Ohio - Art

Combination-Cross No. 3 Mezzotint, 1979 Signed, titled and numbered in pencil Edition: 30 (9/30) Provenance: Ninion and Sheldon Landy, Chicago The Landy's donated a large collection of Hamanishi to the Art Institute of Chicago in 2013, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. Condition: Excellent Image size: 13 5/8 x 14 1/8 inches HAMANISHI Katsunori...

Morita Kanya XIII As Genta Kagesue in the play Genta Kando Color woodcut, 1928 Signed and stamped middle right edge Natori stamp lower left image edge Series: Collection of Creative...

Photo-relief and letterpress on brown paper; letterpress both sides of sheet Printed verso: "Mexico - Imprenta de Antonio Vanegas Arroyo, Calle de Santa Teresa...

Bach Cello Suite No.3 in C Major - III Courante Watercolor and mixed pigments on paper, c. 1960's Signed and titled recto (see photos) A masterful example of the artist's series of music inspired works of art. Haas had the condition known as synesthesia. Condition: Excellent Archival framing with OP3 acrylic Image size: 17 3/4 x 13 3/4 inches Frame size: 27 1/4 x 21 inches Synesthesia: Throughout her lifetime Haas had a condition known as synesthesia. Synesthesia, as defined by Wikipedia, is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. Many famous artists, poets, musicians and authors throughout history have had synesthesia including Vincent Van Gough, Duke Ellington, Billy Joel, and Vladimir Nabokov. Haas' form of synesthesia is known as 'projective synesthesia'. With projective synesthesia Haas saw colors, shapes and/or forms when experiencing audio stimulation. Haas used...

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 ...

Watercolor on Yupo paper, 2019 Signed with the artist's initials lower right Excellent color and condition Archival framing with OP3 acrylic, floated in a white gallery frame matchin...

Bacchanal Etching, 1649 Inscribed in the square left: "Magnificentis/simo Principi/Paolo lorda/no. II Bracci/ani Duci/Aud. P.DDD/1640; Inscribed on right: Rome apud Franciscsum Saluucium Condition: Usual centerfolds from paper manufacture Plate: 10 3/8 x 15 1/2" Sheet: 11 1/2 x 16 1/2"; References: Bartsch XX.4 Sopher Plate 145 An impression of this image is in the collections of the Philadelphia Museum of Art and the National Gallery of Art, Washington An exceptionally rich impression in excellent condition. From Wikipedia, the free encyclopedia Putti as Allegory of Music Giovanni Andrea Podestà or Giovanni Andrea Podesta (1608 - c. 1674) was an Italian painter and engraver who was principally active in Rome. His principal subject matter is children playing in landscapes with classical objects. His works show the influence of Poussin's Arcadian landscapes and bacchanals, which were ultimately derived from Titian's bacchanals. Life Giovanni Andrea Podestà was born in Genoa. He was formed in Genoa with Giovanni Andrea de Ferrari and Domenico Fiasella according to the information provided by the contemporary Genoese biographer Raffaele Soprani. He is also recorded as an apprentice of Giovanni Battista Paggi in 1627. His presence is documented from in 1634 in Rome where he made drawings after the statues and ancient reliefs at the famous Giustiniani collection. These were subsequently engraved for publication in the 'Galleria Giustiniani'. The artist's career ran a course similar to that of the young Domenico Fiasella. In Rome his art evolved in contact with the works of Poussin, Andrea di Leone, Pietro Testa...

Lithograph, 1930 Edition: 20; this print numbered 9/20 Printed by Meister Schulz, Berlin Excellent condition Signed, numbered and titled in pencil Provenance: Estate of the Artist Cr...

Signed, dated, annotated "epreuve d'artiste"; Annotated on titled "B.B." Edition: 5 References And Exhibitions: One of the three impressions printed on ARCHES watermark paper Int...

