Thomas French Fine Art

Plate IV, Le Cocu Magnifique etching & aquatint, 1968 Unsigned on the print Signed on the portfolio justification page (see photo) From the unsigned edition of 200 impressions printe...

XXe Siecle-Hommage a Marc Chagall Color lithograph, 1969 Unsigned as issued by XXe Siecle From: XXe Siecle, Volume, Special Issue Marc Chagall Published by G. di San Lazzaro for A. M...

Neoclassical Head in profile Watercolor and graphite on paper, 1950 Signed and dated lower left in ink (see photo) Provenance: Washington, D.C. private collection Condition: Excellen...

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

Le Gamin (The Kid) Etching on laid paper, 1862 Signed in the plate upper left (see photo) As published in Theodore Duret, L'Histoire d'Edouard Manet et de Son Ouvre, 1902 (The first ...

Jersey Shore III Casein on Masonite, 1967 Signed lower right (see photo) Initialed, dated and titled verso Provenance: Estate of the artist Virginia Dehn (the artist's widow) Dehn Qu...

Woman's Head (Vrouwekop), Marguerite Adolphine Helfrich Drypoint, 1897 Signed lower right in pencil: J Toorop; by later hand Toorop's model for this print was Marguerite Adolphine H...

Golf (Wall Plaque) Polychromed ceramic, c. 1930-1 Signed with the artist's initials: VS recto Very rare, only a few produced prior to the closure of Cowan Pottery Format: Round ceramic plate, 11 1/4 inches Designed by the artist while working for Cowan Pottery in 1930. One of Cowan's clients, an interior designer, requested plates decorated with different outdoor activities. Others in the series included "Swimming," "Tennis," "Polo," and "The Hunt." According to Henry Adams, the number of examples created was very limited due to the closing of Cowan Pottery in 1931. Very rare Condition: Good, with the usual craquelure of the glazes used. Note: Industrial design democratizes high style, and Mr. Schreckengost was widely considered among the most democratic industrial designers. He made, quite literally, the stuff of life — things found routinely in homes, backyards and garages in this country and around the world. He designed bicycles for Sears and everyday china for American Limoges...

Sprong in de Lente (Deux Personnages) Color lithograph, 1963 Signed, dated and numbered in pencil (see photos) Edition: 25 Signed, dated and numbered in pencil Printed on Arches pape...

Untitled (Standing man with umbrella behind) Graphite on paper, c. 1890's Unsigned Provenance: Estate of the Artist Lucien Goldschmidt (1912-1992), noted art ...

For Lisa Color lithograph, 1984 Signed in pencil lower left (see photo) Numbered lower right corner Published to benefit the Los Angeles Children's Museum Printed by Brand X Editions...

Brookdale, New Jersey Graphite on paper, 1922 Signed with the artist's initials l.l., and dated 1922 (see photo) Annotated "Brookdale" front and back of sheet Condition: Excellent Ar...

The Art of Conversation (Three characters on...) Etching, 1958 Signed in pencil lower right: “Gromaire” (see photo) Edition: 110 (18/110) see photo Printed on RIVES paper Publisher: ...

Derriere le miroir, no. 87-88-89. Pages 6-7 Terres de Grand Feu, (Land of Great Fire) Color lithograph, 1956 From: Derriere le Miroir, Volume 87-88-89, 1956 Unsigned as issued by DL...

Untitled (Abstract Animal) Collage with watercolor, 1981 Signed and dated lower right (see photo) Condition: excellent Image size: 8 1/4 x 11 1/4 inches Frame size: 16 1/4 x 19 1/2 ...

Summer in Venice Lithograph printed in colors from five stones on Italian "Pascia" paper, 1966 Signed and dated lower left in pencil (see photo) The Print Club of Cleveland Publicati...

Echo in Grey Mixed media intaglio with embossing, c. 1980's Signed and numbered in pencil (see photo) Edition: 25 (24/25) Condition: Soft handling issues in top and bottom margin. Do...

Theodore Gericault (1791-1824) Passage du Mont Saint-Bernard Lithograph, 1822 Signed and titled in the stone As published in Arnault "Vie politique et militaire de Napoleon" Conditio...

L'Abreuvoir (The Trough) Woodcut printed in two shades of brown on paper, mounted Signed by the artist in pencil lower right (see photo) Signed with artist's monogram in the stone upper right: AL Dedicated in ink lower left: á Sagot (see photo) Annotated in ink lower right: 1/5 HT (1 of 5 Hors Triage [apart from the printing]) (see photo) Image: 12 x 15-7/8" (30.6 x 40.3 cm.) Mount: 19-5/8 x 25-1/2" (50 x 64.9 cm.) Condition: Excellent Reference: Lotz-Brissonneau 521 Auguste Louis Lepère...

