Work On Paper

John P., Geometric, Linear Shapes in Aqua, Red, Gray, and Maroon

Color Lithograph, 18 x 24 in. (45.7 x 61 cm)

Circle Section Series/Invert PC

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Josef Albers, Hommage to the Square (Set of Six Cards), 1960

Screenprint

Set of six cards, framed, signed in notecard
a) Yellow Hommage to the Square, 7 x 7 inches, screenprint, unsigned
Position: Upper Left Mount
Poor condition including creasing, spot soiling, discoloration
b) Variations (Blue, Black, Grey), 6 ½ x 8 ½ inches, screenspot, unsigned
Position: Upper Center
Good Condition
c) Variations (Orange, Ochre), 6 ¾ x 6 ¾ inches, screenprint, unsigned
Position: Upper Right
Good Condition
d) Variations (Black, Blue, White, Gray), 8 x 8 inches, screenprint, unsigned
Position: Lower Left
Discolorations to paper, wrinkling of paper
e) Variations (Yellow, Blue, Gray), 8 x 8 inches, screenprint, unsigned
Position: Lower Right
Discolorations to paper due to acidity
f) Handwritten Note by the Artist, on reverse side of “Sanctuary” Print, 3 ½ x 6 inches
Position: Lower Center
Signature attributed to artist

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Peter Alexander, Untitled, 1973

Wax Sketch, 30 x 22 in. (76.2 x 55.9 cm)

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Alvar, Precensia

Color Lithograph, 21 3/4 x 33 in. (55.2 x 83.8 cm)

11/235

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John Taylor Arms, Church of Notre Dame, 1947

Print, 4 1/4 x 3 3/4 in. (10.8 x 9.5 cm)

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William H. Bailey, Still Life, 2001

Black and White Lithograph, 10 1/2 x 14 1/2 in. (26.7 x 36.8 cm)

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Will Barnet, The Dream, 2002

Lithograph, 24 x 16 in. (61 x 40.6 cm)

Edition of 250

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Leonard Baskin, Portrait, 1983

Color Lithograph, 10 x 7 in. (25.4 x 17.8 cm)

Edition 260

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Peter Bazel, Urban Composition

Monotype, 8 3/4 x 11 3/4 in. (22.2 x 29.8 cm)

Edition 1/1

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Thomas Hart Benton, Back from the Fields, 1945

Lithograph, 12 7/8 x 9 3/16 in. (32.7 x 23.3 cm)

Illustrated: Fath, pg. 152, no. 66
"This is a Louisiana Scene. Cotton pickers returning home with the last bags picked" THB.

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Thomas Hart Benton, Frisky Day, 1939

Lithograph, 12 1/16 x 7 13/16 in. (30.6 x 19.8 cm)

Illustrated: Fath, pg. 80, no. 30
"Young ever in the spring, South Missouri. Farm Country." THB
The lithograph was a study for a painting Frisky Daya which was made in 1940. The painting is in the collection of Mrs. W. Gates Llyod.

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Thomas Hart Benton, Loading Corn (Shucking Corn), 1945

Lithograph, 13 1/4 x 10 1/4 in. (33.7 x 26 cm)

llustrated: Fath pg. 150, no. 65
"Autumn in Missouri. To be seen on most mill farms. The problem with these subjects is no to find them, but to find them in a picotorally workable setting" THB

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Thomas Hart Benton, Morning Train (Soldier's Farewell), 1943

Lithograph, 13 1/2 x 9 3/8 in. (34.3 x 23.8 cm)

(Fath 1979, No. 75)

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Thomas Hart Benton, Night Firing (Tobacco Firing), 1943

Lithograph, 8 3/4 x 13 1/4 in. (22.2 x 33.7 cm)

Illustrated: Fath, pg. 134, no. 57
"Drawing made in 1943 in North Carolina - part of a series of the Tobacco industry made at the request of American Tobacco Co. The shed is where the tobacco is dried out with night and day slow fires beneath. There is a painting of this owned by Mr. and Mrs. Constable of Kansas City." THB

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Marie Rosalie (rosa) Bonheur, Pleading Eyes, 1879

Engraving, 17 1/2 x 14 3/4 in. (44.5 x 37.5 cm)

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Charles Bragg, Doyle the Mohel

Lithograph, 6 x 6 in. (15.2 x 15.2 cm)

Edition 92/150

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Christopher Brown, Against Order, 1993

Color Lithograph, 24 3/8 x 15 5/8 in. (61.9 x 39.7 cm)

Edition 29/40

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Christopher Brown, Brady's Negative, 1993

Lithograph on Natural Gasen Paper, 15 x 15 in. (38.1 x 38.1 cm)

