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untitled (Young Woman Washing)
By Rudolf Bauer
Located in Fairlawn, OH
untitled (Young Woman Washing)
Lithograph, c. 1910
Signed in pencil lower right; signed in the plate lower right (see photo)
Image size: 11 x 5-1/8"
Sheet size: 18 7/8 x 12 5/8 inches
Condition: Very good
Aging to the tan paper it is printed on
Provenance: Estate of the Artist
Borghi & Company, NYC
Rudolph Bauer
1889-1953
Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'.
From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art.
Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...
Category
1910s Jugendstil Nude Prints
Materials
Lithograph
Thelonius Monk- Little Rootie Tootie
By Stephen Longstreet
Located in Fairlawn, OH
Thelonius Monk- Little Rootie Tootie
Collage, 1989
Signed and dated lower right: "Longstreet 89"
Titled by artist lower left
Excellent, with usual imperfections associated with the c...
Category
1980s Contemporary Mixed Media
Materials
Mixed Media
Bessie Smith - If You Don't Like My Peaches - Don't Shake My Tree
By Stephen Longstreet
Located in Fairlawn, OH
Bessie Smith - If You Don't Like My Peaches - Don't Shake My Tree
Collage, 1980
Signed and dated in pencil lower right (see photo)
Titled in pencil lower left
Original price verso '...
Category
1980s Abstract Mixed Media
Materials
Magazine Paper
untitled (Nude)
By Peter Marks
Located in Fairlawn, OH
Photograph, gold leaf and magazine mixed media collage
Unsigned
Provenance:
Estate of the artist
Sheet: 16 x 14"
Peter Marks (1935 -2010) was born in New York City on January 18...
Category
Early 2000s Abstract Mixed Media
Materials
Mixed Media
Quick Change
By Honore Guilbeau
Located in Fairlawn, OH
Quick Change
Watercolor on paper, 1930-1931
Signed lower right: Honore Guilbeau
Illustrated in American Art Review, August 2014, page 84 in an article by Dr. M...
Category
1930s American Modern Figurative Drawings and Watercolors
Materials
Watercolor
Verse 1 through Verse 60
Located in Fairlawn, OH
Verse 1 through Verse 60
From: Leyli o Majnun by Nizami Ganjavi (1141-1209CE)
This folio comprises the first 60 verses of the epic Persian poem
“The masnavi of Leyli va Majnun (4,60...
Category
Early 1600s Other Art Style Drawings and Watercolor Paintings
Materials
Pigment
Untitled (Plate 3)
By Terry Haass
Located in Fairlawn, OH
From: Kaleidoscope (6 plates)
Signed and numbered in pencil
Edition: 100 (3/100)
Printer: Lacouriere et Frelaut Imprimeur, Paris
Paper: BFK RIVES watermark on some sheets from the se...
Category
1970s Abstract Abstract Prints
Materials
Aquatint
Untitled (Plate 6)
By Terry Haass
Located in Fairlawn, OH
Signed and numbered in pencil
From: Variations (8 plates)
Edition: 100 (56/100)
Printer: Frelaut et Lacouriere Imprimeur, Paris
Paper: BFK RIVES watermark on some sheets from the ser...
Category
1970s Abstract Abstract Prints
Materials
Etching
untitled (Maine Autumn Landscape across the narrows from Mt. Desert)
By Greta Allen
Located in Fairlawn, OH
untitled (Maine Autumn Landscape across the narrows from Mt. Desert)
Watercolor, 1945-1955
Signed by the artist lower left in pencil (see photo)
Provenance: Estate of the artist
Cond...
Category
1940s American Impressionist Landscape Drawings and Watercolors
Materials
Watercolor
Lola De Valence
By Édouard Manet
Located in Fairlawn, OH
Lola De Valence
Etching, 1862
Signed in the plate lower left: “Ed Manet”
Printed on chine collee paper, without watermark
From the first edition, published by Cadart and Luquet, Paris, before the removal of the inscription “ Ed. Manet sculpt”
From the 1863 edition, before the 1874 Portfolio, 1890 Portolio. 1894 Dumont edition and the Strolin edition of 100 in 1905
Pencil inscription with title below the plate in the lower margin
Conditiono: Excellent
Image size: 10 7/8 x 6 7/8 inches
Plate size: 18 3/4 x 13 inches
Reference: Harris-Manet 33 iii/III
Guerin-Manet 23 vi/VIII
The painting that this etching is inspired by is in the collection of the Musee d'Orsay, Paris.