Reclining Female Nude Charcoal and colored chalks with white highlights on tan laid paper, c. 1948 Signed and monogrammed by the artist lower right (see photo) A masterpiece dr...

Iris Watercolor on paper, c. 1920 Unsigned Provenance: Estate of the Artist Condition: Excellent, slight surface dirt Image/Sheet size: 15 x 10 1/4 inches Allen was trained in Boston...

Reclining Female Nude Leaning on One Arm Colored chalks on grey Strathmore paper. c. 1975 Signed in pencil upper left: Cadmus (see photo) Provenance: Estate of the Artist ...

#45 Ink on paper, 1970 Signed, titled, and dated in pencil by the artist One of a series of drawings, all made in 1970, which stemmed from Hogue's interest in Persian calligraphy. H...

untitled (Maine Autumn Landscape across the narrows from Mt. Desert) Watercolor, 1945-1955 Signed by the artist lower left in pencil (see photo) Provenance: Estate of the artist Cond...

Untitled (Figures in a park) Watercolor on paper, 1991 Signed lower right of image (see photo) Condition: Excellent Sheet size: 10 3/16 x 14 1/16 inches Provenance: David Anderson Ga...

Head of a Woman (Margaret) conte on wove paper, 1925 Signed and dated lower right Annotated "Margaret" in ink verso A portrait of Margaret Cassidy Manship ( d. 2012), daughter in law...

Untitled Fabric Design Gouache on paper, 1920-1930 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) Condition: E...

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of ...

Spiral of Time II Mixed media with acrylic on paper, 1986 Signed lower right (see photo) Condition: Excellent Image size: 35 x 15 1/2 inches Provenance: Peter Marciniak, New Hampshir...

Les Fruits 2 Oil on masonite, 1967 Signed and titled lower right (see photos) Signed with the estate stamp verso: Beni Kosh Collection #254 (see photo) Condition: Good Board size: 7 ...

Untitled Acrylic on canvas collage embedded with glitter and gold leaf. 2005 Unsigned Provenance: Estate of the Artist Condition: Excellent Image size: 7 7/8 x 10 inches Support shee...

Unknown Russian Artist Russian Orthodox Church, Middle 19th century Unsigned Illuminated in red, yellow blue and green pigments and gold leaf on paper An Illuminated manuscript folio...

The Port of San Tropez Oil on canvas, c. 1920 Signed lower right corner (see photo) Condition: Excellent, professionally cleaned Image/Canvas size: 25 3/4 x 32 inches Frame size: 30...

Point Lobos, California Oil on artist's board, c. 1925 Signed lower right: Wm J Edmundson (see photo) Condition: Very good condition Frame: Period McBeth Gallery style frame (see pho...

Untitled (Abstraction) Mixed media on paper, 1980 Signed and dated 1980 lower right (see photo) Condition: Excellent, unframed Sheet size: 31 1/2 x 47 1/2 inches Provenance: Jan Cowl...

Madison Wisconsin, 1973 Silver gelatin photograph, 1973 Signed and dated in ink lower right corner (see photo) Titled in in on reverse (see photo) Condition: Excellent ...

Plaster Works, Los Angeles, 1925 Toned silver print Negative by Edward Weston Print by Cole Weston (1919-2003) From: Edward Weston Portfolio, 1971 Published by Witkin-Berley Ltd., Ne...

Untitled (Visual Candy) Photo collage, c. 2008 Unsigned Provenance: Estate of the Artist Condition: Excellent Image size: 8 1/8 x 5 7/8 inches Support Sheet size: 17 x 14 inches Pet...

A Course in Miracles Dye transfer photograph, 1978 From: 12 Photographs: 1973-1983, Plate 7 of 12 Signed in ink Edition: 50, this example an Artist's Proof (7/10) Printer: Guy Stri...

From: The Black Sitting, 1956 Original silver print photograph taken the the photographers studio in New York in 1956. Hand signed in ink within the photographers stamp verso. Pri...

Untitled (Portrait of Roberta Kimmel Cohn) Silver gelatin print on photographic paper c. 1981 Signed with the photographer's hand stamp verso From a presentation portfolio given the ...

Juniper, Lake Tenaya Gelatin silver print, 1937 Unsigned Edward Weston Estate stamp verso (see photo) A lifetime printing by Brett Weston, supervised by his father Edward, printed in...

