Ohio - Art

untitled (brothel scene) Lithograph on wove paper, c. 1925 Signed in the stone lower left (see photo) From the portfolio: "12 Lithos de Vertes" Depicts Parisian brothel scenes Editio...

Hollyhocks Color woodcut, 1953 Signed with the artist's stamp lower left Printer: Niimi Carver: Nagashima An early printing Condition: Excellent Image size: 15 1/2 x 10 3/8 inches "...

Cover illustration for Die Graphischen Kunste, Volume 22 Color lithograph, 1899 Signed with the artist's initials lower center (see photo) From: The Graphic Arts, Volume 22, 1899 ...

Clarence Holbrook Carter (American, 1904-2000) Up the Avenue, 1979 Acrylic and collage on paper Signed and dated lower right 15 x 11 inches A surrealist mid-century figural abstract...

Bretagne Color lithograph, 1897 Signed in the stone lower right edge (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 (see photo) Editi...

Black Passion Aluminum plate lithograph from two plates, 1975 Signed, titled and numbered in pencil by the artist Edition 50 Published at Lakeside Studio with the Master printer Jack Lemon Imagery depicts the Seven deadly Sins three Roman soldiers and Simon of Cyrene, who was forced to help Christ carry the cross One of Pozzatti's favorite works Condition: Otherwise very good condition Soft rippling bottom margin Image size: 20 x 28 inches (50.80 x 71.12cm) Sheet size: 24 x 32 inches "Painter and printmaker Rudolph Otto "Rudy" Pozzatti was born in Telluride, Colorado, on January 14, 1925. Upon graduation from high school, he received a scholarship to attend the University of Colorado in Boulder where he enrolled as an art major. In 1943, his studies were interrupted by his induction into the U. S. Army. After his discharge in 1946, he re-enrolled in the University of Colorado where he studied under Wendell...

"Iron Teapot" 8x4 inches, two pieces. This surrealist sculpture is a ceramic teapot glazed to look like iron, with a female nipple and areola for a lid. Lighter than it looks but difficult to open, it is both an erotic and hushed commentary on female bodies, desire and strength. Signed. Tara Joshi...

George Mauersberger (American, 20th Century) Veg 3, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

Original oil pastel and gouache figure painting by celebrated, twentieth-century California landscape painter, Ronald Shap. Vibrant sketch of nude woman with fetish accessories in wa...

18th Century Italian Carved Neoclassical Semi Nude Female Busts Wood affixed to wood plinths "Leone Della Torra / Italy Country of Origin" labels on b...

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...

Clarence Holbrook Carter (American, 1904-2000) Departing from the System, 1961 Mixed media on paper Signed and dated lower right 36 x 24 inches A surrealist mid-century figural abst...

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...

Richard Andres (American, 1927-2013) Naval Occurrence, c. 1963 oil on canvas signed and titled verso 24 x 32 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 designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

In Search of New Beginnings 3 Puff pigment screen print with hand coloring, 2021 Signed with the artist's initials in the lower right corner (see photo) Titled in the lower left corn...

"Window of opportunity", contemporary painting 2024 "Window of opportunity" is a contemporary blue mixed media painting by Addison Jones. This is an original, hand-signed piece with a certificate of authenticity. A R T I S T S T A T E M E N T: In the tranquil solitude of my travels to Antigua, I embarked on a journey that was as much internal as it was external. Immersed in the vibrant culture and the natural beauty of the island, I found myself in a profound dialogue with the environment, particularly during a snorkeling expedition on my final day. As I drifted through the clear waters, I encountered a cobalt fish...

Richard Andres (American, 1927-2013) Untitled, c. 1949 oil on canvas 18 x 32 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 designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Clarence Holbrook Carter (American, 1904-2000) Dichotomy, 1962 Oil on paper Signed and dated upper left 20 x 25 inches Mid-century figural abstract green painting of woman swimming ...

Joseph Glasco (American, 1925-1996) Reclining Male Figure (For Nick) 1971 India ink on paper Inscribed, signed and dated 10.25 x 14 inches 18.5 x 21 inches, framed Joseph Glasco was...

