Ohio - Art

Untitled (Big Momma in Profile) Signed by the artist lower right: "Sedrick Huckaby III" Tempera and gesso on book board (Board size) 32 x 20 inches Frame: 40 x 28-1/2" (101.6 x 72.4 cm.) Exhibited: seenUNseen: The Kerry and C. Betty Davis Collection and the Northeast Ohio Response, The Artists Archive of the Western Reserve and The Sculpture Center, September 20-November 19, 2019 Illustrated: seenUNseen: The Kerry and C. Betty Davis Collection and the Northeast Ohio Response, The Artists Archive of the Western Reserve and The Sculpture Center, page 29 A copy of the catalog accompanies this work when purchased Provenance: Valley House Gallery Sedrick Huckaby's large-scale paintings draw inspiration from his family history and his African-American roots. Born in Fort Worth, Texas, Mr. Huckaby received his B.F.A. from Boston University in 1997 and his M.F.A. from Yale University in 1999. He has taught as a professor at Tarrant County College in Forth Worth and currently is a professor of water media at the University of Texas in Arlington. Mr. Huckaby has been honored as a Fellow at the Fine Arts Work Center in Provincetown, at the Skowhegan School of Painting and Sculpture, as a Kate Neal Kinley Memorial Fellow at the University of Illinois, and as a Brandeis Mortimer Hays Traveling Fellow, which gave him the opportunity to study the works of European masters abroad. His own work has been included in exhibitions at the Studio Museum in Harlem and the Park Avenue Armory in New York City, at the African American Museum in Dallas, at the San Angelo Museum of Fine Arts in Texas, and at the Hammond House Museum in Atlanta. His work A Love Supreme, comprised of pieces forming an 80-foot long painting of quilts...

After Jean Goujon (French, 1510-1568) Bust of Diane de Poitiers, 18th/19th Century Bronze 14 x 7 x 5 inches 22 x 8 x 7 inches, with base Diane de Poitiers was a French noblewoman and prominent courtier. She wielded much power and influence as King Henry II's royal mistress and adviser until his death. Her position increased her wealth and family's status. She was a major patron of French Renaissance architecture...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

Max Kalish (American, 1891-1945) Nude Walking, 1930 Bronze Signed and dated on base 17 x 9 x 4 inches Born in Poland March 1, 1891, figurative sculptor Max Kalish came to the United States in 1894, his family settling in Ohio. A talented youth, Kalish enrolled at the Cleveland Institute of Art as a fifteen-year-old, receiving a first-place award for modeling the figure during studies with Herman Matzen. Kalish went to New York City following graduation, studying with Isidore Konti and Herbert Adams...

Kandahar Acrylic and mixed media on fabric, c. 1970 Signed by the artist lower right (see photo) Kandahar is one of the thirty-four provinces of Afghanistan, located in the southern part of the country next to Pakistan. Inspired by the Dehns visit to Afghanistan in the 1960's. Provenance: Estate of the Artist Dehn Heirs Condition: Excellent Canvas size: 18 x 20 inches Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Mademoiselle Sablon, MUSCIAL ACTRESS Lithograph, 1907 Unsigned Provenance: estate of the artist Reference: Belleroche No. K383 Albert Belleroche Log of lithographs...

Joe "I try to get something accomplished everyday. I ask the Good Lord for Patience and Stregnth" Verso: "I was in for a technical violation. I spent 65 days, but I thank the Lor...

