American Modern Abstract Prints

'Field' is an original linocut by Wisconsin-based artist Schomer Lichtner. The composition presents fields of flowers, trees and grasses below a cloudy sky, but rendered with Lichtner's quintessential abstract sensibilities. This print is one from a series that each depict abstracted subjects in black silhouette, taking pleasure in the materiality of the linocut technique. The free forms of the plants resemble the lyrical mid-century works of the French artist Henri Matisse, which combined with these material concerns demonstrate Lichter's modern sensibilities. The prints from this series are unusual because of how below the image, Lichtner also includes his Chinese seal and a linocut remarque of a cow, each of which act as an additional signature of the artist on the artwork. Linocut in black and red on Permalife white wove paper 4.5 x 6 inches, image 11.5 x 8.75 inches, sheet 16.5 x 13.63 inches, frame Signed in pencil, below image, lower right. Edition 1/100 in pencil, below image, lower left. Chinese signature stamp in red, below image, lower right. Remaque of a cow in red, below image, lower right. Permalife watermark to paper. Framed to conservation standards in a shadow-box style mounting, using 100 percent rag matting, museum glass, and housed in a silver-finish wood moulding. Overall excellent condition with no creases or discoloration. Milwaukee artist Schomer Lichtner was well known for his whimsical cows and ballerinas and abstract imagery. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows...

Edward Landon, 'Time Silhouette', color serigraph, 1969, edition 30, Ryan 201. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on cream wo...

Katherine S. Dreier, 'Variation 30, Vol. II' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annota...

"The Prairie School Collection - Rug" is an offset lithograph poster with gold foil. This piece advertises an exhibition of Frank Lloyd Wright's designs. 34 7/8" x 22" art 36" x 23...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

11 3/4 x 8 5/8 (sheet 12 1/4 x 16). Edition 20, #5. A fine impression printed on green Ingres d'Arches laid paper. Signed, titled and numbered in pencil. Housed in a 20 x 16-inch ar...

Katherine S. Dreier, 'Variation 8, Vol. 1' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

This artwork titled "Expandingr" 2001 is a original color lithograph on wove paper by American artist Betty Rees Heredia A.K.A Betty Snyder Shapiro,...

JUNE WAYNE (1918 - 2011) THE TUNNEL II, 1951 (B.69; G.14; Conway 67) Lithograph, signed, numbered, dated July 1951 and titled incorrectly The Target. Edition 35. 15 3/4 x 19 3/4 inc...

This artwork titled "Illegal Graffiti #3" 1998is a original color screen print on wove paper by American artist Betty Rees Heredia A.K.A Betty Snyde...

The Arthur Williams Estate. c. 1916. Etching and drypoint. 4 3/4 x 9 (sheet 8 x 10 7/8). A rich impression printed on dark cream wove paper. Water stai...

Robert Vale Faro, 'Easter Sunday', color lithograph, 1946, edition 31. Signed, dated, titled and numbered '116' and '17/31' in pen. A fine impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 inches), in excellent condition. Image size 21 x 13 1/2 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

This artwork titled "Genesis 6th Day" 1962 is a n original etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numbered 24...

Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably fr...

c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on countermarked French wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another impression is in the Library of Congress. Housed in a 16 x 20-inch archival mat, suitable for framing. Earl Horter...

SALE ONE WEEK ONLY "Abstract in Gold and Black" is a well-balanced calm piece. The placement of the gold and white can be read as a distant landscape giving much imagined space to the heavier black area which contains a linear element and the color blue. Semivan is a Master Printmaker and sculptor. He often breaks his surfaces and extends beyond the perimeters in his sculptures. The particular placement of the black area in this piece suggests such a breakage beyond the edge where one imagines a continuation of the strokes or linear elements. This is an altogether extraordinary print. Born in Detroit, Michigan, Douglas Semivan...

Anthony Velonis (1911-1997) was an extremely innovative artist. He learned the technique of screen printing, also known as silkscreen, (for which he also coined the term serigraphy) while working with a wall paper manufacturer. Unusual for fine prints, the image is made by the artist in the same direction as it will print, as the colored inks are forced through fabric (silk) directly onto a paper surface. (He also invented a machine that could print onto column-shaped items such as cocktail glasses or make-up bottles and a rack system for drying sheets of paper with wet ink in which the sheets are just inches apart.) The technique allows extreme versatility on the part of the artist and the ink tends to sit on top of the paper rather than soak into the fibers. In 1934 Velonis used this new technique on Mayor LaGuardia's NYC Poster...

