Misako Shimizu

Burst of Sound

20th century

Window-No. 25 Color mezzotint, September 2009 Signed, titled and numbered in pencil (see photos) Edition: 70 (16/70) Provenance: Ninion and Sheldon Landy Collection, Donors of Art In...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

Game Work No. 20 Mezzotint, c. 1984 Signed, titled and numbered in pencil (see photos) Edition 100: (7/100) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Katsunori Hamanishi's Work Price List-Small 22 Condition: Excellent Image: 13 1/4 x 8 3/4" Sheet: 17 1/2 x 13 1/8" Ninion and Sheldon Landy were major collectors of Hamanishi's works. They donated a large group of his mezzotints to Art Institute of Chicago, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. HAMANISHI Katsunori...

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

La Terrazza Lithograph, 1987 Signed, titled and numbered in pencil (see photos) Published by Kandfall Press, Chicago (their stamp verso) Landfall drystamp recto lower left Edition 125 (92/125) Provenance: Stanley Yulish, Cleveland, Ohio Reference: Szoke 23 Condition: Excellent, never matted ir framed Image size: 19 3/4 x 15 1/2" Sheet Size: 27" x 22" "Jeanette Pasin Sloan's paintings, drawings, and prints display technical feats of virtuosity. The artist uses a photo-realistic style to depict reflective objects set against patterned backgrounds. However, she subverts both genre and style, infusing the traditional genre of still life painting with highly abstract tendencies. Closely-cropped, and set in carefully manipulated compositions, the subject matter of Pasin Sloan's work takes second stage to its formal intensity. Pasin Sloan was born in Chicago in 1946. She graduated from Marymount College, Tarrytown, New York, and received an MFA in graphic arts from the University of Chicago...

Studio Flowers Lithograph, 1982 Signed lower right (see photo) Numbered lower left Edition: 120 (42/120) (see photo) Condition: Mint condition Two bits of hinge residue verso Image size: 24 x 18 inches Sheet size: 28 1/4 x 21 1/4 inches Reference: Lunde Robert Kipniss (1921 Considered one of the greatest living American printmakers, with a professional career that spans seven decades and work that can be found in over 170 museums including The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Butler Institute of American Art, Youngstown, OH; The British Museum, London; the Albertina, Vienna; the Bibliothèque Nationale de France, Paris; the Royal Society of Painter-Printmakers, London; The Pinakothek der Moderne, Munich, Germany; the Los Angeles County Museum of Art; The Museum of Fine Arts, Boston; Smithsonian American Art Museum, Washington, DC; and the Art Institute of Chicago. Kipniss was elected to the National Academy of Design in 1980, and to the Royal Society of Painter-Printmakers, London, in 1998. He has received a Lifetime Achievement Award from the Society of American Graphic Artists and The Artists Fellowship. He has also received the Speicher-Hassam Purchase Award from the American Academy of Arts & Letters, as well as Honorary Doctorates from Wittenberg University and Illinois College. Selected Public Collections Achenbach Foundation for Graphic Arts, The Fine Arts Museums of San Francisco, California Palace of the Legion of Honor Albertina Museum, Vienna, Austria Albright-Knox Art Gallery, Buffalo, New York Arkansas State University Permanent Collection, State University, Arkansas The Art Institute of Chicago, Chicago, Illinois Art Museum of Western Virginia, Roanoke, Virginia Art Students League of New York, New York, New York Bates College Museum of Art, Lewiston, Maine The Berkshire Museum, Pittsfield, Massachusetts Bibliothèque nationale de France, Paris The Boston Athenaeum, Boston, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine The British Museum, London Brooklyn Museum of Art, Brooklyn, New York Richard F. Brush Art Gallery, St. Lawrence University, Canton, NY The Butler Institute of American Art, Youngstown, Ohio Canton Art Institute, Canton, Ohio Carnegie Museum of Art, Pittsburgh, Pennsylvania The Century Association, New York, New York The Cleveland Museum of Art, Cleveland, Ohio Columbus Museum of Art, Columbus, Ohio Coos Art Museum, Coos Bay...

