Thomas French Fine Art

Nickle Drawing Ink and watercolor on laid paper, 1982 Signed and dated lower right in ink The title references a comment that her husband, David Smith, made regarding her drawings. He said that they were only worth a nickle and the name stuck even thought her works are highly prized. The dating of this work reflects the date inscribed on the watercolor. The style and black ink lines with dots terminating the line is a compositional device the artist used in the 1950's. Condition: Very fine/excellent 4 old hinge residue in the corners verso from previous matting Sheet/image size: 7 1/2 x 4 7/8 inches Dorothy Dehner (1901-1994) Painter, sculptor, art writer, and poet, Dorothy Dehner explored abstraction, cubism, realism and surrealism during her artistic journey. Early in her career she was known for painting and for large-cast metal sculptures, but in the 1950s and 1960s, turned increasingly to wood cut into hard-edge geometric shapes. From 1950, she lived primarily in New York City. Dorothy Dehner was born in 1901 in Cleveland, Ohio, but, as a teenager in 1916, moved to Pasadena, California when her parents died. Her artistic interests were initially in acting. She majored in drama at UCLA for the school year of 1922-1923, then moved to New York City to study acting at the American Academy of Dramatic Art. After travel to Europe in France, Italy and Switzerland in 1925, where she saw Cubist and Fauve paintings as well as the great art of the ages, Dehner entered the Art Students League to study sculpture, but switched to painting because she felt the former was bound in academic formula. She studied drawing with Kimon Nicolaides and painting with Kenneth Hayes Miller. In 1929, she studied painting with Jan Matulka. Meeting artist John Graham in that year, he introduced her to Milton Avery, Stuart Davis and Arshile Gorky. She would also take art courses years later at Skidmore College in 1951. Dehner married sculptor David Smith in 1927. She was evidently very helpful in his artistic growth, but friction would develop because Smith allegedly saw his wife as artistic competition. Although she painted and drew Cubist and Surrealist works during their marriage, and realistic ones of life on their Bolton Landing, New York farm during the period 1941 to 1944, Dehner would essentially put her exhibition life on hold until their divorce in 1952. Meanwhile, they traveled to Europe in 1935. She later wrote about Smith, as well as painter John Graham and Jan Matulka, her teacher. Although she had shown in the 1946 Audubon Artists exhibition, winning first prize in drawing, and in the Whitney Annual of 1951, it was the year of her divorce, 1952, that Dehner had her first one-person exhibition at the Rose Fried Gallery...

Ecce Homo Plate X Woodcut, 1921 Signed, titled, and dated in pencil by the artist (see photos) Edition: One of two known impressions This image wwas unknown to the catloger Ingrid Ro...

La Pointe de Bretteville Color lithograph, 1899 Signed in the stone upper right Publisher: Sagot, Paris Edition: Edition: about 200 (per Arwas) Referenc...

Vision Antique Color lithograph, 1899 Signed in the stone upper left (see photo) Titled in the stone lower right (see photo) Edition: unsigned edition about 200 (per Arwas) Published...