"Lola de Valence is a painting by the painter Édouard Manet in 1862 . The canvas represents a dancer dressed intraditional Spanish clothes...
Category
1860s Impressionist Figurative Prints
Materials
Etching
Gants de Suede
By James Abbott McNeill Whistler
Located in Fairlawn, OH
Gants de Suede (Suede Gloves)
Lithograph, 1890
Signed in the stone with the butterfly signature (see photo)
Published in: The Studio 3, No. 13 (16 April 1894)
Printed by Way in an edition of 3000 impressions, with the blind stamp of The Studio, London lower left
Stone polished out in 1904
Condition: Excellent
Image size: 8 1/2 x 4 inches
Sheet size: 11 5/8 x 8 1/4 inches
Reference: Spink/Tadeschi 35, published state
"Gants de Suede is a portrait of Whistler’s sister-in-law, Ethel Birnie Philip. Whistler was apparently pleased with this lithograph, for after a small number of impressions were printed he agreed that it could be published by The Studio, an art magazine that had recently been launched; it appeared as part of a special issue." Harris Schrank
Category
1890s Aesthetic Movement Figurative Prints
Materials
Lithograph
WARNING! Register*Vote, INFLATION means DEPRESSION
By Ben Shahn
Located in Fairlawn, OH
WARNING! Register*Vote, INFLATION means DEPRESSION
Photo lithograph, 1946
Signed in the image lower left
Published by CIO (Congress of Industrial Organizations) before their merger w...
Category
1940s American Realist Figurative Prints
Materials
Offset
Duomo (Florence)
By Julian Trevelyan
Located in Fairlawn, OH
Duomo (Florence)
Etching & aquatint , 1965-66
Signed, titled and annotated "artist's proof" (see photos)
Edition: 100, this impression an artist's proof
Reference: Silvie Turner. Julian Trevelyan Catalogue Raisonne of Prints.November 1, 2010. Reprint, Lund Humphries, 2010., No. 174
Provenance: Elizabeth Carrol Shearer, former President of the Print Club of Cleveland
He moved to Paris to become an artist, enrolling at Atelier Dix-Sept, Stanley William Hayter's engraving school, where he learned etching. He worked alongside artists including Max Ernst, Oskar Kokoschka, Joan Miró and Pablo Picasso.
In 1935, Trevelyan bought Durham Wharf, beside the River Thames in Hammersmith, London. This became his home and studio for the rest of his life and was a source of artistic inspiration to him. He became a confirmed Surrealist and exhibited at the International Surrealist Exhibition, held at the New Burlington Galleries in London.
From 1950 to 1955, Trevelyan taught history of art and etching at the Chelsea School of Art.
From 1955-63, Trevelyan worked at the Royal College of Art and became Head of the Etching Department. Because of his enthusiasm in his work and the desire to share it with others, Trevelyan became a highly influential teacher, with students including David Hockney, Ron Kitaj...
Category
1960s Contemporary Landscape Prints
Materials
Etching
Blue Rythms (Agerup 188) after the 1966 painting, Peinture.
By Zao Wou-Ki
Located in Fairlawn, OH
Blue Ruthms (Agerup 188)
after the 1966 painting, Peinture.
Etching with aquatint, 1968
Signed, dated and numbered in pencil (see photos)
Edition: 95 (74/95)
Plate: 17 1/2 x 21 1/2"
...
Category
1960s Abstract Abstract Prints
Materials
Aquatint
French Iris I
By Donald Sultan
Located in Fairlawn, OH
French Iris I
Reducutve color woodcut, 1982
Unsigned
Stamped verso “Imprimerie Arnera Archives/Non Signe”
From: Tramp Picture series
"The printer was Claude Jinchat at Imprimerie Arn...
Category
1980s Contemporary Still-life Prints
Materials
Linocut
French Stacks
By Donald Sultan
Located in Fairlawn, OH
French Stacks
Linocut printed in color
Unsigned
Stamped verso “Imprimerie Arnera Archives/Non Signe”
Printer: Jaime Arnera, Vallarius, France (their stamp verso)
Condition: Printed ...
