Ohio - Art

Young Child Seated oil paint on onion skin tracing paper, c. 1940's Signed right sheet edge (see photo) Wonderful early period work by the artist. Condition: Excellent, slight wrin...

Abel Warshawsky (American, 1883-1962) Fishing Boat Reflections, France, c. 1915 Oil on canvas Signed lower left 21 x 18 inches 27.5 x 24.5 inches, framed Impressionist painter A.G...

Raphael Gleitsmann (American, 1910-1995) European Cemetery, 1948 Watercolor on paper Signed and dated lower left 20.5 x 32 inches 26.5 x 37 inches, framed Raphael Gleitsmann, born i...

Blizzard in Woods Graphite on paper, c. 1945-1963 Unsigned Provenance: Sid Deutsch Gallery, New York Annotated with notes for completing the drawing. Deutsch Gallery has handled Bur...

Joseph Glasco (American, 1925-1996) Untitled 1978-81 Acrylic on canvas collage initialed verso and dated ‘81 48 x 51 inches Joseph Glasco was born in Paul’s Valley, Oklahoma and gre...

Frank Nelson Wilcox (American, 1887-1964) Crashing Waves on the Atlantic Coast, 1957 Watercolor and graphite on paper Signed and dated lower right 22 x 29 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Tony Mendoza’s Lydia and Halloween series features his daughter, Lydia, in four different Halloween costumes chronicled throughout her life. Mendoza hand-dates each of his editions b...

Little Green Marks Lithograph, etching and spit bite aquatint on White Arches Cover paper, 2012 Signed in white pencil, upper left vertically (see photo) Numbered and dated on the le...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Two Owls Oil on board 15 x 10.5 inches Joseph O'Sickey, born in...

"Nude with green accents" is an original gouache and ink drawing by celebrated, twentieth-century California impressionist landscape painter, Ronald Shap. Nude woman turning her back...

Utagawa Kuniyoshi (1797-1861) Gardening Scene and Other Figure Studies Sumi-e drawing, c. 1840 Unsigned (as is usual for sume drawings) Condition: Trimmed and mounted on support shee...

Adam Lehr (American, 1853-1924) Still-Life of Cherries, 1901 Oil on canvas laid on panel Signed and dated lower left 12 x 20 inches 20 x 28 inches, framed Known primarily as a still...

Ville espagnole (Spanish City) Color lithograph on wove paper, 1966 Unsigned (as issued) Unsigned and unnumbered, as issued Printed by Mourlot, Paris Published by Gualtieri di San La...

Robert Brooks (American, 1922-1992) Portait of a Startled Woman Monumental oil on canvas Signed lower right 80 x 42 inches Born in Fall River, Massachusetts in 1922, Robert Brooks embarked on his art career by winning modeling clay as a reward for good attendance at primary school. He became known for embellishing the margins of his school books with sketches of his friends and maybe teachers. He operated his own sign making business as a teenager, which supplied little money but lots of experience. Brooks also entered every poster and drawing competition in sight. Saturday morning classes at the Swain School of Design provided him with sound instructions in the principles of art, and as a high school senior in 1941, Brooks was awarded a scholarship to Boston's Vesper George School of art in a annual state-wide competition. During this year in Boston, he specialized in design, color and the theater arts and discovered "watercolor" as his favorite medium. At the end of his year Brooks was awarded a scholarship to continue by the Vesper George School but returned to New Bedford before the second year was out in order to work in the design department of a large textile printing concern. He was called to serve his country and after basic training, casual detachments and port of embarkation, he made his own private beachhead on New Caledonia in 1943, where he served as staff artist for The South Pacific Daily News. Brooks painted sketches and watercolors of the local scene during his daytime off-duty hours and won fast acclaim for his crisp, clean paintings...

Unsigned Edition: Large edition as published and bound into the catalog raisonne of the artist's lithographs From: Minaux Lithographe Published by Leon Amiel, Paris Printed by Fe...

