Ohio - Still-life Prints

Flower Vase, Red Camellia, white plum, white daffodils and orchids Color woodcut, c. 1950 Signed "B. Ohno" (see photo) Seal: Bakufu (see photo) Series: Flowers of the Four Seasons Ca...

Flower in Vase (Summer) Color woodblock, c. 1950 Signed "B. Ohno" lower right (see photo) Sealed lower right (see photo) Series: Flowers of the Four Se...

La Terrazza Lithograph, 1987 Signed, titled and numbered in pencil (see photos) Published by Kandfall Press, Chicago (their stamp verso) Landfall drystamp recto lower left Edition 12...

Cosmos Color woodcut with gauffage (embossing), January 1940 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: excellent Image size: 14 3/8 x 9 5/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Chrysanthemums Color woodcut, c. 1950's Signed lower right (see photo) Publisher: Uchida (see photo of red seal) Note: Chrysanthemums, a symbol of the sun, the Japanese consider the ...

La Tasse et la Pomme (The Cup and the Apple) Wash drawing and gouache transferred to lithograph stone, 1947 One of four unsigned proofs Edition: a proof outside the edition of 50 pri...

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Hyacinth Color woodcut, 1917-1918 Unsigned From: Seiyo Kusabana Zufu (Illustrations of Western Plants and Flowers) 1st edition Publisher: Unsodo, Kyoto Condition: Centerfold...

Retained Time Color mezzotint, c. 1970's Signed, titled and numbered in pencil by the artist (see photos) Edition: 30 (15/30) Condition: Excellent Image size: 11 7/8 x 15 3/4 inches Sheet size: 30 x 22 inches Sonja Lamut: A contemporary illustrator, painter and mezzotint engraver, Sonja Lamut received her B.F.A. from the University of Arts, Belgrade, Yugoslavia, and her M.F.A. from Hunter College, City University of New York. She is presently Assistant Professor of Illustration at the Fashion Institute of Technology, New York City. During her career Sonja Lamut has illustrated numerous books, particularly in the field of children's literature. These include, Voyages of Doctor Dolittle, The Great Green Notebook of Katie Roberts, The Famous Adventures of Jack, Lemuel the Fool, Little Mermaid, Thanksgiving is for Giving Thanks (New York Times Children's Books list Bestseller), Love You, Soldier, . She is also the author and illustrator of the following works; Too Noisy!, Bugs and Halloween Costumes. Sonia Lamut's art has been the subject of solo and group exhibitions at institutions such as Gallery shows in New York, Boston Miami, Greenwich Stockholm, Ljubjiana and numerous other national and international group shows. Today her art is included in the following collections; the Brooklyn Museum, New York, the Museum of Modern Art , Fredrikstad, the Museum of Modern Art, Ljubljana, the Museum of Modern art, Belgrade, he National Museum, Krakow and many other important private and public institutions. For several decades, the American artist, Sonja Lamut has produced a number of striking works of art in the most demanding of all graphic media -- the mezzotint. In 1974 she was a participating artist in the exhibition, "International Mezzotint Today" in London, England. Utilizing the unique, black tonal values of this intaglio method she has created intriguing imagery, such as, "Cage". Courtesy: Art of the Print Collections Brooklyn Museum, New York Grafiska Sallskapet, Stockholm Museum of Modern Art, Fredrikstad Museum of Modern Art, Ljubljana College Board, New York Utubo Gallery, Kyoto Museum of Modern Art, Belgrade National Museum, Krakow Awards/Publications: “Grand Prix” in Mediterranean Art...

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 ...

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 ...

Holiday Greeting Card for Madame R. G. Michel & Family (Carriage Clock, Vase & Flowers) Etching & color aquatint, 1986 Signed in pencil lower right Printed on BFK Rives paper Annapi...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

French Iris I Reducutve color woodcut, 1982 Unsigned Stamped verso “Imprimerie Arnera Archives/Non Signe” From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arn...

Flower and Pot Color mezzotint, 1983 Signed, numbered, and dated in pencil John Szoke Graphics blindstamp, lower right Edition: 150 (100/150) Image si...

