Ohio - Art

(I'm Not That Curious) Watrcolor on Yupo, 2024 Signed lower right with the artist's initials (see photo) Condition: Mint, never framed Image/Sheet size: 20 x 26 inches The image depi...

Carolyn (Arms raised to her head) Graphite on laid paper Unsigned Provenance: Estate of the artist by descent to his Grandson Depicts the artist's wife Carolyn. Most probably created in Nashville, Indiana Related to the painting entitled "Maiden" in the Haan Museum, Lafayette, IN (see photo) Condition: Excellent Archival framing with TruVue Conservation Clear glass Image size: 10 3/4 x 8 1/2 inches Frame size: 18 7/8 x 16 inches Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop, Griffith was a member and president of the Chicago Palette and Chisel Club. He made his first trip to Brown County...

Tantric Sri Yantra Diagram Gouache on canvas, c. 1980 Unsigned (as usual) Condition: Excellent Image/canvas size: 12 3/4 x 12 3/4 inches This image is a hand-painted representation o...

Inside Bourbon '57 Watercolor and ink on paper, 1957-1965 Signed in pencil lower right (see photo) Annotated recto: End papers "Sporting House" (see photo) Annotated verso: Endpapers...

Chinois inventa, dit-on, la poudre a canon, nous en fit don (The Chinese invented gunpowder, they say, and made is a gift of it) Aquatint, roulette, drypoint, acid bite, and scorper...

Untitled Pastel on paper, 1922 Initialed lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Condition: Excell...

The Duo is a total height of 26.5 inches on a black marble base 2 inches tall by 8 inches wide and 8 inched deep. Bonded at the top of the two forms, it is gender free, though most s...

Soleil rouge (Red Sun) Etching and embossing, c. 1974 Signed and editioned in pencil by the artist (see photos) Condition: Paper has yellowed. There is a white square at top of shee...

Signed and numbered in pencil Publisher: Eugene Shuster, London Arts Printer: Vistec Graphics, Rochester, New York Stamp verso: London Arts Copyright 1980 Edition: 175 (85/175)

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...

Girl with the Golden Curls Watercolor, c. 1895 Unsigned Provenance: Davis Galleries, New York (see photo of label on reverse) Condition: Mounted to support by the artist ...

John Teyral (American, 1912-1999) Untitled Oil on canvas Signed Teyral upper right 26 x 12.5 inches 28 x 14 inches, framed John Teyral was one of Cleveland's most acclaimed artists....

The Pinks and the Blues Watercolor, pen and ink on paper, 1954 Signed and dated in ink lower left, titled in pencil verso. Provenance: Gift of the Artist Privat...

Spring Landscape with house and figure A preliminary watercolor for a color aquatint, illustrated on line, title unknown Signed lower left in block letters (see photo) Watercolor and...

The Fan Silkscreen printed in colors, 1950's Signed and numbered in pencil by the artist (see photos) Edition: 40 (24/40) Condition: very good Image size: 25 1/8 x 19 5/8 inches Cou...

Tantric Sri Yantra Diagram Gouache of canvas, c. 1980 Unsigned (as usual) Condition: Excellent Image/canvas size: 13 x 13 inches This image depicts a Shri Yantra (also spelled Sri Ya...

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

Machine sewn fabric collage on linen

Cognitive Load, Part 2 Watercolor on heavy wove paper, 2024 Signed with the initials on the lower right of the desk, (see photo) Condition: Excellent, mint, unframed Image?sheet size...

Plate XXXVIII Claremont, Homerton's white, Ford's black and the Genoa nectarines. Aquatint, engraving with some stipple, printed in colors with hand finishing 1804-1812 Engraved signature on the bottom left (see photo) From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a msaterpice of natural history illustration Condition: Excellent Image/Plate size: 18 3/4 x 15 7/8 inches Sheet size: 21 1/4 x 17 inches Refereence: Dunthorne 050 Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

Last of the Old Timers Ink and watercolor on paper, c. 1965 Signed in ink lower left corner (see photo) Titled in pencil upper right top margin (see photo) Condition: Excellent, slig...

