Ohio - Art

Retour Color lithograph, 1897 Signed in the stone lower left edge of the image (see photo) As published in "L'Estampe Moderne" L'Estampe Moderne appeared each month as a portfolio of...

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 (...

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...

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...

Signed and numbered by the artist Edition: 25 Printed on Hahnemuhle paper Published by Neptune Fine Arts Condition: excellent Plate/Image size: Sheet size: "Stone Roberts’ luminous still lifes, private interiors, and large-scale panoramas of figures in motion invite us to look—and then look some more—and relish in the sensuality of the three-dimensional world. While Roberts’ varied influences include Greek Mythology and Roman Classicism, Dutch and Spanish Old Masters, Fantin-Latour, Ingres, and Balthus, his subjects are decidedly of today. From Grand Central Terminal to his wife gardening in Stonington, Connecticut, Roberts paints people and places from his personal surroundings into formal compositions that often appear to have mythical, literary, or psychological elements. Roberts received his B.A. from Yale University, New Haven, CT, where he studied painting with William Bailey, and his M.F.A. from the Tyler School of Art, Philadelphia, and Rome. Roberts' work can be found in numerous public and private collections throughout the United States and Europe, including the collection of The Metropolitan Museum of Art and the Louis-Dreyfus Family Collection, New York. A solo exhibition of Stone Roberts’ work was held at the Museum of the City of New York in 2012 entitled Stone Roberts: New York City Paintings." Courtesy of Hirschl & Adler Modern PUBLIC COLLECTIONS Asheville Art Museum, Asheville, NC Sydney and Walda Besthoff Biltmore Estate, Asheville, NC Mrs. Robert Carroll Mr. and Mrs. Willam Cecil Chase Manhattan Bank, New York, NY Evansville Museum of Arts and Sciences, Evansville, IN Jerald Dillon Fessenden Flint Institute of Arts, Flint, MI Ms. Barbara Goldsmith Mrs. Paul Gottlieb Mr. and Mrs. Graham Gund Mr. and Mrs. Arie L. Kopelman Alex S. Jones William Louis-Dreyfus Mr. and Mrs. James C. Marlas J.D. McClatchy and Chip Kidd Mr. and Mrs. Richard L. Menschel The Metropolitan Museum of Art, New York, NY Mrs. Stephen Paine Mr. and Mrs. W.J.W.J. van Roijen Mrs. Julius Rosenwald II Mark Singer Carl Spielvogel and Barbaralee Diamonstein-Spielvogel Bruce Springsteen and Patti Scialfa Stephens Inc., Little Rock, Arkansas Woodberry Forest...

Un plaideur auquel manquent malheureusement les pieces les plus importantes, les pieces de cent sous. (A litigant who unfortunately doesn't have the most important details to success..dollars and cents) Series: Croquis par Daumier, No. 1 As published in Le Charivari, Paris, October 20, 1865. Croquis (Sketches by Daumier) is a series of 4 prints...

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...

Mr. C (Cat) Linocut, 1984 Signed in pencil (see photo) Edition: 250 (209/250) (see photo) Published by Associated American Artists, New York, NY Reference: AAA/Czestochowski 1984.009...

The Awakening-Night From: Homage to Tobey Portfolio (Six Plates) Etching, 1974 Signed in pencil by the artist on the front lower right "Tobey" (see photo) Numbered in Roman numerals ...

Great Buffalo Medicine Man Mixed media collage Signed in pencil lower right Title on reverse Sheet size: 47 x 34 inches Condition: Tear in paper along right edge Color fresh ...

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...

Frank Nelson Wilcox (American, 1887–1964) Canyon at Evening, 1937 Watercolor on paper Signed and dated lower right 14 x 19 inches 18.75 x 24 inches, framed Frank Nelson Wilcox (Oc...

Frank Nelson Wilcox (American, 1887–1964) Rio Puerco, New Mexico, c. 1940-1 Watercolor on paper Monogram lower right 15 x 20 inches 18.5 x 24 inches framed Frank Nelson Wilcox (O...