The River Barge Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810 Unsigned Condition: Slight sun staining to sheet and mount in the window (see photo) Image/sheet size: 5 1/4 x 6 11/16 inches Sight: : 5-3/4 x 7-1/4" Frame: 13-3/8 x 14-3/8" Provenance: Colnaghi, London (see photo of label) David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg. By the late 18th century Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in fine art, and nurturing the distinctive tradition of landscape art of the Birmingham School. Cox initially enrolled in the academy of Joseph Barber in Great Charles Street, where fellow students included the artist Charles Barber and the engraver William Radclyffe, both of whom would become important lifelong friends. At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced portrait miniatures and paintings for the tops of snuffboxes from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade as late as 1825. At some time during mid-1800 Cox was given work by William Macready the elder at the Birmingham Theatre, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity. London, 1804–1814 In 1804 Cox was promised work by the theatre impresario Philip Astley and moved to London, taking lodgings in 16 Bridge Row, Lambeth. Although he was unable to get employment at Astley's Amphitheatre it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting watercolours. While living in London, Cox married his landlord's daughter, Mary Agg and the couple moved to Dulwich in 1808. David Cox Travellers on a Path, pencil and brown wash. In 1805 he made his first of many trips to Wales, with Charles Barber, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the Home Counties, North Wales, Yorkshire, Derbyshire and Devon. Cox exhibited regularly at the Royal Academy from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil, Colonel the Hon.H. Windsor (the future Earl of Plymouth) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including: Ackermanns' New Drawing Book (1809); A Series of Progressive Lessons (1811); Treatise on Landscape Painting (1813); and Progressive Lessons on Landscape (1816). The ninth and last edition of his series Progressive Lessons, was published in 1845. By 1810 he was elected President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited there every year (except 1815 and 1817) until his death. Hereford, 1814–1827 In the summer of 1813 Cox was appointed as the drawing master of the Royal Military College in Farnham, Surrey, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in Hereford and in Autumn 1814 moved to the town with his family. Cox taught at the school in Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two-day's work per week, allowing time for painting and the taking of private pupils. Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the Society of Painters in Water Colours and his inclusion in John Hassell's 1813 book Aqua Pictura, which claimed to present works by "all of the most approved water coloured draftsmen". The depression that accompanied the end of the Napoleonic Wars had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to Hereford. Despite its financial advantages and its proximity to the scenery of North Wales and the Wye Valley, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures. Between 1823 and 1826 he had Joseph Murray Ince as a pupil. London, 1827–1841 He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year. He exhibited for the first time with the Birmingham Society of Artists in 1829, and with the Liverpool Academy in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for Queen Victoria. Birmingham, 1841–1859 Greenfield House in Harborne, Birmingham – where Cox lived from 1841 until his death in 1859 . In May 1840 Cox wrote to one of his Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice". Cox had been considering a return to painting in oils since 1836 and in 1839 had taken lessons in oil painting from William James Müller, to whom he had been introduced by mutual friend George Arthur Fripp. Hostility between the Society of Painters in Water Colours and the Royal Academy made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in Harborne, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work. The elderly Cox pictured by Samuel Bellin in 1855. In Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844 these tours evolved into a yearly trip to Betws-y-Coed in North Wales to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer artists colony that continued until 1856 with Cox as its "presiding genius". Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the Society of British Artists; one oil painting was exhibited at each of the British Institution and the Royal Academy in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime. Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842. Cox suffered a stroke on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination. By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society Hampstead, and in 1859 a retrospective exhibition was held at the German Gallery Bond Street, London. Cox died several months later. He was buried in the churchyard of St Peters, Harborne, Birmingham, under a chestnut tree, alongside his wife Mary. Work Early work In the spring of 1811 Cox made a small number of notable works in oils during a visit to Hastings with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England". Mature work Cox reached artistic maturity after his move to Hereford in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these – Butcher's Row, Hereford of 1815 and Lugg Meadows, near Hereford of 1817 – mark advances on his earlier work. Later work Cox's later work produced after his move to Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression comparable to later impressionism. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of John Constable, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect. The quest for character over precision in representing nature was an established characteristic of the Birmingham School of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this "peculiar manner" to new extremes, incorporating the techniques of the sketch into his finished works to a far greater degree. Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier periods: he used black chalk instead of graphite pencil as his primary drawing medium, and the rough and absorbent "Scotch" wrapping paper for which he became well-known – both of these were related to his development of a rougher and freer style. Influence and legacy By the 1840s Cox, alongside Peter De Wint and Copley Fielding, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one. A group of young artists working in Cox's watercolour style emerged well before his death, including William Bennett, David Hall McKewan and Cox's son David Cox Jr. By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as The Spectator as "the 'blottesque' school", and failed to establish themselves as a cohesive movement. John Ruskin in 1857 condemned the work of the Society of Painters in Water-colours as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness". An 1881 book, A Biography of David Cox: With Remarks on His Works and Genius, was based on a manuscript by Cox's friend William Hall, edited and expanded by John Thackray Bunce, editor of the Birmingham Daily Post. There are two Blue Plaque memorials commemorating him at 116 Greenfield Road, Harborne, Birmingham, and at 34 Foxley Road, Kennington, London, SW9, where he lived from 1827. It can also be seen at the David Cox exhibition in Birmingham. His pupils included Birmingham architectural artist, Allen Edward...

