Ohio - Prints and Multiples

Canna Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1939) Format: oban Condition: Excellent Image/Sheet size: 15 5/8 x 11 inches Provenance: Robert O. Muller There is little biographical data available about the Japanese printmaker Hodo Nishimura...

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair L...

Dining Room with Horse Painting Aquatint on Hahnemuhle Copperplate paper, 2008 Signed in pencil and numbered lower left Published by the Print Club of Cleveland, Publication No.88, 2...

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)...

Gretchen Troibner (American, Born 1953) Beach Talk, 1997 Silkscreen on paper Signed and dated lower right, numbered 1/10 lower left 10 x 12.5 inches 20 x 22.5 inches, framed Gretche...

Rinding in Love by Mackenzie Thorpe Framed Serigraph on Paper. Edition XXXIV/C Framed Dimensions: 29.125 x 41.875 inches Handling time may exceed 10 bu...

Basilica of Madeleine, Vezelay Etching, 1929 Signed and dated lower right (see photo) Annotated: "Third State" lower left Printed on a sheet of old book paper From: French Church Ser...

La Lampe Polonoise Aquatint, 1771 Signed and dated in the plate lower left Condition: Yellowing to the sheet Image size: 6 1/8 x 8 1/8 inches Reference: Hedou 147 ii/II Provenance: C...

Ne sommes-nous pas forçats? (Are we not Slaves?) Aquatint and heliogravure on Arches laid paper watermarked "Ambroise Vollard" Signed and dated in the plate lower left (see photo) P...

Neue Träume von Glück (New Dreams of Happiness) Etching on heavy laid paper without watermark, 1887 Unsigned, as usual From: Eine Liebe (Opus X) [A Love (Opus X)], Plate No. 7 fourth...

River Reflections Color woodcut, c. 1910 Unsigned Provenance: Dow Family Album, Cincinnati Condition: Excellent Image size: 2 1/2 x 4 inches Sheet size: 3 1/8 x 4 7/8” A color varian...

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...

Napoleon a Bautzen Lithograph, 1822 Signed in the stone (see photo) From: Arnault, A. V. Vie Politique et Militaire de Napoleon (120 plates) Published, Paris, Librairie Historiquem 1...

Bouquet de reves pour Leila-Poemes d'Yuan Goll Color lithograph, 1964 Unsigned (as issued) From: XXe siecle, No. 24, December 1964 Publisher: G. di San Lazzaro, Paris Printer: Mourlot, Paris Edition: c. 1500 Reference: Mourlot 546 Condition: Excellent Glue residue on left amrgin from binding in the book XXe Siecle (20th century-review) New series Back in Paris in 1949, Gualtieri di San Lazzaro resumed 20TH century publishing in 1951. It hosts many of the most important writers and art critics of the 1950s and 1960s, including Alain Bosquet , Genevieve Bonnefoi, Camille Bourniquel , Georges Borgeaud, Marcel Brion , Georges Boudaille, Jacques Brosse , Michel Butor , Jean Cassou , Denys Chevalier, Pierre Courthion, Hubert Damisch , Pierre Descargues, Bernard Dorival , Jacques Dupin , Mircea Eliade , Jean-Louis Ferrier , Pierre Francastel , André Frenaud , Roger Van Gindertael...

The Woman and the Street Etching, 1927-1930 Signed in the plate lower right corner (see photo) From: The Fables of La Fontaine, Plate 84 From the deluxe portfolio edition of 40 examp...

Plate V, Le Cocu Magnifique Etching, 1968 Unsigned From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 impressions The set of...

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

Red Mountain Three color lithograph, 1986-7 Signed, titled and dated in pencil lower right Annotated "B.A.T." for Bon a Tire lower left corner This example is the printers guide for ...

Bougival Woodcut, 1914 Signed and numbered in pencil Edition 30, this numberd 22 Printed on laid Van Gelder Zonen paper Published by Henri Kanweiler, Paris Printed by Paul Birault, P...

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on this Japanese tissue Rich impression Condition: Excellent Plate/Image size: 9 7/8 x 7...

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

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

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

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...