Les Amateurs d'Estampes Woodcut, 1892 Initialed in the plate lower left Titled below image: "Gravure originale sur bois par F. Vallotton" Reference: Valloton and Goerg 107c, with the purple address stamp upper right center (see photo) Condition: Excellent Aging to sheet One spot of printers ink outside of the image in the upper margin Block size: 7 3/8 x 10 inches Sheet size: 10 1/8 x 12 3/4 inches Condition: Very good, aging (yellowing) to the paper Provenance: Edmund Sagot (1881-1917), noted Parisian art dealer and print publisher By decent Vallotton was a noted member of the Nabi, highly regarded for his paintings and original woodcuts. His works are in most major museums. Thank you for your interest in the Vallotton woodcut, Les Amateurs d’Estampes (Print Lovers). It depicts print collectors admiring the new offerings in the window of the Sagot Gallery in Paris. The woodcut is the second published version of the address card for Edmund Sagot the noted Paris art gallery with the change of address in lavender ink. It had moved and hence the change of address was necessary for publicity. The woodcut was created in 1892. It is unsigned as all the address cards are. There are two size variants, this being the larger of the two. It is printed on a tan wove paper. It is in excellent original condition. The provenance is from the Heirs of Edmund Sagot (1857-1917). by decent. The Sagot family was noted for selling posters, fine prints and original works of art. Edmund’s brother Clovis, was Picasso’s first dealer in Paris. The image is documented in the Vallotton and Goerg catalog raisonne in entry 107c Impressions of this image can be found in many museums including: Bibliothèque nationale de France De Young/Legion of Honor/Fine Art Museums of San Francisco Newfields, Indianapolis Museum of Art National Gallery of Australia Musee Des Beaux-Arts du Canada Van Gogh Museum Museum of Fine Arts, Houston Portland Art Museum Kunst Museum, Holland Philadelphia Museum of Art Yale University Art Gallery Félix Vallotton, in full Félix Edouard Vallotton, (born December 28, 1865, Lausanne, Switzerland—died December 28, 1925, Paris, France), Swiss-born French graphic artist and painter known for his paintings of nudes and interiors and in particular for his distinctive woodcuts. Vallotton was raised in a traditional bourgeois and Protestant household. After completing secondary school, he left Lausanne in 1882 for Paris to pursue art studies. Though he was accepted by the École des Beaux-Arts, he chose to attend the less traditional Académie Julian, where he studied with French painters Jules Lefebvre and Gustave Boulanger and enjoyed virtually free rein over his pursuits. He took the opportunity to study graphic arts—lithography and other methods of printmaking. He exhibited publicly for the first time in 1885 at the Salon des Artistes Français—the oil painting Portrait of...

Isaiah's Prayer Etching, c. 1931-1939 Signed in the plate (see photo) Plate No. 99 From: La Bible. L'Ancien Testament (105 plates) Edition of 275 unsigned (there were an additional 2...

Untitled (Martha Jackson Gallery Poster) Lithograph, 1960 Signed and dated in red crayon by the artist Edition 90 (63/90) 1st state before letters for the poster created for the Martha Jackson Gallery, Ting Exhibition, April 23-May 31, 1960 Printed on wove paper with a ”JAPAN' watermark Edition: 90 Provenance: Martha Jackson Gallery, New York Anderson Gallery David K. Anderson Collection (label) Walasse Ting (Chinese: 丁雄泉, 13 October 1929 – May 17, 2010)[1] was a Chinese-American visual artist and poet. His colorful paintings have attracted critical admiration and a popular following. Common subjects include nude women and cats, birds and other animals. He was born on 13 October 1929 in Shanghai, left China in 1946 and lived for a while in Hong Kong, then settled in Paris in 1952.[2] There, he associated with artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group CoBrA. Ting started his career as an artist in Paris in the 1950s, where he became friends with artists such as Sam Francis and Pierre Alechinsky. His early works were influenced by the CoBrA group, a European art movement known for its use of expressive, childlike imagery. In the 1960s, Ting moved to New York City and became associated with the Pop Art movement. Ting is perhaps best known for his series of paintings featuring women, which he called "Cat Women...

Haystack #5 Color lithograph and screen print, 1969 Signed and dated in pencil (see photo) From: Haystack Series (seven plates) see photo of entire portfolio Signed and dated in pencil Edition: 100 (74/100) Publisher: Gemini G.E.L., Los Angeles, CA, with their blaindstamp Reference: Paul Bianchini No. 33e Corlett and Fine 69 Condition: Excellent Fresh colors Small paper imperfection in bottom margin near the edge of the sheet Image size: 13 1/4 x 23 3/8 inches Sheet size: 20 ¾ x 30 ¾ inches Frame size: 23 ½ x 33 ¾ inches This is one of the finest images in the portfolio, inspired by Claude Monet's famous series of Haystack paintings...