William Eastman (American, 1881-1950) Finsevand Norwegian Glaciers, 1922 Oil on canvas 21 x 18 inches Exhibited: 1923 Cleveland Museum of Art May Show Born in Cleveland in 1881, Wil...

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...

Buds Color lithograph, 1980 Signed, titled, and editioned in pencil by the artist Publisher: Art Matters Printer: Bud Shark, Shark's Ink, Lyons, CO Condition: Excellent Image: 31-1/8 x 41-1/4" (79 x 104.7 cm.) "An Abstract Expressionist when he left the Art Institute of Chicago in 1956, Beal has since become a dedicated realist who sees art as a potentially powerful moral force. He has great regard for Platonic ideals of truth, beauty, and goodness, and admires both the realism of seventeenth-century Dutch painting and the compositional authority of Renaissance art. Since moving to New York in the late 1950s with his wife, painter Sondra Freckelton, Beal has painted still lifes, portraits, and landscapes, although in recent years his most ambitious undertakings have been large-scale allegories and myths. In describing his approach, Beal calls himself a "life painter" and says he is committed to human over aesthetic concerns. Yet his intricate complexes of figures and surface patterns, along with his adroit handling of space, reveal his sophisticated, accomplished sense of composition. Virginia M. Mecklenburg Biography Jack Beal (1931-2013) was born and raised in Richmond, Virginia. He briefly attended the College of William and Mary, studying biology, but dropped out after two years. A decision to take evening art classes lead to his attending the Art Institute of Chicago, where he studied from the old masters in the Institute’s collection and with Isobel Steele MacKinnon, a student of Hans Hoffman. His classmates there included Red Grooms, Richard Estes, Claes Oldenberg and Robert Barnes, and while abstract expressionism remained “the only valid way to paint,” it was a style that all would eventually reject. In 1956 Beal left the Art Institute and moved to New York with the aim of finding success as a painter, eventually becoming one of the first artists to settle in the SoHo neighborhood. A turning point came in 1962 when, spending the summer in upstate New York, Beal decided to begin painting outdoors. Dissatisfied with abstract painting, he “wanted to give Art one more try” and in working from nature “fell in love with painting all over again.” Over the next few years Beal worked toward a balance between expressionistic paint handling and realistic, narrative pictures. Clement Greenberg’s pronouncement around this time, that the figure was no longer a valid subject was taken as a challenge by many artists, Beal included. His subsequent adoption of the female nude - modeled by his wife, the artist Sondra Freckelton - was a break-through. Though the paintings retained the sensuousness of his earlier canvases, the rigorous formality of their composition and the masterful treatment of light and shadow offered a new approach to realist painting. Indeed, Beal was not alone in this transformation; friends and colleagues in New York were coming to similar conclusions and the group, who included painters such as Philip Pearlstein, Alfred Leslie, Yvonne Jacquette, Alex Katz, Jack Tworkov, Nell Blaine and Fairfield Porter, would eventually be considered the ‘New Realists.’ With the resurgence of figurative painting, Beal distinguished himself for his skillful handling of color and modeling as well as what was later described as his “pushing of representational forms to their interface with abstraction”. Through the later half of the 1960s, while his subject matter remained unchanged, his paintings were increasingly given over to wide areas of flat color. In 1969, he exhibited a series of Table Paintings which, with their hard-edge style and near complete abstraction of the form, were a radical departure for Beal. So radical in fact, he was accosted by fellow realist painters Alfred Leslie and Sidney Tillim, who berated him “for betraying realism and betraying [himself], for moving away from ‘the true path’.” The incident had its intended effect and Beal did return to a more naturalistic and humanistic style, eventually abandoning the nude in favor of increasingly allegorical portraits. In 1974, the United States General Services Administration commissioned Beal to produce a series of murals for the U.S. Department of Labor headquarters in Washington D.C. The result was The History of Labor, four, 12 x 13 foot paintings in the vein of George Caleb Bingham, each illustrating a century of American development. Following the completion of the murals in 1977, Beal continued to make use of narrative in his paintings, with portraiture and self-portraiture as a means of exploring moral and didactic themes. He and Sondra had purchased an old mill in upstate New York in 1974 and after extensive renovations, it became their permanent residence. Unsurprisingly, many of his later paintings are pastoral scenes based on his rural surroundings or still lives including flowers which they grew on the property. In 1986, Beal was commissioned by the Art in Transit Initiative to create a large-scale mural as part of the redevelopment of the Times Square Subway Station. The proposed mosaic mural, The Return of Spring, took over fifteen years to complete, with the two, 7 x 20 foot sections finally installed in 2001 and 2005. Together they update the Greek myth of Persephone with a New York setting, showing her abduction by Hades, initiating the arrival of winter, and her release, bringing the bountiful return of spring. Beal was a founder of the Artist’s Choice Museum, New York and the New York Academy of Art as well as the recipient of numerous grants and awards, including honorary degrees from the Art Institute of Boston and the Hollins College...