With the blindstamp of the publisher, Tamarind Institute, Albuquerque, NM, the full sheet
Edition of 28

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George Elbert Burr, Home of the Winds, Co., 1930

Engraving, 5 1/2 x 7 in. (14 x 17.8 cm)

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Elizabeth Catlett, Man, 1975/2003

Woodcut/Linocut in Colors, 17 1/8 x 12 in. (43.5 x 30.5 cm)

Edition 250

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Marc Chagall, Le Christ a l'Horloge. Paris (Christ in the Clock), 1957

Color Lithograph, 18 1/2 x 15 in. (47 x 38.1 cm)

La Christ a l'Horloge, Paris 1957
Image Size: 9 1/2 x 8 inches

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Franck Charlet, Nursery

Mezzotint Engraving, 18 1/2 x 22 1/2 in. (47 x 57.1 cm)

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Salvador Dali, Homage to Picasso, 1974

Color Lithograph, 19 1/2 x 14 in. (49.5 x 35.6 cm)

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Salvador Dali, Les Mystere de l'Alchimiste

Color Lithograph on Japon, 22 1/2 x 17 3/4 in. (57.1 x 45.1 cm)

Edition 7/350
Framed Size: approx 40 x 33 inches

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Michelle Delacroix, Cafe Tabac Vins, from Souvenirs of Paris

Color Lithograph, 9 1/2 x 13 in. (24.1 x 33 cm)

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Michelle Delacroix, Comestible de Crop, from Souvenirs of Paris

Color Lithograph, 9 1/2 x 13 in. (24.1 x 33 cm)

Edition 357/500

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Michelle Delacroix, Pharmacie du Lion, from Souvenirs of Paris

Color Lithograph, 9 1/2 x 13 in. (24.1 x 33 cm)

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Bertrand Dorny, BAT

Aquatint, Etching, Engraving, and Sandpaper Printed in Colors, 11 1/2 x 8 in. (29.2 x 20.3 cm)

Edition BAT

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Frannie Dressel, The Outcast

Lithograph, 8 1/2 x 14 in. (21.6 x 35.6 cm)

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David Driesbach, Lucky Mashed Potatoes, 1972

Engraving, 8 3/4 x 11 3/4 in. (22.2 x 29.8 cm)

Edition 14/250

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Lloyd Foltz, House at Silverton

Woodblock Print, 7 3/4 x 9 3/4 in. (19.7 x 24.8 cm)

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Helen Frankenthaler, Divertimento, 1983

Color Lithograph on HMP Waterleaf Handmade Paper, 31 1/2 x 21 1/3 in. (80 x 54.2 cm)

Inscribed Lower Left;
"B.A.T. for John; artist and printer"
"Wonderful combination!"
"Thank You, HF"
Bon a Tirer (B.A.T.): Bon á tirer (BAT). Bon á tirer means “good to pull.” This is the first perfect impression of the work and the one that will be used to judge all other impressions in the edition. The BAT indicates the artist’s authorization to proceed with the edition; it is signed or initialed by the artist. All further impressions are compared to the BAT for quality. Any impression deviating from the BAT is destroyed.

Edition of 39

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Nobu Fukui, Blue Abstract #4, 1972

Color Lithograph, 25 x 21 in. (63.5 x 53.3 cm)

Edition 81/100

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April Gornik, Cascading Waterfall, 1998

Black and White Lithograph, 15 x 23 1/2 in. (38.1 x 59.7 cm)

Cascading Waterfall
"April Gorink 1998"

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Francisco De Goya, La Tauromaquia

Etching, 8 x 12 in. (20.3 x 30.5 cm)

4th State

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Sister Mary Corita Kent, Leo Baeck and a Spirit is Characterized

Color Lithograph, 21 1/2 x 21 1/2 in. (54.6 x 54.6 cm)

Corita Kent (1918–1986) was an artist, educator, and advocate for social justice. At age 18 she entered the religious order Immaculate Heart of Mary, eventually teaching and then heading the art department at Immaculate Heart College. During the course of her career, her artwork evolved from using figurative and religious imagery to incorporating advertising images and slogans, popular song lyrics, biblical verses, and literature. Throughout the ‘60s, her work became increasingly political, urging viewers to consider poverty, racism, and social injustice. In 1968, she left the order and moved to Boston. After 1970, her work evolved into a sparser, introspective style, influenced by living in a new environment, a secular life, and her battles with cancer. She remained active in social causes until her death in 1986. At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions.