Category
1980s Abstract Expressionist Landscape Prints
Materials
Linocut
Daureen, II
By Nell Blaine
Located in Fairlawn, OH
Daureen, II
Etching, 1969
Signed in pencil lower right
Edition: 28 (17/28)
Condition: Excellent
Two hinges from previous matting
Blaine studied etching at Atelier 17 in New York and considered one of their distinguished alums.
"Blaine was foremost an abstract painter, first a student of Theresa Pollak...
Category
1960s Impressionist Figurative Prints
Materials
Etching
Untitled (Hot Air Baloon Ascent and Spectators)
By Joseph O'Sickey
Located in Fairlawn, OH
Untitled (Hot Air Balloon Ascent and Spectators)
Sepia wash on wove paper, 1985
Signed and dated in ink lower right corner
From the artist's 1985 sketchbook
Probably a view of Cape C...
Category
1980s American Modern Landscape Drawings and Watercolors
Materials
Ink
Mountain and Sky, Deer Island, Maine
By Joseph O'Sickey
Located in Fairlawn, OH
Mountain and Sky, Deer Island, Maine
Watercolor on paper, 1985
Signed in ink lower right corner
From the artist's 1985 sketchbook
Done while at their summer home in Deer Island, Main...
Category
1980s Abstract Impressionist Landscape Drawings and Watercolors
Materials
Watercolor
Plum Branches and Flowers
By Joseph O'Sickey
Located in Fairlawn, OH
Plum Branches and Flowers
watercolor on wove paper, 1985
Signed and dated in pencil lower right corner
From the artist's 1985 sketchbook
Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy.
Provenance: Estate of the artist
Condition: Excellent
Image/Sheet size: 13 5/8 x 17 inches
Joseph B. O’Sickey, Painter
1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS
The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows.
O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.”
Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.”
“The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.”
When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.”
O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.”
Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes.
As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...
Category
1980s Contemporary Still-life Drawings and Watercolors
Materials
Watercolor
Napoleon a Bautzen
By Hippolyte Bellangé
Located in Fairlawn, OH
Napoleon a Bautzen
Lithograph, 1822
Signed in the stone (see photo)
From: Arnault, A. V.
Vie Politique et Militaire de Napoleon (120 plates)
Published, Paris, Librairie Historiquem 1...
Category
1820s Romantic Figurative Prints
Materials
Lithograph
Napoleon a Batille de Dresde
By Hippolyte Bellangé
Located in Fairlawn, OH
Batille de Dresde
Lithograph, 1822
From: Arnault, A. V.
Vie Politique et Militaire de Napoleon (120 plates)
Published, Paris, Librairie Historiquem 1822
Printed by C. Motte, Paris
Co...
Category
1820s Romantic Figurative Prints
Materials
Lithograph
Napoleon Standing
Located in Fairlawn, OH
Napoleon Standing
Lithograph, 1822
Signed in the stone lower left corner of image (see photo)
From: Arnault, A. V.
Vie Politique et Militaire de Napoleon (120 plates)
Published, Paris, Librairie Historiquem 1822
Printed by C. Motte, Paris
Considered to be the major pictorial treatise on Napoleon and his military conquests.
Image size: 14 x 9 3/4 inches
Sheet size: 23 5/8 x 17 3/4 inches
Condition: Very good
Horizontal prints...
Category
1820s Romantic Figurative Prints
Materials
Lithograph
Untitled
By Andre Minaux
Located in Fairlawn, OH
Unsigned
Edition: Large edition as published and bound into the catalog raisonne of the artist's lithographs
From: Minaux Lithographe
Published by Leon Amiel, Paris
Printed by Fe...
Category
1970s Portrait Prints
Materials
Lithograph
untitled (Still Life with Cup and Horn)
By Tomoe Yokoi
Located in Fairlawn, OH
untitled (Still Life with Cup and Horn)
Color mezzotint, c. 1980
Numbered and signed in pencil by the artist (see photos)
Edition: 100 (53/100)
Published by John Szoke Graphics, New ...
