1970s Landscape Prints

Ghost Moon by John Hogan, Desert Night Landscape lithograph black and white hand pulled lithograph edition 9/25 22 x 30 paper size 20 x 27 image size Wi...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: Rio Year: 1973 Medium: Silkscreen on BFK Rives, Signed, titled and numbered in pencil Edition: 250, AP 20 Size: 30 in. x 22 in. (76...

Delightful serigraph of two trees under a sunny sky, 1972. Signed lower right, artist proof. Original artwork on paper displayed on a white mat with a gold border. Archival plastic ...

Artist: Mori Shizume Title: New York Skyline 5 and 6 Year: 1979 Medium: Two Silkscreens, each signed and numbered in pencil Edition: 210, AP 25 Paper Size: 30 x 18 inches (each) Fr...

Edition of 110, signed and numbered lower right

This lithograph comes from an edition of 120 and it is signed and numbered. Guiramand’s works all have one element in common: the artist’s extraordinary sensitivity and ability to a...

Artist: Colette Title: The Eye Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 200, AP 30 Image Size: 25 X 17 inches Size: 29.5 in. x 22 in. (74.93 cm x 5...

Yoshi Toshida (Japanese, 1911-1995), Monument Valley, 1971 Woodblock in colors Pencil signed lower right, titled lower left. Dated and titled in Japanese left margin. Image: 11.75 x ...

THE CONVERSATION is an original limited edition lithograph printed using traditional hand lithography methods on archival Somerset printmaking paper, 100% acid free. THE CONVERSATION...

Original color drypoint and etching, 1975. Edition of E.A. (artist’s proof) signed and numbered impressions on Arches paper. Zoran Mušič is one of the most celebrated Slovenian artis...

Koshihata Snow, woodblock print by Clifton Karhu, white, Japan, framed, signed 1975 hand signed and numbered

Kinkakuji Rain, woodblock print by Clifton Karhu, framed, green, orange, black hand signed and numbered by the artist 16/100

Shishimai, woodblock print by Clifton Karhu, figurative, red, blue, Japan, frame AP6 Hand signed and numbered by the artist slight smudge on bottom of frame

The complete portfolio of Romare Bearden's "Prevalence of Ritual" suite. In 1969, the Art Workers Coalition (AWC) submitted a list of demands to MoMA in New York. Included in this li...

ALEXANDER CALDER (1898-1976) Credited with the invention of the mobile, Alexander Calder revolutionized twentieth-century art with his innovative use of subtle air currents to animat...

Joan Miró Litografia Originale VI Medium: Color Lithograph Year: 1975 Publisher: Graphis Arte, Livorno; Toninelli Arte Moderna, Milano Catalogue raisonné: Cramer 198 Size: 13.3 × 20....

Cinque Torri. Original color drypoint and etching, 1975. Edition of 100 signed and numbered impressions on Arches paper. Zoran Mušič is one of the most celebrated Slovenian artists,...

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

Artist: Lebadang, Vietnamese (1922 - 2015) Title: Flowers in Moonlight Year: circa 1975 Medium: Lithograph, signed in pencil Edition: Epreuve d'Artiste Size: 25.25 x 19.5 in. (64.14 ...

Alex Katz Twilight I, 1978 silkscreen, edition of 50 42 x 33 in. (106.7 x 83.8 cm)

Alex Katz Sunset: Lake Wesserunsett II, 1972 screenprint, edition of 60 30 x 36 in. (76.2 x 91.4 cm)

Alex Katz Red Sails, 1973 silkscreen, edition of 60 23 x 29 in. (58.4 x 73.7 cm)

Jean CARZOU Italy : Venice, 1973 Original lithograph (Mourlot workshop) Handsigned in pencil Numbered /120 copies On Arches vellum 76 x 54 cm (c. 29,9 x 21,2 inch) Excellent condition

Oskar Kokoschka Genfer Seelandschaft, 1972 color lithograph, ed. of 150 22 1/4 x 30 in. (56.5 x 76.2 cm)

Salvador DALI Memorabilia (the soft watch) Original etching, 1972 Hand signed in pencil by the artist Numbered /175 copies On Arches vellum size 56 x 76 cm...