Preliminary study for Cretan Dancer bronze sculpture Unsigned Graphite on tracing paper, 1930-1934 Sheet size: 6 7/8 x 7 1/8 inches Created while the artist was woring in Paris, c. 1...

The Gate, Cuba Watercolor on paper, 1929 Signed with the estate stamp left recto and again on verso (see photo) Annotated: “Cuba” verso in pencil Condition: Excellent Image/Sheet siz...

David Deming (American, 20th Century) Contortion Nude Bronze Signed on base 14 x 12 x 9 inches David Deming is a nationally recognized contemporary Ameri...

Robert Jay Wolff (1905-1978) Pixie Watercolor on papr, 1935 Signed and dated in ink lower right Excellent fresh color and condition Image/Sheet size: 13 7/8 x 9 7/8 inches Provenance...

Qur' An, Northern India, Sultanate period Qur’an 28:82, latter portion–28:88, followed by 29:1–6 and the opening word of 29:7. 15th century/early 16th century gold embellishment on h...

Joseph Stella 1877-1946 Portrait of a Woman (Related study for The Jade Necklace) Silverpoint on prepared paper, Undated, possibly 1920s Stamped lower right in blue: “J STELLA / JML...

Composition Screenprint in colors, n.d. Signed and numbered in pencil by the artist. (see photos) Edition: 200 (15/200) Condition: Excellent Image size: Image: 9-3/8 x 7-1/2" (24.3 x 19 cm.) The painter Bernard Mandeville, whose artistic career began in 1935 and ended in 2001, was preceded in name and surname by a famous author...

Eugene Delatre (1864-1938) Kacia Color lithograph, 1898 Published by L'Estampe Moderne, No. 18, August 1898 Printed by F. Champenois Published in L’Estampe moderne, no. 16, August 18...

Abel Warshawsky (American 1883-1962) Spring Fantasy, 1948 Oil on artist's board Signed lower right and verso 16 x 13 inches 20 x 17 inches, framed Impressionist painter A.G. Warshaw...

Ceri Richards (1903-1971) Illustration for the Book of Psalms (King David and his Harp) Crayon hightened with white gouache on the beard, 1966 Unsigned Signed with the Artist's CR bl...

Signed in pencil lower right Published by Eugene Schuster, London Art Printer: Vistec, Rochester, New York Regular edition unrealized per Stanczak web site This annotated "H.C." ...

Reginald Marsh (1898-1954) Untitled (Three Female Figures in a Landscape) Ink and wash on paper with a brownish wash around the composition forming a picture frame, c. 1948-1951 Unsi...

Reginald Marsh (1898-1954) Merry-Go-Round Etching, 1930 Signed and numbered in pencil From the lifetime edition of 58 impressions, numbered 33 There were 8 impressions printed by Jon...

Cornelia Munns Norris (1845-1883) Still Life with Fruit and Nuts, 1871 Signed and dated lower right (see photo) Oil on canvas, NOT framed Canvas size: 12 11/8 x 16 1/4 inches Provena...

Paul Albert Besnard (1849-1934) Tête de femme, possibly a portrait of Madame Paul Jamot Colored chalk on gray drawing paper, c. 1900 Signed lower left: A Besnard (see photo) Conditio...

Charles Francois Daubigny (1817-1878) The Seine at Port-Maurin (Eure) Etching, 1876 Signed and dated in the plate One of 12 impressions of the first state The first state preserves t...

Timothy Cole (1852-1931) after George Inness, Sr. (1825-1894) Autumn Oaks Signed in pencil by Cole lower right (see photo) Signed George Inness, lower left, by a later hand (not Inne...