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Sister Mary Corita Kent, Thoreau ""If A Man Does Not Keep Peace""

Color Lithograph, 22 1/2 x 22 1/2 in. (57.1 x 57.1 cm)

Corita Kent (1918–1986) was an artist, educator, and advocate for social justice. At age 18 she entered the religious order Immaculate Heart of Mary, eventually teaching and then heading the art department at Immaculate Heart College. During the course of her career, her artwork evolved from using figurative and religious imagery to incorporating advertising images and slogans, popular song lyrics, biblical verses, and literature. Throughout the ‘60s, her work became increasingly political, urging viewers to consider poverty, racism, and social injustice. In 1968, she left the order and moved to Boston. After 1970, her work evolved into a sparser, introspective style, influenced by living in a new environment, a secular life, and her battles with cancer. She remained active in social causes until her death in 1986. At the time of her death, she had created almost 800 serigraph editions, thousands of watercolors, and innumerable public and private commissions.

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Hugh Kepets, Met Gates II

Aquatint with Color, 11 1/2 x 8 3/4 in. (29.2 x 22.2 cm)

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Paul Klee, Woman, 1927

Pochior Print, 7 x 4 in. (17.8 x 10.2 cm)

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Don Kuse, Baptism, Second Initiation

Engraving, 15 1/2 x 11 1/2 in. (39.4 x 29.2 cm)

Edition 20/50

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Jacob Landau, Golf

Color Lithograph, 8 x 12 in. (20.3 x 30.5 cm)

Artist Proof

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Jacob Landau, Tondo

Black and White Lithograph, 11 x 11 1/2 in. (27.9 x 29.2 cm)

Edition 7/50

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Doris Lee, Vineyard Scene

Lithograph, 10 3/4 x 16 in. (27.3 x 40.6 cm)

With Love to Bea for Rich

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Sylvia Plimack Mangold, Aquatint

Color Lithograph, 10 x 13 in. (25.4 x 33 cm)

Edition 48/50

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Sylvia Plimack Mangold, Sugarlift

Color Lithograph, 10 x 13 in. (25.4 x 33 cm)

Edition 48/50

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Andre Masson, Profil Rose, 1960

Color Lithograph, 22 1/2 x 17 1/2 in. (57.1 x 44.5 cm)

Edition 61/200

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Marian Mckinney, Musician Playing Trombone

Watercolor, 21 1/2 x 10 in. (54.6 x 25.4 cm)

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Marcel Mouly, Grandes Voiles

Color Lithograph, 19 1/2 x 26 1/2 in. (49.5 x 67.3 cm)

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Marcel Mouly, Sailboat

Color Lithograph, 11 x 15 in. (27.9 x 38.1 cm)

Edition 149/300

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Leroy Neiman, American Gold (K.II.42) (Los Angeles Summer Olympics), 1984

Color Screenprint, 28 x 42 in. (71.1 x 106.7 cm)

Edition 181/600

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Leroy Neiman, Bjorg-Connor, 1977

Aquatint Engraving, 13 3/4 x 21 3/4 in. (34.9 x 55.2 cm)

Edition 54/125

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Leroy Neiman, Bjorn Borg

Serigraph, 23 1/2 x 17 in. (59.7 x 43.2 cm)

Edition 54/300

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Leroy Neiman, Hammer Gallery Poster, 1974

Poster, 28 1/2 x 22 in. (72.4 x 55.9 cm)

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Leroy Neiman, Leonard Slatkin

Print, 20 x 24 1/2 in. (50.8 x 62.2 cm)

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After Van Rijn Rembrandt, Prodigal Son

Engraving, 6 1/2 x 5 in. (16.5 x 12.7 cm)

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Deborah Remington, Abstract (Figure), 1989

Color Lithograph, 24 x 17 in. (61 x 43.2 cm)

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Norman Percevel Rockwell, Autumn

Black and White Lithograph, 13 1/2 x 13 in. (34.3 x 33 cm)

From Suite of the Four Seasons

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Norman Percevel Rockwell, Can't Wait, 1972

Color Lithograph, 14 x 11 in. (35.6 x 27.9 cm)

Edition 186/200

Norman Rockwell (1894 to 1978) Can't Wait, 1972 Calendar Illustration for the Boy Scouts of America for Brown & Bigelow Co. 1972 Media print lithograph on paper
This limited edition offset print is an image rendered by Norman Rockwell entitled Can't Wait for the Boys Scouts of America. The print was used for the Boy Scouts of America 1972 calendar illustration. This print is a depiction of a Cub Scout trying on a very large Boy Scout uniform anticipating wearing one someday. The print has rich vibrant colors with a white border in pristine condition and has not been conserved. An outstanding features of this print is in Norman Rockwell's eye for detail that engages the viewer. The print measures 14 X 11 inches and is hand signed by Norman Rockwell at the bottom in permanent marker.