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 s...

Melody by Nguyen Tuan The Vietnamese master sculptor Nguyen Tuan is internationally known for his seemingly “weightless” figurative sculpture merging Western techniques with tradit...

Triste Os (Sad Bones) Color etching and aquatint on Montval laid paper, 1934 Monogrammed and dated in the plate (see photo) Edition: 250 References And Exhibitions: Plate 8 from the ...

Keshin (Incarnation (Moku) Color woodcut, 1958 Signed and dated lower left in pencil (see photo) An impression is in the collectionof the Asian Art Museum, No. 2012.93, which is not a richly inked s this impression. Another impression is in the National Museum of Art, Smithsonian, accession no. S2019.3.1297 A third impression is in the collectionof the Art Gallery of Greater Victoria This appears to be the best and most colorful impression of the museum holdings. The image is thought to depict a flying crame Condition: Wrinkles to large sheet of handmade paper. Not objectionable. Image size: 29 15/16 x 21 1/4 inches Sheet size: 37 3/8 x 27 1/4 inches Reference: Tadashi Nakiyama Life & Work, Plate F Tadashi Nakayama - Sosaku hanga artist Tadashi Nakayama initially studied oil painting at Tama Art College, but began creating woodblock prints in 1951. In the 1960s, he traveled to Turkey, Greece, England, and Italy, absorbing influences from Persian and Byzantine art and the renaissance master Paolo Ucello. Throughout his long career, his subjects have included flowers, butterflies, women, and perhaps most famously, horses...

Seated Female Nude (Devora) Watercolor on paper, c. 1970 Signed in pencil lower right (see photo) A folio from the artist's sketchbook. Done while the artist was in Florida. Conditio...

Des Oeufs Pout Ta Fette (Holiday Eggs) Mezzotint, 1960 Signed, dated, titled and numbered in pencil Edition: 50 (33/50) Image: 8 5/8 x 10 11/16" Condition: Mint Mario Avati is a Fren...

Frank Nelson Wilcox (American, 1887-1964) Stevedores, Ohio River, c. 1920 Watercolor on paper Signed lower right 21.5 x 29. 5 inches "The trip Otto Ege and I made from Pittsburgh to Marietta by riverboat and then by train to Mammoth Cave, was the next high spot in my artistic explorations. We saw something of the Old Southern river life on the way - the roustabouts, the showboat and river town life at Point Pleasant, and then to the sombre tonal mysteries of the Cave. These sights added much to my pictorial vocabulary..." - Frank Wilcox 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...