La République Nous Appelle (The Republic Calls Us) Transfer lithograph with an etching Remarque in the lower left corner, 1915 Signed in pencil lower right (see photo) Edition: 100 (...

Frank Nelson Wilcox (American, 1887-1964) Circus Lot at Toledo, c. 1920 Watercolor on Whatman board Signed lower right 22 x 30 inches 28 x 36 inches, framed 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...

Nightfear Color lithograph, 1958 From: Rhapsodie de ma nuit, (seven plates) Signed, dated and numbered in pecnil lower left (see photos) Edition: E.A. edition of 25, (there were a...

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

Study of a female nude for The Love of Gold Black chalk heightened with white on green grey wove paper c. 1844 Signed with the artist’s initials “TC” lower left Condition: Excellent ...

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...

Clarence Holbrook Carter (American, 1904-2000) Study for Worlds Beyond, 1980 Graphite, collage and white heightening on illustration board Signed and dated lower right 10.75 x 4.5 in...

Clarence Holbrook Carter (American, 1904-2000) Chromatic, 1965 Acrylic and collage on scintilla Signed and dated upper right 30 x 22 inches A surrealist mid-century figural abstrac...

Clarence Holbrook Carter (American, 1904-2000) Torso No. 1, 1967 Acrylic on paper Signed and dated upper right 15 x10 inches 24 x 20 inches, framed A mid-century figural abstract painting. 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...

Clarence Holbrook Carter (American, 1904-2000) In the Window, 1973 Acrylic and collage on scintilla Signed and dated lower right 30 x 22 inches A surrealist mid-century figural abs...

Clarence Holbrook Carter (American, 1904-2000) Seeing Egg, c. 1960s Acrylic on textured paper 30 x 22 inches 38.5 x 30.5 inches, framed A surrealist mid-century figural abstract pai...

Clarence Holbrook Carter (American, 1904-2000) Seeing Egg No. 2, 1965 Acrylic and collage on scintilla Signed and dated upper right 30 x 22 inches 34 x 29 inches, framed A surrealis...

Clarence Holbrook Carter (American, 1904-2000) Ablaze, 1973-79 Acrylic and collage on scintilla Signed and dated lower left 30 x 22 inches A surrealist mid-century figural abstract...

Clarence Holbrook Carter (American, 1904-2000) People, 1964 Ink and crayon on paper Signed and dated upper right 36.5 x 24 inches Clarence Holbrook Carter achieved a level of nation...

Clarence Holbrook Carter (American, 1904-2000) Over and Above: Kangaroo, c. 1960s Acrylic on paper, mounted on matte board Signed lower right 14 x 5 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...

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

Le Vieux Saltimbanque (The Old Acrobat) drypoint on wove Van Gelder Zonen paper, 1933 Unsigned as issued Condition: Excellent Image size: 5 x 4 3/4 inches Sheet size: 10 1/2 x 7 15/1...

Frank Nelson Wilcox (American, 1887-1964) Cliffs near Paramé, France, c. 1926-7 Watercolor on paper Signed lower right 11 x 14.5 inches 17.25 x 20.75 inches, framed Condition: top right and lower left corners of frame are slightly separated. 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". In 1906 Wilcox enrolled from the Cleveland School of Art...

Portrait of Gladys Anne Hoskyns Collotype after a Wyndham Lewis drawing, 1923 Singed in the plate and reinforced in pencil Published by The Dial Publishing Company in Living Art...

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 ...

Untitled (Model surrounded by Iris) Monotype printed in colors, 1950-1960's Signed in the image lower left Provenance: estate of the Artist Kiriki Metzo, his da...

Machine sewn fabric collage on linen

Plate X, Le Cocu Magnifique Etching & aquatint, 1968 Unsigned Edition: From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 im...

Derriere le Miroir-Double Page (Behind the Looking Glass Double Page) Original color llithogragp created by the artist for this ublication, 1964 Unsigned as issued From: Derriere le ...

House in Kyoto Color woodcut, 1963 Signed in white brush bottom left of image, along with the artist's red stamp (see photo) Titled, dated and numbered in pencil bottom margin (see p...