Trantric Sri Yantra Diagram gouache on canvas, c. 1980 Unsigned (as usual) Condition: Excellent Image/Cnvas size: 13 5/8 x 13 1/2 inches The image is a depiction of the Shri Yantra (...

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, ...

Oiseau solaire, oiseau lunaire, etincelles (Solar Bird, Lunar Bird, Sparks) Color lithograph, 1967 Published in "Revue XXe Siecle, Volume 28 Published by San Lazzaro Printed by A. Ma...

Untitled (Mexican Village) Ink and watercolor on paper, c. 1960 Estate Stamp Lower Left Provenance: estate of the Artist Condition: Excelleent Image/Sheet size; 8 3/4 x 5 3/4 inches ...

Polo (Wall Plaque) Polychromed ceramic, c. 1930-1931 Signed with the artist's initials: VS recto Cowan Pottery stamp verso References And Exhibitions: Designed by the artist while working for Cowan Pottery in 1930. One of Cowan's clients, an interior designer, requested plates decorated with different outdoor activities. Others in the series included "Swimming," "Tennis," "Golf," and "The Hunt." Condition: with the usual craquelure Size: 11 1/4 inches in diameter Industrial design democratizes high style, and Mr. Schreckengost was widely considered among the most democratic industrial designers. He made, quite literally, the stuff of life — things found routinely in homes, backyards and garages in this country and around the world. He designed bicycles for Sears and everyday china for American Limoges. He designed children’s toys and pedal cars; flashlights, furniture and fans; lawn chairs, lawn mowers...

The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse) "Temple of the Cough" Etching, 1764 Signed in the plate From: Vedute di Roma...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will...

Woman with Bicycle: Two Views Graphite on paper, c. 1890 Unsigned Graphite study of standing female nude verso Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. A sister drawing from the same sketchbook was sold at Cowman’s Auction, Cincinnati, October 6, 2018. Accompanied by a letter from the Spanierman Gallery, dated 1997, stating that the drawing is from a sketchbook that was held in the Rookwood Factory Collection. Sister drawing provenance: Provenance: Terry DeLapp...

Camera sepolcrale Etching 1743 Signed in the bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 20 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Indian Friendship Dance Drypoint, 1953 Signed in pencil lower right, (see photo) Edition 200 Published by The Society of American Graphic Artists, New York An impression is in the collection of SAAM, Washington and RISD Museum, Condition: Excellent Very rich impression with burr and selective whiping of the ink for atmospheric nocturnal effect. Image/Plate size: 8 3/16 x 11 15/16 inches Sheet size: 11 1/8 x 17 inches Reference: Kloss 450 "'Indian Friendship Dance' is an eloquent statement of something which Gene Kloss has both observed and participated in. It is an Indian dance that is thought of as entertainment, rather than ceremony, but it is essentially an idea expressed in action, and an idea that has universal meaning. The young men who dance wear costumes of exquisite workmanship, intricately wrought with beads and feathers and subtle combinations of colors. The dancers are trained from childhood but develop their own steps and exhibit distinctive strength and grace. Singers and a tom-tom accompany the dance and since it usually takes place at night, a campfire is the source of light. The conclusion occurs when all the onlookers, old and young and from many places, join hands with the dancers in a slow revolving movement, while those who can, sing the difficult but meaningful Indian song that flows with the rhythmical dance step and speaks of fellowship, brotherhood, friendship." - An excerpt from a descriptive statement, written by Lynd Ward, and distributed with the drypoint at the time of publication." Courtesy Old Print Shop Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

York Road Near Rt. 82 Signed in pencil upper left; signed again green pencil lower right. raphite and colored crayon on paper, mounted to paper c. 1950's Titled by the artist in bla...