Signed, titled and numbered, from the edition of 90. ripples on a body of water reflect the trees in this French countryside landscape. Mathieux-Marie was born in Paris in 1947 and ...

Offset lithograph in colors/wove. Published by The Sunday Observer Ed. 750 56 x 46 cm

Kelly Fearing (1918-2011) Austin Artist Image Size: 18.5 x 10.25 Frame Size: 25 x 16.5 Medium: Etching 3/40 Dated 1970 "To Drink Water and Fly with a Kite" Also gifted to a friend by Fearing in 1984. Biography Kelly Fearing (1918-2011) The following information is from the artist's obituary, University of Texas Education News Prominent Artist and Art Educator Kelly Fearing Dies at 92 AUSTIN, Texas — Artist, art educator and University of Texas at Austin Professor Emeritus Kelly Fearing died on March 13 at his home in Austin, at the age of 92 due to congestive heart failure. Fearing was a professor emeritus in university's Department of Art and Art History. He taught at the university from 1947-87, and was presented the College of Fine Arts' E. William Doty Award in 2007, the college's highest honor recognizing him as an individual of distinction in his field who has demonstrated extraordinary interest in the college. "Kelly Fearing was the quintessential Renaissance man," said College of Fine Arts Associate Dean Ken Hale. "He was an artist, an author and an educator. His talent was extraordinary. He worked in almost all traditional mediums and excelled in oil painting and collage. Fearing was very well educated in all of the arts and enthusiastically passed that knowledge on to literally thousands of students. The University of Texas and the state of Texas have benefited greatly from the creativity and generosity of Kelly Fearing. His passing is a loss for us all." Born in Fordyce, Ark., Fearing was raised in Louisiana, studied art at Louisiana Tech University, earned a master's degree from Columbia University and went to Fort Worth during World War II to serve his country in a defense job. While being trained in graphic drafting for a company that was making bombers for the U.S. military, Fearing was introduced to other aspiring artists in the Fort Worth area. This group of avant-guard printmakers and artists became known as the Fort Worth Circle, and Fearing was one of its core members. Collectively, they were instrumental in introducing modernist ideas to Texas art. After teaching at Texas Wesleyan College from 1945-47, he came to The University of Texas at Austin as the Ashbel Smith Professor in Art in 1947. He retired from the university in 1987 and continued to work as a professional artist. His art has been referred to as magical realist, mystical naturalist and Romantic surrealist. As a pioneer in art education in America, Fearing founded The University of Texas Junior Art Project, the first visual arts outreach program of its kind in Texas. The program offered children of all ages and from all economic backgrounds free, university-based instruction and exposure to the arts. Kelly Fearing has been an important artist working in Texas since the 1940s. After doing his graduate work at Columbia University in New York City, Fearing established himself as a surrealist painter and print maker in Fort Worth, and then became one of the founding members of the art faculty at the University of Texas at Austin. He has had recent exhibitions at the Valley House Gallery in Dallas, Texas, and at the Archer M. Huntington Art Gallery in Austin, Texas. Fearing lives and works in Austin, Texas. Courtesy of Flatbread Press and Gallery Added note: Kelly Fearing died of congestive heart failure in 2011 in Austin, Texas. William KELLY FEARING (1918-2011) Born in Fordyce, Arkansas, Kelly Fearing entered college as an accounting major but quickly discovered his intense interest in art. He studied art at Louisiana Tech University and later at Columbia University. He