery (now the Albright-Knox Art  Gallery), Buffalo, NY.

1948- March, exhibited, solo show, wood engravings, etchings and lithographs shown, Print Room, Memorial Rundel Gallery of the Public Library, Rochester, NY.

1949- Designed a benefactors plaque for the Albright Art Gallery (now the Albright-Knox Art Gallery), Buffalo, NY.

Circa the 1950’s-1968- O’Callahan took a position teaching mechanical drawing at the University of Buffalo’s School of Engineering, Buffalo, NY, and taught there until he retired in 1968.

1962- O’Callahan’s mother died, Buffalo, NY, and it was then that he ceased all artistic work and the Buffalo Print Club ended, though he did manage to maintain his studio on Niagara Street where he occasionally designed and built pieces of furniture, Buffalo, NY.

1968- Retired from teaching mechanical drawing at the University of Buffalo’s School of Engineering, Buffalo, NY.

1977- Died, Buffalo, NY.

1988- Fall, exhibited, group show, “Kevin B. O’Callahan and The Buffalo Print Club”, Burchfield Art Center (now the Burchfield-Penney Art Center), 29 prints were shown which included copper etchings & engravings, woodcuts, wood engravings, a lithograph and an aquatint, Buffalo, NY.

2003- Exhibited, spring, group retrospective exhibition, “The Buffalo Print Club: The Print Collection of the Estate of Rodger Sweetland”, 13 wood engravings, 8 etchings and 1 lithograph by O’Callahan were shown, Meibohm Fine Arts, East Aurora, NY.

Exhibited also at: Museum of Modern Art, NYC; Buffalo Print Club, all their annual exhibitions, Buffalo, NY; Albright Art Gallery (now the Albright Knox Art Gallery), Thumb Box Exhibitions, Buffalo, NY; Carnegie Mellon Institute of Technology galleries, NYC; Children’s Library (circa 1925), Detroit, MI; A print show at the Bessemer Building, unknown art group or date, Pittsburgh, PA.

Prizes/Awards: Library of Congress (unknown date[s]), Washington, DC; Prize, Albright Art Gallery (now the Albright Knox Art Gallery, unknown date[s]), Buffalo, NY; Prize, Denver Art Museum, Denver (unknown date[s]), CO; Prize, Print Club of Philadelphia (unknown date[s]), Philadelphia, PA; Prize, Westminster College (unknown date[s]), New Wilmington, PA; Northwest Printmakers (unknown date[s]), Seattle, WA; Prize, the Laguna Art Museum of California (unknown date[s]), Laguna Beach, CA.  

Memberships: Buffalo Print Club (founding member & president from 1931 until about 1952-53), Buffalo, NY; Buffalo Society of Artists, Buffalo, NY; and the Patteran Society, Buffalo, NY.

Associations: P.W.A.P. (Public Works of Art Project), first federal non-relief project for artists, copper etching “P.W.A.P.” (1934, 7-7/8 x 9-7/8”), 1933-1934; WPA (Works Progress Administration) Federal Arts Project.

Collections: Library of Congress, prints purchased through the Pennell Fund and also through their subscription club fund, Washington, DC; Archives of American Art, Smithsonian Institution, [1] American Block Print Calendar for 1937, published by Gutenberg Publishing, Milwaukee, WI, (produced c1936), featured prints from 53 American artists, [2] along with a copy of Kevin B. O’Callahan And The Buffalo Print Club, Burchfield Art Center (now the Burchfield-Penney Art Center), Buffalo, New York, with essays from Nancy Weekly, Albert Michaels, Vern Stein and Susan Stevens, (1988), and [3] “Albert Reese Letters, 1946-1949”; Washington, DC; Albright-Knox Art Museum, 14 prints, 9 drawings, 1 ink drawing, a letter to O’Callahan from Andrew Wyeth and a bound portfolio of prints, Buffalo, NY; Burchfield-Penney Art Center, Buffalo, NY; Farnsworth Museum, Rockland, ME; and the University of Washington Libraries, Special Collections: “Preliminary Guide to the Northwest Printmakers Records 1929-1970”, Seattle, WA.

Theatrical Stage Set Designs: Designed and built theatrical stage sets for “Peleas and Melisande” (opera), done for the Carnegie Institute production, (circa mid 1920’s); Designed theatrical sets for the play “Fabiola”, for the Holy Cross Dramatic Association, (unknown location, circa mid 1920’s); “Carmen” (opera), designed table & chairs in the Stickley Arts & Crafts style, (unknown location, circa mid 1920’s); Designed and built theatrical stage settings and backdrops for the George Bernard Shaw (Irish, 1856-1950) play “Androcles and the Lion”, directed by Jerome Callamore, Buffalo Players Playhouse, Allen Street, Buffalo, NY, (1926); and Designed and built theatrical stage settings for the Edward Locke (English, 1869-1945) play “The Climax”, directed by Jerome Callamore, Buffalo Players Playhouse, Allen Street, Buffalo, NY, (1926).