Untitled (Abstraction) Ink on textured paper, c. 1958 Signed lower right "Scarlett" (see photo) Condition: Excellent Archival framing with OP3 Acrylic Sheet size: 21 3/4 x 30 inches Frame size: 28 1/2 x 36 1/2 inches Note: A rare mid to late 1950s example of the artist's abstract expressionist style. Provenance: estate of the artist Private Collection, Hudson River Valley, New York Rolph Scarlett B. 1889, GUELPH, ONTARIO; D. 1984, WOODSTOCK, NEW YORK Born on June 13, 1889 in Guelph, Canada, and into an artistic family, Rolph Scarlett spent his teenage years as an apprentice in his uncle’s jewelry firm and briefly studied at the Art Students League, New York. While working in the jewelry industry, Scarlett found time to paint and design theatrical sets in his free time, including one for the 1928 world premiere of Eugene O’Neill’s drama Lazarus Laughed (1926). In 1923, while on a business trip to Switzerland, Scarlett had met the artist Paul Klee and soon after abandoned his figurative painting style in favor of an abstract language that suggested more universal, cosmic truths. In 1937, after permanently settling in New York, Scarlett became acquainted with the artist and curator Hilla Rebay, the first director of the Museum of Non-Objective Painting (renamed the Solomon R. Guggenheim Museum in 1952). Rebay provided Scarlett with a Guggenheim Foundation scholarship to paint full-time and obtained several of his paintings for the museum’s collection. From 1940 to 1946, Scarlett served as the museum’s chief lecturer, giving Sunday afternoon talks on art. Through Rebay, Scarlett became acquainted with the nonobjective works of Rudolf Bauer and Vasily Kandinsky and further refined his abstract style. Works from this era such as Yellow Bar (1942) are defined by overlapping geometric planes of bright, primary colors set against mute backgrounds. Scarlett avoided any reference to the outside world and believed that nonobjective painting was an act, in his words, of “pure creation.” During his lifetime, solo shows of his work were held at the Jacques Seligmann Gallery, New York (1949); Sioux City Art Center, Iowa (1951); and Washburn Gallery...

Untitled III XII Charcoal, ink and paper collage, 1987 Initialed "R. C." and dated '87 verso in pencil From: Libor II Mono Logo Provenance: Janie C. Lee Master Drawings, New York (partial label) From: Libor II Mono Logo Exhibited: Collages and Drawings by Roberto Caracciolo and Chuck Dugan...

Hippolyte Roques (active 1838-1864) Three Head Portraits of a Young Girl Oil on grey wove paper, c. 1850 Unsigned Provenance: Estate of the artist Shepherd Galle...

Sumi ink drawing, c. 1928 Signed in the lower right corner (see detail) Original illustration for the novel "Gunmo" (Hoi Polloi or Blind and Foolish Masses), volume 4 in the "Complete Works of Burafu Nakamura." Nakamura, a popular Japanese novelist and playwright, lived from 1886-1949. Framed in acid free rag matting, OP3 Acrylic and a rounded corner metal leaf frame Sight size: 6-3/4 x 5-3/8" Frame size: 14-5/8 x 12-5/8 x 3/4" Shinsui Itō...

Annotated with title under the landscape Provenance: James Bakker, Boston James Bergquist, Boston Two images on one sheet: horizontal "Hair Pin" Road; vertical: studies

Crucifixion Engraving, etching, and ground printed in colors, 1947 Signed, titled and numbered in pencil (see photos) From the second printing by Jon Clemens, master printer in the 1990's Done while the artist was at the Iowa Print Group, MFA Program, University of Iowa . Condition: excellent Image/Plate size: 15 3/4 x 15 3/4 inches Provenance: Estate of the artist Printmaker, painter, and sculptor Ray H...

Signed, titled and numbered in pencil Edition: 250 (5/250) Signed, titled and numbered in pencil Published by Circle Gallery Ltd. Printer: Atelier Dumas, New York Condition: Very good Atelier Dumas opened in New York printing own work as well as those of Peter Max, Agam, Romare Bearden, Dali, Erté, Peter Hurd, Ting, Karl Appel...

Untitled (Nude in front of light house, Lake Erie) Oil on board, 1970 Signed and dated lower right (see photo) Estate Stamp verso, No. 359 (see photo) Condition: Original untouched "...