Category
1980s Contemporary Still-life Prints
Materials
Mezzotint
West Gouldsboro (Looking Across Mt. Desert Narrows)
By Greta Allen
Located in Fairlawn, OH
West Gouldsboro (Looking Across Mt. Desert Narrows)
Watercolor on paper, c. 1945-1955
Unsigned
Provenance: Estate of the Artist
Condition: Excellent
Image/Sheet size: 9 7/8 x 12 1/2 inches
Regarding the Maine subject matter of her watercolors, we know that Allen taught art in West Gouldsboro, ME, located near Arcadia National Forest. This watercolor was most probably done in that vicinity.
A local Maine newsletter mentions “the artist Greta Allen’s house” as artist residing in West Gouldsboro, Maine in a house formerly owned by James Hill. West Gouldsboro is located just east of the Mt. Desert Narrows, across Frenchman Bay from Mt. Desert Island and Arcadia National Park.
Please see attached images for detailed information about the artist's life and time in Maine.
Greta Allen, who is sometimes listed under her married name Dietz, was born in Boston in 1881. At the Massachusetts Normal Art School she took elementary lessons from Joseph R. DeCamp, then Frank Benson was her teacher at the School of the Museum of Fine Arts, Boston. Although her work seems to be only in private collections today, Allen exhibited at the Boston Art Club, at the Copley Society...
Category
1940s American Impressionist Landscape Drawings and Watercolors
Materials
Watercolor
Russian Orthodox Church, Middle 19th Century
Located in Fairlawn, OH
Unknown Russian Artist
Russian Orthodox Church, Middle 19th century
Unsigned
Illuminated in red, yellow blue and green pigments and gold leaf on paper
An Illuminated manuscript folio...
Category
Mid-19th Century Old Masters Abstract Paintings
Materials
Pigment
Untitled Abstraction
By Medard P. Klein
Located in Fairlawn, OH
Untitled Abstraction
Graphite on paper. c. 1946
Unsigned
Provenance: Estate of the Artist
Inherited by his neighbor/caregiver
Condition: Staining at corners
...
Category
1940s Abstract Abstract Drawings and Watercolors
Materials
Graphite
Reclining Nude on Bed
By Rudolf Bauer
Located in Fairlawn, OH
Reclining Nude on Bed
Lithograph, c. 1910
Signed in pencil lower right and in the plate, lower right
Image size: 7-1/4 x 13"
Sheet size: 12 1/2 x 19 inches
Condition: very good
Some aging to the tan paper
Provenance: Estate of the Artist
Borghi & Company, New York
Rudolph Bauer
1889-1953
Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'.
From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art.
Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...
Category
1910s Jugendstil Nude Prints
Materials
Lithograph
Cover illustration for Die Graphischen Kunste, Volume 22
By Henri Riviere
Located in Fairlawn, OH
Cover illustration for Die Graphischen Kunste, Volume 22
Color lithograph, 1899
Signed with the artist's initials lower center (see photo)
From: The Graphic Arts, Volume 22, 1899
...
Category
1890s Art Nouveau Landscape Prints
Materials
Lithograph
Untitled (Plate 2) DLM
By Alexander Calder
Located in Fairlawn, OH
Untitled (Plate 2) DLM
Color lithograph, 1963
Unsigned and unnumbered (as issued)
From: Derriere le Miroir, No. 141
Published by A. Maeght, Paris
Printer: Mourlot Freres, Paris
Note...