Preliminary Drawing for the color aquatint "New Orlaens, Street Gossip" Signed by the artist in pencil lower left Graphite on tracing paper, 1916-1917 An impr...

Untitled (Joe and Patsy LoGuidice at the Casa Luna) Pastel, charcoal and colored pencil on paper, 1970-1975 Signed lower right in pencil: Larry Rivers Inscribed on the rabbit of the ...

The Gate of Hundred Sorrows Etching, 1900 Signed in the plate lower right (see photo) From: A Series of Thirty Etchings by William Strang, Illustrating Subjects from the Writings of...

Bicentennial Dawn Silk screen and gold foil collage element, 1976 Signed and dated lower right in gold foil (see photo) Edition 100 (57/100) original label attributes this image as b...

Festival No. 6 Color woodblock, 2002 Signed, titled and numbered in pencil (see photos) Edition: 50 (10/50), see photo Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Hamanishi Small 98 Condition: Excellent Sheet: 12 1/4 x 9 1/8"; Image 10 1/2 x 7 1/2" Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker...

A pair of oval drawings for Ovid, Metamophoses Left: The Triumph of Amphitrite (Book I) Right: Diana and Actaeon (Book III) From: Ovid, Metamophoses These mythological studies are after paintings by Simon Vouet (1590-1649) that decorated the Chateau de Chilly. They were commissioned by the Marquis D'Effiat in 1630-31. The scholarly record documenting the commission are a series of engravings by Michel...

The Ermine Scarf Lithograph, 1905 Signed in pencil Belleroche and initialed A.B. lower right Edition: 30 Reference: Belleroche K447 Albert Belleroche log of llithographs, AB164 Condition: Excellent Image size: 6 5/16 x 5 1/4 inches Frame size: 18 3/4 x 17 inches Provenance: Estate of the Artist Richard Reed...