Shaker Interior, Sabbathday Lake, Maine Silver print, selenium toned, 1971 Signed in pencil lower right (see photo) Titled verso (see photo) Printed c. 1971 Condition: Excellent Image: 6 1/2 x 9 3/8 inches Frame: 14 x 17 inches Original Kulicke welded frame George A. Tice, born in Newark, New Jersey, United States, October 13, 1938, the son of a college-educated New Jerseyan, William S. Tice, and Margaret Robertson, a Traveller of Irish, Scottish, and Welsh stock with a fourth-grade education. George was raised by his mother, maintaining regular visiting contact with his father, whose influence and advice he valued highly. Education His first contact with photography was in the albums of family photographs belonging to his father, and this gave him the desire to create images of his own. George Tice began with a Kodak Brownie. In 1953, having bought a Kodak Pony, which gave him some control over exposure and focus, and a Kodak developing kit, he began to advance his craft. George Tice also joined the Carteret Camera Club. Tice's photographs of homeless men on the Bowery won second place in the black and white print competitions. George Tice decided at this point to make photography his career. In 1955 George Tice attended the Newark Vocational and Technical High School, where he briefly studied commercial photography under Harve Wobbe. When he turned sixteen, he quit school and took a job as a darkroom assistant for Classic Photo, a portrait studio in Newark. He also worked as a stock boy at Kreske's Department Store in Newark, then as an office boy in the circulation department of the Newark Evening News. In 1956 George Tice enlisted in the United States Navy, in which he rose to the rank of Photographer's Mate Third Class. After boot camp and two years at Naval Air Station Memphis, he was transferred to sea duty aboard the aircraft carrier, USS Wasp...

Stone Church Window, Glenaloough, Wicklow, Ireland Silver gelatin Print, c. 1967, printed c. 1989 Signed in pencil lower right on mount (see photo) From: Stone Churches of Ireland, p...

Chorus Line Oil pastel on paper, c. 1960's Signed (see photo) Provenance: Estate of the Artist Estate of the artist (Estate No. 745) Condition: Excellent Image/Sheet size: 5 3/4 x 4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News (April 1, 1954); Sam Feinstein...

Red to Green Portal Aquatint, 1979 Signed and dated in pencil lower right (see photo) Edition: 95 (84/95), see photo Provenance: U.S. Representative James A. Leach, retired Condition...

Playing with Lives (First Responder) Watercolor on Arches paper, 2020 Signed with the artist's initials lower right Signed with the artist's embossed "Yummy" blindstamp lower right One of several works with a Covid inspired composition. A masterpiece of American watercolor. Condition: Excellent Archival framing with OP3 Acrylic Image size: 26 1/16 x 19 1/8 inches Frame size: 33 x 25 inches “First Responder” is a piece that celebrates the hard working doctors and nurses that are working around the clock, risking their lives for others. My daughter dresses up in her doctor custom everyday. Doc McStuffins is her favorite cartoon to watch, she carries her doctor kit...

The Forge Drypoint, 1861 Signed in the plate lower right (see photo) Published as part of the Thames Set, 1871 Printed between 1894 and 1896 when the plate was canceled. This impress...

The Woman and the Street Etching, 1927-1930 Signed in the plate lower right corner (see photo) From: The Fables of La Fontaine, Plate 84 From the deluxe portfolio edition of 40 examp...

Facade I Screen print, 1970 Signed, dated, titled and numbered in pencil Edition: 100 (44/100) Provenance: Estate of the artist By decent Condition: Excellent Image: 24 x 29" Sheet:...

Olkia-1 Color lithograph, 1962 Signed dated and numbered in lower margin Edition: 80 (32/80) Condition: Very good. White pigment appears to have been added along the border of the ov...

April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido Color woodcut, 1880 From the series: "Pride of Tokyo's Twelve Months" (Tokyo jiman juni kagetsu) Signed and sealed lower rig...

Chicken Ride Pen and ink on paper, c. 1940 Unsigned Annotated by the artist with his color intentions Preliminary study for "Chicken Ride," watercolor, 1940, in the collection of Mr...

Post Office, New York Watercolor on paper, c. 1930 Signed with the Estate stamp lower left (see photo) Illustrated: Marbella Gallery, Robert Hallowell (1886-1939), No. 64 Provenance:...

Allen Ladd as Shane Colored and metallic paper collage. c. 1960's Signed in ink lower right; Signed in pencil on reverse; (see photo) Titled in pencil upper left recto (see photo) C...

Standing Nude with Japanese Lanterns Ink drawing on wove paper, mounted on wove paper support, c. 1916 Signed with the estate stamp B Provenance: Estate of the Artist ...

Bömmels belonged to the co-founders of the Cologne artist group Mülheimer Freiheit , which also included Hans Peter Adamski , Walter Dahn , Jiří Georg Dokoupil , Gerard Kever and Ger...

Untitled Collage and crayon drawing, 1967 Signed and dated lower center (see photo) Condition: Small imperfections from the creative process Small tear on the left sheet edge (repai...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Untitled (Woman Removing Her Stockings) Conte crayon on paper. c. 1905 Signed lower right: E Shinn Provenance: James Graham & Sons, New York (labels) Ronald C. Sloter, Columbus Colum...