Stephen Scott Young

Scarf

Stephen Scott Young, "Yellow Shutters" Etching on German copperplate paper 5.5 x 7.5 in. [sight], 13.25 x 14.75 in. [framed] Pencil-signed lower right, titled lower center, and num...

Acrylic on canvas. Signed, dated, and titled verso. 52.25 x 52.75 in. 54 x 54.25 in. (framed) Custom framed in a maple hardwood floater. Provenance Salander O’Reilly Galleries, Ne...

Oil-based mixed media on canvas. Signed verso. 47.25 x 56 in. 48.25 x 57.25 in. (framed) Custom framed in white oak. Provenance Allan Stone Gallery, New York John Beardman...

Oil on canvas. Signed, titled, dated verso. 67 x 66 inches67.75 x 66.75 inches (framed) Custom framed in a solid maple floater. Warren Rohrer was born...

Diptych, acrylic on canvas. Signed lower right. Two canvases, joined along vertical stretcher on verso. 40 x 60 in. 41 x 61 in. (framed) Custom framed in maple. Provenance Estate of Beatrice Mandelman 203 Fine Art, Taos, NM A certificate of authenticity issued by the Mandelman Ribak Collection at the University of New Mexico Foundation will be provided with this work. Beatrice Mandelman was born on December 31, 1912 in Newark, New Jersey. At age 12, she began taking classes at the Newark School of Fine and Industrial Art, subsequently attending Rutgers University, the Newark School of Fine and Industrial Art, and the Art Students League in New York. In 1935, Mandelman was employed by the Works Progress Administration (WPA), first as a muralist and then as a printmaker with the Graphic Division of the New York Project. One of the original members of the Silk Screen Unit under Anthony Velonis, she worked until the disbandment of the WPA in 1942. During this period, she was associated with numerous New York School artists including Louis Lozowick, Willem de Kooning, Arshile Gorky, Jackson Pollock, and Stuart Davis. Mandelman married fellow artist Louis Ribak in 1942, and two years later they traveled to Santa Fe, NM to visit his teacher and mentor, the artist John Sloan. Finding Santa Fe congested, they took the train along the Rio Grande and a stagecoach up to Taos and decided to settle there. An impulsive and inspired move, it was a decision that would effectively remove them from mainstream art involvement, for which Santa Fe had become an important outpost in the west. While Taos was a well-known within the art community, there were no galleries exhibiting modern art. This changed later in the decade, with an influx of new artists arriving from New York and California. Some of these artists would come to be known collectively as the “Taos Moderns...

Oil on canvas. Signed lower right and on verso. 59 x 54 in. 60 x 55.25 in. (framed) Custom framed in a hickory floater. After World War II, William Quinn...

Etching on thick, hand made laid paper, 8 1/8 × 5 13/16 inches (206 × 148 mm), full margins. Scattered light age tone surface soiling, dog-eared corners, and minor edge nicks. An imp...

Aquatint engraving, 1839-44. Drawn by Karl Bodmer. Engraved by Rene Rollet. Printed by Bougeard, Paris. Published in Paris, A. Bertrand.; Coblenz, J. Holscher; and Lon...

Aquatint, mezzotint and etching, 1839-44. Drawn by Karl Bodmer. Grave par J. Hurlimann. Published in Paris, A. Bertrand; Coblenz, J. Holscher and London by Ackermann & ...

Aquatint, mezzotint and line engraving, 1839-44. Drawn by Karl Bodmer Engraved by Hurlimann. Printed by Bougeard, Paris. Published in Paris, A. Bertrand; Coblenz, J. H...

Aquatint, etching and roulette engraving, 1839-44. Drawn by Karl Bodmer. Engraved by R. Rollet. Printed by Bougeard, Paris. Published in Paris, A. Bertrand; Coblenz, J...

Artist: Theo Wujcik, American (1936 - 2014) Title: James Rosenquist from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 40 Image Size: 16.5 x 2...