Manuscripts/Publications by the Artist: “Lands of Dream, Buffalo artist’s charming subject”, by Kevin B. O’Callahan, undated newspaper clipping (in private collection, Buffalo, NY); Dreamland, by Kevin B. O’Callahan, unpublished manuscript, November 1, 1925; Vital Statistics about Kevin O’Callahan, by Kevin B. O’Callahan, undated and unpublished manuscript; Undated and untitled review of the print “Lakeport Landscape” which appeared in a print show at the Bessemer Building in Pittsburgh, PA; and Modern Art, by Kevin B. O’Callahan, undated and unpublished manuscript.

Publications:
Buffalo Morning Express
, “Alumni of Technical Art Show: Former students, now occupied along different lines, hold joint exhibition”, Monday December 1, Pg. 7, 1924; Buffalo Morning Express, “Two in One Players.”, Friday, June 5, Pg. 9, 1925; Buffalo Sunday Express, “Shaw’s Androcles To Be Playhouse Offering Monday: Will be presented for two weeks by Buffalo Players; Lars Potter in top role”, Sunday, January 24, Section 6, Pg. 3, 1926; Buffalo Morning Express, “Kevin O’Callahan’s Designer of Settings”, January 25, Pg. 7, 1926; Buffalo Sunday Express, “Sibylla Schilling Buffalo Girl, Heads New Players Show: Will play only feminine role in The Climax at Playhouse on April 8th.”, Sunday, March 28, Section 5, Pg. 4, 1926; Buffalo Morning Express: Entertainments, Wednesday, May 12, unknown page number, 1926;

Index of Artists: International-Biographical, by Daniel Trowbridge Mallett, Two Volumes: Includes Index, 1935; Buffalo Courier-Express, “Roto Radio Talks How Etching is Made”, by Kevin B. O’Callahan, with 18 photographs of the printing process included along with a finished print by O’Callahan titled “Tracers”, Pg. 18, Monday, April 27, 1936; American Block Print Calendar, Gutenberg Publishing, Milwaukee, WI, (produced c1936), featured prints from 53 American artists, 1937; Buffalo Evening News, “Art shows to cover wide field”, by Norma Lee Rohr, March 8, unknown page number, 1941; Buffalo Evening News, “Marine Scenes, Buffalo Alleys in Print Show”, unknown writer, May 12, unknown page number, 1945; Niagara Falls Gazette: A Page For Women, Society, Clubs, Personals; Home Economics News, Wednesday, March 6, Pg. 12, 1946; Niagara Falls Gazette: A Page For Women, Society, Clubs, Personals; Home Economics News, Saturday, April 13, Pg. 6, 1946;

Rochester Democrat and Chronicle, “New Exhibition Due at Galleries”, Sunday, February 29, Pg. 7D, 1948; American Prize Prints of the 20th Century, by Albert Reese, 1949; Print Reference Sources: Bibliography 18th-20th Centuries, by Lauris Mason & Joan Ludman, 1975; Exhibition Catalog, New Deal for Art, by Marlen Park & Gerald Markowitz, 1977; Century of American Printmaking, by James Watrous, University of Wisconsin Press, Pgs. 90-91, 1984; Kevin B. O’Callahan, Original Prints 1932-1946, by Vern Stein, Vern Stein Fine Art, Amherst, NY, 1986; Kevin B. O’Callahan And The Buffalo Print Club, prepared on the occasion of the exhibition of the same name, Burchfield Art Center (now the Burchfield-Penney Art Center), Buffalo, New York, with essays from Nancy Weekly, Albert Michaels, Vern Stein and Susan Stevens, cover & frontispiece by Kevin B. O’Callahan (wood engravings), 1988; Who Was Who in American Art, 1564-1975, by Peter Hastings Falk (editor), 1999; Buffalo News, “A Bygone Art”, by Richard Huntington, March 28, unknown page number, 2003; Davenport’s Art Reference: Gold Edition, by Ray Davenport, 2005; The Artists Bluebook: 34,000 North American Artists to March 2005, by Lonnie Pierson Dunbier (editor) of AskArt.com, 2005; The Art And Artists of Buffalo, by William J. Barney, Buffalo Courier Express staff artist, picture-page editor and Sunday Magazine editor, 24 pgs., unknown date.

Subscription Prints Offered by the Buffalo Print Club (1936-1948): “Lakeport Landscape” (1936 woodcut, 19.7 x 25cm), by Kevin B. O’Callahan, 1937; “Bright Monday” (1937 woodcut, 19.5 x 15cm), by Kevin B. O’Callahan, 1939.

Roto Radio Talks: “How an Etching is Made”, by Kevin B. O’Callahan, WKBW Roto-Radio Talk series, No. 341, Sponsored by the Buffalo Courier-Express, talk given at 5:30pm, Sunday, April 26, 1936.

(Rewritten in parts & compiled chronologically by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, 12/2010, www.meibohmfinearts.com, Sources: Too long to list here and are furnished upon request.)


** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.

  go to top home | site map | site terms | AskART services & subscriptions | contact | about us
  copyright © 2000-2014 AskART all rights reserved ® AskART and Artists' Bluebook are registered trademarks

  A |  B |  C |  D-E |  F-G |  H |  I-K |  L |  M |  N-P |  Q-R |  S |  T-V |  W-Z  
  frequently searched artists 1, 2, more...  
  art appraisals, art for sale, auction records, misc artists