Meditation and Minou Color lithograph and serigraph, 1980 Signed and numbered in pencil (see photo) Printer Styria Studio, Inc. New York Publisher: Harry Abrams...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing with the price in the lower right corner. Printed on a Double Circle Fleur de Lys watermark paper, c. 1760, with full margins. A brilliant impression . Note: A view of the Tiber River, Castello Sant' Angelo and St. Peter's Basilica in the distance. Watermark: Double Circle Fleur de Lys References: Robison c/g Hind 29 ii/VII Foclllon 793 Condition: A Roman printing before the numbers added in Paris. Printed on a Double Circle Fleur-de-Lys watermark paper. Right margin folded over 5/8 inches for framing. Usual centerfold as issued in the album. Slight aging to the sheet. Binding holes at the left margin edge Framed with plexi. Plate size: 14 7/8 x 22 7/8 inches Sheet size: 21 5/8 x 30 5/16 inches Frame size: 22 3/4 x 33 1/2 inches Sant’Angelo Bridge, Italian Ponte Sant’Angelo, ancient (Latin) Pons Aelius, ancient Roman bridge, probably the finest surviving in Rome itself, built over the Tiber by the emperor Hadrian (reigned 117–138 AD) to connect the Campus Martius with his mausoleum (later renamed Castel Sant’Angelo). The bridge was completed about AD 135. It consists of seven stone arches and five main spans of about 60 feet (18 m) each, supported on piers 24 feet (7 m) high. In the 13th century Pope Clement IV installed an iron balustrade and in the 16th century Pope Clement VII placed statues of Saints Peter and Paul...

XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero, Etching, 1756 Signed in the plate (see photo) From: Le Antichità Roma...

St. Peter's Interior with the Nave Veduta interna della Basilica di S. Pietro in Vaticano Etching, 1748 Signed in the plate From: Vedute di Roma, Plate 5 An early Roman...

Butterfly and Heart Drawing in black felt pen over color screenprint 'spot' composition Signed in full (bottom edge) and dedicated (top edge) Dedicated by the artist Annotated in fe...

Signed and dated in ink lower center Provenance: Charlotte Bergman, noted collector and patron of Walkowitz. See photo for additional information.

Nude Oil on canvas, 1923 Signed and dated lower left: Wm. Wiessler, '23 (see photo) Condition: excellent Canvas size: 24 1/4 x 29 1/4" Frame size: 33 5/8 x 38 5/8" Provenance: Estate of the Artist Radecki Galleries, South Bend Thomas French Fine Art...

Standing Female Nude Colored chalks on tan Strathmore paper, c. 1975 Signed in chalk upper right (see photo) Condition: Excellent Housed in an 8 play acid free rag matting S...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbered: "No. 20" in pencil Printed by Thomas Way, London A beautiful impression with tonal variations in the stump work (shading) As published in: L'Estampe Originale, Paris, 1893, Album IV Edition: 107 impressions, this No. 20 There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London Lacking the huge support sheet and embossed series stamp by Charpentier With the letterpress lower left: "T. Way. Imp London" The stone erased in 1904 The majority of the lifetime impressions are in public collections Condition: Excellent condition Hinges from original issuance of L'Estampe Originale verso at top as described in Spink Three hinges residue along right edge of the sheet from a later matting of the print Image size: 8 1/4 x 6 3/8 inches Sheet size: 11 3/8 x 9 1/16 inches Reference: Spink/Tadeschi 72, published edition Levy 74 Way 46 A superb Neoclassical lithograph...

E Watercolor on Yupo paper, 2018 Signed with the artist's initials (see photo) Condition: Excellent Archival framing with OP3 Acrylic Sheet/Image size: 30 x 38 inch...

Classic Silver gelatin print on photographic paper, 2006 Signed in pencil and dated in pencil on verso (see photo) Condition: Excellent Image size: 12 78 x 9 1/2 Inches Sheet size: 1...