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

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

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

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

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

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

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

Un Debarquement en Angleterre (A Disembarking in England) etching, drypoint, aquatint, roulette and spirit ground, 1879 Signed with the artist’s red owl stamp, Lugt 977 (see photo) ...

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 ...

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

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

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

Plate IV, Le Cocu Magnifique etching & aquatint, 1968 Unsigned on the print Signed on the portfolio justification page (see photo) From the unsigned edition of 200 impressions printe...

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

Prelude de Lohengrin (2e planche) (The appearance of the Holy Grail) Lithograph, 1898 Signed and dated in the stone lower left (see photo) Printed on chine collee paper Condition...

Peintre et Modele Etching and aquatint on Rives wove paper, 1966 Signature stamp lower right (see photo) Annotated in pencil lower left: "epreuve avant acierage" (see photo) One of t...

Galleria grande di Statue Etching, 1743 Signed lower left corner of the 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 Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 2 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...

Portrait de Paul Gauguin Woodcut, c. 1900 Initialed in pencil lower right Numbered in pencil lower left Edition: 100 (34/100) Annotated verso: “epreuve sur japon” Condition: Excellent Image size: 6 3/4 x 4 3/4 inches Sheet size: 11 x 8 5/8 inches Note: Born in New York, Monfreid studied in France at the Academy Julian. He was a friend of Gauiguin, Verlaine and Maillol. He formed a noted collection of works by Gauguin. In 1924, Monfreid published the manuscript for Paul Gauguin’s Noa Noa with 24 woodcuts inspired by Gauguin...

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...

Gants de Suede (Suede Gloves) Lithograph, 1890 Signed in the stone with the butterfly signature (see photo) Published in: The Studio 3, No. 13 (16 April 1894) Printed by Way in an ed...

Lobsterman's Cove, Winter Harbor, Maine Lithograph, 1941 Signed in pencil lower right (see photo) Edition 50 Impressions are in the collection of the Pennsylvania Academy of the Fine...

Cover for DLM No. 173 Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), called DLM From: DLM No. 173, published October 1968, whic...

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 ...

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...

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...

Noon Time Lull (Charleston, South Carolina) Etching, c. 1930 Signed by the artist in pencil lower right (see photo) Note: An image done in South Carolina. An impression of this image...

Signed: Harunobu ga Series: Series: Eight Fashionable Parlor Views (Furyu zashiki hakkei)? Format Japanese: chuban Provenance: Private Collection, Philadelphia Collection of McCleaf ...

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...

The Barker Etching, 1931 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh, Thirty Etc...

Le Peintre et Son Modele Color lithograph on BFK Rives paper Numbered and signed in pencil by the artist Edition 200 (77/200) printed in colors There is also a black and white editio...

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 (...

A Jersey Vraic Cart Etching, 1939 Signed lower center margin (see photo) Signed and dated in the plate (see photo) Edition 250 plus 10 on J. Whatman laid paper Printed by David Stran...

Lithographie originale pour XXe Siecle, No. 20 Color lithograph, 1962 Unsigned (as issued) From: XXe Siecle, No. 20, Christmas Publisher: G. di San Lazzaro, Paris. Printer: Mourlot? Large edition: c. 1500? Condition: Excellent/Mint usual glue on reverse from binding in book Image/Sheet size: 12 3/16 x 9 1/2 inches New series of XXe Siecle Back in Paris in 1949, Gualtieri di San Lazzaro resumed 20TH century publishing in 1951. It hosts many of the most important writers and art critics of the 1950s and 1960s, including Alain Bosquet , Genevieve Bonnefoi, Camille Bourniquel , Georges Borgeaud, Marcel Brion , Georges Boudaille, Jacques Brosse , Michel Butor , Jean Cassou , Denys Chevalier, Pierre Courthion, Hubert Damisch , Pierre Descargues, Bernard Dorival , Jacques Dupin , Mircea Eliade , Jean-Louis Ferrier , Pierre Francastel , André Frenaud , Roger Van Gindertael...

Signed, titled and numbered in pencil Edition: Epreuve d'Artiste viii/X Reference: Passeron 359 "Mario Avati was both an etcher and a painter born in Monaco in 1921. In 1947, afte...