Thomas French Fine Art Prints and Multiples
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Haystack #5
By Roy Lichtenstein
Located in Fairlawn, OH
Haystack #5
Color lithograph and screen print, 1969
Signed and dated in pencil (see photo)
From: Haystack Series (seven plates) see photo of entire portfolio
Signed and dated in pencil
Edition: 100 (74/100)
Publisher: Gemini G.E.L., Los Angeles, CA, with their blaindstamp
Reference: Paul Bianchini No. 33e
Corlett and Fine 69
Condition: Excellent
Fresh colors
Small paper imperfection in bottom margin near the edge of the sheet
Image size: 13 1/4 x 23 3/8 inches
Sheet size: 20 ¾ x 30 ¾ inches
Frame size: 23 ½ x 33 ¾ inches
This is one of the finest images in the portfolio, inspired by Claude Monet's famous series of Haystack paintings...
Category
1960s Pop Art Landscape Prints
Materials
Screen
Meditation and Minou
By Will Barnet
Located in Fairlawn, OH
Meditation and Minou
Color lithograph and serigraph, 1980
Signed and numbered in pencil (see photo)
Printer Styria Studio, Inc. New York
Publisher: Harry Abrams...
Category
1980s American Realist Figurative Prints
Materials
Screen
The Ponte and Castel S. Angelo (Veduta del Ponte e Castello Sant' Angelo)
By Giovanni Battista Piranesi
Located in Fairlawn, OH
The Ponte and Castel S. Angelo
Veduta del Ponte e Castello Sant' Angelo
Etching, 1754
Signed in the plate lower right above the caption
From: Vedute di Roma
A proper Roman printing with the price in the lower right corner. Printed on a Double Circle Fleur de Lys watermark paper, c. 1760, with full margins.
A brilliant impression .
Note: A view of the Tiber River, Castello Sant' Angelo and St. Peter's Basilica in the distance.
Watermark: Double Circle Fleur de Lys
References: Robison c/g
Hind 29 ii/VII
Foclllon 793
Condition: A Roman printing before the numbers added in Paris. Printed on a Double Circle Fleur-de-Lys watermark paper.
Right margin folded over 5/8 inches for framing.
Usual centerfold as issued in the album.
Slight aging to the sheet.
Binding holes at the left margin edge
Framed with plexi.
Plate size: 14 7/8 x 22 7/8 inches
Sheet size: 21 5/8 x 30 5/16 inches
Frame size: 22 3/4 x 33 1/2 inches
Sant’Angelo Bridge, Italian Ponte Sant’Angelo, ancient (Latin) Pons Aelius, ancient Roman bridge, probably the finest surviving in Rome itself, built over the Tiber by the emperor Hadrian (reigned 117–138 AD) to connect the Campus Martius with his mausoleum (later renamed Castel Sant’Angelo). The bridge was completed about AD 135. It consists of seven stone arches and five main spans of about 60 feet (18 m) each, supported on piers 24 feet (7 m) high.
In the 13th century Pope Clement IV installed an iron balustrade and in the 16th century Pope Clement VII placed statues of Saints Peter and Paul...
Category
1750s Old Masters Landscape Prints
Materials
Etching
XXXIII Fig. I Avanzo del Tempio di Castore e Polluce
By Giovanni Battista Piranesi
Located in Fairlawn, OH
XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero,
Etching, 1756
Signed in the plate (see photo)
From: Le Antichità Roma...
Category
1750s Old Masters Landscape Prints
Materials
Etching
St. Peter's Interior with the Nave
By Giovanni Battista Piranesi
Located in Fairlawn, OH
St. Peter's Interior with the Nave
Veduta interna della Basilica di S. Pietro in Vaticano
Etching, 1748
Signed in the plate
From: Vedute di Roma, Plate 5
An early Roman...
Category
1740s Old Masters Interior Prints
Materials
Etching
The Draped Figure, Seated
By James Abbott McNeill Whistler
Located in Fairlawn, OH
The Draped Figure, Seated
Lithograph on fine japanese paper, 1893
Signed in pencil with the butterfly (see photo)
Signed in the stone with the butterfly on the sofa (see photo)
Numbered: "No. 20" in pencil
Printed by Thomas Way, London
A beautiful impression with tonal variations in the stump work (shading)
As published in: L'Estampe Originale, Paris, 1893, Album IV
Edition: 107 impressions, this No. 20
There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London
Lacking the huge support sheet and embossed series stamp by Charpentier
With the letterpress lower left: "T. Way. Imp London"
The stone erased in 1904
The majority of the lifetime impressions are in public collections
Condition: Excellent condition
Hinges from original issuance of L'Estampe Originale verso at top as described in Spink
Three hinges residue along right edge of the sheet from a later matting of the print
Image size: 8 1/4 x 6 3/8 inches
Sheet size: 11 3/8 x 9 1/16 inches
Reference: Spink/Tadeschi 72, published edition
Levy 74
Way 46
A superb Neoclassical lithograph...