Soft Blue Discs Acrylic/polymer on masonite, 1976 Signed by the artist in pencil lower right: LD Cantine (see photo) Signed, titled, dated verso (see photo) Canadian painter Cantine has spent his career exploring the role of color in painterly image construction Condition: Excellent Painting size: 12 x 15 inches Provenance: Kraushaar Galleries (lebl, see photo) "David Cantine (born 1939) is a Canadian painter, best known for consistently painting pictures using the same composition for the last forty years of his career. Cantine was born in Jackson, Michigan, and went to school at the University of Iowa, earning a Bachelor of Arts degree in 1962, and a Master of Arts degree in 1964. In 1965 he began teaching drawing and painting at the University of Alberta, until retiring from his position in 1996. Cantine's work in the beginning of his career was figurative art, but he began to experiment with abstraction in the 1970s, and in 1975 became inspired by a photograph of a pair of apples casting round shadows. This compositional structure became the basis for the minimalist, post-painterly abstraction David Cantine is best known for. David Cantine's paintings are in a number of collections, including the Art Gallery of Alberta, the University of Alberta, the Christopher Cutts Gallery, the Francis Winspear Centre for Music, the Alberta Foundation for the Arts, and the Masur Museum of Art." Courtesy Wikipedia "David Cantine’s highly recognizable compositions of coloured circles below Plexiglas have been the painter’s primary pursuit for 45 years of his impressive painting career spanning almost six decades. What originally began as a still-life of apples and their shadows evolved into the present abstract imagery of four circles and seven colours. Motivated by the use of “structural colour instead of descriptive colour,” David Cantine continues to explore variations on this minimalist theme. Since the early 2000s, he has also explored a more painterly form of colourful abstracted still-life, with echoes of inspiration from Giorgio Morandi. Born in Jackson, Michigan, Cantine received his Master of Arts degree from the University of Iowa before permanently relocating to Edmonton, Alberta, Canada. He taught Drawing at the University of Alberta for over thirty years and has been featured multiple times at the Art Gallery of Alberta, in the Alberta Biennial of Contemporary Art, and most recently in Soak, Stripe, Splatter. His work has been exhibited in 24 solo exhibitions and 37 group shows and can also be found in the following collections: Masur Museum, Louisiana; Museum of Contemporary Canadian Art, Ontario; Art Gallery of Alberta; University of Alberta FAB Gallery; Simons; Alberta Art Foundation; Hewlett-Packard; The Sims...

Unknown title (castle with wall, stream and footbridge) Watercolor on laid paper, mounted to support of old Albumin photograph mount Signed and dated lower left (see photo) The watercolor is mounted on support that is the backing for a vintage albumin photograph of Moulin Huet, Guernsey, Channel Islands, c. 1850's Condition: Mounted to verso of albumin photograph mount (see photo) Glue residue outside of image/sheet on recto Colors fresh No other issues to note David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites...

Untitled (Plate 4) Engraving, sugar-lift, and aquatint, 1970 Signed and numbered in pencil From: Variations (8 plates) Signed and numbered in pencil Edition: 100 (29/100) Printed by ...

“My paintings do have a story to tell although it does not lie in each piece but in the process of abstract expressionism. As an artist I think about scale, unity and color. I’m ...

Unsigned Provenance: Estate of the artist Collage of fragments of commercial printing Sheet: 14 x 17" Peter Marks (1935 -2010) Peter Marks was born ...

Linocut, printed on yellow wove paper Unsigned as is usual From: XXe Siecle, Volume 13, 1959 Published by G. San Lazzaro for A. Maeght, Paris Printed by...