Window-No. 25 Color mezzotint, September 2009 Signed, titled and numbered in pencil (see photos) Edition: 70 (16/70) Provenance: Ninion and Sheldon Landy Collection, Donors of Art In...

Color woodcut with pochoir embellishments on fine silver mica ground By Kano Shuho, or Yamakawa Shuho, 20th century Japanese Artist

Hollyhocks Color woodcut, 1953 Signed with the artist's stamp lower left Printer: Niimi Carver: Nagashima An early printing Condition: Excellent Image size: 15 1/2 x 10 3/8 inches "...

Tiger Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: Excellent Image/sheet size: 15 3/8 x 10 7/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

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...

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...

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...

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...

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...

Dahlias Color woodcut, 1939 Unsigned (as usual) Format: oban Publisher: Takemura Hideo Stamp verso: "Made in Japan" Provenance: Robert O. Muller Biography Hodo Nishimura...

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...

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...

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...

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: ...

Plate LXXVIII Pears (Valley, Petit Russelet, Doyenne, or Saint Michael, and the Russselet de Rheims, or Gross Russelet varities). Aquatint, engraving with some st...

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 ...

Nature morte au bulbe d'ail Mezzotint, 1957 Signed, titled & numberred in pencil (see photos) Edition: 50 (40/50) Condition: Excellent Image: 10 7/8 x 11 5/8 inches Sheet: 14 7/8 x 1...

Shoe Box (D) Lithograph printed on BFK Rives Signed, dated, titled and numbered in pencil (see photos) From: Shoe Box-Exotic (Sculpture and seven original li...

Japanese (mid 20th Century) Unsigned wood cut with hand embellishments in gouache created for a Japanese folding fan. Unsigned Image size: 8 3/8 x 18 1/8 inches Mounted on support sh...

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...

Les Oignons de Siracuse Mezzotint, 1961 Signed, titled & annotated Epreuve d'Artiste vii/X in pencil Edition: Epreuve d'Artiste vii/X Reference: Passeron 315 Condition: Mint Image: ...

Game Work No. 20 Mezzotint, c. 1984 Signed, titled and numbered in pencil (see photos) Edition 100: (7/100) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Katsunori Hamanishi's Work Price List-Small 22 Condition: Excellent Image: 13 1/4 x 8 3/4" Sheet: 17 1/2 x 13 1/8" Ninion and Sheldon Landy were major collectors of Hamanishi's works. They donated a large group of his mezzotints to Art Institute of Chicago, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. HAMANISHI Katsunori...

Shoe Box (C) From: Shoe Box-Exotic (Sculpture and seven original lithographs) Signed, dated, titled and numbered in pencil (see photos) Lithograph printed on ...

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

Signed and editioned in pencil by the artist Edition: 150 (84/150) Sheet: 19 3/4 x 26"; Image: 11 7/8 x 12 3/4" Tomoe Yokoi (Born 1943) Tomoe Yokoi was born in Nagoya, Japan i...

Burst of Sound Lithograph printed in colors Signed and titled in pencil in Japanese (see photos) Edition: 30 (5/30) Provenance: Ralph Drake, Cleveland, OH, noted collector of decorat...

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...

Cluster of Grapes in Folded Napkin Etching, 2006 Signed and numbered by the artist (see photo) Edition: 25 (8/25), see photo Printed on Hahnemuhle pa...

Untitled Floral Still Life Color lithograph, c. 1960's Signed lower right Numbered 1/10 lower left Most probably printed in Paris at Atelier Desjobert Provenance: Estate of the artist Dehn Heirs Image size: 14 x 9 11/16 inches Sheet size: 17 3/4 x 11 3/4 inches From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer...

Engraver's Tools Engraving, 1974 Signed and annotated in pencil by the artist (see photos) This a "Trial Proof" impression with graphite additions Regular Edition: 100 References And...

From: Dresden Suite created at Grafikwerkstatt Through the process of censorship and journaling, artist Rebekah Wilhelm composes masterful images of thought. On her practice the a...