Albert Urban

Untitled Abstraction (Figures in Red)

1944

Tetsuo "Bob" Ochikubo, 'Untitled (Abstract Expressionist Composition)', color lithograph, 1963, edition 3. Signed, dated, and numbered '3-3' in pencil. A fine, richly-inked impression, with fresh colors, on cream wove paper; the full sheet with margins (5/8 to 2 inches), in excellent condition. Very scarce. Matted to museum standards, unframed. Image size 17 1/2 x 12 1/4 inches; sheet size 19 7/8 x 14 7/8 inches. ABOUT THE ARTIST Tetsuo Ochikubo (1923–1975), also known as Bob Ochikubo, was a Japanese-American painter and printmaker who was born in Waipahu, Hawaii. After service in the US Army as an infantryman in Europe during World War II, Ochikubo studied painting and design at the School of the Art Institute of Chicago and the Art Students League in New York. He worked at the renowned lithography workshop Tamarind Institute in the 1960s and is best known for his non-objective paintings and lithographs. Ochikubo was a member of the Metcalf Chateau, a group of seven Asian-American artists with ties to Honolulu which included Satoru Abe...

Leonard Edmondson, 'Winter Garden', color etching, edition 50, 1957. Signed, titled, dated, and numbered '50/50' in pencil. A superb, richly-inked impre...

Charles Quest, 'Underwater', 1948, chiaroscuro wood engraving, edition 12. Signed, titled, dated and numbered '3/12' in pencil. A fine, richly-inked impression, in dark brown and warm black, on off-white wove paper, with full margins (5/8 to 1 1/2 inch), in excellent condition. Scarce. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

George Rogers, 'Sculpturegraph' (Black, Gray, and Silver), color sculpturegraph, edition 40, 1984. Signed, dated, titled, and numbered '25/40' in pencil. A superb, richly-inked, pain...

Red Abstract Composition is a contemporary artwork realized by Salvatore Provino in 1991. Mixed media on paper. Hand signed and numbered on the lower margin. Edition of 79/100. G...

Artist: Herbert Gentry, American (1919 - 2003) Title: Two Red Figures Year: 1980 Medium: Silkscreen, signed and dated in pencil Edition: Trial Proof Ima...

Red Abstract is a contemporary artwork realized by Le Pond in 1970s. Mixed colored lithograph. Hand signed on the lower margin. Numbered on the lower margin. Edition of 18/100

Artist: William Taggart, American (1936 - 2007) Title: Versatile No. 3 Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 30 Paper Size: 24 in. x 32 in. (...