Nude Monotype in colors, 1936 Signed, dated, and inscribed in pencil (see photo) Annotated: "Orig. Monotype," dated Munchen 8 Sept. 1936" Condition: Excellent Image/plate size: 12 7/8 x 10 5/8 inches Sheet size: 20 1/2 x 16 5/8 inches Provenance: Frederick Baker, Inc., Chicago Hans Hermann...

Untitled Color lithograph, 1966 Unsigned as issued From:Derriere le Miroir, Volume 156 Large unsigned edition Printed by Mourlot, Paris Published by Aime Maeght, Paris Condition: Usu...

Tribute to Bix Beiberbecke Mixed media collage, 1974 Signed and titled in ink; lower right recto (see photo) Signed and dated ’74 in red crayon verso Image size: 32.5 x 22.75 inches ...

Bare Arms (The Practice #2) Drypoint on Aluminum, 2019 Signed with initials lower right Edition: 8 impressions (all uncolored), this “6 out of 8” There are also 4 AP, 2 with hand coloring Printed on Twinrocker all purpose paper Published by Thomas French Fine Art...

Flower and Pot Color mezzotint, 1983 Signed, numbered, and dated in pencil John Szoke Graphics blindstamp, lower right Edition: 150 (100/150) Image si...

Five Ideas for Sculpture Lithograph, 1981 Signed and numbered in pencil by the artist lower margin. (see photos) Edition: (35/50) 50 There were also 15 Roman Numeral artist's proofs....

Niagara Falls Lithograph, 1931 Signed lower right (see photo) Titled/edition lower left. (see photo) Edition of 25 Provenance: the Estate of the Artist Condition: Excellent Image si...

Signed by the artist in pencil upper right; Annotated in pencil by the artist below signature: "no 58" Edition: Intended edition of 100 for Vollard's "Album des Peintres-Gravures" o...

Study of Lucie (Ralph) Belin seated in an interior Graphite on paper, 1915 Signed with the estate stamp, Lugt 909b, the stamp faded from blue to brown (see photo) Provenance: Neffe-D...

La Naissance d’Annette (Birth of Annette) Color llithograph, 1899 Unsigned (as usual) Edition: 100 Publisher: Ambrose Vollard Printer: Auguste Clot, Paris Condition: Excellent with f...

Unknown Artist, France, late 19th century Anonymous c. 1900 Rondelle on antique laid paper Ink, Watercolor and or Gouache Unsigned An Art Nouveau preliminary design for a decorative ...

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

Cahiers d'art, Surrealist Composition 1 Pochoir, 1934 Unsigned as issued in Cahier's edition Published in Cahier's d'art, 1934 Unsigned Edition of 1200 There was also a pencil signed...

L'Enfant Et Le Maître Décole (The Child and the School Teacher Etching with hand coloring by Chagall, 1927-1930 Signed in the plate lower right (see photo) From La Fontaine Les Fable...

(A charming lady chatting with a lady perfect in every possible way) Signed in the plate. No pencil signed impressions are existent. Edition: 368 (including 50 imps on japan) includi...

Cleveland Center for Contemporary Art 1968/ 1983 Off-set lithographic poster, 1983 Signed in ink by the artist in the bottom margin (see photo) Poster celebrating the 15 year anniver...

Plate I, Le Cocu Magnifique Etching, 1968 From: Le Cocu Magnifique Unsigned as issued in the portfolio The set of 12 etching & aquatints is signed by Picasso on the justification pa...

Plate VI, Le Cocu Magnifique etching & aquatint, 1968 Unsigned as usual From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 i...

