Unknown

The Dead Bastard Graffiti Print, Mystery East Village, 1970s

1972

Marion Epstein (American, 1921-2002) Titania, 1973 Lithograph Framed: 31 1/2 x 25 x 1/2 in. Numbered, titled, signed and dated bottom For over 60 years, local artist Marion Epstein has worked through her art to bridge the personal and the political, family and career. A versatile and prolific artist, she has done sculpture, enameling, painting and photography. But it was printmaking that truly captivated her imagination. Like many artists of her generation, Epstein was powerfully influenced by the political activism of the 1960s. A member of the Women's International League for Peace and Freedom, Epstein recalls attending meetings out of town with her young son in tow. The anti-war movement influenced a number of her pieces. "Where Have All the Flowers Gone?" echoes the sentiment of the popular anti-war folk song. This very tall print (6-by-2-1/2 feet) in tones of black, cream and ochre shows a tall woman (Marion) shielding a child, with spindly flowers drooping around them. "I didn't do abstractions," says Epstein. "I was always trying to say something." Another anti-war piece, "Generations of Thy Children," combines oil painting and collage on a bisected canvas. On the right half, a lone figure of a Vietnamese child stands forlornly on a reddish orange background. The left side of the canvas is crowded with images of soldiers, artillery and politicians. Epstein's print "Metamorphosis," completed following her participation in a civil rights march in Washington, tries to capture the changes and uncertainty in America during that time. In the background a white man looms with a questioning, almost fearful look on his face while the black youth in the foreground has his eyes downcast. Works such as "Dream Deferred" and "Aching To be Free" also represent the artist's personal reflections on the struggle for racial equality. Much of Epstein's art is a complex layering of imagery and texture, line and translucent color. In her haunting print, "Ovens and Shoes," one of several works in which she addresses the Holocaust, she makes interesting use of photographic images from the U.S. Holocaust Memorial Museum in Washington, D.C. Over a saturated black print of the death camp ovens, she has superimposed a pale ochre print of the pile of discarded shoes. Layered on top of these and centered between the arches of the ovens is the violet image of a Rodin sculpture of a man. (Bio sourced from Cleveland Jewish News, by Susan Kahn)

Renee Gaylin Ritter (American, b. 1935) 1. Untitled, 1974 Print (lithograph?) Sight: 16 x 20 in. Framed: 21.25 x 25 x 1 in. Signed and dated lower right 2. Untitled, c. 1970s Print (Lithograph?) Sight: 20 x 16 1/2 in. Framed: 25 x 20 7/8 x 7/8 in. Edition 18/74 (10/74?) Signed and numbered lower right Bio from Renee Ritter's website: I'm a New Yorker, born and bred. I was raised with noise and rush and life all around me. My world was vivid technicolor, and no one ran faster than I did. I met and married the man of my dreams, and had the joys and exasperations of raising a family. And all of these events would have been the colors of my canvas if not for the happy opportunity of being able to spend some years in Japan. Japan is the perfect place to plunk down a New Yorker. While it races along on one level, there is this other part of Japan that forces you to hit the mental brakes until the images racing by slow down enough to actually be seen! Eastern thought is a well from which to draw the pure water that clears the mind and strengthens the soul. I've had the unbelievable pleasure of turning visions into realities, and of having those pieces of me scattered around the world. I'm thrilled that they've found so much acceptance in exhibitions, and I'm humbled at the thought that they hang on the walls of museums. But I have to say that I am most pleased when they speak so loudly to another soul that that person has to bring me home to continue our conversation for years to come. For the last 18 years, I've been a teacher, too. I have all the joys of being able to step back from what I do, and think through the principles I've recognized and the pathways I've wandered. And then to offer those insights to others to help them bring out their own mental images for the rest of us to share. AWARDS National Collage Society, "Postcard Exhibit", Merit Award, 00 National Collage Society, Kent State U, Kent, OH, Merit Award, 99 Hazel Witte...

Mury (Mury Rabin) Man Receiving Himself, c. 1960s Softground monoprint Sight: 16 1/2 x 18 1/4 in. Framed: 23 1/8 x 25 1/8 x 7/8 in. Titled lower right, signed lower left Graphic ar...

Leonard Baskin (1922-2000) Untitled, Late 20th Century Woodcut Framed: 32 x 24 1/4 x 1/4 in. Edition 26/50 Signed and numbered lower right A highly respected draftsman, printmaker, ...

Cathy Migliaccio (American 1950-2003), "Women Seated" Edition 1/1, Abstract Figurative Lithograph numbered and signed in Pencil, 12.75 x 9.50 In Matte (18.63 x 15.50 In Frame), Late 20th Century, 1972 Colors: Black and White Cathy Miglaccio was an artist originally hailing from New Jersey and later the Bronx, New York City. Having graduated with a Masters in Art Education, she later taught Art respectively in Baltimore, MD and Fredonia, NY and later at The Holy Cross School in Rumson, NJ. While there, she also served as Chairwoman for the Holy Cross Antique...

Vladimir Szabo (Hungarian 1905-1991), " Untitled: Dancing Nudes", Figurative Lithograph, 15 x 23.75, Late 20th Century Colors: Black and White A pupil o...

Artist: Henry Moore (British, 1898-1986) Title: Les Poetes, La Poesie Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Paper size: 18...

Artist: Henry Moore (British, 1898-1986) Title: Les Poetes, La Poesie, Front Page Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Paper...