Mountainous Landscape, Mexico Monotype in colors on heavy paper, c. 1960's Signed in ink lower left "G Ceniceros" Condition: Excellent Image size: 6 x 14 1/2" (15.24 x 36.83cm) Sheet size: 12 7/8 x 19 11/16 inches Guillermo Ceniceros (born May 7, 1939) is a Mexican painter and muralist, best known for his mural work in Mexico City, as well as his figurative easel work. He began his mural painting career as an assistant to mural painters such as Federico Cantú, Luis Covarrubias and then David Alfaro Siqueiros who was a mentor and a key influence. Ceniceros is the most notable of Siqueiros' assistants. While he has experimented with abstract expression, his easel work mostly classifies as figurativism and is influenced by the geometrical construct of Mexican muralism. He has had over 300 individual and collective exhibitions in Mexico and the International stage. His work has been recognized by the Mexican Ministry of Culture and several of its institutions. He has painted over 20 large scale Mural Paintings with some of the most notable being the large scale work for the Legislative Palace of San Lazaro (Mexico's Legislative Building) as well as his murals in the Metro Subway System. He is a member of the Salón de la Plástica Mexicana. In 1995, the State of Durango, Ceniceros' native state, opened to the public the Guillermo Ceniceros Art Museum within the oversight of the Ministry of Culture. Ceniceros has been reviewed by notable critics such as Berta Taracena, Raquel Tibol, Alaide Foppa, Graciela Kartofel, José Angel Leyva and Eduardo Blackaller among others. There are several publications about his work including a vast review of his art life endeavors developed by the Ministries of Culture of Durango and Nuevo León. He is married to the artist Esther González and lives in his studio house in the Colonia Roma of Mexico City. Life Interview with the subject Ceniceros and Siqueiros Ceniceros was born in a small village called El Salto, located in the municipality of Pueblo Nuevo in the Mexican state of Durango. His father was a woodworker who made toys and furniture in his workshop. His father's shop would become an influence in Ceniceros' life long interest in developing his own innovative working tools. When he was twelve the family moved to Monterrey to seek better economic opportunities. There he attended school and when he was fourteen he entered the Fabricación de Máquinas, S.A. (FAMA), a school/business, where he studied industrial drawing. He considers this early training important as it taught him the importance of geometry, use of space and materials. While at FAMA he met painters Gerardo Cantú and Ignacio Ortiz, and collaborated with them on sketches for publications of Alfonso Reyes, Pedro Garfias and other notable writers. In 1955, he enrolled in the Taller de Artes Plásticas at the Universidad Autónoma de Nuevo León, graduating in 1958. At the Taller he met fellow Mexican artist Esther González, whom he married and with whom he has two children. In 1962 he moved to Mexico City with the goal of working in the Taller of the Maestro David Alfaro Siqueiros. He became Siqueiros' first assistant working on his last murals while at the same time working at night on his easel painting work. Siqueiros supported Ceniceros decision to leave his Taller and supported him in his career until his death in 1974. By then Ceniceros was already a break thru artist having had several individual exhibitions including the prestigious Palacio De Bellas Artes as well as other recognitions. Thru the 70's and 80s Ceniceros continued his work with an emphasis on exhibits and exchanges abroad and traveling to Eastern Europe, Cuba, China, Chile, Ecuador, Italy and the United States. His Mexico City contemporaries and circle would include names that today have become reference such as Sebastian, José Luis Cuevas, Gilberto Aceves Navarro, Benjamin Dominguez, Gustavo Arias Murueta, Byron Galvez, Leonel Maciel among others. In the 70's his Row-House neighbors in the colonia Roma were Francisco Toledo and Alejandro Jodorowski. His focus on mural painting is renewed in the mid 80's thru his large scale work in the Metro Subway System with him working on major commissions consistently and into the new century. While the Mexican school of Muralism had been challenged by the Ruptura members, the interest in Mural painting as a unique national form of expression continues. He lives in Mexico City at a studio/home in the Colonia Roma. His home is a frequent gathering place for writers, poets, painters, singers, actors and journalists. He has a strong interest in Spanish language literature. Juan Rulfo...

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...

Trout Fishing on the Gunnison (Colorado) Lithograph, 1941 Signed and dated '42 in pencil lower right Annotated lower left: "40 Prints-The Gunnison River, Colorado-For Anne & Jack" Ed...

Dorain Gray with Rainbow Scarf Color lithograph, 1968 Signed in pencil lower center of sheet (see photo) Annotated by the artist: A/P for Artist's Proof (see photo) From: The Picture...

Woman Pulling on a Slip Conte on paper, c. 1910 Signed lower right: "E. Shinn" (see photo of legs, signature on right) Provenance: Estate of the Artist (see label) Graham Gallery, N...

Red to Green Portal Aquatint, 1979 Signed and dated in pencil lower right (see photo) Edition: 95 (84/95), see photo Provenance: U.S. Representative James A. Leach, retired Condition...

Scene II, Le Nozze Degli Dei Etching, 1637 Signed in the plate lower left The scene depicts the initial moment when Diana is revealed, surrounded by her nymphs, celebrating a success...

(A charming lady chatting with a lady perfect in every possible way) Signed in the plate. No pencil signed impressions are existent. Edition: 368 (including 50 imps on japan) includi...

Diana Raised 1 Lithograph from four stones, 1970 Signed and dated lower right (see photo) Annotated "PP" for Printers Proof lower right (see photo) Publisher: ULAE ULAE blindstamp lo...

Study of an Indian Model Unsigned Pastel and chalk on blue paper, mounted to support Provenance: Estate of the artist (per Graham and Sons, agent for the estate) James Graham & Sons,...

Tommy's Pond Etching, aquatint and intaglio, 1966 Signed, dated and numbered in pencil Image/Plate size: 13 7/8 x 10 7/8 inches Sheet size: : 20 1/16 x 14 7/16 inches From: The Portf...

Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate 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 Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 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...

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...