Category
1890s American Impressionist Nude Prints
Materials
Lithograph
Untitled
By Alexander Calder
Located in Fairlawn, OH
Untitled
Color lithograph, 1966
Unsigned as issued
From:Derriere le Miroir, Volume 156
Large unsigned edition
Printed by Mourlot, Paris
Published by Aime Maeght, Paris
Condition: Usu...
Category
1960s American Modern Abstract Prints
Materials
Lithograph
Bare Arms (The Practice #2)
By Darius Steward
Located in Fairlawn, OH
Bare Arms (The Practice #2)
Drypoint on Aluminum, 2019
Signed with initials lower right
Edition: 8 impressions (all uncolored), this “6 out of 8”
There are also 4 AP, 2 with hand coloring
Printed on Twinrocker all purpose paper
Published by Thomas French Fine Art...
Category
2010s Contemporary Figurative Prints
Materials
Drypoint
Flower and Pot
Located in Fairlawn, OH
Flower and Pot
Color mezzotint, 1983
Signed, numbered, and dated in pencil
John Szoke Graphics blindstamp, lower right
Edition: 150 (100/150)
Image si...
Category
1980s Contemporary Still-life Prints
Materials
Mezzotint
Five Ideas for Sculpture
By Henry Moore
Located in Fairlawn, OH
Five Ideas for Sculpture
Lithograph, 1981
Signed and numbered in pencil by the artist lower margin. (see photos)
Edition: (35/50) 50
There were also 15 Roman Numeral artist's proofs....
Category
1950s Modern Abstract Prints
Materials
Lithograph
Niagara Falls
By Adolf Arthur Dehn
Located in Fairlawn, OH
Niagara Falls
Lithograph, 1931
Signed lower right (see photo)
Titled/edition lower left. (see photo)
Edition of 25
Provenance: the Estate of the Artist
Condition: Excellent
Image si...
Category
1930s American Modern Landscape Prints
Materials
Lithograph
Les Jardin des Tuileries
By Edouard Vuillard
Located in Fairlawn, OH
Signed by the artist in pencil upper right; Annotated in pencil by the artist below signature: "no 58"
Edition: Intended edition of 100 for Vollard's "Album des Peintres-Gravures" o...
Category
Late 19th Century Landscape Prints
Materials
Lithograph
La Naissance d’Annette (Birth of Annette)
By Edouard Vuillard
Located in Fairlawn, OH
La Naissance d’Annette (Birth of Annette)
Color llithograph, 1899
Unsigned (as usual)
Edition: 100
Publisher: Ambrose Vollard
Printer: Auguste Clot, Paris
Condition: Excellent with f...
Category
1890s French School Figurative Prints
Materials
Lithograph
Trees (Trees in Circle)
By Louise Nevelson
Located in Fairlawn, OH
Trees (Trees in Circle)
Etching & drypoint with monotype inking, 1953-1955
Signed in pencil
An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...
Category
1950s Abstract Landscape Prints
Materials
Drypoint, Etching, Monotype
Cahiers d'art, Surrealist Composition 1
By Joan Miró
Located in Fairlawn, OH
Cahiers d'art, Surrealist Composition 1
Pochoir, 1934
Unsigned as issued in Cahier's edition
Published in Cahier's d'art, 1934
Unsigned Edition of 1200
There was also a pencil signed...
Category
1930s Surrealist Abstract Prints
Materials
Stencil
L'Enfant Et Le Maître Décole (The Child and the School Teacher)
By Marc Chagall
Located in Fairlawn, OH
L'Enfant Et Le Maître Décole (The Child and the School Teacher
Etching with hand coloring by Chagall, 1927-1930
Signed in the plate lower right (see photo)
From La Fontaine Les Fable...