Untitled (Man at Desk) Pen and ink on paper, 2012 Signed lower right Series: Portraits of Community: Hidden in Plain Sight, 2012 References And Exhibitions: Illustrated: Swarthmore College video for their exhibition "Hidden in Plain Sight," Jan 24- Feb 24, 2013. Born in Fort Worth in 1975, Huckaby has been creating some form of art since his childhood. In 1995, he began his formal art studies at Texas Wesleyan University in Fort Worth. After a brief stay he transferred to Boston University, where he received a BFA degree. He then earned a MFA degree from Yale University in New Haven, Connecticut. Huckaby is known for his powerful use of color and his exploration of cultural roles and the heritage of the African American family. His work has evolved from portraiture to objects and interiors that venerate his personal family legacy rooted in Fort Worth, Texas. Portraying these familiar subjects on a large scale and pushing his use of materials, Huckaby defines the significance of family and tradition while touching on the subject of ethnographic stereotypes in our culture. For the past few years he has concentrated his efforts on a series of quilt paintings. One of the series he created is a tribute to both of his Grandmothers and a celebration of the African American quilting tradition. He used the actual quilts sewn by family members as models for his paintings. These quilts document significant events in his family history. According to Huckaby, the paintings represent an artistic family legacy. The colorful, rhythmic abstracted patterns come together like the musical notes in African American musician John Coltrane's famous jazz composition, A Love Supreme, from which the painting series acquired its name. He has earned national acclaim for his work over the past several years. Huckaby has received the 2001 Louis Comfort Tiffany Award and the 2004 Joan Mitchell Foundation Painters and Sculptors Grant Program Award. More recently, he was the 2008 recipient of the prestigious Guggenheim Fellowship Award, which allowed him to travel the country and paint African-American quilts from private and public collections. Past Guggenheim Fellowship Award winners include Ansel Adams, Langston Hughes, Henry Kissinger, and Isamu Noguchi. He has exhibited at the Resource Center of African American Art in Atlanta, the Danforth Museum in Framingham, and the Studio Museum in Harlem. His work, including a painting titled Study for Little D and the Dollar, in the collection of the Whitney Museum of American Art in New York, can be found in important collections throughout the United States, including the Whitney Museum of American Art, the Museum of Fine Arts Boston, the Art Institute of Chicago, and the Minneapolis Museum of Art. Currently, Huckaby’s 18-by-14-foot oil painting Hidden in Plain Site (2011) is on view in the Amon Carter Museum’s atrium through October. Public Collections: Wichita Falls Museum of Art at Midwestern State University, American Dad African American Museum, Dallas, Texas, Grandmother’s Quilt The Amon Carter Museum of American Art, Fort Worth, Texas, The 99% - Highland Hills The Art Institute of Chicago, Chicago, Illinois, "Girl World" Study for Sustenance Installation Ball State University Museum of Art, Muncie, Indiana, "The Truth about Hip Hop" Study for Sustenance Installation Blanton Museum of Art, Austin, Texas Brandywine Workshop, Philadelphia, Pennsylvania, The 99% - Highland Hills City of Fort Worth, Fort Worth, TX, The Welcome Space Dallas/Fort Worth International Airport, Corporate Aviation, Texas, A Place Between Dallas/Fort Worth International Airport, Hyatt Regency Hotel, Texas, William Madison (Gooseneck Bill) McDonald Fort Worth Central Library, Fort Worth, Texas, Hazel Harvey Peace Portrait Grace Museum, Abilene, Texas, Cobby Harvard Art Museum, Cambridge, MA, Selection from The 99% Holdworth Center, Austin, TX, Selection from The 99% Jesuit Dallas Museum, Dallas, Texas, “Gone But Not Forgotten: Sha” Kansas African American Museum, Wichita, Kansas, Self Portrait (2) McNay Art Museum, San Antonio, Texas, Untitled (Anthony) Minneapolis Institute of Art, Minneapolis, Minnesota (Untitled) Museum of Fine Arts, Boston, Massachusetts, Enocio Museum of Texas Tech University, Lubbock, Texas, Big Momma...

Holiday Greeting Card for Madame R. G. Michel & Family (Goldfish in bowl, vase & red flowers) Etching & aquatint printed in colors, 1989 Signed in pencil lower right Folded Holiday c...

America's Mom Lithograph, 2016 Signed lower right (see photo) Numbered lower left From: America’s Family (Intended suite of five Images, only four produced) Edition: 40, (20 of which...

Things are not Right! Silk screen, c. 1970 Signed, editioned, and inscribed "To V.V." in pencil by the artist Image size: 2 x 2 inches Sheet size: 5 x 4 1/8 inches One of an unnumbe...

TRIDIM Gris Screen print, 1986 Signed in pencil lower right (see photo) Edition: 200 (76/200) From: portfolio enetitled "35 ans apres" Printed at Atelier Arcay, Paris, France Publisher: Park West Gallery...

Two Subjects, Two Souls. Affaire De Coeur mean Affair of the heart. :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: ...

Signed by the artist in ink lower right Preliminary sketch in reverse for the 1928 lithograph "Cornucopia," part of Dehn's Paris Lithographs portfolio An unsigned sketch of tw...

Corinne Color lithograph, 1898 Signed in the stone lower left (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 (see photo) Edition 2000 ...

Heureux age! (Happy Age!) Etching and aquatint. c, 1900 Signed lower right in pencil Edition; 50 (14/50) Published by Edmund Sagot, Paris Sagot blindstamp, Lugt 2254, lower right Con...

Dharma Prayer Book Manuscript Folio Ink and gouache on handmade paper, 1875-1925) Miniature depicting Tibetan deity Script is Tibetan. Miniature Size: 2 3/8 x 1 ½ inches Part of a se...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) No. 24680 Co...

Unknown Russian Artist Russian Orthodox Church, Middle 19th century Unsigned Illuminated in red, yellow blue and green pigments and gold leaf on paper ...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo)No. 26190 Con...

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...

Walruses Engraving, 1952 Signed, dated, titled and numbered (see photos) Edition: 100, this from the second printing with the artist's initials in an edition of 25 (16/25) Condition:...

Woman with Arms Crossed Mixed media collage-painting on stone chip surface, mounted on fabric, mounted on wood support by the artist, 1955 Signed and dated lower center Image size: 1...