En Espagne Pochoir (silk screen) printed in colors Signed by the artist in pencil lower right The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Excellent Image size: 11-1/2 x 13" Sheet size: 19 1/2 x 24 3/4"; The artist won a gold medal in Paris in 1925 for his porchoirs The artist is Italian, Vittorio Accornero de Testa, working in Paris. The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's. Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Au Japon Pochoir (Stencil Print), 1925 Signed by the artist in pencil lower right (see photo) Signed in the image lower left (see photo) Stamped verso: Made in France Note: The artist won a gold medal in Paris in 1925 for his porchoirs Condition: excellent Image size: 11 1/2 x 13 inches Sheet size: 20 x 25 3/4 inches The artist is Italian, Vittorio Accornero de Testa, working in Paris. The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's. Condition: Excellent, never matted or framed Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of his patron Alfred C. Barnes of Phila...

Mlle. Jeanne at the Window, No. II Charcoal on paper, 1933 Signed and dated lower right (see photo) Illustrated: Gustafson, Zimmerli Museum, 1988, "Benjamin Benno: A Retrospective Ex...

Nature's Printing Press Gouache, tempera, pigments and ink on masonite board, 1967 Signed lower left corner (see photo) Thompson was part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Part of a series of works the artist created in 1967. The tree motifs vary as does the color of the background. Please see photo of another work from the series. Condition: Excellent/very good Three tiny while flecks in the green border of the painting Image size: 10 1/4 x 9 1/2 inches Painting board size: 20 x 16 inches Frame size: 25 1/2 x 21 1/2 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans, Joseph Delaney, J. Brooks Dendy, III, James Denmark, Reginald Gammon, Moses Paul Groves, Lester Gunter, Byron Hall, William Charles Henderson, II, Leon Hicks, Nigel L. Jackson, Kenneth Vrook Johnson, Cliff Joseph, Philip Martin, Kenneth Matthews, Richard Mayhew, Dindga McCannon, Alexander S. McMath, Ademola Olugebefola, William Payne, James Phillips, Kenneth Radcliffe, Junius Redwood, Enid Richardson, Gregory Ridley, Jr., Haywood (Bill) Rivers, Donald J. Robertson, Philippe G. Smith, Ann Tanksley, Bob Thompson, Russell Thompson, Robert Threadgill, Lloyd Toone, Bennie White, Timothy Wilkins, Walter H. Williams, Ed Wilson, Frank W. Wimberley, Hale Woodruff. Sq. 8vo, stapled tan wraps, lettered in brown, illus. of wire sculpture by James Denmark.. BOSTON (MA). Museum of the National Center of Afro-American Artists. Afro-American Artists: New York and Boston. May 19-June 23, 1970. 92 pp. exhib. cat, 67 b&w illus. of work by 69 artists, exhib. checklist. Intro. by Edmund B. Gaither. Important early exhibition. Includes Emma Amos, Benny Andrews, Ellsworth Ausby, Malcolm Bailey, Ellen Banks, Romare Bearden, Robert Blackburn, Betty Blayton, Ronald Boutte, Lynn Bowers, Frank Bowling, Marvin Brown, Calvin Burnett, Dana C. Chandler, John Chandler, Barbara Chase-Riboud, Ed Clark, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Henry DeLeon, Stanley Pinckney, James Denmark, Reginald Gammon, Felrath Hines...

Untitled (Picasso) Screen print, 1974 Signed, numbered and dated in red pencil lower right (see photo) from Homage to Picasso (Hommage à Picasso) Publisher: Propyläen-Verlag, Berlin ...

La Pique (The Pike) Lithograph, 1950 Original lithograph drawn with chalk and "frottage textures" transferred to stone, 1950. Unsigned printer's proof Inscribed on the verso in Mourl...

Plate IV, Le Cocu Magnifique etching & aquatint, 1968 Unsigned on the print Signed on the portfolio justification page (see photo) From the unsigned edition of 200 impressions printe...

Claude Renoir, la Tete Baisee (Claude Renoir, Head Lowered) Lithograph, 1904 Edition 1,000, this one of 950 on wove paper with the stamp signature (there were also 50 impressions pri...