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

Bird and Hibiscus Cibachrome print, 1980 Signed and dated by the artist in pencil lower right (see photo) Deaccessed from the Reader's Digest Association Collection (#18717) with label (see photo) Purchased from Lieberman & Saul Gallery, between 1986 and 1993 when the name oif the gallery changed to Julie Saul Projects Very small edition Provenance: Lieberman & Saul Gallery, New Yokr, NY (until 1985) (label verso) Reader's Digest Association (label) Condition: Excellent Image size: 9-7/8 x 9-7/8" (25 x 25 cm.) Frame size: 20-1/2 x 16-1/2" Suzanne Camp Crosby Posted by FMoPA Apr 7, 2021 FMoPA In Focus 0 Suzanne Camp Crosby, Gasparilla Ship, 2004 In December of 2020 beloved Tampa photographer and educator Suzanne Camp Crosby died. She had taught generations of students at the Hillsborough Community College where she had been a professor of photography for 38 years. Camp Crosby had the prestigious honor of being the 2004 City of Tampa Photo Laureate and the exhibition resulting from that body of work, Suzanne Camp Crosby: 2004 Photo Laureate City of Tampa Public Art – Big Picture Project, was presented at the Tampa Museum of Art that same year. Other awards include a Southeast Artist Fellowship from the National Endowment for the Arts and Southeastern Center for Contemporary Art in 1978-79. Suzanne Camp Crosby, Paper Flowers, c. 1990 The Florida Museum of Photographic Arts (FMoPA) has gratefully accepted the task of helping to place the photographic archives of this beloved artist. This collection includes more than 725 photographs spanning her career of over 40 years. A broad selection of this work will be brought into the collection of FMoPA, with an exhibition to follow in the summer of 2022. Other institutions in the area are also considering simultaneous showings. University of Tampa student Alyssa R. Miller has signed on to help with the documenting and digitizing of this body of work. This will help make it possible to distribute photographs to other institutions, with limited works to be sold to help finance the efforts. Examples of her photography are already currently held in the collections of FMoPA, the Tampa Museum of Art (TMA), Los Angeles County Museum of Art, and the New Orleans Museum of Art, among many others. Three wonderful examples of her talent are currently on view at the TMA’s exhibition Her World in Focus: Women Photographers from the Permanent Collection, on view until June 27, 2021. Suzanne Camp Crosby, Doris Day at Clothesline, 1980 Camp Crosby’s solo exhibitions include Suzanne Camp Crosby: Kid City, 2009 at FMoPA, and multiple exhibitions at the HCC Galleries, where she eventually became the Program Manager for the Visual Art and Dance departments in addition to her teaching and exhibitions. She also taught and received her MFA at the University of South Florida in Tampa. Additional schools where she was an instructor include the University of Central Florida in Orlando, FL, and the St. Petersburg College, Clearwater campus. Camp Crosby specialized in creating thematically directed photographs, created by adding unexpected objects or people to mostly everyday scenes. Her artwork is often playful and witty. Early work included tender black and white compositions often using her children or friends to create evocative scenes. Later photographs brought in color and experimentation. Examples include the juxtaposition of life-sized 2-D paper doll cut-outs of 1950s movie stars to real-life mundane household settings, as well as a wide selection of other artificial items placed into real-life settings. As a visual storyteller, she continued to explore and experiment with ideas and themes throughout her lengthy career. Courtesy The FLORIDA MUSEUM of PHOTOGRAPHIC ARTS Suzanne’s artwork is in many permanent collections, including the Tampa Museum of Art, the USF Museum of Contemporary Art, the Orlando Museum of Art, the Polk Museum of Art, the Florida Museum of Photographic Arts, the Leepa-Rattner Museum of Art, the New Orleans Museum of Art, the Los Angeles County Museum of Art, Walt Disney World Corporation, Tropicana Corporate Collection, City Bank, Tampa Electric Company, Shriner’s Hospital, Tampa General Hospital, Hillsborough Community College, City of Tampa Public Art, City of Orlando Public Art, and the von Liebig Art Center. From ARTFORUM JULIE SAUL (1954–2022) Julie Saul, who through her long-running eponymous New York gallery did much to elevate contemporary photography within the art world, died February 4 in Tampa after a battle with a rare form of leukemia. Saul was known for her willingness to show an eclectic range of works in media ranging from painting to sculpture to video to ceramics by an equally diverse range of artists, but it was her eye for both traditional and avant-garde contemporary photography that cemented her reputation and that of her gallery, which she first established in 1986 in SoHo, then a frontier for the arts. Saul was born in Tampa on New Year’s Eve in 1954 to a father who was head of a sewn-products company and a housewife mother, a native New Yorker and volunteer docent whom Saul would later credit with introducing her to the arts. “Tampa had no museums, but she would take us to museums in New York,” she told the Tampa Bay Timesin 2003. “We had a house that wasn't filled with great art, but there were great reproductions and great art books.” In 1979, Saul moved to New York, obtaining her master’s degree from New York University’s Institute of Fine Arts in 1982. Four years later, with partner Nancy Lieberman, she opened Lieberman Saul Gallery at 155 Spring Street in SoHo, showing contemporary photography at a time when not many others were. “One thing that drew me to photography from the very beginning—and it still holds—is that photography is an affordable medium. Almost anybody can afford to collect photographs,” she told the Association of International Photography Art Dealers (AIPAD) in 2010. “Fundamentally, photography is a medium and what makes work great is the idea behind it and how well it’s executed.” Among the photographers whose work Saul championed are Nikolay Bakharev, Morton Bartlett, Eugene Bellocq, Andrew Bush, Sally Gall, Luigi Ghirri, Andrea Grützner, Sarah Anne Johnson, Adam Magyar, and Arne Svenson...