L'ACTEUR . . . . - On voit bien qu'il fait chaud . . . . . . . trois spectateurs dans la salle ..... faut-il commencer ? . . . . LE DIRECTEUR .- Et encore un des trois est le vendeu...

SAFETY IN NUMBERS 2017 New York, New York A tongue-in-cheek commentary on the herd and sense of safety in following the crowd. Four gazelle skulls are stacked together with handwritten vignettes threading together their stories, as follows: 2. CURTAINS Water Near The Bed Awake for all of it 108” 3. ALLEY DOOR Sugar High...

Frederick Hart is America's greatest figurative sculptor. Not only did he create works of great beauty and gravitas, he was singularly responsible for restoring to American public mo...

Poem 71-25 (Me) Color woodcut with cement mold embossing, 1971 Signed, titled and numbered in pencil (see photos) Edition 100 (55/100) (see photo) Signed with the artist's stamp lowe...

Eroded Rock, Point Lobos Gelatin silver print, 1929 Unsigned Signed with the estate stamp verso (see photo) A lifetime printing by Brett Weston, supervised by his father Edward Editi...

Oil Study of Two Horses Oil on canvas, c. 1880 Unsigned Estate stamp verso of canvas and on stretcher (see photo) Condition: Excellent New gilt frame aptterned afte...

Meditation and Minou Color lithograph and serigraph, 1980 Signed and numbered in pencil (see photo) Printer Styria Studio, Inc. New York Publisher: Harry Abrams...

Paul Riba (American, 1912-1977) Bighorn Sheep Oil on paper Signed lower right 25 x 30.5 inches 30.5 x 36 inches, framed Paul Riba was a painter of Magic Realism. He explored the un...

Nude Woman in Chair Watercolor, gouache, ink, and pencil on heavy paper, c. 1930-35 Signed with the artist's Estate stamp lower right (see photo) Note: "Matchstick" ink drawing of fe...

La Pierre aux Trois Croquis From: Douze lithographies originales de Pierre-Auguste Renoir Publisher: Ambrose Vollard Edition: 950 (signed in the stone) on wove paper as here (see pho...

Trompe-l'Oeil Study Watercolor on heavy wove paper, 1943 Signed with the artists initials, lower center of image; Dated 1943, lower center of image Provenance: Swann Galleries, 2007, realized $2,640 Condition: Excellent. Fresh colors. Framed with conservation glass. Sheet: 14 3/4 x 11 1/4" Frame size: 20 3/4 x 17 Berman brothers (painters) From Wikipedia, the free encyclopedia Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman...

Black and White Cat Ink and watercolor on paper, c. 1970 Unsigned Provenance: Estate of the artist (Estate No. 737) Condition: Excellent Image/Sheet size: 4 3/4 x 6 1/4 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...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Horses Prepared to Perform and Circus Truck, Circus Series, 1991 Oil on canvas Signed an...

S. Paolo Fuori Le Mura (Vedute della Basilica di S. Paolo fuor della mura) Etching, 1748 From: Vedute di Roma, Plate 8 An early Roman printing, published by Bouchard e Gravier Watermark: Fleur de Lys in a double circle Signed in the plate Condition: Small margins as are common with Bouchard published impressions. Centerfold (as usual) Rich impression with good contrasts Plate/Image size: 15 7/8 x 24 1/8 inches Sheet size: 17 3/8 x 24 3/4 inches Reference: Focillon 723 Wilton-Ely 138 Hind 6 ii/VI, Bouchard e Gravier printing, before the price and numbers in later states This image is Piranesi’s second interior scene from the Vedute di Roma. The first interior is a less complex composition of the Interior of St. Peters which lacks the challenging perspective that the artist masters in this image. The Papal Basilica of St. Paul Outside the Walls...

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...

Helen Beling (American, 1914-2001) Business is Bad Finished plaster 21 x 9 x 9 inches Helen Beling was an American sculptor. Beling was a native of New ...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Hats, 2000 Oil on canvas Signed and dated lower right 48 x 54 inches Joseph O'Sickey, ...