Ink and acrylic swirls in symmetrical composition with curricular motions. :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by the art...

On the Beach at Long Branch - The Children's Hour Wood engraving, 1874 Published in "Harper's Weekly" August 15, 1874 (p. 672) Image size: 9 1/4 x 13 5/8 inches Provenance: Wunderlic...

Woods Etching and aquatint printed in colors, 1985 Signed, titled & numbered in pencil Edition: 15 (12/15) Printed on BFK RIVES paper Provenance: GE Art Program, (label included), se...

Untitled Watercolor on paper, c,. 1890 Unsigned Provenance: Estate of the artist Image/Sheet size: 3 1/4 x 4 1/8 inches From Wikipedia "Francis Augustus Lathrop (June 22, 1849 – Oct...

A Course in Miracles Dye transfer photograph, 1978 From: 12 Photographs: 1973-1983, Plate 7 of 12 Signed in ink Edition: 50, this example an Artist's Proof (7/10) Printer: Guy Stri...

La Place de la Concorde Depicts La Place d la Concorde, Tour Eiffel and Sacre-Couer on Montmarte Hill in the back left Lithograph, 1926 Unsigned. as issued From the book edition, Jos...

[recto];untitled (Sketches for Still Unsigned 9 1/2 x 12 inches (24.2 x 30.6 cm.)

Unsigned Provenance: Estate of the artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the High...

Head of a Young Woman with Blond Hair Watercolor on paper mounted on rag paper support, c. 1930 Signed with the Estate Stamp B Provenance: Estate of the Artist ...

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:...

Palace with Vignettes of Scenes of Royal Court Life Early 19th century Rajput School Gouache on heavy paper, mounted to gold flecked support board c. 1820 Unsigned as usual Inscribed...

Ora Coltman (American, 1858-1940) Julia Maud De Forest, 1898 Watercolor on paper Signed and dated upper left 9.25 x 12.75 inches 15 x 18.25 inches, framed Ora Coltman was born in 18...

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...

The Web Engraving and soft ground, 1950 Signed, titled, dated and numbered by the artist Edition: 35 (26/35) Printed by Master Printer, Jon Clemens, 2000 Provenance: Estate of the ar...

Cahiers d'art, Surrealist Composition 1 Pochoir, 1934 Unsigned as issued in Cahier's edition Published in Cahier's d'art, 1934 Unsigned Edition of 1200 There was also a pencil signed...

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...

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...

Merieanna Etching and aquatint, c. 1900 Signed by the artist in pencil lower right Titled in pencil lower right corner of sheet Annotated "4" lower left below image Publisher's dryst...

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 ...

Marginal Screen print, 1971 Signed and numbered in pencil From: Twelve Progressions, 1970-1971 Commissioned by Martha Jackson Graphics Printed: Domberger, Stuttgart, Germany Edition:...

Untitled Watercolor, cut out and construction on paper, 2013 Signed and dated in pencil lower right Condition: Excellent Image size: 22 x 30 inches Frame size: 30 x 37 inches Archiv...

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...

The Beach at Long Branch Woodengraving, 1869 Signed in the block lower right "WH" ( see photo ) Published in Appleton’s Journal of Literature, Science and Art, August 21, 1869 Condit...

Untitled (Portrait of Roberta Kimmel Cohn) Silver gelatin print on photographic paper c. 1981 Signed with the photographer's hand stamp verso From a presentation portfolio given the ...

untitled (Painting of Exotic Birds in Fantastic Landscape leaning against a wall)) Graphite on paper Signed by the artist in pencil lower right Pr...

Untitled (Seated Young Woman) Graphite on Veritable Papier d'Arches wove paper, 1970 Signed and dated lower right (see photo) Condition: Excellent Image/sheet size: 15 x 11 1/4 inch...

Easy Rider Blues Paper collage, post 1969 Inspired by the Peter Fonda and Dennis Hopper movie of the same title Signed lower right (see photo) Titled lower left (see photo) Condition...