Untitled (Yellow, Gray and Pink) Pastel on paper, 1981 Signed and dated lower right Condition: Excellent Sheet size: 12 x 18 inches Frame size: 15 x 21 inches Provenance: Jan Cowles ...

Animal Kingdom (Magnificent Jungle Cats) Etching, 1953-1955 Signed and titled in pencil by the artist (see photos) Annotated: "First Proof" (see photo) Estate stamp verso (see photo)...

Turn- about Color Aluminum plate lithograph from three plates Signed, titled, and numbered in pencil by the artist "Bon-a-tirer" impression (BAT) This is the finished example that the artist approved as the model for the edition. Published at Lakeside Studio with the master printer Jack Lemon. Condition: Very good, one ink stain in the large margin, from printing Image size: 18 3 /4 x 23 1/4" 47.63 x 59.06cm Sheet size: 22 x 29 7/8" "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 Black...

Impression B Color woodcut, 1959 Signed and dated lower right (see photo) Titled lower left (see photo) A trial proof, prior to the edition of 100, signed and numbered Condition: Excellent Image size: 14 1/2 x 9 3/4 inches Provenance: Estate of the artist by decent to his heirs "Printmaker and painter Toshi Yoshida was born on July 25, 1911, into the respected Yoshida family of artists of Tokyo, Japan. Father Hiroshi was a celebrated landscape painter and printmaker, and mother Fujio established herself as the first female Yoshida artist as well as an Abstract artist later in her career. Younger brother Hodaka was an Abstract printmaker whose style, completely separate from his family's historic traditional bent, later influenced Toshi. Hodaka's wife Chizuko would become a pioneering female Japanese artist whose own exploration of Surrealism and Abstraction challenged the status quo. Toshi, however, as the eldest sibling, was expected to follow in his father's footsteps, and from an early age he was trained by Hiroshi in his studio. Unable to attend formal schooling due to the polio-induced paralyzation of his leg, Toshi would instead help with his family's printmaking studio and go on sketching trips with Hiroshi. As he got older, these trips would include India and Southeast Asia, working from morning to night taking night trains to get from one destination to another. Among Toshi's favorite subjects were the animals he discovered along the way. However, these trips ended as Japan entered military dictatorship in the mid 1930s, and artists whose work showed signs of Western influence were barred from exhibiting. At this time, Toshi left Japan for China and Korea, where he would remain for the duration of the war. He stuck to patriotic themes to remain in business, and after the end of World War II, as Japan struggled to recover from wartime economic depression, he earned his living creating traditional Japanese woodcut landscapes...