Category
1920s French School Figurative Prints
Materials
Etching
Dames charmante et charmante a tous egard
By Marc Chagall
Located in Fairlawn, OH
(A charming lady chatting with a lady perfect in every possible way)
Signed in the plate. No pencil signed impressions are existent.
Edition: 368 (including 50 imps on japan) includi...
Category
1920s French School Figurative Prints
Materials
Etching
Cleveland Center for Contemporary Art 1968/ 1983
By James Rosenquist
Located in Fairlawn, OH
Cleveland Center for Contemporary Art 1968/ 1983
Off-set lithographic poster, 1983
Signed in ink by the artist in the bottom margin (see photo)
Poster celebrating the 15 year anniver...
Category
1980s American Modern Abstract Prints
Materials
Offset
Plate I, Le Cocu Magnifique
By Pablo Picasso
Located in Fairlawn, OH
Plate I, Le Cocu Magnifique
Etching, 1968
From: Le Cocu Magnifique
Unsigned as issued in the portfolio
The set of 12 etching & aquatints is signed by Picasso on the justification pa...
Category
1960s French School Figurative Prints
Materials
Etching
Plate VI, Le Cocu Magnifique
By Pablo Picasso
Located in Fairlawn, OH
Plate VI, Le Cocu Magnifique
etching & aquatint, 1968
Unsigned as usual
From the unsigned edition of 200 impressions printed on Rives BFK paper
There is also a signed edition of 30 i...
Category
1960s Surrealist Figurative Prints
Materials
Etching, Aquatint
En Espagne
By Victor Max Ninon
Located in Fairlawn, OH
En Espagne
Pochoir (silk screen) printed in colors
Signed by the artist in pencil lower right
The artist won a gold medal in Paris in 1925 for his pochoirs
Condition: Excellent
Image size: 11-1/2 x 13"
Sheet size: 19 1/2 x 24 3/4";
The artist won a gold medal in Paris in 1925 for his porchoirs
The artist is Italian, Vittorio Accornero de Testa, working in Paris.
The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's.
Biography
Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators.
In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli .
In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia.
In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous.
His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...
Category
1920s Art Deco Figurative Prints
Materials
Screen
Au Japon
By Victor Max Ninon
Located in Fairlawn, OH
Au Japon
Pochoir (Stencil Print), 1925
Signed by the artist in pencil lower right (see photo)
Signed in the image lower left (see photo)
Stamped verso: Made in France
Note: The artist won a gold medal in Paris in 1925 for his porchoirs
Condition: excellent
Image size: 11 1/2 x 13 inches
Sheet size: 20 x 25 3/4 inches
The artist is Italian, Vittorio Accornero de Testa, working in Paris.
The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's.
Condition: Excellent, never matted or framed
Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982)
Biography
Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators.
In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli .
In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia.
In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous.
His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...
Category
1920s Art Deco Figurative Prints
Materials
Screen
Untitled
By Larry Rivers
Located in Fairlawn, OH
Untitled (Picasso)
Screen print, 1974
Signed, numbered and dated in red pencil lower right (see photo)
from Homage to Picasso (Hommage à Picasso)
Publisher: Propyläen-Verlag, Berlin
...
Category
1970s Pop Art Figurative Prints
Materials
Screen
La Pique (The Pike)
By Pablo Picasso
Located in Fairlawn, OH
La Pique (The Pike)
Lithograph, 1950
Original lithograph drawn with chalk and "frottage textures" transferred to stone, 1950.
Unsigned printer's proof
Inscribed on the verso in Mourl...
Category
1950s French School Animal Prints
Materials
Lithograph
Plate IV, Le Cocu Magnifique
By Pablo Picasso
Located in Fairlawn, OH
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...
Category
1960s French School Nude Prints
Materials
Aquatint
Claude Renoir, la Tete Baisee (Claude Renoir, Head Lowered)
By Pierre-Auguste Renoir
Located in Fairlawn, OH
Claude Renoir, la Tete Baisee
(Claude Renoir, Head Lowered)
Lithograph, 1904
Edition 1,000, this one of 950 on wove paper with the stamp signature (there were also 50 impressions pri...
Category
Early 1900s Impressionist Figurative Prints
Materials
Lithograph
Les Laveuses, 2e Pensee (The Washerwoman)
By Pierre-Auguste Renoir
Located in Fairlawn, OH
Les Laveuses, 2e Pensee (The Washerwomen)
Lithograph, c. 1910
Unsigned (as issued)
Edition: c.30-50 impressions
Condition: Rust spot, associated with paper manufacture, in right marg...