Self Portrait sketching with Vignette in Profile Graphite on thin wove paper, c. 1940's Unsigned Condition: Small nicks in the right margin, not affecting the image Sheet size: 14 1/2 x 10 inches Provenance: Paul Cadmus Jon F. Anderson (1937-2018) Born in Hoboken, New Jersey, Margaret Hoening (1906–1998) was a painter and an etcher perhaps best known for her photographs as part of the PaJaMa photography collective. After attending Smith College, she settled in New York, where she pursued formal artistic training at the Art Students League. There, she met the artist couple Paul Cadmus and Jared French. In 1937, she married French, fifteen years her junior, who had spent the previous decade with Cadmus. The trio formed a tight bond, with Cadmus and French continuing their relationship. Born in Hoboken, New Jersey, Margaret Hoening (1906–1998) was a painter and an etcher perhaps best known for her photographs as part of the PaJaMa photography collective. After attending Smith College, she settled in New York, where she pursued formal artistic training at the Art Students League. There, she met the artist couple Paul Cadmus and Jared French. In 1937, she married French, fifteen years her junior, who had spent the previous decade with Cadmus. The trio formed a tight bond, with Cadmus and French continuing their relationship. Together, the three formed PaJaMa (a mashup of their first names, Paul, Jared, and Margaret). Using Hoening’s Leica, they captured themselves, their artist friends, and members of the gay community posing in artful tableaux on the beaches of Fire Island, Provincetown, and Nantucket over the following eight years. Those captured by their camera include the photographer George Platt Lynes; Cadmus’s sister and artist Fidelma; artist Bernard Perlin; and Monroe Wheeler, director of exhibitions at the Museum of Modern Art, among others. Though she produced few canvases, Hoening’s paintings demonstrate the influences of French and Cadmus, particularly with her adoption of the time-intensive, traditional medium of egg tempera that they championed. In the 1940s, the Frenches’ social circle continued to expand. They befriended the British author E.M. Forster, who stayed with them on his first trip to New York in 1947, spending a few days with them in Provincetown, and visiting them again in 1949. When Cadmus began a relationship with the young artist George Tooker in 1944, the trio became a foursome, with Tooker regularly vacationing with the group and appearing in PaJaMa’s photographs...

Turkey in the Trees, c. 1922 Watercolor on paper Signed lower right 22 x 29 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a mast...

Inari Kozo Tasaburo- Kabuki Color woodcut, c. 1820 Signed: ‘Toyokuni’ Publisher: ‘Yamamoto Heikichi’ Censor: Hama and Magome Very good impression and color Sheet/Image size: 15 1/2 x...

Richard Andres (American, 1927-2013) Panama Garden, c. 1964 acrylic on canvas signed lower right, signed and titled verso 46 x 38 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Louis Marcoussis (1883-1941) Rue Caulaincourt (Ty, ja i ten biały królik / You, Me, and That White Rabbit) 1931 Etching and engraving Initialed with the artist’s engraved monogram (s...

Where Calm #1 opens the inquiry, Calm #2 deepens it. Beverly Fishman’s examination of color as a physiological and cultural force does not resolve across these two works. It accumula...

Beverly Fishman has spent decades examining what color does to the body before the mind has time to intervene. In Calm #1, that inquiry arrives with characteristic precision. The tit...

Non-Objective Drawing (Double sided composition) Graphite on paper, 1938 Initialed "B" by the artist lower right corner Created while the artist was imprisoned in a Gestapo Prison fo...

Bronze #67 by Hanneke Beaumont Beaumont's sculptures are realized in terracotta, bronze and cast iron, and she is known for sculpting figural life-si...

The Robin's Note Wood engraving, 1870, later heightened with grey wash by a skillful artist The grey was was added at a later date by a skillful artist Cover Illustration, Published...

Cathy Diamond (American, 20th Century) Rain Garden II, 2023 Pigment dispersion and acrylic on paper Signed lower left, signed and dated verso 11 x 14 inches Cathy Diamond currently ...

I Choose Joy 60 X 48 Nancy Seibert began her art studies in Washington D.C. at George Washington University. She graduated from Kent State University earning a Bachelor of Fine Arts...