Unsigned Graphite and colored pencils on laid paper

Eloignement (Remoteness) Etching, aquatint and engraving, 1990 Signed lower right corner (see photo) Numbered lower left corner (see photo) Edition: 99 (28/99) Publisher: Jacqueline ...

Black and White Cat Ink and watercolor on paper, c. 1970 Unsigned Provenance: Estate of the artist (Estate No. 737) Condition: Excellent Image/Sheet size: 4 3/4 x 6 1/4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News...

Tribute to Bix Beiberbecke Mixed media collage, 1974 Signed and titled in ink; lower right recto (see photo) Signed and dated ’74 in red crayon verso Image size: 32.5 x 22.75 inches Condition: Wrinkles due to collage and support sheet Provenance: Joseph Erdelac, Cleveland (friend and patron of Longstreet) One of the first Jazz Legends. He died at age 28 from alcoholism. Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist, and composer. Stephen Longstreet (1907-2002) 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...

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

Signed in pencil Edition 100 Printer: Styria Studio, Inc., NY, with their blindstamp This earlier (1966) sculpture of the same title is the inspiration of the portfolio. The sculpture is in the collection of the Albright Knox Museum. The screenprints follow the neon of the sculpture. Greek-born American sculptor Chryssa—who went by her first name professionally—died on December 23, 2013, reports Margalit Fox of the New York Times. Born in 1933 in Athens, Chryssa Vardea-Mavromichali grew up during the Nazi occupation of Greece. After studying at the Académie de la Grande Chaumière, Paris, and the California School of Fine Arts, San Francisco, she began incorporating neon into her fragmentary, text-based work. Her first solo exhibition in New York was held at the Betty Parsons Gallery in 1961, which was quickly followed by shows at the Guggenheim, New York; Leo Castelli Gallery, New York; and the Walker Art Center, Minneapolis. Her work is part of collections of major museums, including the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; and the Corcoran Gallery of Art, Washington, DC. Note: A set of Gates...

From: The Cleveland Set (23 plates), No. 1 Edition: Small Signed in pencil Image: 7 3/4 x 11 1/2"

Watercolor on paper, 1976 Painted in South Bristol, Maine Signed by the artist lower left Condition: Excellent

untitled (Subway Turnstiles) Collage with 6 photograph elements Unsigned Provenance: Estate of the Artist Condition: Excellent Image Size: 5 7/8 x 8 inches Support Sheet: 14 x 17 inc...

Photograph, gold leaf and magazine mixed media collage Unsigned Provenance: Estate of the artist Sheet: 16 x 14" Peter Marks (1935 -2010) was born in New York City on January 18...

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

Chair, Original Mixed Media Collage, 2021 Artist Commentary: This is one of months of daily collages made in prep for a multiple piece commission...

Untitled Abstraction Collage with 22K gold leaf Unsigned Provenance: Estate of the artist Metal foil collage on paper Sheet: 14 x 17" (35.56 x 43.18 cm), Image: 8 x 10" (20.32 x 25.4...

Fresh yellow and paper shapes add structure to white and black. :: Mixed Media :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: Re...

The city of gold. The squeal of the rails. The grid and movement of modern life. :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by th...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

Black Outline Black Yellow Butterflies, Red Scored

Read the Signs, No. 13 Watercolor on Yupo paper, 2013 Signed lower right corner (see photo) Series: Read the Signs (22 watercolors) Exhibited: William Busta Gallery, Read the Signs, 2014 Canton Museum of Art, Our Separated Selves, 2018 (label) Note: Depicts Randy, a student at St. Ignatius High School in Cleveland, where the artist taught Condition: Excellent Image size: 12 x 9 inches Frame size: 16 1/4 x 13 1/4 inches Darius Steward Biography Darius Steward is establishing himself as a master of the medium of watercolor and large public murals. In 2018, Steward created two large public murals, “Breaker of Chains”, a 200’ by 6’ in height mural for the Midtown Cleveland/Cleveland State University and “Support” on Detroit Avenue in Cleveland. A new mural “Waiting Room” has been finished at SUMMA Health Care Tower, Akron, Ohio. Darius is currently working on a public sculpture commission for the Cleveland Public Library...

Flowing indigo ink and white dry brushing. Two unique matching contemporary paintings. Each piece 11x14. :: Painting :: Abstract :: This piece comes with an official certificate of...

Couple Embracing Sumi ink drawing, c. 1928 Signed lower right: Shinsui (early variant signature) Most probably an illustration for one of the four volum...

Headdress Procession Watercolor, c. 1950's Signed by the artist in ink, lower right The Headdress Procession occurs every year as part of the Christmas celebrations in Oaxaca. Guilbe...