In 1924, Rockwell began painting what would become a half-century of calendar images for the Boys Scouts of America. Each of these featured a scouting-themed painting using models from his successive home towns of New Rochelle, New York, Arlington, Vermont, and Stockbridge, Massachusetts. The yearly calendar was published by Brown & Bigelow, one of the nation's largest calendar publishers, today the Boys Scouts of America own a sizable portion of the fifty-two calendar scenes which Rockwell painted.

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Norman Percevel Rockwell, Spring

Black and White Lithograph, 13 1/2 x 13 in. (34.3 x 33 cm)

Edition 95/200
Suite of the Four Seasons

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Norman Percevel Rockwell, Summer

Black and White Lithograph, 13 1/2 x 13 in. (34.3 x 33 cm)

Suite of the Four Seasons

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Norman Percevel Rockwell, Two Lady Janitors Seated Looking at a Playbill

Color Lithograph, 25 x 20 in. (63.5 x 50.8 cm)

Edition 160/200

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Norman Percevel Rockwell, Winter

Black and White Lithograph, 13 1/2 x 13 in. (34.3 x 33 cm)

Suite of the Four Seasons

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James Rosenquist, undefined, 1977

Etching and Aquatint, 22 x 38 in. (55.9 x 96.5 cm)

Edition 23
Etching and Aquatint with Pochoir and Hand-Coloring on Pescia Italia

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J. Saunier, Line Abstract, 1977

Engraving, 10 3/4 x 8 1/4 in. (27.3 x 21 cm)

Edition 22/250

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Bill Schenk, Hurry Sundown, 1985

Color Lithograph, 21 x 38 in. (53.3 x 96.5 cm)

Edition 19/60

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Bill Schenk, My Summer Vacation, 1984

Color Lithograph, 33 x 23 1/2 in. (83.8 x 59.7 cm)

Edition 28/59
"My Summer Vacation 28/59" Lower Right
Signed and Dated Lower Left

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Charles Hazelwood Shannon, Rising from the Sea

Lithograph Printed in Brown Ink, 12 x 15 in. (30.5 x 38.1 cm)

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David Shapiro, Kala 7, 1991

Aquatint Engraving, 13 x 9 in. (33 x 22.9 cm)

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Jeanette Pasin Sloan, Expresso, 1995

Color Lithograph, 14 x 14 in. (35.6 x 35.6 cm)

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Moishe Smith, Old Corn

8 3/4 x 11 3/4 in. (22.2 x 29.8 cm)

Edition 147/250

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Marco Spalatin, Red Geometric

Color Lithograph, 12 x 15 in. (30.5 x 38.1 cm)

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Nicki Starnie, AKI NO YUQU, 1986

Aquatint on Handmade Paper, 17 x 23 1/2 in. (43.2 x 59.7 cm)

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Frank Stella, Shards II, From Shards, 1982

Lithograph and Screenprint, 39 3/4 x 45 1/4 in. (101 x 114.9 cm)

From Shards Series
Edition of 4

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John Stobart, Laclede's Landing

Print, 16 1/2 x 12 in. (41.9 x 30.5 cm)

Edition 187/350

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Peter Takal, City Rooftops

Engraving, 9 1/4 x 15 in. (23.5 x 38.1 cm)

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Peter Takal, Trees in Landscape

Black and White Lithograph, 10 x 15 3/4 in. (25.4 x 40 cm)

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Mark Tobey, Pensees Germinales, 1973

Drypoint Engraving, 9 3/8 x 5 3/4 in. (23.8 x 14.6 cm)

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Mark Tobey, Two Figures, 1958

Ink Tempera, 8 x 5 in. (20.3 x 12.7 cm)

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Jack Tworkov, T.L. #6, 1978

Black and White Lithograph, 16 1/2 x 22 1/2 in. (41.9 x 57.1 cm)

Edition 103/250

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Jack Tworkov, T.L. #7, 1978

Color Lithograph, 24 x 23 1/2 in. (61 x 59.7 cm)

Edition 86/125

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Victor Vasarely, IUSKA

Serigraph, 25 x 25 in. (63.5 x 63.5 cm)

Edition 48/300

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Victor Vasarely, MAKK-S

Serigraph, 25 x 25 in. (63.5 x 63.5 cm)

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Marcel Vertes, Two Nudes

Color Lithograph

Edition 18/220

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William T. Wiley, DENEB, 1996

Color Lithograph, 25 1/4 x 18 in. (64.1 x 45.7 cm)

Edition 265

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Grant Wood, Tree Planting Group, 1937

Lithograph, 8 1/2 x 11 in. (21.6 x 27.9 cm)

Edition of 250

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Andrew Wyeth, Upland Country, 1939

Watercolor on Paper, 21 1/2 x 29 1/4 in. (54.6 x 74.3 cm)

Owen Gallery

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