Les Laveuses, 2e Pensee (The Washerwomen) Lithograph, c. 1910 Unsigned (as issued) Edition: c.30-50 impressions Condition: Rust spot, associated with paper manufacture, in right marg...

Signed: Harunobu ga Series: Series: Eight Fashionable Parlor Views (Furyu zashiki hakkei)? Format Japanese: chuban Provenance: Private Collection, Philadelphia Collection of McCleaf ...

The Web Engraving and soft ground, 1950 Signed, titled, dated and numbered by the artist Edition: 35 (26/35) Printed by Master Printer, Jon Clemens, 2000 Provenance: Estate of the ar...

Headdress Procession Watercolor, c. 1950's Signed by the artist in ink, lower right The Headdress Procession occurs every year as part of the Christmas celebrations in Oaxaca. Guilbe...

The Dark Aspect of the Great Goddess Devi Pigment on paper (unfinished), 19th century Unsigned as is usual Condition: Good color Voids at edges of the sheet Image s...

Unknown Artist, mid 20th Century Krishna and the Gopis From India, Orissa, Puri Pattachitra is a traditional painting of Odisha, India. These paintings are based on Hindu mythology a...

Animal Icon Pigment on cloth, c. 1940 Diameter 10" Condition: Cracking to pigment in upper left (see photos) Provenance: Cleveland Museum of Art (57.517) De-Accessed 2013 Made i...

Afternoon Tea Party Drypoint and aquatint printed in colors, printed 1991 Initialed in the center of the plate Condition: Excellent Archival framing with silk matting, finished corner gold...

El Ultimo viaje del buque fantasma, Plate III Color lithograph, 1976 Signed and numbered in pencil From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Drole de Drame Lithograph, 1960 Signed, dated and numbered in pencil lower right (see photos) Edition: 120 (91/120) Published by L’Ouevre Grave, Geneve (blindstamp recto) Printed by ...

XXe Siecle-Hommage a Marc Chagall Color lithograph, 1969 Unsigned as issued by XXe Siecle From: XXe Siecle, Volume, Special Issue Marc Chagall Published by G. di San Lazzaro for A. M...

Prelude to Transition Pastel on paper, 1953 Signed and dated lower left (See photo) Image size: 10 1/2 x 13 3/4 inches Frame size: 24-5/8 x 1-1/2 inches Exhibited and Illustrated: Z...

Preliminary Study for the painting Rose and Gold, 1913 Graphite on paper, 1913 Signed in pencil lower left (see photo) Titlted "Lizzy Young" in pencil upper left (see photo) Lizzy was a modle that Paxton depicts numerous times. The painting that this drawing is related to, is illustrated in Lee & Krause, William McGregor Paxton, 1869-1941, Plate 32, text on page 132. The painting was formerly in the collection of Victor Spark and the Honorable Paul Buchanan. It is currently in a Texas Collection. Provenance: Private Collection, Florida William McGregor Paxton (June 22, 1869 – 1941) was an American painter and instructor who embraced the Boston School paradigm and was a co-founder of The Guild of Boston Artists. He taught briefly while a student at Cowles Art School, where he met his wife Elizabeth Okie Paxton, and at the Museum of Fine Arts School in Boston. Paxton is known for his portraits, including those of two presidents—Grover Cleveland and Calvin Coolidge—and interior scenes with women, including his wife. His works are in many museums in the United States. Early life He was born on June 22, 1869, in Baltimore to James and Rose Doherty Paxton. William's father moved the Paxton family and established a catering business in Newton Corner, Massachusetts, in the mid-1870s. Education Paxton attended Cowles Art School on a scholarship he attained at the age of 18. He studied with Dennis Miller Bunker...

Sketch of a woman's head in profile Graphite on paper, c. 1900-1910 Unsigned Condition: Excellent Tiny tear upper right near hinge (repaired and bearly visible) Sheet size: 4 5/8 x 3...