Maternite Au Jardin Lithograph, 1926 Signed lower right in pencil (see photo) Publisher: Edmund Frapier, Paris Blindstamp lower right: Galeries des Peintres-Gravures, Paris Blindstam...

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...

Portrait De Cezanne Lithograph, 1914 Unsigned (as issued in 1914) Edition: Either 100 (per Roger Marx) or 400 impressions on various papers Published in, Cezanne, Bernheim Jeune, 1914 Reference: Roger-Marx 51 ii/II, printed in greenish-grey ink on laid paper Condition: Excellent Image: 9 1/2 x 9" Sheet: 14 3/4 x 11 1/8" Edouard Vuillard French, 1868 - 1940 Vuillard's work straddles two centuries: he was a major post-impressionist in the 1890s, as well as a participant in the renewal of decorative art before and after 1900. Vuillard was one of the central figures of "Les Nabis...

Robe Grise Pochoir (silk screen) printed in colors, 1923 Signed by the artist in pencil lower right (see photo) The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Two spots in the upper left corner associated with the printing. 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...

Palazzo, Florence Etching, engraving, aquatint, soft ground and lift ground, printed in colors from three copper plates. 1954 Signed in pencil lower right (see photo) Edition 250 plis 10 on Rives wove paper, printed by the artist Published by The Print Club of Cleveland, No. 33 for 1955 REFERENCE: Geske #32 Condition: Mint Image size: 9 3/16 x 13 1/8 inches Impressions of this image can be found in the following museums: National Gallery of Art, Washington Toledo Museum of Art Oberlin, Allen Museum of Art Cornell Univeristy Cleveland Museum of Art Indianapolis Museum of Art Baltimore Museum of Art Georgetown University Indiana Univeristy, Eskenazi Museum of Art David Museum of Art at Wellesley College "Painter and printmaker Rudolph Otto "Rudy" Pozzatti was born in Telluride, Colorado, on January 14, 1925. Upon graduation from high school, he received a scholarship to attend the University of Colorado in Boulder where he enrolled as an art major. In 1943, his studies were interrupted by his induction into the U. S. Army. After his discharge in 1946, he re-enrolled in the University of Colorado where he studied under Wendell...

Les Pelerins d'Emmaus (The Pilgrims of Emmaus) After a 1894 painting by Denis in the Van Gogh Museum (see photo) Color lithograph, 1895 Signed in pencil ...

Le Tasse de The (The Cup of Tea) Color aquatint and etching, c. 1906 Signed in pencil in the image (see photo) Edition: c. 100 Reference: Merrill Chase, Volume 1, No. 85 Condition: F...

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

Composition Original carborundum engraving, c. 1970 Signed: Mastroianni in pencil lower right (see photo) Edition: 100 (76/100) (see photo) Printed on a heavy laid paper Condition:...

Jazz Men's Cock Fight Ink and watercolor on paper, c. 1965 Signed in ink upper left corner (see photo) Titled in pencil lower left corner (see photo) Condition: Excellent Image/Sheet...

Standing Female Nude After Alexander Archipenko Negress (La Negresse) Wood carving, c. 1913 Unsigned Provenance: the Artist's Estate Brenda Kuhn (his daughter) Kennedy Ga...

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...

Coastal Winter 40.0 × 30.0 × 2.0, 12.0 lbs Acrylic paint Hand signed by the artist Artist's Commentary: "This large format is a winter scene along the shore of Cape Cod. This quie...

The Season's Encounter Signed, dated and numbered in the lower margin Edition: 20 (16/20) Signed, dated and numbered in the lower margin Condition: Mint, flawless Image: 17 3/4 x 13 ...

Dixie Land Jazz, New Orleans, '52 Watercolor and ink on paper, c. 1965 Signed lower left in ink (see photo) Titled in pencil (see photo) Condition: Excellent, minor handling issues I...

Femme assise Etching with drypoint, c. 1920 Signed in pencil lower left publisher stamp lower right Edition: 100 (88/100) Condition: Excellent Image size: 11 3/4 x 8 1/4 inches Cou...