Category
1960s American Modern Abstract Prints
Materials
Lithograph
Spiral of Time II
By Harry Nadler
Located in Fairlawn, OH
Spiral of Time II
Mixed media with acrylic on paper, 1986
Signed lower right (see photo)
Condition: Excellent
Image size: 35 x 15 1/2 inches
Provenance: Peter Marciniak, New Hampshire
Distinguished Midwest Private Collection
Select Exhibition:
1991 Franz Bader Gallery, Washington, D.C. (solo)
1980 Guggenheim Museum, New York, NY
1974 Bertha Schaefer Gallery; New York, NY (solo)
1972 Childe Hassam Purchase Show, National Institute of the Arts and Letters
1971 "The Turkish Bath of Ingres,” Louvre Museum, Paris, France
1971 Guest Artist, Tamarind Institute; Albuquerque, NM
1970 “American Drawings of the Sixties,” New School Art Center; New York, NY
1966 Dorsky Gallery, New York, NY (solo)
1962 Dwan Gallery; Los Angeles, CA (solo)
1959 Dwan Gallery, Los Angeles, CA (solo)
Museum Collection:
Smithsonian American Art Museum
Albuquerque Museum, Albuquerque, NM
Cincinnati Art Museum, Cincinnati, OH
Detroit Institute of Arts, Detroit, MI
Fine Arts Museum, Santa Fe, NM
Guggenheim Museum, New York, NY
University of New Mexico Art Museum, Albuquerque, NM
Oklahoma Art Center, Oklahoma City, OK
Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Storm King Art Center, Mountainville, NY
Wesleyan University, Middletown, CT
Harwood Museum of Art, Taos
"An abstract painter who lived in New York City; Amagansett, Long Island, and Albuquerque, New Mexico, Harry Nadler is described as a "formalist abstract painter of the 1960s-90s whose works were marked by their rich colors, transparencies, and labyrinthine constructions. —The attempt to capture in a purely abstract imagery the quintessential quality of light and contour that emanate from a particular landscape is a hazardous pictorial ambition, but Mr. Nadler has met the challenge of this problem with remarkable success.˜ (Hilton Kramer, The New York Times, April 27, 1974)
Noted Fine Print Publications: Lincoln Center/Fine Art Prints,1990, "Live From Lincoln Center", screen print,edition72
Harry Nadler Biography
DESCRIPTION WITHOUT PLACE
A story Harry told me that he felt was a metaphor for his life and work was about his "golden bird." One day, when he was eight, he was walking home from school, a dangerous task for a Jewish boy in East Los Angeles in the '30s. He carried a painting he had made in school. He had to walk through a dark tunnel and was afraid. His painting of a beautiful, golden bird, radiating tropical colors, shone in the dark and he lost all his fear. The image of beauty, flight, darkness, and the power of his own image-making, stayed with him his whole life.
He discovered a kind of freedom in school; he graduated when he was 16, went to art school, supported himself as an illustrator for a newspaper; then discovered a wide new world of literature and fine arts at the University of California, Los Angeles. He earned a B.A. and an M.A., and his talent as an artist manifested itself in teaching assistantships and in painting awards and early shows. His affinity for European painting was strong, and he yearned to go to New York and immerse himself in the museums and in the current work being done by the abstract expressionists.
Awarded a Fulbright Scholarship to Spain in 1960, Harry fulfilled his dream of traveling to Europe and studying Goya's Disasters of War at the Prado. His commitment to finding a visual language to express his deep ethical concerns began at this time. He produced a series of works dedicated to the victims of the Holocaust and called the Buchenwald Landscapes and exhibited this body of work at the end of his year in Spain. He agonized over it, feeling that the imagery was too literal. He was searching for something--a formal instrument that reached a meaning beyond the obvious horror of the subject matter.
On his return to the United States, he relocated to New York City, believing that his artistic roots lay there. He first made a living by teaching extension courses, while studying great paintings in the city's museums, participating in the current art world and developing his own work.
Between 1961 and 1965, Harry made paintings of strange spaces filled with autobiographical objects. The poetry of Wallace Stevens powerfully affected him especially. For Harry, the activity of painting was a way of connecting separate realities. The work of imagination, metaphor, or "seeming" as Stevens described it, takes place in the gap between disparate elements, making connections of meaning on a deeper level. In this gap, he struggled to formulate with precision his understanding of his tools: his materials, his knowledge of philosophy and art history, his religious tradition, his life experience. In this gap, he lived with the anxiety of knowing, with faith in a process larger than himself. And he worked. Geometry became a way of speaking about ultimate purity, wholeness, relatedness; the sensuous material of paint and the particular way he combined those materials became a way of expressing the quality of his own experience.
He named a painting series Description Without Place, in honor of Stevens. In this series, windows and boxes hold images of experience (painted objects, that both separate and merge the spaces of the painting. He combines images of crucifixion and blackness, with the vitality of life in both object and color. The breaking of edges and boundaries, merging the spatial and the temporal, continued throughout his life.
