Stone Roberts

Cluster of Grapes in Folded Napkin

Signed in pencil Edition: 75 Gargoyle Series No. 7 This impression probably printed by David Strang, 1937-38 Sheet: 9 1/4 x 11 1/4" Reference: William Dolan Fletcher, John Tay...

Studio Flowers Lithograph, 1982 Signed lower right (see photo) Numbered lower left Edition: 120 (42/120) (see photo) Condition: Mint condition Two bits of hinge residue verso Image size: 24 x 18 inches Sheet size: 28 1/4 x 21 1/4 inches Reference: Lunde Robert Kipniss (1921 Considered one of the greatest living American printmakers, with a professional career that spans seven decades and work that can be found in over 170 museums including The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Butler Institute of American Art, Youngstown, OH; The British Museum, London; the Albertina, Vienna; the Bibliothèque Nationale de France, Paris; the Royal Society of Painter-Printmakers, London; The Pinakothek der Moderne, Munich, Germany; the Los Angeles County Museum of Art; The Museum of Fine Arts, Boston; Smithsonian American Art Museum, Washington, DC; and the Art Institute of Chicago. Kipniss was elected to the National Academy of Design in 1980, and to the Royal Society of Painter-Printmakers, London, in 1998. He has received a Lifetime Achievement Award from the Society of American Graphic Artists and The Artists Fellowship. He has also received the Speicher-Hassam Purchase Award from the American Academy of Arts & Letters, as well as Honorary Doctorates from Wittenberg University and Illinois College. Selected Public Collections Achenbach Foundation for Graphic Arts, The Fine Arts Museums of San Francisco, California Palace of the Legion of Honor Albertina Museum, Vienna, Austria Albright-Knox Art Gallery, Buffalo, New York Arkansas State University Permanent Collection, State University, Arkansas The Art Institute of Chicago, Chicago, Illinois Art Museum of Western Virginia, Roanoke, Virginia Art Students League of New York, New York, New York Bates College Museum of Art, Lewiston, Maine The Berkshire Museum, Pittsfield, Massachusetts Bibliothèque nationale de France, Paris The Boston Athenaeum, Boston, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine The British Museum, London Brooklyn Museum of Art, Brooklyn, New York Richard F. Brush Art Gallery, St. Lawrence University, Canton, NY The Butler Institute of American Art, Youngstown, Ohio Canton Art Institute, Canton, Ohio Carnegie Museum of Art, Pittsburgh, Pennsylvania The Century Association, New York, New York The Cleveland Museum of Art, Cleveland, Ohio Columbus Museum of Art, Columbus, Ohio Coos Art Museum, Coos Bay...

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

Holiday Greeting Card for Madame R. G. Michel & Family (Carriage Clock, Vase & Flowers) Etching & color aquatint, 1986 Signed in pencil lower right Printed on BFK Rives paper Annapi...

Holiday Greeting Card for Madame R. G. Michel & Family (Goldfish in bowl, vase & red flowers) Etching & aquatint printed in colors, 1989 Signed in pencil lower right Folded Holiday c...

Untitled (Still Life) Etching, aquatint and soft ground, 2001 Signed in pencil (see photo) Edition: 260 Published by the Print Club of Cleveland, Publication 80, 2002 Printed by Felix Harlan at Harlan and Weaver, New York William Bailey, Modernist Figurative Painter, Dies at 89 He swathed his nudes and still lifes of eggs, vases, bottles and bowls in a breathless, deceptively serene atmosphere heavy with mystery. The painter William Bailey in 2009. He was never given a career survey in a major museum, but his influence, particulary on students at Yale, was deep.Credit...Ford Bailey By William Grimes for the New York Times April 18, 2020 William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. His muted ochres, grays and powdery blues conjured up a still, timeless world inhabited by Platonic forms, recognizable but uncanny, in part because he painted from imagination rather than “They are at once vividly real and objects in dream, and it is the poetry of this double life that elevates all this humble crockery to the realm of pictorial romance,” Hilton Kramer wrote in The New York Times in 1979. Mr. Bailey’s female figures, some clothed in a simple shift or robe and others partly or entirely nude, are disconcertingly impassive, implacable and unreadable, fleshly presences breathing an otherworldly air. The critic Mark Stevens, writing in Newsweek in 1982, credited Mr. Bailey with helping to “restore representational art to a position of consequence in modern painting.” But his version of representation was entirely idiosyncratic, seemingly traditional but in fact “a modernism so contrarian,” the artist Alexi Worth wrote in a catalog essay for the Betty Cuningham Gallery in 2010, “that it feels, despite its historical sophistication, almost like a brand of outsider art.” William Harrison Bailey was born on Nov. 17, 1930, in Council Bluffs, Iowa. His father, Willard, worked in radio advertising and moved the family from city to city in the Midwest. Bill was in his early teens when his father died. His mother, Marjorie (Cheyney) Bailey, was a homemaker who later worked as an accountant for her second husband, Fred...

'Elizabeth's Cone II', Hand Colored Aquatint Etching with the plate (image itself) 15 x 22 inches. On a larger piece of archival paper . An iconic still life image featuring the “tragedy” of a dropped ice cream cone. The artist came to see dropped cones as fleeting promises of joy; offering refreshing coolness, a mixture of favorite flavors, soft ice cream gushiness, and crunch of cake cone. Whether devoured or dropped, their existence is short lived. Beside the alluring visual attributes, dropped cones represent a metaphor for the temporal nature of life, itself. And was an important sub-series for James Torlakson...

'Elizabeth's Cone', Aquatint Etching with the plate (image itself) 15 x 22 inches. On a larger sheet of archival paper. An iconic still life image featuring the “tragedy” of a drop...

'Wizard of Wyoming ' , Hand Colored Aquatint Etching with the plate (image itself) 12 x 12 inches. On a larger piece of archival paper at approximately 16 x 16 inches and matted to approximately 19 x 19 inches. . An iconic still life image featuring the crash scene of a lone overturned semi truck...

'14,829 East 14th Street' Hand Colored Aquatint Etching 2015 image size 10” x 15” with the paper being larger. Edition of 3' (one of three) Hand Colored...

Miniature linocut prior to the large triptych made by Lefner in 2014. Edition of 5 of #5. Pencil signed on right and dated verso. Measures 9.5 inches wide by 12 inches high. Dave Lef...

Linen backed original 1939 James Montgomery Flagg vintage poster: Your in Trust; we must protect it from fire. "If we would have forests--we must prevent fires: Maryland State...