Let's Rock by Guy Boudro Acrylic on Wood

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) At the Stable, 2000 Oil on canvas Signed and dated lower right 29 x 36 inches Joseph ...

William Sommer (1967-149) Woman with Dog , c. 1927 Watercolor on paper Signed in ink lower right (see photo) This scene depicts the artist's wife, Martha, deside their house in Brand...

Frederick Carl Gottwald (American, 1858-1941) Docked in Town, c. 1900 Oil on canvas Signed lower right 24 x 18 inches 33.5 x 27.5 inches, framed Gottwald, originally from Vienna, wh...

Johannes Sadeler, the Elder (1550-1600) The Creation of the Firmament; also called The Second Day of Creation Engraving, 1585-1587 Unsigned After Martin de Vos' (1532-1603) painting ...

Charles Emile Jacques (1813-1894) Femme Donnant a Manger a Six Porcs (Woman giving food to six pigs) Etching and roulette; impressions are known on chine paper laid to wove paper, 18...

Takeuchi Seiho (1864-1942) Morning Glory Vine and Flowers Color woodcut mounted on shikishiban cardboard mount Printed after 1942 Most probably published by Unsodo, Kyoto No record ...

Large oil still life of green and cream pumpkins and squash by American artist, Kira Mountjoy-Pepka. Signed, unframed. Soft warm light enters on the left, and cools to the right of this contemporary and spontaneous still life. This piece has year-round appeal as a rare squash painting...

Joseph Glasco (American, 1925–1996) Head 1970 Ink on paper Signed and dated lower right 39.5 x 30 inches 43 x 32.25 inches, framed Joseph Glasco was born in Paul’s Valley, Oklahoma...

Untitled (Aztec heads in profile) A Prelimimary Study for a Mural watercolor, goucahe, ink and colored pencil on paper, 1943-1946 Unsigned Provenance: Estate of the Artist Kiriki Metzo (his daughter) Fletcher Gallery (her agent) Inspired by the artist's trip to ancient Aztec Mexico with fellow surrealist artist Carlos Merida (1891-1985) Influence of Carlos Merida interaction with de Diego How Carlos Mérida's Mayan-inspired modernism and Mexican folk motifs specifically transformed Julio de Diego's surrealist compositions and color palette in the 1940s Carlos Mérida’s Mayan inspired modernism pushed Julio de Diego’s 1940s surrealism away from purely European, dream like imagery toward hybrid, flatter, more patterned compositions built from stylized “Mexican” motifs, while situating his use of color within the vibrant, abstract field and pattern approach associated with modernized Mayan art—even though surviving texts describe Mérida’s palette much more explicitly than de Diego’s. Mérida’s Mayan modernism: form and color • Mérida is described as a key modernist who fused Surrealism, Cubism, muralism and European abstraction with pre Columbian Mayan...

Original oil pastel figure drawing by celebrated, twentieth-century California impressionist landscape painter, Ronald Shap. Head and torso of man sitting in profile on rich, brown p...

Frank Nelson Wilcox (American, 1887–1964) At Isleta, New Mexico, c. 1937 Watercolor on paper Signed lower right, titled verso 15 x 20 inches Frank Nelson Wilcox (October 3, 1887 – A...

Gallo Gallina (1798-1874) Plate 77, Greek Statue and Coins Hand colored aquatint and engraving, 1820-1830 Engraved signature in the plate (see photo) From: Le Costume Ancien et Moder...

Original oil pastel and gouache figure drawing by celebrated, twentieth-century California landscape painter, Ronald Shap. Sketch of nude ...

Clarence Holbrook Carter (American, 1904-2000) Volcano and Arch, Taormina, 1961 Watercolor on scintilla paper Signed and dated upper right 11 x 11 inches "My last year in art schoo...

Edwin Willard Deming (American, 1860-1942) Man with Flute and Cougar Cast bronze sculpture with golden brown patina Signed, numbered 9/100, with Fenn F...