From the Plant Lithographs suite 1964-66

Le masque à gaz, 1971, edition of 300. Signed "Arman" in pencil l.r., numbered in pencil l.l. Lithograph in purple and gold on paper, image size 25 3/8 x 19 3/8 in. (64.3 x 49.0 cm),...

Arman (November 17, 1928 – October 22, 2005) was a French-born American artist. Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or...

Signed, dated and titled. Initialed and dated lower right, each numbered 8/20, lower left. 9 x 6 image size, 22 x 15 in. sheet size. With the blindstamp of the Tamarind Institute print...

Konrad Cramer, 1888-1963 was a painter, photographer, printer, and illustrator. Based in the fertile Woodstock, New York, artistic community along with Yasuo Kuniyoshi and Russell Lee, Cramer was both educator and artist. He ran a summer school for miniature camera photography in the 1930s and later taught one of the first American college courses in photography at Bard College. Although he began as a painter of abstract, geometric forms in bold colors, Cramer is most known as a photographer. Konrad Cramer was born and raised in Wurzburg, Germany. Cramer studied to be an artist at the Karlsruhe Academy under Ludwig Schmidt-Reutte and Ernest Schurth. He became interested in the German avant-garde early in his schooling, he was a member of the Blaue Reiter, exposed and encouraged by the experimental works of Wassily Kandinsky and Franz Marc. An additional influence on Cramer's artistic development was the Cubist landscapes of Paul Cézanne. Florence Ballin Cramer opened a gallery on 57th Street in 1919, encouraged by the sculptor Elie Nadelman. Florence Gallery exhibited and sold the works of living artists. Although it only survived briefly, it was the first New York gallery to show works by Yasuo Kuniyoshi, Alexander Brook, Ernest Fiene, and Stefan Hirsch. Cramer then settled with his wife in Woodstock, New York, where Ballin had painted with the Art Students League each summer since 1906. Cramer established a reputation as one of Woodstock's most modern painters with an impressive series of abstract paintings exhibited at the MacDowell Club in 1913. In the 1920s Cramer developed a personal representational style which blended modern and regional influences. Cramer received a Rockefeller grant in 1920 to study educational methods for craftsmen in Germany and France. In 1922 he took a teaching position at the Woodstock School of Painting and helped establish the Woodstock Artists Association, where he served as a director. While teaching and painting, Cramer also applied his artistic talent to illustration and textile design. Konrad Cramer first exhibited at the Whitney Studio Club in 1924 and participated in the Whitney Museum of American Art's first and second biennials in 1933 and 1935. He was also included in the 1935 exhibition Abstract Painting in America at the Whitney. Cramer was later included in the Whitney Museum exhibition Pioneers of Modern Art in America in 1946. In the 1930s Cramer participated in many other museum invitationals, including: the Carnegie International (1929, 1933, 1937, 1938); the Pennsylvania Academy of the Fine Arts (1934, 1936), and the Corcoran Gallery of Art (1935, 1937). In 1934 Konrad Cramer and his wife travelled to Mexico where they produced many paintings and drawings. Back in Woodstock in 1935, Cramer briefly joined the (WPA) Federal Art Project, administering the regional program in Woodstock. In the mid-1930s Cramer took up photography to clarify aesthetic issues in his painting. Cramer had gotten to know Alfred Stieglitz upon his arrival in America in 1911 and wrote an essay about 291 Gallery for Stieglitz's magazine Camera Work in 1914. Through Stieglitz and then in the 1930s fellow Woodstockers like Russell Lee, Cramer became interested in the possibilities of photography and began working with it as an artistic medium. In the 1950s Cramer collaborated on a traveling exhibition and book of abstract photographs with Manuel Komroff...

Arman (November 17, 1928 – October 22, 2005) was a French-born American artist. Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or...