taught public school briefly before relocating to Texas to teach art at the university level in El Paso and Fort Worth before joining the faculty at the University of Texas at Austin. Selected Biographical and Career Highlights · 1918 Born in Fordyce, Arkansas · 1941 BA, Louisiana Polytechnic Institute, Ruston, Louisiana · 1941-42 Teacher, Winfield Public Schools, Louisiana · 1943-45 Guest Professor, Texas Western College, El Paso, Texas · 1945-47 Instructor, Texas Wesleyan College, Fort Worth, Texas · 1950 MA, Columbia University, New York, New York · 1947-87 Professor of Art, University of Texas at Austin, Texas · 2007 Recipient, William E. Doty Award · 2009 Recipient, Texas Biennial Tribute Artist · 2011 Died in Austin, Texas Selected Prizes, Awards · Texas General/Annual: Purchase Prize 1956; Cash Prize 1945, 1947, 1949, 1953, 1954, 1955, 1963; Recommended for Purchase Prize 1949, 1950 1945 Cash Prize, The Aquarist, oil 1947 Cash Prize for Dream of Jacob, oil 1949 Cash Prize and Recommended for Purchase Prize, The Red Sea, oil 1950 Recommended for Purchase Prize, Man in a Tide Pool, oil 1953 Cash Prize, Tobias and the Angel, oil 1954 Cash Prize, Landscape with Peacock, oil 1955 Cash Prize, St. John in the Wilderness, oil 1956 Purchase Prize, Yellow After the Rain, oil 1963 Cash Prize, Sleeping Philosopher in a Landscape Developing, oil · Fort Worth Local: First Prize 1945; Popular Prize 1944 1944 Popular Prize, USO Street Dance 1945 First Prize, The Kite Flyers, oil · Texas Fine Arts: Purchase Prize 1954; Cash Prize 1952, 1955 (2 works), 1956 1952 Cash Prize 1954 Purchase Prize 1955 Cash Prize for Watercolor, watercolor 1955 Cash Prize, Spring Festival 1956 Cash Prize · Other Exhibitions: Purchase Prize 1945 Texas Print Exhibition; Merit Award 1956 DD Feldman; Honorable Mention 1962 Longview National Invitational 1945 Purchase Prize, The Collector, etching, 5th Annual Texas Print Exhibition 1962 Honorable Mention, Longview National Invitational Selected Exhibitions · 1941 Solo, Louisiana Tech University, Ruston, Louisiana · 1944 24th Exhibition of the Southern States Art League, Dallas Museum of Art, Dallas, Texas · 1944 Fort Worth Local Artists Annual, Fort Worth Art Association Gallery, Public Library, Fort Worth, Texas (popular prize) · 1944 6th Texas General Exhibition 1944-1945, circulated: Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; Witte Museum, San Antonio; University of Texas at Austin, Texas · 1945 Fort Worth Local Artists Annual, Fort Worth Art Association Gallery, Public Library, Fort Worth, Texas (purchase prize) · 1945 7th Texas General Exhibition 1945-1946, circulated: Witte Museum, San Antonio; Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; University of Texas at Austin, Texas (cash prize) · 1945 Prints of Fort Worth Artists, Fort Worth Art Association Gallery, Public Library, Fort Worth, Texas · 1945 5th Annual Texas Print Exhibition, Dallas Museum of Art, Dallas, Texas (1st prize) · 1946 8th Texas General Exhibition 1946-1947, circulated: Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; Witte Museum, San Antonio, Texas · 1947 55 Works of Modern Art Owned in Houston, Museum of Fine Arts, Houston, Texas · 1947 6th Annual Texas Print Exhibition, Dallas Museum of Art, Dallas, Texas · 1947 9th Texas General Exhibition 1947-1948, circulated: Museum of Fine Arts, Houston; Dallas Museum of Art, Dallas; Witte Museum, San Antonio, Texas (cash prize) · 1948 10th Texas General Exhibition 1948-1949, circulated: Witte Museum, San Antonio; Museum of Fine Arts, Houston; Dallas Museum of Art, Dallas, Texas 1945 Prize, 5th Annual Texas Print Exhibition, Dallas Museum of Art, Dallas, Texas · 1948 Watercolors by 16 Texas Artists, Museum of Fine Arts, Houston, Texas · 1948 University of Texas Art Faculty Exhibition, Dallas Museum of Art, Dallas, Texas · 1949 Solo, Fresno State