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...

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...

Skid Row-Self Portrait Color lithograph, 1973 Unsigned (as usual) From: XXe Siecle, Volume XXVV, December 1973 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot,...

Columns of the Parthenon vintage silver bromide print, 1929 Signed in pencil on mount: "Arnold Genthe, 1929" Illustrated: Arnold Genthe, As I Remember, Reynal & Hitchcock, NY, 1936, ...

Surrealist landscape with skull and red daisy Watercolor on paper, 1960-1970 Unsigned Stamped with the artist's estate stamp verso (see photo) Provenance: Estate of the artist Refere...

The Story of Tamiya Bataro Color woodcut diptych, March 22, 1886 Signed and sealed by the artist (see photo) Yoshitoshi signature, Taiso seal Series: New selection of eastern brocad...

Richard Andres American, 1927-2013 Untitled, c. 1980 acrylic and ink on paper mounted on canvas signed lower right 24 x 20 inches 25 x 21 inches, framed Richard Andres was born in B...

Flowers Color lithograph Signed in pencil (see photo) Annotated in pencil "Eprueve HC" (see photo) A trial proof reserved for the artist Printed by Mourlot, Paris First edition was 1...

Xylon 21 Naoko Matsubara USA Woodcuts, two which are printed in color, 1970 2 of the 5 woodcuts signed in pencil (see photos) Five original woodcuts, two of which are signed in penci...

Signed lower right Edition: Undetermined, plus an artist's edition of 10 Edition: Undetermined, plus an artist's edition of 10 Published by the Associated American Artist ...

May Lydia Ames (American, 1863-1943) Landscape with Covered Bridge Oil on canvas Signed lower left 9.75 x 8 inches 14.5 x 13 inches, framed May Ames was born in Cleveland in 1863 an...

Untitled Mixed media with collage elements on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 7 x 6 1/2 inches Support sheet size: 10 1/2 x 8 3/8 inches Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Clarence Holbrook Carter (American, 1904-2000) Confederate Soldiers' Cemetery, Camp Chase, Columbus, Ohio, 1929 Watercolor on paper Signed and dated lowe...

Raymond Nott (American, 1888-1948) Fog at Sunset Pastel on paper Signed lower left 18.5 x 23.5 inches 25 x 30 inches, framed Raymond Nott was an American pastelist and painter, very...

Roger Capron (French, 1922-2006) Vase Ceramic Signed on bottom 15.75 x 6 inches French ceramist Roger Capron was born in Vincennes in 1922. He studied at Paris’s School of Applied A...

Clarence Holbrook Carter (American, 1904-2000) Still Life with Apples, 1940 Oil on canvas Signed and dated upper right 18 x 24 inches Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Richard Andres American, 1927-2013 Untitled, c. 1984 acrylic and ink on paper mounted on canvas signed lower right 19 x 16 inches Richard Andres was born in Buffalo, New York in 192...

Kenneth Bates (American, 1904-1994) Botanical Motifs, 1953 Enamel Signed and dated on bottom 9 inches Described in a 1967 issue of Ceramics Monthly as the ‘Dean of American Enameli...

Unsigned Provenance: FAR Gallery, New York, NY Private Collection, New Jersey Reference and Notes: Daumier was a prolific draftsman. This drawing of a lawyer was once part of a...

Clarence Holbrook Carter (American, 1904-2000) Mandala No. 5, 1968 Acrylic on scintilla Signed on verso 29.5 x 22 inches Clarence Holbrook Carter achieved a level of national artist...

Leopold Survage (1879-1968) Untitled (Woman Standing) Graphite on paper, 1933 Signed in pencil by the artist: Survage Signed with the estate stamp lower right Signed in pencil "LS" f...

WARNING! Register*Vote, INFLATION means DEPRESSION Photo lithograph, 1946 Signed in the image lower left Published by CIO (Congress of Industrial Organizations) before their merger w...

Untitled (Tuscan Landscape) Tissue paper collage on Fabriano support Signed and dated lower right in ink Provenance: Estate of the artist Martha A. French Trust Created while the art...