Edition: 34. This impression is one of only two proofs printed on graph paper. Printed by Reinhard Schumann, Hickory, North Carolina. Reproduced in Formulation: Articulation (portfol...

Love Apple (Brown background). 1967. Linoleum cut printed in black, red, orange, brown and tan. 16 1/2 x 12 1/2 (sheet 21 3/4 x 15). Edition 18. A vivid impression printed on wove pa...

Artist: Joseph Zirker (American, born 1924) Title: Untitled Year: 1988 Medium: Color monotype Paper: Arche 88 Size: 42 x 30 inches Signature: Signed and dated in pencil by the artist Printer: The artist Condition: Very good Frame: Unframed About the artist. Joseph Zirker is a noted American modern artist, educator, lecturer that was born on August 13, 1924 in Los Angeles, California, United States. As a young man he Served with United States Navy, from 1944 to 1946. He attended the University of California in Los Angeles 1946—1947. He got a bachelor of Fine Arts at the University of Denver in 1949 and a master of Fine Arts, University Southern California, 1951. He was a printer and research fellow at Tamarind Lithography Workshop in Los Angeles, 1961—1963. Lecturer University Southern California, 1963. Instructor Los Angeles County Art Institute, 1964, San Jose City College, California, 1966—1980. Lecturer Stanford University, 1981—1983, 1986—1990. All along his carer, he had numerous acclaimed shows in the U.S and abroad. He is known worldwide as an innovator in monotype and printmaking. His works are represented in private and public collections, both in the USA and worldwide, including: Grunwald Collection, U.C.L.A., Los Angeles, California, Brooklyn Museum, Brooklyn, New York Free Library of Philadelphia, Pennsylvania June Wayne, Tamarind Lithography Workshop, Los Angeles, California Tamarind Archives, Tamarind Lithography Workshop, Los Angeles, California, Charles White, Los Angeles, California Stanley Freeman Collection, Los Angeles County Museum, Los Angeles, California Ben Smith...

Signed (at lower right): Ralph M. Rosenborg 1939; ll: 3/15 Woodcut

This artwork titled "Genesis 4th Day" 1961 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

This artwork titled "Genesis 5th Day" 1962 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

The Cricket is a hand painted etching by American artist George Nama edition A. P. hand signed and titled in pencil by the artist. Believed to be from a collection of 9 etchings from the suite titled "The Origin of Language." This etching is raised at the six horizontal red lines and is touched by hand with watercolor in green, pink, white and red colors. It is in excellent condition. George Allen Nama was born in Homestead near Pittsbugh, Pennsylvania in 1939. In the 1960’s he was part of an international artistic circle in Paris while working at the Atelier 17 with William Stanley...

Robert Vale Faro, 'Dialogue Erudite', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '98' and '4/16' in pen. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1/2 to 1 1/4 inch), in excellent condition. Image size 20 1/2 x 14 3/8 inches; sheet size 22 1/2 x 17 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Remington Strip Tease had a black iron dome covering the moving parts and suppressing noise. It is presented in a light that suggests a monument. It is f...

​Represented by George Billis Gallery, NYC & LA --Darren Waterston (born 1965) is an American artist who is mainly known for his ethereal paintings. Etching monotype with hand work ...

Black & Moorhead 158. In just the middle inch or so of this image Hayter has managed to draw in a female nude and a horse, with special attention to the head. It was Hayter's custom ...

This artwork titled "Genesis 1th Day" 1961 is a n original etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numbered 24...