College, Fresno, California · 1949 11th Annual Texas Exhibition of Painting and Sculpture 1949-1950, circulated: Witte Museum, San Antonio; Museum of Fine Arts, Houston; Dallas Museum of Art, Dallas, Texas (cash prize and recommended for purchase prize) · 1950 Texas Wildcat, San Francisco Museum of Art, San Francisco, California · 1950, 1960, 1963 Artists West of the Mississippi, Colorado Springs Art Center, Colorado Springs, Colorado · 1950 12th Annual Exhibition of Texas Painting and Sculpture 1950-1951, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston, Texas (recommended for purchase prize) · 1951 Newcomers: First Showing of a New Generation, Downtown Gallery, New York, New York · 1952 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (cash prize) · 1952 Imaginative Paintings by Kelly Fearing, Santa Barbara Museum of Art, Santa Barbara, California · 1952 Young Collections 1952, Dallas Museum of Art, Dallas, Texas · 1952 Kelly Fearing, Betty McLean Gallery, Dallas, Texas · 1952 Texas Contemporary Artists, M. Knoedler & Company, New York, New York; Contemporary Art Museum, Houston, Texas (catalogue) · 1952 Solo, Cotton Memorial Galleries, Texas Western College, El Paso, Texas · 1952 14th Annual Exhibition of Texas Painting and Sculpture 1952, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston, Texas · 1953 University of Texas Faculty Exhibition, Dallas Museum of Art, Dallas, Texas · 1953 Solo, Santa Barbara Museum of Art, Santa Barbara, California · 1953 15th Annual Exhibition of Texas Painting and Sculpture 1953, circulated: Dallas Museum of Art, Dallas; Museum of Fine Arts, Houston; Witte Museum, San Antonio, Texas (cash prize) · 1954 149th Annual Exhibition, Pennsylvania Academy of Art, Philadelphia, Pennsylvania · 1954 Sacred Art, Catholic University, Washington, DC · 1954 Seventeen Years: An Exhibition of the First Prize Winners in the 17 Annual Exhibitions of Work by Fort Worth Artists Held by the Fort Worth Art Association, Fort Worth Art Center, Fort Worth, Texas (catalogue) · 1954 16th Annual Exhibition of Texas Painting and Sculpture 1954, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston; Fort Worth Art Center, Fort Worth, Texas (cash prize) · 1954 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (purchase prize) · 1954 Religious Art Today, Brown Gallery, Boston, Massachusetts · 1954-56 Artist’s Panorama Traveling Exhibition, Pennsylvania Academy of Art, Philadelphia, Pennsylvania · 1955 Two Texas Artists (Kelly Fearing and Mildred Wood Dixon), Museum of Fine Arts, Houston, Texas · 1955 Pittsburgh International, Carnegie Institute, Pittsburgh, Pennsylvania · 1955 Solo, Fort Worth Art Center, Fort Worth, Texas · 1955 The World Around Us: 100 Years of American Landscape, Dallas Museum of Art, Dallas, Texas · 1955 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (cash prize for watercolor) · 1955 Spring Arts Festival, Texas Fine Arts Association, Austin, Texas (cash prize) · 1955 Young Collections 1955, Dallas Museum of Art, Dallas, Texas · 1955 17th Annual Exhibition of Texas Painting and Sculpture 1955-1956, circulated: Dallas Museum of Art, Dallas; Fort Worth Art Center, Fort Worth; Witte Museum, San Antonio; Texas Fine Arts Association, Austin, Texas (cash prize) · 1955, 1959, 1963 Invitational Exhibition of Contemporary Painting and Sculpture, University of Illinois, Urbana, Illinois · 1956 6th Southwestern Exhibition of Prints and Drawings, Dallas Museum of Art, Dallas, Texas, traveled to: Centenary College, Shreveport, Louisiana; Elisabet Ney Museum, Austin, Texas; University of New Mexico, Albuquerque; Texas Tech College Museum, Lubbock; Museum of Fine Arts, Houston, Texas; University of Tulsa, Oklahoma; Oklahoma A&M College, Stillwater · 1956 Gulf-Caribbean Art Exhibition, Museum of Fine Arts, Houston, traveled to: Dallas Museum of Fine Arts, Dallas; Institute of Contemporary