In 1965, he was offered a teaching position at Wesleyan University in Connecticut. There he began his series, Homage to Ingres, shown in New York City in 1969, followed by a sports series...
Category
1980s Abstract Abstract Paintings
Materials
Mixed Media
Cobalt Glass Vase with "Lily Pad" Pattern
By Harry Boyer
Located in Fairlawn, OH
Cobalt Glass Vase with "Lily Pad" Pattern
Signed " Boyer" on foot
Size: 3 1/4 x 4 3/4 inches
Harry Boyer is a famous glass blower located in Harbor Springs...
Category
Early 2000s Contemporary Abstract Sculptures
Materials
Blown Glass
The White Gate (New Castle, Delaware)
By Stow Wengenroth
Located in Fairlawn, OH
The White Gate (New Castle, Delaware)
Lithograph, 1961
Signed in pencil lower right (see photo)
Numbered and title in the lower left (see photos)
Condition: Excellent
Image size: 15 ...
Category
1960s American Realist Landscape Prints
Materials
Lithograph
Hidden Pond
By Stow Wengenroth
Located in Fairlawn, OH
Hidden Pond
Lithograph, 1958
Signed in pencil lower right of image
Annotated: Ed/40 in pencil by the artist lower left
Edition: 40
Provenance:
Baldwin-Wallace College, Berea, OH (acc...
Category
1950s American Realist Landscape Prints
Materials
Lithograph
Memory and Metaphor, The Art of Romare Bearden
By (after) Romare Bearden
Located in Fairlawn, OH
Original glossy poster, Published for the Studio Museum, Harlem, for the exhibition, April 14 - August 1, 1991.
Note: This poster was created for the national touring exhibition org...
Category
1990s Cubist Figurative Prints
Materials
Lithograph
The Century Magazine
By Edward Henry Potthast
Located in Fairlawn, OH
After Edward Henry Potthast
July 7, 1896
Printed by W.B. Orcutt Co., NY
Note: This image won an honorable mention in a poster contest sponsored by The Century in 1896. As a result...
Category
1890s Art Nouveau Portrait Prints
Materials
Lithograph
untitled
By Peter Marks
Located in Fairlawn, OH
Unsigned
Provenance:
Estate of the artist
Dimensions:
Sheet: 17 x 14";
Image: 5 5/8 x 3 3/4"
Peter Marks (1935 -2010)
Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the High School of Music and Art in 1952 and Amherst College in 1956.
After a brief stint as a graphic designer in publishing, Marks became a private art dealer and opened his gallery Peter Marks Works of Art, Inc. in 1960. During this time he specialized in the sale of Southeast Asian and Islamic antiquities and made many contributions to the field both as a dealer and an advocate of his profession. Above all, Marks was motivated by a strong desire to find great art and make it available to large audiences.
After retiring from art dealing in 2002, Marks transformed his Manhattan gallery space into a studio where he drew prolifically and painted large non-objective canvasses. This time in his studio was a happy one for Marks, who viewed this period of his life not as retirement, but rather fulfillment, a fact that is confirmed by passionate artistic output in the years leading up to his passing in 2010.
In 2012, Thomas French...
Category
Early 2000s Abstract Photography
Materials
Mixed Media, Photographic Paper
untitled
By Peter Marks
Located in Fairlawn, OH
Untitled
Collage made of foil, golf leaf and marbled book papers, c. 2004
Unsigned, from the Estate of the artist.
Image size: 8 5/8 x 10 inches
Sheet size: 14 x 17 inches
Peter Marks (1935 -2010)
Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the High School of Music and Art in 1952 and Amherst College in 1956.
After a brief stint as a graphic designer in publishing, Marks became a private art dealer and opened his gallery Peter Marks Works of Art, Inc. in 1960. During this time he specialized in the sale of Southeast Asian and Islamic antiquities and made many contributions to the field both as a dealer and an advocate of his profession. Above all, Marks was motivated by a strong desire to find great art and make it available to large audiences.
After retiring from art dealing in 2002, Marks transformed his Manhattan gallery space into a studio where he drew prolifically and painted large non-objective canvasses. This time in his studio was a happy one for Marks, who viewed this period of his life not as retirement, but rather fulfillment, a fact that is confirmed by passionate artistic output in the years leading up to his passing in 2010.