Robert INDIANA Selfportrait 69 Original lithograph (Printed in Mourlot workshop) On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by San Lazzaro in 1973 Excellent condition

Artist: Joseph Zirker (American, born 1924) Title: Untitled Year: 1988 Medium: Color monotype Paper: Arche 88 Size: 42 x 30 inches Signature: Signed and dated in pencil by the artist Printer: The artist Condition: Very good Frame: Unframed About the artist. Joseph Zirker is a noted American modern artist, educator, lecturer that was born on August 13, 1924 in Los Angeles, California, United States. As a young man he Served with United States Navy, from 1944 to 1946. He attended the University of California in Los Angeles 1946—1947. He got a bachelor of Fine Arts at the University of Denver in 1949 and a master of Fine Arts, University Southern California, 1951. He was a printer and research fellow at Tamarind Lithography Workshop in Los Angeles, 1961—1963. Lecturer University Southern California, 1963. Instructor Los Angeles County Art Institute, 1964, San Jose City College, California, 1966—1980. Lecturer Stanford University, 1981—1983, 1986—1990. All along his carer, he had numerous acclaimed shows in the U.S and abroad. He is known worldwide as an innovator in monotype and printmaking. His works are represented in private and public collections, both in the USA and worldwide, including: Grunwald Collection, U.C.L.A., Los Angeles, California, Brooklyn Museum, Brooklyn, New York Free Library of Philadelphia, Pennsylvania June Wayne, Tamarind Lithography Workshop, Los Angeles, California Tamarind Archives, Tamarind Lithography Workshop, Los Angeles, California, Charles White, Los Angeles, California Stanley Freeman Collection, Los Angeles County Museum, Los Angeles, California Ben Smith...

This artwork titled "Genesis 3th Day" 1962 is a n original colors etching , with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and num...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the deer. T...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the frog. T...

i Exhibition of Designs by Frank Lloyd Wright at Unity Temple. Lake St. Kenilworth, Oak Park. (Published by the Chicago Heritage Committee with the Cooperation of the Unitarian Unive...

This artwork titled "Genesis 2th Day" 1961 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

Charles Quest, 'Still Life', 1947, wood engraving, edition 8. Signed, dated, and numbered '3/8' in pencil. Titled and annotated 'wood engraving' in the bottom left margin. A fine impression, on off-white wove paper, with full margins (1 to 2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. 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...

This artwork titled "Genesis 7th Day" 1962 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

there is a companion piece on a silver paper. A depiction of a ballet dancer, superimposed upon canceled dance class checks. Joanne Seltzer was born in Philadelphia, Pennsylvania a...

Robert Vale Faro, 'Petrouchka's Predicament', color lithograph, 1946, edition 20. Signed, dated, titled, and numbered '115' and '14/20' in pen. A fine, richly-inked impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 1/2 inches), in excellent condition. Image size 21 3/4 x 13 3/4 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed. 'Petrouchka', a ballet with music by the Russian composer Igor Stravinsky and choreography by Michel Fokine, is based on the legend of Russian folklore. 'Petrouchka', a puppet made of straw with a bag of sawdust as his body, comes to life and has the capacity to love, a story conceptually resembling that of Pinocchio. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Naum Gabo was a major constructivist sculptor and highly influential member of the European avant-garde art movement. Gabo signaled a rejection of conventional sculptural modes by em...

This image is an extravaganza of modernist motifs. The monogram 'D.D.' is at the lower right.

Black & Moorhead 145. The title, Le Beche, is The Shovel in English. Signed and dated in pencil under image at right.

This artwork titled "Aero" 1990 is a color etching, with embossing and gold addition on handmade paper, with deckle edge, by noted artist Bruce Weinberg, 1942-1994 It is hand signed,...

Serpentine with Orchids, 2005 Four-color screenprint on Rives BFK. Edition: 50 + 7 artist’s proofs 28 x 22 (paper size) framed by Bark Frameworks. Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grimes of The New York Times as "a restlessly inventive printmaker, painter, and sculptor." Born and raised in New York City, Mazur attended the Horace Mann School. He received a bachelor's degree from Amherst College in 1958, then studied art at Yale. Mazur first gained notice for his series of lithographs and etchings of inmates in a mental asylum, which resulted in two publications, "Closed Ward" and "Locked Ward." Over the years, he worked in printmaking and painting. His series of large-scale prints for Dante's Inferno won critical acclaim, and were the subject of a traveling exhibition organized by the University of Iowa in 1994. Later he concentrated on creating large, lyrical paintings which make use of his free, gestural brushwork and a varied palette. Some of these paintings were seen in an exhibition of 2002 at Boston University, "Looking East: Brice Marden, Michael Mazur, and Pat Steir." (See also Susan Danly, "Branching: The Art of Michael Mazur," 1997). The Museum of Fine Arts, Boston, has acquired a definMichael Mazur received a B.A. from Amherst College in 1957, studying in his senior year at the Accademia di Belle Arti in Florence, Italy. He went on to earn both a B.F.A. and an M.F.A. from the Yale School of Art and Architecture in 1961. Mazur's first teaching job was at the Rhode Island School of Design from 1961 to 1964. He was awarded a Guggenheim Foundation fellowship for 1964–65. From 1965 to 1976, he taught at Brandeis University, and from 1976 to 1978 at Harvard University. As an artist, teacher, and writer, Mazur has been active in reviving the monotype process. He contributed an essay to the pioneering exhibition catalogue The Painterly Print, published by the Metropolitan Museum of Art in 1980. Mazur recently chaired the New Provincetown...