Category
1910s Impressionist Figurative Prints
Materials
Lithograph
Beauty on a Veranda with Fan and Mirror
By Suzuki (Hozumi) Harunobu
Located in Fairlawn, OH
Signed: Harunobu ga
Series: Series: Eight Fashionable Parlor Views (Furyu zashiki hakkei)?
Format Japanese: chuban
Provenance:
Private Collection, Philadelphia
Collection of McCleaf
...
Category
Mid-18th Century Edo Prints and Multiples
Materials
Woodcut
The Web
By Ray H. French
Located in Fairlawn, OH
The Web
Engraving and soft ground, 1950
Signed, titled, dated and numbered by the artist
Edition: 35 (26/35)
Printed by Master Printer, Jon Clemens, 2000
Provenance:
Estate of the ar...
Category
1950s Surrealist Figurative Prints
Materials
Engraving, Etching
Afternoon Tea Party
By (after) Mary Cassatt
Located in Fairlawn, OH
Afternoon Tea Party
Drypoint and aquatint printed in colors, printed 1991
Initialed in the center of the plate
Condition: Excellent
Archival framing with silk matting, finished corner gold...
Category
1890s Impressionist Figurative Prints
Materials
Aquatint
El Ultimo viaje del buque fantasma, Plate III
By Wifredo Lam
Located in Fairlawn, OH
El Ultimo viaje del buque fantasma, Plate III
Color lithograph, 1976
Signed and numbered in pencil
From: Gabriel Garcia Marquez, El Ultimo viaie del buq...
Category
1970s Surrealist Abstract Prints
Materials
Lithograph
Drole de Drame
By Karel Appel
Located in Fairlawn, OH
Drole de Drame
Lithograph, 1960
Signed, dated and numbered in pencil lower right
(see photos)
Edition: 120 (91/120)
Published by L’Ouevre Grave, Geneve (blindstamp recto)
Printed by ...
Category
1960s Abstract Abstract Prints
Materials
Lithograph
XXe Siecle-Hommage a Marc Chagall
By Marc Chagall
Located in Fairlawn, OH
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...
Category
1960s French School Figurative Prints
Materials
Lithograph
J. Becquet, Sculptor
By James Abbott McNeill Whistler
Located in Fairlawn, OH
J. Becquet, Sculptor
Etching & drypoint, 1859
Unsigned as issued
From: The Thames Set
Printed on this Japanese tissue
Rich impression
Condition: Excellent
Plate/Image size: 9 7/8 x 7...
Category
19th Century Impressionist Portrait Prints
Materials
Drypoint, Etching
L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes)
By James Jacques Joseph Tissot
Located in Fairlawn, OH
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...
Category
1880s Impressionist Figurative Prints
Materials
Etching
Le Gamin (The Kid)
By Édouard Manet
Located in Fairlawn, OH
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 ...
Category
1860s Impressionist Figurative Prints
Materials
Etching
Black Cat
By Walasse Ting
Located in Fairlawn, OH
Black Cat
Color lithograph, 1981
Signed in pencil lower right
Annotated: AP (Artist Proof)
Printer: Jorge Dumas, Atelier Dumas, New York
Condition: Very fres...
Category
1980s Contemporary Figurative Prints
Materials
Lithograph
Portrait of Young Poet (Dylan Thomas)
Located in Fairlawn, OH
Portrait of Young Poet (Dylan Thomas)
Woodcut, c. 1967
Signed and titled in pencil (see photos)
Edition: c. 25 impressions
Image: 23-1/2 x 16"
Most probably created while Takahara was collaborating with Leonard Baskin c. 1967-1972. Takahara was the carver for Baskin's broadside portrait of Hugh Macdiarmid, The Eemis Stane, 1967, published by Gehenna Press.
Hugh Macdiarmid (1892-1978) was a Scottish poet.
Dylan Marlais Thomas (27 October 1914 – 9 November 1953) was a Welsh poet and writer whose works include the poems "Do not go gentle into that good night" and "And death shall have no dominion"; the "play for voices" Under Milk Wood; and stories and radio broadcasts such as A Child's Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a "roistering, drunken and doomed poet".
Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic and ingenious use of words and imagery. His position as one of the great modern poets has been much discussed, and he remains popular with the public.