In 2012, Thomas French...
Category
Early 2000s Abstract Mixed Media
Materials
Mixed Media
Annual Edition, 1994
By Richard Anuszkiewicz
Located in Fairlawn, OH
Annual Edition, 1994
Screen print, 1994
Signed and dated in pencil by the artist.
Small edition
Dedicated in pencil by the artist "For Bart and Ann"
Created as a gift to the artist'...
Category
1990s Op Art Abstract Prints
Materials
Screen
Black and White Cat
By Sam Spanier
Located in Fairlawn, OH
Black and White Cat
Ink and watercolor on paper, c. 1970
Unsigned
Provenance:
Estate of the artist (Estate No. 737)
Condition: Excellent
Image/Sheet size: 4 3/4 x 6 1/4 inches
Sam Spanier (1925-2008)
Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann.
By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period.
Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed.
As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired.
Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007.
Selected Solo Exhibitions:
Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999).
Selected Group Exhibitions:
Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955);
Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004).
Selected Writings on the Artist:
Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News...
Category
1970s Abstract Abstract Drawings and Watercolors
Materials
Ink, Watercolor
The Dutiful Youth of Mino Province Collecting Wood to Warm His Old Father
By Utagawa Kuniyoshi
Located in Fairlawn, OH
The Dutiful Youth of Mino Province Collecting Wood to Warm His Old Father
Color woodcut, c. 1842-43
Signed and sealed lower right (see photo)
From the Series: "Honcho nijushi-ko" (Tw...
Category
1840s Other Art Style Figurative Prints
Materials
Woodcut
Standing Male Nude, Arms Upraised (Kouros)
By Gaston Lachaise
Located in Fairlawn, OH
Standing Male Nude, Arms upraised (Kouros)
Graphite on wove paper, c. 1930
Signed lower right (see photo)
Possibly exhibited in May 8-June 1,1973 at Alan Stone Gallery entitled Eroti...
Category
1930s American Modern Nude Drawings and Watercolors
Materials
Graphite
Derriere Le Miroir-Page 11
By Alexander Calder
Located in Fairlawn, OH
Derriere Le Miroir-Page 11
Color lithograph, 1973
Unsigned (as issued)
From: Derriere Le Miroir, No. 201, January 1973
Publisher: Maeght Editeur, Paris
Printer: L’Imprimerie Arte, Ad...
Category
1970s French School Prints and Multiples
Materials
Lithograph
Untitled
By Alexander Calder
Located in Fairlawn, OH
Untitled
Color lithograph, 1959
Unsigned (as issued)
From: Derriere Le Miroir, No. 113, 1959
Publisher: Editions Pierre a Feu
Editor: A. Maeght
Small edition as it appeared in the ma...
Category
1950s Abstract Abstract Prints
Materials
Lithograph
Taurus-The Bull
By Eugène Grasset
Located in Fairlawn, OH
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters without the calendarium as published
Very ra...
Category
1880s Art Nouveau Prints and Multiples
Materials
Lithograph
Virgo-The Virgin
By Eugène Grasset
Located in Fairlawn, OH
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters without the calendarium as published
Very ra...
Category
1880s Art Nouveau Prints and Multiples
Materials
Lithograph
Gemini-The Twins
By Eugène Grasset
Located in Fairlawn, OH
Signed in the right center edge of the image
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters...
Category
1880s Art Nouveau Prints and Multiples
Materials
Lithograph
Cancer-The Crab
By Eugène Grasset
Located in Fairlawn, OH
Cancer-The Crab
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters without the calendarium as p...
Category
1880s Art Nouveau Prints and Multiples
Materials
Lithograph
Aquarius-The Water Bearer
By Eugène Grasset
Located in Fairlawn, OH
Aquarius-The Water Bearer
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters without the calend...
Category
1890s Art Nouveau Prints and Multiples
Materials
Lithograph
Pisces-The Fish
By Eugène Grasset
Located in Fairlawn, OH
Pisces
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters without the calendarium as published
...
Category
1880s Art Nouveau Prints and Multiples
Materials
Lithograph
Bois Frissonnants, Ciel Etoile
Located in Fairlawn, OH
Bois Frissonnants, Ciel Etoile
Color lithograph, 1893
Signed in pencil lower right
Edition: 100 (90/100)
Published by Andre Marty in L'Estampe Originale, Paris, with their embossed s...
Category
1890s Art Nouveau Figurative Prints
Materials
Lithograph
Leo-The Lion
By Eugène Grasset
Located in Fairlawn, OH
From: Les Douze Mois de 1889
As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui.
Published by Sagot, Paris
Proof before letters without the calendarium as published
Very ra...
Category
1880s Art Nouveau Prints and Multiples
Materials
Lithograph
An Eagle Ceremony at Tesuque Pueblo
By Gustave Baumann
Located in Fairlawn, OH
An Eagle Ceremony at Tesuque Pueblo
Woodcut printed in two colors, 1932
Unsigned as usual; initialed in the plate lower left (see photo)
As published by Elmer Adler in "The Colophon:...
Category
1930s American Modern Landscape Prints
Materials
Woodcut
Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano
By Giovanni Battista Piranesi
Located in Fairlawn, OH
Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano (View of the Exterior of St. Peter's Basilica in the Vatican)
Etching, 1748
From the first printing of the "Vedute di...
Category
1740s Old Masters Landscape Prints
Materials
Etching
Homme nu avec femme ivre et jeune flutiste
By Pablo Picasso
Located in Fairlawn, OH
Homme nu avec femme ivre et jeune flutiste
Etching, 1955
Signature stamp lower right (see photo)
Annotated in penci lower leftl: "epreuve d'artiste" (see photo)
Inventory number vers...
Category
1950s Modern Nude Prints
Materials
Etching
Ecce Homo VII
By Werner Drewes
Located in Fairlawn, OH
Ecce Homo VII
Woodcut, 1921
Signed, titled, and dated in pencil by the artist
One of only three known impressions
Created while the artist was studying at the Bauhaus in Weimar, Germ...
Category
1920s Expressionist Abstract Prints
Materials
Woodcut
Man Sounding Horn (Psalm 150)
By Ben Shahn
Located in Fairlawn, OH
Man Sounding Horn (Psalm 150)
Lithograph, 1969-1970
Estate signed: "Ben Shahn/by B.B. Shahn" in pencil lower center
Stamped signature lower right (see photo)
Signed by Mourlot Lith. in pencil lower right (see photo)
Edition: 125 (67/125) see photo
Psalm 150, "A Hallelujah Chorus"
Published by Kennedy Graphics, Ltd., New York, NY
Printed by Mourlot Graphics, Ltd., New York, NY
Reference: Prescott 255
Kennedy Galleries, The Kennedy Graphics, 380, reproduced
Condition: Very good
Image/sheet size: 20 1/8 x 25 3/8 inches
A posthumous print
"This was the final project completed by Ben Shahn (1898-1969), leading American realist painter and muralist widely recognized for his socially conscious works. Born in Lithuania to Jewish parents, Shahn emigrated to the United States in 1906 and became a popular and versatile artist who worked in a variety of media and on a range of projects. His credits are as varied as assistant to muralist Diego Rivera, photographer for the Resettlement Administration (alongside the likes of Dorothea Lange and his friend, Walker Evans), maker of posters for the Office of War Information during WWII, and commercial artist for CBS. He is best known, however, for artwork depicting left-leaning political ideals and highlighting social concerns, such as his series of gouache paintings known as "The Passion of Sacco and Vanzetti...
Category
1960s American Modern Figurative Prints
Materials
Lithograph
Untitled (Double sided watercolor) Recto: Figures seated at a table
By Ben Shahn
Located in Fairlawn, OH
Watercolor on paper
Most probably related to the artist's creation of images surrounding Haggadah (Passover) which he started in 1930 and finished with the publication of his book in...
Category
1960s American Modern Figurative Drawings and Watercolors
Materials
Watercolor
Hai (Abba) (Hebrew translation: Hey Father)
By Louis Lozowick
Located in Fairlawn, OH
Hai (Abba) (Hebrew translation: Hey Father)
Signed in ink lower left by the artist’s widow “AL” (Adele Lozowick)
Original label from early exhibition verso at The Art Corner
Graphit...
Category
1960s American Modern Abstract Drawings and Watercolors
Materials
Graphite