Robert Vale Faro, 'Kaf With', color lithograph, 1945, edition 15. Signed, dated, titled and numbered '84' and '6/15' in pen, recto. Titled, numbered '#84' and '6/15' and dated '7/22/...

'The Orange Point', color serigraph, edition 54, c. 1940. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet wi...

Manhattan Nocturne. 1938. Etching and drypoint. Kraeft 70. 7 1/8 x 11 7/8 (sheet 10 1/2 x 15 1/4). Edition 100. Presentation Print of the Society of American Etchers, 1938. Provenanc...

This artwork titled "Savared" 1991 is a color etching, with embossing and gold addition on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbere...

This artwork titled "Storm" 1991 is a color etching, with embossing on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbered 20/50 and dated i...

This artwork titled "Palladio" 1991 is a color etching, with embossing and gold addition on handmade paper, with deckle edge, by noted artist Bruce Weinberg, 1942-1994 It is hand sig...

Charles Quest, 'Work Bench', 1949, wood engraving, edition 40. Signed, dated and numbered 9/40 in pencil. Titled and annotated 'wood engraving 1949' in pencil, in the artist’s hand, lower right margin. A fine, richly-inked impression, on off-white wove Japan, with full margins (1 3/4 to 2 inches), in excellent condition. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, a successful artist, and fine art instructor, worked in a variety of mediums including mosaic, stained glass, mural painting, and sculpture, but remains best known as a printmaker. 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 apparently 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 a lot of 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 the Graphic Arts Division of the Smithsonian's National Museum (now known as the American History Museum). This one-man exhibition was a remarkable achievement for Quest, who had been working in the medium for only about ten years. In the press release for the show, Kainen 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 also 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’. Charles Quest retired from teaching in 1971 and made relatively few prints in his later years, as the rigors of the medium were too demanding. He moved to Tryon, North Carolina, with his wife Dorothy, an artist and portrait painter, and remained active as a painter until his death in 1993. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted the interest of Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for the University's collection. In 1990 Georgetown University Library's Special Collections Division became the grateful recipient of a large body of Quest's work including prints, drawings, paintings, sculpture, and stained glass, as well as 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...

This artwork titled "Romanesque" 1991 is a color etching, with embossing and gold addition on handmade paper, with deckle edge, by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbered 20/50 and dated in pencil by the artist. The size is 38 x 27 inches. It is in excellent condition. About the artist. Bruce Weinberg (1942-1994) studied Interior Design at the Philadelphia College of Art and Architectural Space Planning at Temple University. During the 1970's he studied printmaking and drawing at San Francisco's Fort Mason Art Center. He created limited edition etchings as well as monoprints on his handmade paper. He was best known for multi-plate color hand pulled etchings of rugs and tapestries, which appear three dimensional with folds, fringes and turned up corners. Etchings were executed by use of traditional hard and soft ground etching technique. Employing multiple copper etching...

Edition: 5 or less. One of possibly 3 variants

Expressive vintage silkscreen on black paper by Alice Aycock (American, 20th Century). Hand signed and dated "Alice Aycock 1990" with hand written ...

This artwork titled "Cascade" 1991 is a color etching, with embossing and gold addition on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbere...

This artwork titled "Golden Sails" 1991 is a color etching, with embossing and gold addition on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, nu...

This artwork titled "Storm" 1991 is a color etching, with embossing and gold addition on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbered ...