Ohio - Prints and Multiples

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...

Guillaume le Conquérant rapporté après sa mort à l'église de Boscherville (William the Conqueror brought back after his death to the church at Boscherville) Lithograph, 1823 As publi...

Dangerous: The Appearance of a Contemporary Geisha of the Meiji Era Color woodcut, 1888 Plate 28 from the series "Thirty-two Aspects of Customs and Manners" (Fuzoku Sanjuniso) Format...

Connais-tu le Pays (Primavera) apres J. Rolshoven (Do you Know the Country -Spring) Etching, 1889 Signed "Julius Rolshoven" in pencil...

Sevillanas Etching and color aquatint on laid watermarked paper, c. 1900 Signed by the artist in pencil lower right (see photo) Editioned in pencil lower left corner of sheet Publish...

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...

Untitled Color lithograph, 1963 Unsigned (as issued) From:Derriere le Miroir, Volume 141 Large unsigned edition Printed by Mourlot, Paris Published by Aime Maeght, Paris Condition: C...

Reve de Cirque (Circus Dream) Color lithograph, 1966 Unsigned (as issued) Pubished in XXe Siecle, Paris, Volume XXVI Publisher: Gualtieri di San Lazzaro (1904-1974). Printer: Mourlo...

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

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...

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 ...

A la Corrida Color aquatint, c. 1900 Signed "Osterlind" lower right in red pencil Annotated: "No. 96" in pencil lower left Edition: about 100 Published by Sagot, Paris: their blindst...

Gaiety Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition); Numbered in pencil lower left; Blind stamp of the Whitney Museum (WM) lower right Edition: 114, regular ed...

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

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...

Mortar and Pestle with Funnel Mezzotint on BFK Rives paper, c. 1973 Signed and editioned in pencil by the artist Edition: 150 (41/150) Condition: Mint, never framed or matted Image: ...

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,...

For Lisa Color lithograph, 1984 Signed in pencil lower left (see photo) Numbered lower right corner Published to benefit the Los Angeles Children's Museum Printed by Brand X Editions...

La Naissance d’Annette (Birth of Annette) Color llithograph, 1899 Unsigned (as usual) Edition: 100 Publisher: Ambrose Vollard Printer: Auguste Clot, Paris Condition: Excellent with f...

Untitled (Still Life) Etching, aquatint and soft ground, 2001 Signed in pencil (see photo) Edition: 260 Published by the Print Club of Cleveland, Publication 80, 2002 Printed by Felix Harlan at Harlan and Weaver, New York William Bailey, Modernist Figurative Painter, Dies at 89 He swathed his nudes and still lifes of eggs, vases, bottles and bowls in a breathless, deceptively serene atmosphere heavy with mystery. The painter William Bailey in 2009. He was never given a career survey in a major museum, but his influence, particulary on students at Yale, was deep.Credit...Ford Bailey By William Grimes for the New York Times April 18, 2020 William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. His muted ochres, grays and powdery blues conjured up a still, timeless world inhabited by Platonic forms, recognizable but uncanny, in part because he painted from imagination rather than “They are at once vividly real and objects in dream, and it is the poetry of this double life that elevates all this humble crockery to the realm of pictorial romance,” Hilton Kramer wrote in The New York Times in 1979. Mr. Bailey’s female figures, some clothed in a simple shift or robe and others partly or entirely nude, are disconcertingly impassive, implacable and unreadable, fleshly presences breathing an otherworldly air. The critic Mark Stevens, writing in Newsweek in 1982, credited Mr. Bailey with helping to “restore representational art to a position of consequence in modern painting.” But his version of representation was entirely idiosyncratic, seemingly traditional but in fact “a modernism so contrarian,” the artist Alexi Worth wrote in a catalog essay for the Betty Cuningham Gallery in 2010, “that it feels, despite its historical sophistication, almost like a brand of outsider art.” William Harrison Bailey...

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...

Place Le Soir (The Square at Evening) Color lithograph on wove paper, 1899 Unsigned (as issued) From: Quelques aspects de la vie de Paris (Some Aspects of Parisian Life), 1899, Plate...

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...

Die Bettler (The Beggars) Lithograph, 1922 Signed in pencil lower right (see photo) From: Berliner Reise Series, Plate 7 Printed on wove paper Edition: 100...

Poplar Tree B Lithograph, c. 1959 Signed and numbered in pencil by the artist (see photo) Artist's red stamp lower left margin (see photo) Edition: 50 (20/50) Printed by Arthur Flory...

White Head Eagle Mezzotint printed in colors, 2014 Signed lower right (see photo) Titled lower center (see photo) WHITE HEAD EAGLE. The Print Club of Cleveland Publication No. 94, 20...

Our M.C.-2 Screen print, 1970 Signed in pencil lower right Chop stamp: Denise Rene Editeur, on lower left margin From: Album Charities Edition: 300 (35/300) Catalog raisonne states e...

Moto-Flirt Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with title...

Snow Geese (Wyoming) Drypoint, c. 1947 Signed in pencil lower right (see photo) Title in pencil lower left (see photo) Note: This image is reprodcued in a Photogravure for Ducks Unlimited in 1947. This is the first original drypoint version. Condition: Excellent Image/Plate size: 8 3/8 x 6 7/8 inches Reference: Archives West #101 Kleiber 134 Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

untitled (Still Life with Cup and Horn) Color mezzotint, c. 1980 Numbered and signed in pencil by the artist (see photos) Edition: 100 (53/100) Published by John Szoke Graphics, New ...

Vision Antique Color lithograph, 1899 Signed in the stone upper left (see photo) Titled in the stone lower right (see photo) Edition: unsigned edition about 200 (per Arwas) Published...

Moto-Fuite Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with titl...

Holiday in Camp -- Soldiers Playing "Foot-Ball" Wood engraving, 1865 After Winslow Homer Unsigned (Signed in text in title caption, see photo) Published in Harper's Weekly July 15, 1...

Summer in Venice Lithograph printed in colors from five stones on Italian "Pascia" paper, 1966 Signed and dated lower left in pencil (see photo) The Print Club of Cleveland Publicati...

Homme nu avec femme ivre et jeune flutiste Etching, 1955 Signature stamp lower right (see photo) Annotated in penci lower leftl: "epreuve d'artiste" (see photo) Inventory number vers...

El Ultimo viaje del buque fantasma, Plate III Color lithograph, 1976 Signed and numbered in pencil From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Desolation, S.C. or Deserted Cabins, Beauford, S.C. Etching & Aquatint, c. 1930 Signed by the artist in pencil lower right (see photo) Annotated "Trial Proof" in pencil lower left corner of sheet Provenance: Estate of the artist By decent Note: An impression of this image is in the collection of the Greenville County Museum of Art, Greenville, South Carolina Condition: Excellent Plate/Image size: 8 x 9 3/4 inches Sheet size: 12 7/8 x 15 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...

Le monocycle (Performer on a Unicycle) Color lithograph, 1968 Signed and numbered in pencil lower left corner From the portfolio "Mon Cirque" (My Circus) Edition: 120 (12/120) Refere...

Theodore Gericault (1791-1824) Passage du Mont Saint-Bernard Lithograph, 1822 Signed and titled in the stone As published in Arnault "Vie politique et militaire de Napoleon" Conditio...

Man with Mask Lithograph, 1969 Signed in pencil by the artist 95/100 Printed by Lucien Detruit, Paris Published by AAA, New York Reference: AAA Index No. 60 Condition: Mint Image siz...

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...

Deux Antillaise (Deux Négresses) Edition: Proof on Van Gelder paper Unsigned (as usual for this image) Edition: unknown Published by Ambrose Vollard, Paris (?) References: Johnson 25...

Studio Flowers Lithograph, 1982 Signed lower right (see photo) Numbered lower left Edition: 120 (42/120) (see photo) Condition: Mint condition Two bits of hinge residue verso Image s...

Shunga: Twelve Signs of the Zodiac - Goat Color woodcut with gauffrage (embossing) Unsigned (as usual) Format: Shikishiban Publisher: Privately produced Unusually well preserved with the fugitive blue still intact Image size: 5-1/8 x 5-3/4" Sheet size: 5 3/8 x 6 1/4" From Wikipedia, the free encyclopedia In this Japanese name, the surname is Isoda. Isoda Koryūsai (礒田 湖龍斎, 1735–1790) was a Japanese ukiyo-e print designer and painter active from 1769 to 1790. Life and career Koryūsai was born in 1735 and worked as a samurai in the service of the Tsuchiya clan. He became a masterless rōnin after the death of the head of the clan and moved to Edo (modern Tokyo) where he settled near Ryōgoku Bridge in the Yagenbori area. He became a print designer there under the art name Haruhiro in 1769, at first making samurai-themed designs. The ukiyo-e print master Harunobu died in 1770, and about that time Koryūsai began making prints in a similar style of life in the pleasure districts. Koryūsai was a prolific designer of individual prints and print series,[1] most of which appeared between 1769 and 1881. In 1782, Koryūsai applied for and received the Buddhist honour hokkyō ("Bridge of the Law") from the imperial court and thereafter used the title as part of his signature. His output slowed from this time, though he continued to design prints until his death in 1790. Works Koryūsai created a total of 2,500 known designs, or an average of four a week. According to art historian Allen Hockley, "Koryūsai may ... have been the most productive artist of the eighteenth century". The series Models for Fashion: New Designs as Fresh Young Leaves (Hinagata wakana no hatsumoyō, 1776–1781) ran for 140 prints, the longest known ukiyo-e print series of beauties. He designed at least 350 hashira-e pillar prints, numerous kachō-e bird-and-flower prints, a great number of shunga erotic prints, and others. Ninety of his nikuhitsu-ga paintings are known, making him one of the most productive painters of the period. Legacy Despite Koryūsai's productivity and popularity—both in his time and amongst later collectors—his work has attracted little scholarship. The first ukiyo-e histories written in the West in the 19th century elevated certain artists as exemplars; Koryūsai's work came to be seen as too indebted to Harunobu, who died in 1770, and inferior to that of Kiyonaga, whose peak period came in the 1880s. An example is Woldemar von Seidlitz's Geschichte des japanischen Farbenholzschnittes ("History of Japanese colour prints", 1897), the most popular of the early ukiyo-e histories, which paints Koryūsai as a successor to Harunobu and a rival of Kiyonaga in the 1770s who slipped into mediocrity and imitation of his rival by the end of the decade.[5] Interest lay mainly in the details of Koryūsai's life—a samurai who received court honours was unusual in the proletarian world of ukiyo-e. In 2021, contemporary woodblock printmaker David Bull...

Echo in Grey Mixed media intaglio with embossing, c. 1980's Signed and numbered in pencil (see photo) Edition: 25 (24/25) Condition: Soft handling issues in top and bottom margin. Do...

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...

Untitled Monotype printed in colors, c. 1980 Signed in pencil lower right (see photo) Condition: Excellent Sheet size: 42 x 30 inches Provenance: Distinguished Midwest Private Collection SELECTED MUSEUM COLLECTIONS Addison Gallery of American Art, Andover, Massachusetts Albrecht-Kemper Museum of Art, St. Joseph, Missouri Albright-Knox Art Gallery, Buffalo, New York Allen Memorial Art Museum, Oberlin, Ohio Art...

Tempus Fidgets Etching, 1952 Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) During his military service, Gilkey was part of the "Monuments Men" art recovery team The title is a play on Tempus fugit is a Latin phrase, usually translated into English as "time flies". The expression comes from line 284 of book 3 of Vergil's Georgics, where is appears as FVGIT INREPARABILE TEMPVS: "it escapes, irretrievable time". Condition: Excellent Image/Plate size: 11 3/4 x 14 5/8 inches Sheet size: 15 3/4 x 20 9/16 Reference: Portland Art Museum, 82.80.642 Gordon Waverly Gilkey was a printmaker, teacher, collector, and curator. He graduated from Albany College, which is now Lewis & Clark College, in 1933 and obtained a Master of Fine Arts degree from the University of Oregon in 1936. He served in World War II in a special division dedicated to locating and returning art confiscated by the Nazis and to confiscating Nazi propaganda. Gilkey spent the majority of his career teaching printmaking at Oregon State University. He amassed a large collection of prints, primarily by trading work with his colleagues. When he retired in 1978, Gilkey became curator of prints and drawings at the Portland Art Museum and professor and printmaker in residence at the Museum Art School, which is now known as the Pacific Northwest College of Art. Over the course of many years, he donated more than 10,000 prints and drawings from his personal collection to the Museum. Gilkey was crucial in building awareness for and appreciation of works on paper, and was instrumental in creating proper storage and viewing spaces for the graphic arts. In 1993, the Vivian and Gordon Gilkey...

Isaiah's Prayer Etching, c. 1931-1939 Signed in the plate (see photo) Plate No. 99 From: La Bible. L'Ancien Testament (105 plates) Edition of 275 unsigned (there were an additional 2...

Sprong in de Lente (Deux Personnages) Color lithograph, 1963 Signed, dated and numbered in pencil (see photos) Edition: 25 Signed, dated and numbered in pencil Printed on Arches pape...

Watering Jug and Brush Color mezzotint, c. 1973 Signed and editioned in pencil by the artist (see photos) Titled in pencil verso Edition: 150 (126/150) Published by John Szoke Graphi...

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...

Summer Shadows, Wiscasset, Maine Lithograph, 1947 Signed in pencil lower right (see photo) "Ed. 85" lower left corner (see photo) Edition: 85 Wiscasset, known as the "prettiest villa...

Backyard II Lithograph, 1972 Signed lower right Signed lower right Annotated: Printer's Proof Reference: Karl Lunde 58 An impression is in the collection of the Art Institute of Chic...

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 (...

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 butte de Montmartre et le Sacre-Couer (Sacre Coeur from a Distance) Lithograph, 1926 From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Rare signed proo...

Signed in the plate lower left Note: Printed on September 26, 1980 in an edition of 4 restrikes. Reference: Paul McCarron, The Prints of Martin Lewis: A Catalogue Raisonne (Bro...

L'Abreuvoir (The Trough) Woodcut printed in two shades of brown on paper, mounted Signed by the artist in pencil lower right (see photo) Signed with artist's monogram in the stone upper right: AL Dedicated in ink lower left: á Sagot (see photo) Annotated in ink lower right: 1/5 HT (1 of 5 Hors Triage [apart from the printing]) (see photo) Image: 12 x 15-7/8" (30.6 x 40.3 cm.) Mount: 19-5/8 x 25-1/2" (50 x 64.9 cm.) Condition: Excellent Reference: Lotz-Brissonneau 521 Auguste Louis Lepère...

Automne (Autumn) Crayon and brush and tusche lithograph with scraping, 1927 Signed, titled, and annotated in brown ink (see photos) Condition: Good Signature and inscrption faded to brown Image size: 17 x 22 1/4 inches Sheet size: 21 5/8 x 28 1/2 inches This is the second of three version of this image (a aquatint/heliogravure (1927, this lithograph (1933) and a color aquatint (1938). Reference: Francois Chapon and Isabelle Rouault, Rouault Oeuvre Grave (Monte Carlo: Editions Andre Sauret, 1978), 364 viii/VIII, third edition of 175 printed in 1933. There is also a etching/heliogravure as well as a color aquatint version of this image. It is considered to by an important image in Rouault's work and recognized as a famous print...