Tetsuo Ochikubo

Expressionist Abstraction — Hawaiian Artist

1963

Josef Albers, 'Interim' from the series 'Graphic Tectonics', zinc plate lithograph, 1942, edition 30, Danilowitz 101. Signed, titled, dated, and numbered '3/30' in pencil. A fine imp...

Josef Albers, 'Interlinear K50', zinc plate lithograph offset to stone printing, 1962, edition 20, Danilowitz 151. Signed, titled, dated, and numbered '14/20' in pencil. A superb, ri...

Paul Kelpe, Untitled (Abstract Composition), lithograph, 1937, edition unknown but small. Signed and dated in pencil. A fine, richly-inked impression, with all the nuanced texture an...

Jean Arp, Signes, woodcut, edition 50, 1949. A fine, black impression, with all the fine lines printing clearly, on cream wove paper; the full sheet with wide margins (1 5/8 to 6 7/8 inches), in excellent condition. Signed and numbered '8/50' in pencil. Matted to museum standards, unframed. ABOUT THE ARTIST Jean Arp was born Hans Arp on September 16, 1886, in Strassburg. In 1904, after leaving the Ecole des Arts et Métiers, Strasbourg, he visited Paris and published his poetry for the first time. From 1905 to 1907, Arp studied at the Kunstschule, Weimar, and in 1908 went to Paris, where he attended the Académie Julian. In 1909, he moved to Switzerland and in 1911 was a founder of the Moderner Bund group there. The following year, he met Robert and Sonia Delaunay in Paris and Vasily Kandinsky in Munich. Arp participated in the Erste deutsche Herbstsalon in 1913 at the gallery Der Sturm, Berlin. After returning to Paris in 1914, he became acquainted with Guillaume Apollinaire, Max Jacob, Amadeo Modigliani, and Pablo Picasso. In 1915, he moved to Zurich, where he executed collages and tapestries, often in collaboration with his future wife Sophie Taeuber (who became known as Sophie Taeuber-Arp after they married in 1922). In 1916, Hugo Ball...

Edward Landon, 'Arrangement with Blue Major', color serigraph, edition 40, 1942, Ryan 9. Signed, titled, and annotated 'Edition 40' in pencil. A superb impression, with fresh colors, on cream, wove paper; the full sheet with margins (3/4 to 1 5/8 inches), in excellent condition. Image size 15 x 9 3/4 inches (381 x 248 mm); sheet size 17 15/16 x 11 3/4 inches (456 x 298 mm). Matted to museum standards, unframed. 'Arrangement with Blue Major' was selected for the landmark ‘Artists for Victory’ exhibition at the Metropolitan Museum of Art in 1942. Impressions of this work are also in the collections of the Asheville Art Museum, Five Colleges and Historic Deerfield Museum Consortium, Georgetown University (Special Collections), Mount Holyoke College Art Museum, Rutgers University, Smith College Museum of Art, and the Springfield Museum of Fine Arts. ABOUT THE ARTIST Born in Hartford, Connecticut, Edward Landon dropped out of high school to study art at the Hartford Art School. In 1930 and 1931, he was a student of Jean Charlot at the Art Students League in New York, after which he traveled to Mexico to study privately for a year with Carlos Merida. In 1933 he settled near Springfield, Massachusetts, painted murals in the local trade school, and exhibited with the Springfield Art League. His painting 'Memorial Day' won first prize at the fifteenth annual exhibition of the League at the Springfield Museum of Fine Arts. Landon became an active member of the Artists Union of Western Massachusetts, serving as president from 1934-1938. Landon acquired Anthony Velonis’s instructional pamphlet on the technique of serigraphy in the late 1930s. With colleagues Phillip Hicken, Donald Reichert, and Pauline Stiriss, he began experimenting with screen printing techniques. The artists' groundbreaking work in screen printing as a fine art medium was the subject of the group’s landmark exhibition at the Springfield Museum of Fine Arts in 1940. Landon became one of the founding members of the National Serigraph Society and served as editor of its publication, 'Serigraph Quarterly,' in the late 1940s and as its president in 1952 and 1953. The Norlyst Gallery in Manhattan held a one-person show of his prints in 1945. Awarded a Fulbright Fellowship in 1950, Landon traveled to Norway, where he researched the history of local artistic traditions and produced the book 'Scandinavian Design: Picture and Rune Stones...

Minna Citron, 'Flight to Tomorrow', aquatint and engraving, edition unknown but small, 1948. Signed, titled, dated, and annotated 'engr & aqua' in pencil. A superb, richly-inked impression with selectively wiped plate tone, on heavy cream wove paper, the full sheet with margins (1 3/4 to 3 1/2 inches), in excellent condition. Image size 6 7/8 x 8 7/16 inches (175 x 214 mm); sheet size 11 1/8 x 14 7/8 inches (283 x 378 mm). Matted to museum standards, unframed. Literature: The Women of Atelier 17, Modernist Printmaking in MidCentury New York, Christina Weyl, Yale University Press, 2019, p. 186. Collections: Davis Museum (Wellesley), Five Colleges and Historic Deerfield Museum Consortium, Harvard Art Museums, Museum of Fine Arts, Boston, Palmer Museum of Art (Penn State...

Derriere le Miroir Cover is an original artwork realized by Alexander Calder in 1968. Original mixed colored lithograph. The artwork was th...

Printer: Hollanders Workshop, New York Publisher: Knoedler, New York Edition size: 61, plus proofs Catalogue Raisonné: Graham 17 Signed, dated, and numbered inpencil, lower margin

Abstract, large scale earth toned red, black, taupe and grey scene with dynamic lines, shapes and hand painted brushstroke texture. This dramatic Howard Hodgkin work is ideal for dis...

15 x 38 ins (38.1 x 96.5 cms) Edition of 98 Signature:Signed "Motherwell" in pencil lower right Inscriptions:Numbered in pencil lower right; workshop chop mark lower right; work...

Silkscreen, lithograph, linoleum block with hand-colouring, marbling and collage, 1989, on T. H. Saunders and Somerset paper, signed, dated and numbered from the edition of 60, publi...

Fluo Composition is an original colored lithograph realized by Mario Padovan in the 1970s . Hand-signed in pencil on the lower right. Numbered in pencil on the lower left. Edition ...