Courtesy: Wikipedia
Takeshi Takahara is a professor of printmaking and drawings at the University of Michigan School of Art, where he has been on the faculty since 1982. Born to Japanese parents in China in 1942, Takahara moved to Shimoda, Japan, at the end of World War II. The oldest son, he met his parent’s expectations by attending Hosei University, where he graduated with a B.A. in economics.
But his first love was art and though he could not receive any formal training in a Japanese University, he joined the college painting...
Category
1960s Contemporary Portrait Prints
Materials
Woodcut
Esperanza
By Audrey Flack
Located in Fairlawn, OH
Esperanza
Lithograph and screen print with gold leaf, 1972-3
Signed and numbered in pencil lower right (see photo)
Edition: 11/150
From a portfolio of Ten Lithographs by Ten-Super-Re...
Category
1970s Photorealist Portrait Prints
Materials
Gold Leaf
Chinois inventa, dit-on, la poudre a canon, nous en fit don
By Georges Rouault
Located in Fairlawn, OH
Chinois inventa, dit-on, la poudre a canon, nous en fit don
(The Chinese invented gunpowder, they say, and made is a gift of it)
Aquatint, roulette, drypoint, acid bite, and scorper, 1926
From: Miserere, Plate 38
Initially started by Ambrose Vollard, this portfolio was published in 1948 by Editions de l'Etoile Filante, Paris
This image is the cover illustration for the 1938 MOMA catalog...
Category
1920s French School Portrait Prints
Materials
Drypoint, Aquatint
New York Night
By Adolf Dehn
Located in Fairlawn, OH
New York Night\Lithograph, 1930
Edition: 30
Printer: Meister Schulz, Berlin
Printed on heavy wove paper without watermark
This lithograph was created in...
Category
1930s American Modern Landscape Prints
Materials
Lithograph
The Golden Gate
By Adolf Arthur Dehn
Located in Fairlawn, OH
The Golden Gate
Lithograph on wove paper watermarked GC, 1940
Signed in pencil by the artist (see photo)
Publisher: Associated American Artists
Edition: 189, unnumbered
The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California
References And Exhibitions:
Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324
Reference: L & O 325
AAA Index 391
Adolf Dehn, American Watercolorist and Printmaker, 1895-1968
Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art.
In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art.
If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques.
Early Years, 1895-1922
For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood.
After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet).
Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason.
Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag.
The Years in Europe: 1922-1929
In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work.
Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.”
A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...
Category
1940s American Realist Landscape Prints
Materials
Lithograph
Brooklyn Waterfront
By Adolf Arthur Dehn
Located in Fairlawn, OH
Brooklyn Waterfront
Lithograph, 1931
Signed, titled, and dated in pencil by the artist
Edition: Undetermined (very small), plus artist's proofs
Printed by Meister Schulz, Berlin
Provenance:
Estate of the artist
Virginia Dehn, the artist's widow
Dehn Quests
Bibliography:
Lumsdaine and O'Sullivan 152
Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression)
Adolf Dehn, American Watercolorist and Printmaker, 1895-1968
Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art.
In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art.
If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques.
Early Years, 1895-1922
For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood.
After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet).
Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason.
Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag.
The Years in Europe: 1922-1929
In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work.
Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.”
A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer, the publisher of the most notable modernist art and poetry magazine...
Category
1920s American Modern Landscape Prints
Materials
Lithograph
Woman's Head (Vrouwekop), Marguerite Adolphine Helfrich
By Jan Toorop
Located in Fairlawn, OH
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...
Category
1890s Jugendstil Figurative Prints
Materials
Drypoint
Le Cheval
By Jacques Villon
Located in Fairlawn, OH
Le Cheval
Etching, 1921
Signed in pencil lower left
Edition: Signed edition of 50 (as here)
Unsigned edition is 400 for the book Du Cubisme
Printer: R. Girard et Cie
Pr...
Category
1920s Cubist Abstract Prints
Materials
Etching
The Arch of Constantine and the Colosseum
By Giovanni Battista Piranesi
Located in Fairlawn, OH
The Arch of Constantine and the Colosseum
Vedute dell' Arco di Costantino, e dell' Anfiteatro Flavio il Colosseo
From: "Vedute di Roma" (Roman Views), part II
An early Paris edition,...
Category
1760s Old Masters Landscape Prints
Materials
Etching
Etude pour une baigneuse (Study for a Bather)
By Pierre Auguste Renoir
Located in Fairlawn, OH
Etude pour une baigneuse (Study for a Bather)
Drypoint, 1901-1911
Signed with the signature stamp, Lugt 2137a
Printed: Louis Fort, Paris
Publisher: Ambrose Vollard, Paris
"The fame o...
Category
Early 1900s Impressionist Nude Prints
Materials
Drypoint
Sprong in de Lente (Deux Personnages)
By Karel Appel
Located in Fairlawn, OH
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 paper
Probably exhibited at David Anderson Gallery/Martha Jackson Gallery.
Provenance: Martha Jackson Gallery
David Anderson Gallery
David K. Anderson Grandchildren Trust
Condition: Colors fresh and unfaded
Slight oil stains verso from the ink, not visible on
front
Image size: 18 1/2 x 26 inches
Sheet: 22 x 29 5/8 inches
Karel Appel
B. 1921, AMSTERDAM; D. 2006, ZURICH
Karel Appel was born on April 25, 1921, in Amsterdam. From 1940 to 1943 he studied at the Rijksakademie van Beeldende Kunsten, Amsterdam. In 1946 his first solo show was held at Het Beerenhuis, Groningen, Netherlands, and he participated in Jonge Schilders (Young painters) at the Stedelijk Museum, Amsterdam. About this time, Appel was influenced first by Pablo Picasso and Henri Matisse, then by Jean Dubuffet. He was a member of the Nederlandse Experimentele Groep (Dutch Experimental Group, 1948) and established the Cobra group (1948–51) with Constant (Constant Nieuwenhuys), Corneille (Guillaume Cornelis Beverloo), and other painters from Copenhagen, Brussels, and Amsterdam. The style distinguished itself through bold, expressive compositions inspired by folk and children's art, as well as by the work of Paul Klee and Joan Miró. In 1949 Appel completed a fresco for the cafeteria of the city hall in Amsterdam, which created such controversy that it was covered for ten years.
In 1950 the artist moved to Paris; there the writer Hugo Claus...
Category
1960s Abstract Abstract Prints
Materials
Lithograph
Un rêve vert
By Guillaume Cornelis van Beverloo (Corneille)
Located in Fairlawn, OH
Un rêve vert
Color lithograph on Arches without watermark, 1975
Signed lower left in red area (see photo)
Numbered lower left in red area
Dated in same red area
Edition: 100 (67/100)
There are also some AP's and 10 HC's in Roman numerals
Printed by Michel Cassé, Paris
Published by Berggruen, Paris
Condition: Excellent
Image/Sheet size: 25 3/4 x 19 3/4 inches
Reference: Corneille p. 305, No. 453
Corneille Guillaume Beverloo (1922-2010)
From Wikipedia, the free encyclopedia
Born Cornelis Guillaume van Beverloo
3 July 1922
Liège, Belgium
Died 5 September 2010 (aged 88)
Auvers-sur-Oise, France
Movement COBRA
Corneille – Guillaume Cornelis van Beverloo (3 July 1922 – 5 September 2010), better known under his pseudonym Corneille, was a Dutch artist.
Corneille was born in Liège, Belgium, although his parents were Dutch and moved back to the Netherlands when he was 12. He studied art at the Academy of Art in Amsterdam, in the Netherlands. He was one of the founders of the REFLEX movement in 1948 and in 1949 he was also one of the founders of the COBRA movement, which has had great influence on Scandinavian art. He was active within the group from the beginning, not only painting but also publishing poetry in the Cobra magazine. He was a cofounder of the Experimentele Groep in Holland [nl]. Corneille was inspired by the drawings of children, and believed in the importance of approaching children with art that connects with their experience. When he heard during a Cobra Museum visit in the nineties that there was an “Art Lending for Children” he talked with the founder Roby Bellemans and asked him to send more information to his home in Paris about this project. He decided to promote the initiative. He started with a support list and persuaded other artists such as Shinkichi Tajiri...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
For Lisa
By Willem de Kooning
Located in Fairlawn, OH
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...
Category
1980s Expressionist Figurative Prints
Materials
Lithograph
The So-Called Tempio della Tosse, Near Tivoli. Interior Upright
By Giovanni Battista Piranesi
Located in Fairlawn, OH
The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse)
"Temple of the Cough"
Etching, 1764
Signed in the plate
From: Vedute di Roma...
Category
1760s Old Masters Interior Prints
Materials
Etching
Untitled
By Alexander Calder
Located in Fairlawn, OH
Untitled
Lithograph printed in colors, 1954
Unsigned as issued
From: Derriere Le Miroir: Poeme Offert A Alexander Carlder et a Louisa, Nos 69-70, October-Novembre 1954
Publisher: Ed...