Art, Boston; Munson-Williams-Proctor Institute, Utica; Carnegie Institute, Pittsburg; Colorado Springs Fine Art Center, Colorado Springs, Colorado (catalogue) · 1956 Young Collections 1956, Dallas Museum of Art, Dallas, Texas · 1956 Annual Juried Exhibition, Texas Fine Arts Association, Austin, Texas (cash prize) · 1956 Merit Award, D. D. Feldman Collection of Contemporary Texas Art, Museum of Fine Arts, Houston, Texas (1958, Dallas???) · 1956 D. D. Feldman Collection of Contemporary Texas Art, Museum of Fine Arts, Houston, Texas · 1956 18th Annual Texas Painting and Sculpture Exhibition 1956-1957, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Museum of Fine Arts, Houston; Texas Fine Arts Association, Austin; Museum, Texas Tech, Lubbock, Texas (purchase prize) · 1957 Survey of Painting in Texas, Dallas Museum of Art, Dallas, Texas, circulated by American Federation of Arts (catalogue) · 1957 22nd Annual Midyear Juried Exhibition, Butler Institute of American Art, Youngstown, Ohio · 1957 Summer Group Exhibition, Edwin Hewitt Gallery, New York, New York · 1957 Young Collections 1957, Dallas Museum of Art, Dallas, Texas · 1958 Religious Art of the Western World, Dallas Museum of Art, Dallas, Texas · 1958 20th Annual Texas Painting and Sculpture Exhibition 1958-1959, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; TFAA, Laguna Gloria Gallery, Austin; Beaumont Art Museum, Beaumont; San Angelo Art Club, San Angelo; Museum of Fine Arts, Houston, Texas · 1959 Made in Texas by Texans, Dallas Museum of Contemporary Art, Sheraton-Dallas Hotel, Dallas, Texas (catalogue) · 1959 21st Annual Texas Painting and Sculpture Exhibition 1959-1960, circulated: Dallas Museum of Art, Dallas; Witte Museum, San Antonio; Beaumont Art Museum, Beaumont; Museum, Texas Tech, Lubbock; Museum of Fine Arts, Houston, Texas · 1960 Southwestern Art: A Sampling of Contemporary Painting and Sculpture, Dallas Museum of Art, Dallas, Texas · 1961 Invitational Exhibition of Painters Born in Arkansas, Museum of Fine Arts, Little Rock, Arkansas · 1962, 1963, 1975 Invitational, Longview Museum of Fine Arts, Longview, Texas (honorable mention 1962) · 1963 University of Texas Art Faculty—Past and Present, Museum of Fine Arts, Houston, Texas · 1963 25th Annual Texas Painting and Sculpture Exhibition 1963-1964, circulated: Dallas Museum of Art, Dallas; Centennial Art Museum, Corpus Christi; Beaumont Art Museum, Beaumont; El Paso Museum of Art, El Paso; Witte Museum, San Antonio; University of Texas at Austin, Texas (cash prize) · 1963 The Versatile Shell, Museum of Fine Arts, Houston, Texas · 1963 59th Annual Exhibition of Western Art, Denver Art Museum, Denver, Colorado · 1963, 1966 Christocentric Exhibition, University of Illinois, Urbana, Illinois · 1964 Solo, El Paso Museum of Art, El Paso, Texas · 1964 New York World’s Fair, Texas Pavilion, New York, New York · 1964-65 The Bird in Art, University of Arizona, Tucson, Arizona and the Arkansas Art Center, Little Rock, Arkansas · 1966 Solo, Gallery of Visual Arts, Louisiana Tech University, Ruston, Louisiana · 1967 Solo, University of Texas Art Museum, Austin, Texas · 1968 Texas Painting and Sculpture 1968, Dallas Museum of Art, Dallas, Texas · 1969 Solo, Witte Museum, San Antonio, Texas · 1971 Texas Painting and Sculpture 71, Dallas Museum of Art, Dallas, Texas · 1971–72 Texas Painting and Sculpture: The 20th Century, Pollack Galleries, Owen Arts Center, Southern Methodist University, Dallas, Texas, traveled to: Witte Confluence Museum, HemisFair Plaza, San Antonio; University Art Museum, University of Texas at Austin; Amon Carter Museum, Fort Worth; The Museum, Texas Tech University, Lubbock, Texas (catalogue) · 1974 Solo, The University of Texas at Austin, Austin, Texas · 1977 Solo, DuBose Gallery, Houston, Texas · 1978 U.S. Drawings, Museum, Texas Tech University, Lubbock, Texas · 1978 Solo, L and