Vue du châteaux de Chenonceaux Lithograph, 1843 Letterpress signature lower left corner Signature of the printer lower right corner After Pierre Justin Ouvrié (1806-1879) Published b...

Le Cheval Etching, 1921 Signed in pencil lower left Edition: Signed edition of 50 (as here) Unsigned edition is 400 for the book Du Cubisme Printer: R. Girard et Cie Pr...

City Park, Winter Lithograph, c. 1947 Signed in pencil lower right (see photo) Published by Associated American Artists Printed by George C. Miller, New York Edition: c. 250 In the Bohrod papers at Syracuse University, the artist states that it is a view of Pittsburgh. It depicts the George Washington Monument in Allegheny Commons Park, dedicated in 1891. The sculptor f the monument is Edward Ludwig Albert Pausch (1856-1931). Condition: Excellent Image size: 9 1/4 x 13 7/16 inches Frame size: 19 x 23 inches Provenance: Estate of Adolf Dehn Reference: AAA Index No. 848 Aaron Bohrod (21 November 1907 – 3 April 1992) was an American artist best known for his trompe-l'œil still-life paintings. Education Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings. Career He returned to Chicago in 1930 where he painted views of the city and its working class. He eventually earned Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' Army War Art Unit...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the...

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...

The Bathers Woodengraving, 1873 As published in Harper's Weekly, August 2, 1873 (p. 668) Provenance: Wunderlich & Co., Inc., New York, NY (Their stock no. 84.003.8 in pencil recto a...

Las Vegas Date Watercolor, c. 1965 Signed lower right (see photo) Titled in pencil upper left (see photo) Condition: Excellent Image/Sheet size: 17 1/2 x 11 3/8 inches Provenance: Jo...

Bull Ring Brass - Mexico City Watercolor, pen and ink on paper, 1955 Signed in ink, dated and titled in pencil (see photos) Condition: 1'' repaired tear left edge, along with other minor tears. Tape stains from previous matting visible in the four corners Image/Sheet size: 19 3/8 x 15 5/8 inches Provenance: Acquired directly from the Artist Joseph M. Erdelac, Cleveland, friend and patron of Longstreet Stephen Longstreet (1907-2002) The artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

Madame Carmencita, Plate 9 From: Cirque de l'etoile filante (Circus of the Shooting Star), 1934-1936 (published 1938) Signed with the artist's initials and dated, lower right of plat...

Untitled Signed in pencil lower right (see photo) Edition: 25 (9/25) (see photo) Engraving, drypoint & carborundum Printed by the artist Condition: Excellent, slight residue on rever...

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...

Recruits on a March Ink and watercolor on paper, mounted on support Unsigned Condition: watercolor sheet laid down on paper, moderately faded Original Ackermann frame and matting Ima...

Untitled Acrylic and gold leaf collage on canvas, 2005 Unsigned Provenance: Estate of the Artist Condition: Excellent Image size: 10 13/16 x 8 5/8 inches Support Sheet size: 17 x 14 ...

En bouche qui fut fraîche, goût de fiel (In the mouth that was once fresh, the taste of bitterness) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned as ...

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

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...

"Homo"Verne, (Still Life with wine bottle, wine glass, glass of beer and dice) Pochoir printed on black textured colored paper, c. 1930 Signed and numbered in white pencil by the art...

Irish Sea Watercolor, 1947 Signed and dated by the artist lower right Condition: Excellent Image/Sheet size: 12 x 18 inches Provenance: Estate of the Artist ...

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...

Untitled (Undertow Variant) Etching and aquatint printed in colors Signed and numbered in pencil (see photos) Edition: 30 (9/30) see photo Condition: Excellent Image: 7 7/8 x 7" She...

Lithographie originale our XXe siecle Color lithograph, 1964 Unsigned (as issued) From: XXe siecle, Permanence du Sacre, No. 24 Publisher: G. di San Lazzaro, Paris Printed by Mourlot...

River of Life is a quadriptych. The four panels in green, white and yellow are each 51 X 51 inches with the total size of 102" X 102" Nancy Seibert began...