Category
1950s Abstract Abstract Prints
Materials
Lithograph
Untitled (Portrait)
By William H. Bailey
Located in Fairlawn, OH
Untitled (Portrait)
Drypoint printed in blue-black graphite mixed with silver, 1974
Signed and dated lower ight (see photo)
From: Series entitled Six Drypoints
Edition: 23 (4/23)
Numbered lower left (see photo)
Print Shop: Crown Point Press
Printer: Jeannie Fine
Publisher: Parasol Press, New York
Note: A portfolio is in the collection of the National Gallery, Australia, Fine Arts Museums of San Francisco- de Young/Legion of Honor, Davis Museum at Wellesley College and the Yale University Art Gallery.
Condition: Excellent
Image/Plate size: 6 3/8 x 5 3/8 inches
Sheet size: 24 x 20 inches
From a portfolio of six drypoints, printed with unqiue combination of blue-black graphite shavings combined with silver to create the appearence of an original drawing. I know of no other artist to use a similar printing technique.
William Bailey studied art at the University of Kansas, Yale University and Yale School of Art where he studied with Josef Albers receiving his MFA in 1957.
Mr. Bailey’s first exhibition in New York was at Robert Schoelkopf Gallery in 1968, where he showed regularly until its closing in 1990. During the 90’s he exhibited at the Andre Emmerich Gallery and on its closing, exhibited at the Robert Miller Gallery. In 2004 Bailey moved to the Betty Cuningham Gallery where his most recent exhibition was held from April 30 - June 11, 2016.
Mr. Bailey’s work has been exhibited extensively in both America and Europe. He is represented in the collections of The Whitney Museum of American Art, The Museum of Modern Art, the Pennsylvania Academy of Fine Arts, and the Hirschhorn Museum and Sculpture Garden, among others. He was awarded a Guggenheim Fellowship in painting in 1965. Mr. Bailey was elected to The National Academy of Design in 1983 and to The American Academy of Arts and Letters in 1986.
Mr. Bailey taught at The Yale School of Art from 1958 to 1962 and from 1969 to 1995. He has also taught at The Cooper Union, University of Pennsylvania and Indiana University. He maintains studios in New Haven and in Umbertide, Italy.
Courtesy Betty Cunningham Gallery
Tribute to William Bailey
THE NEW YORK TIMES
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.
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.
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 life.
“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
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...
Category
1970s Realist Portrait Prints
Materials
Drypoint
Studio Flowers
By Robert Kipniss
Located in Fairlawn, OH
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...
Category
1980s American Realist Still-life Prints
Materials
Lithograph
Trois Esquisses de maternite (Three Studies of Maternity)
By Pierre Auguste Renoir
Located in Fairlawn, OH
After Pierre Auguste Renoir (1841-1919)
Trois Esquisses de maternite (Three Studies of Maternity)
Heliogravure with etching on velin paper, 1893
Unsigned as issued
Edition 1000, there are also 100 on a different paper
Note: The original red and white chalk drawing is in the collection of th Art Gallery of...
Category
1890s Impressionist Figurative Prints
Materials
Etching
untitled (Woman with Hands on Hips)
By Rudolf Bauer
Located in Fairlawn, OH
untitled (Woman with Hands on Hips)
Lithograph on tan wove paper, c. 1910's
Signed in pencil lower right and in the plate, lower right
(see photo)
Edition: c. 100
Condition: Excellent
Image size: 11-1/4 x 4-1/2 inches
Sheet size: 18 1/8 x 11 3/8 inches
Provenance: Estate of the Artist
Borghi & Company, New York
Herb Lerner, Boca Raton, FL
Rudolph Bauer
1889-1953
Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'.
From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel...
Category
1910s Expressionist Figurative Prints
Materials
Lithograph
In the Salon
By Rudolf Bauer
Located in Fairlawn, OH
In the Salon
Lithograph on tan wove paper, c. 1910
Signed in pencil lower right; signed in the plate lower right (see photo)
Annotated "No. 20" in pencil lower left (see photo)
Condition: Excellent
Image size: 13-7/8 x 10-1/2 inches
Sheet size: 19 x 14 1/4 inches
Provenance: Estate of the Artist
Borghi & Co., New York
Herb Lerner, Boca Raton, FL
Rudolph Bauer
1889-1953
Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'.