L Gallery, Longview, Texas · 1979 Made in Texas, Huntington Gallery, University Art Museum, University of Texas at Austin, Texas (catalogue) · 1981 Solo, Spencer Gallery, Fine Arts Center, University of Arkansas, Monticello, Arkansas · 1981 Solo, Moffett Gallery, School of Art and Architecture, Louisiana Tech University, Ruston, Louisiana · 1983 Images of Texas, Huntington Art Gallery, University of Texas at Austin, Texas, traveled to: Art Museum of South Texas, Corpus Christi; Amarillo Art Center, Amarillo, Texas (catalogue) · 1984 Works from the Friends Collections, Art Gallery, School of Art and Architecture, Louisiana Tech University, Ruston, Louisiana · 1985 Solo, Old Jail Art Center, Albany, Texas · 1986 Solo, McNay Art Museum, San Antonio, Texas · 1986 Beyond Regionalism: The Fort Worth School (1945-1955), Old Jail Art Center, Albany, Texas · 1992 Prints of the Fort Worth Circle, 1940-1960, Huntington Art Gallery, University of Texas at Austin, Texas · 1992 Kelly Fearing: The Influence of “The Fort Worth School,” 1939-1955, Valley House Gallery, Dallas, Texas · 1995 Solo, Flatbed Press & Gallery, Austin, Texas · 1996 Solo, Valley House Gallery, Dallas, Texas · 1997 Jupiter’s Loves and His Children, Georgia Art Museum, University of Georgia, Athens, Georgia · 1998 Early Texas Art: A Collectors’ Exhibition, Museum of the Big Bend, Alpine, Texas · 1999 Kelly Fearing: A Search for Mystical Concepts, Pascal/Robinson Galleries, Houston, Texas · 2000 Solo, Flatbed Press & Gallery, Austin, Texas · 2001 First Light: Local Art and the Fort Worth Public Library 1901–1961 . . . A Centennial Exhibit, Fort Worth Central Library, Fort Worth, Texas (catalogue) · 2002 The Mystical World of Kelly Fearing: A Sixty Year Retrospective, traveling exhibition, University of Texas at Austin, Austin, Texas; Old Jail Art Center, Albany, Texas; Arlington Museum of Art, Arlington, Texas (catalogue) · 2002-03 The Eyes of Texas—The Lone Star State as Seen by Her Artists, San Angelo Museum of Fine Art, San Angelo, Texas; Panhandle-Plains Historical Museum, Canyon, Texas (catalogue) · 2005 Celebrating Early Texas Art: Treasures from Dallas-Fort Worth Private Collections, 1900-1960, Fort Worth Community Center, Fort Worth, Texas (catalogue) · 2007 A Life of Art: 1943-Present, Lotus Asian Art...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Offset lithograph in four colors on BFK paper (Edition of 300) Signed, titled, dated, and numbered in pencil, recto This artwork is offered by ClampArt, located in New York City.

Medium: Lithograph Printer and Publisher: Cirrus Editions, Los Angeles Catalogue reference: MMA 4 Edition size: 65, plus proofs Signed, dated, and numbered in pencil, lower margin

Serigraph in colors on paper. Hand signed and numbered by the artist. From the edition of 150. Sheet size 20 x 26.25 inches. Image size 19 x 23.25 inches. Frame size approx 27 x...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

Frame size: 30 7/8 x 48 inches Printer: Ed Hamilton, Cirrus Editions Publisher: Cirrus Editions, Los Angeles Edition: 65, plus proofs Catalogue reference:...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

A series of exceptional paintings and rare prints have just arrived from a private west coast private collection. American artist Hans Burkhardt, "Silent Night...

Robert Bechtle was born in 1932 in San Francisco and raised in Alameda. He studied graphic design and painting at the California College of Arts and Crafts in Oakland, earning his BF...

Edition of 60 Lithograph in colors Plate: 8 1/2 x 11 inches Sheet: 13 x 17 inches Robert Bechtle was born in 1932 in San Francisco and raised in Alameda. He studied graphic des...

Robert Bechtle was born in 1932 in San Francisco and raised in Alameda. He studied graphic design and painting at the California College of Arts and Crafts in Oakland, earning his ...