From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel...
Category
1910s Expressionist Interior Prints
Materials
Lithograph
Circle of Life
By Rudolf Bauer
Located in Fairlawn, OH
Circle of Life
Lithograph on tan paper, c. 1910's
Signed in pencil lower right; signed in the plate lower right
(see photo)
Annotated "No. 50" in pencil lower left (see photo)
Provenance: Estate of the artist
Borghi & Company, New York
Herb Lerner, Boca Raton, FL
Condition: Excellent
Image size: 11-3/4 x 17-1/2 inches
Sheet size: 19 x 22 1/2 inches
Rudolph Bauer
1889-1953
Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'.
From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art.
Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...
Category
1910s Expressionist Figurative Prints
Materials
Lithograph
Phrosine and Mélidore
Located in Fairlawn, OH
Phrosine and Mélidore
Etching, 1879
Signed in the polate lower left of image
This etching is after the Dantan painting, a copy after the Pierre-Paul Prud’hom painting
Published by Vve. A. Cadart, 56, Bard. Haussman, Paris
A deluxe impression with masked letters
The Prud’hom painting is in the Musée des Beaux-AÉdouard Joseph Dantan was born on 26 August 1848 in Paris. His grandfather, who had fought in the Napoleonic Wars, was a wood sculptor. His father, Antoine Laurent Dantan, and uncle, Jean-Pierre Dantan, were both well-known sculptors.[1] Dantan was a pupil of Isidore Pils and Henri Lehmann at the École nationale supérieure des Beaux-Arts in Paris.[2] At the age of nineteen he won a commission for a large mural painting of The Holy Trinity for the Hospice Brezin at Marne (Seine-et-Oise).[3] Dantan's first exhibit at the Paris Salon was An Episode in the Destruction of Pompeii in 1869. In 1870 the Franco-Prussian War interrupted his work, and he enlisted in the defence force.[4] He was given the rank of a sergeant, and was later promoted to lieutenant.[5] During the war the family home was burned down.[4]
In the years after the war Dantan exhibited a number of other paintings at the Salon including Hercules at the Feet of Omphale (1874), Death of Tusaphane (1875), The Nymph Salmacis (1876), Priam Demanding of Achillees the Body of Hector (1877), Calling of the Apostles Peter and Andrew (1878), Corner of a Studio (1880) and The Breakfast of the Model (1881).[3] He continued to exhibit at the Salon until 1895. In 1890, 1894 and 1895 he served on the jury of the Salon.
For twelve years Dantan's companion was the model Agostina Segatori, who had also posed for artists such as Jean-Baptiste Corot, Jean-Léon Gérôme, Eugène Delacroix and Édouard Manet. She bore a child to Dantan, Jean-Pierre, in 1873. On their separation, Agostina opened Café du Tambourin on the Boulevard de Clichy that became a meeting place for artists.[6][fn 1] Dantan spent his summers in Villerville, where he died on 9 July 1897 when the carriage in which he was riding crashed violently into the village church.[8]
Style and reception
Coin d'atelier (1880)
At the 1870 exposition of the Ecole Nationale des Beaux-Arts Dantan received an honorable mention for his submission for the prix de Rome.[9] In 1874 he won a third class medal for his painting of a monk carving a Christ in wood...
Category
1870s Romantic Figurative Prints
Materials
Etching
Untitled (Venice canal, man departing the gondola)
By Levon West
Located in Fairlawn, OH
Untitled (Venice canal, man departing the gondola)
Drypoint, c. 1930-1931
Signed in pencil lower right (see photo)
Annotated in the lower margin:
"Just a souvenir made ___ Monclair Lecture" Levon West
In a supplemental list prepared by Otto Torrington he lists seven views of Venice. No edition of these Vencie images was ever printed. Only rare proof exist. I cannot find another impression of this image on line or in reference books.
Condition: Very good impression with selective inking to the plate.
Imperfections on the bottom edge of the sheet.
Image/Plate size: 14 5/16 x 8 3/8 inches
Sheet size: 17 1/2 x 11 1/2 inches
Also known as Ivan Dmitri, Levon West gained international fame for his portrayals in color photography, etchings and watercolors. During his youth, West moved throughout North Dakota, as his father was a congressional preacher. After graduating from high school he taught school for a year and enlisted in the United States Navy. West was the recipient of a scholarship to the University of...
Category
1930s American Impressionist Landscape Prints
Materials
Drypoint