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
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
Alvar, Precensia
Color Lithograph, 21 3/4 x 33 in. (55.2 x 83.8 cm)
11/235
John Taylor Arms, Church of Notre Dame, 1947
Print, 4 1/4 x 3 3/4 in. (10.8 x 9.5 cm)
William H. Bailey, Still Life, 2001
Black and White Lithograph, 10 1/2 x 14 1/2 in. (26.7 x 36.8 cm)
Will Barnet, The Dream, 2002
Lithograph, 24 x 16 in. (61 x 40.6 cm)
Edition of 250
Leonard Baskin, Portrait, 1983
Color Lithograph, 10 x 7 in. (25.4 x 17.8 cm)
Edition 260
Peter Bazel, Urban Composition
Monotype, 8 3/4 x 11 3/4 in. (22.2 x 29.8 cm)
Edition 1/1
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.
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.
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
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)
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
Marie Rosalie (rosa) Bonheur, Pleading Eyes, 1879
Engraving, 17 1/2 x 14 3/4 in. (44.5 x 37.5 cm)
Charles Bragg, Doyle the Mohel
Lithograph, 6 x 6 in. (15.2 x 15.2 cm)
Edition 92/150
Christopher Brown, Against Order, 1993
Color Lithograph, 24 3/8 x 15 5/8 in. (61.9 x 39.7 cm)
Edition 29/40
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
George Elbert Burr, Home of the Winds, Co., 1930
Engraving, 5 1/2 x 7 in. (14 x 17.8 cm)
Elizabeth Catlett, Man, 1975/2003
Woodcut/Linocut in Colors, 17 1/8 x 12 in. (43.5 x 30.5 cm)
Edition 250
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
Franck Charlet, Nursery
Mezzotint Engraving, 18 1/2 x 22 1/2 in. (47 x 57.1 cm)
Salvador Dali, Homage to Picasso, 1974
Color Lithograph, 19 1/2 x 14 in. (49.5 x 35.6 cm)
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
Michelle Delacroix, Cafe Tabac Vins, from Souvenirs of Paris
Color Lithograph, 9 1/2 x 13 in. (24.1 x 33 cm)
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
Michelle Delacroix, Pharmacie du Lion, from Souvenirs of Paris
Color Lithograph, 9 1/2 x 13 in. (24.1 x 33 cm)
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
David Driesbach, Lucky Mashed Potatoes, 1972
Engraving, 8 3/4 x 11 3/4 in. (22.2 x 29.8 cm)
Edition 14/250
Lloyd Foltz, House at Silverton
Woodblock Print, 7 3/4 x 9 3/4 in. (19.7 x 24.8 cm)
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
Nobu Fukui, Blue Abstract #4, 1972
Color Lithograph, 25 x 21 in. (63.5 x 53.3 cm)
Edition 81/100
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"
Francisco De Goya, La Tauromaquia
Etching, 8 x 12 in. (20.3 x 30.5 cm)
4th State
Frederick Childe Hassam, Sunlight on the Garden Patio, Spain, 1910
Watercolor on Paper, 6 1/2 x 9 3/4 in. (16.5 x 24.8 cm)
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.
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.
Hugh Kepets, Met Gates II
Aquatint with Color, 11 1/2 x 8 3/4 in. (29.2 x 22.2 cm)
Don Kuse, Baptism, Second Initiation
Engraving, 15 1/2 x 11 1/2 in. (39.4 x 29.2 cm)
Edition 20/50
Jacob Landau, Golf
Color Lithograph, 8 x 12 in. (20.3 x 30.5 cm)
Artist Proof
Jacob Landau, Tondo
Black and White Lithograph, 11 x 11 1/2 in. (27.9 x 29.2 cm)
Edition 7/50
Doris Lee, Vineyard Scene
Lithograph, 10 3/4 x 16 in. (27.3 x 40.6 cm)
With Love to Bea for Rich
Sylvia Plimack Mangold, Aquatint
Color Lithograph, 10 x 13 in. (25.4 x 33 cm)
Edition 48/50
Sylvia Plimack Mangold, Sugarlift
Color Lithograph, 10 x 13 in. (25.4 x 33 cm)
Edition 48/50
Andre Masson, Profil Rose, 1960
Color Lithograph, 22 1/2 x 17 1/2 in. (57.1 x 44.5 cm)
Edition 61/200
Marian Mckinney, Musician Playing Trombone
Watercolor, 21 1/2 x 10 in. (54.6 x 25.4 cm)
Marcel Mouly, Grandes Voiles
Color Lithograph, 19 1/2 x 26 1/2 in. (49.5 x 67.3 cm)
Marcel Mouly, Sailboat
Color Lithograph, 11 x 15 in. (27.9 x 38.1 cm)
Edition 149/300
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
Leroy Neiman, Bjorg-Connor, 1977
Aquatint Engraving, 13 3/4 x 21 3/4 in. (34.9 x 55.2 cm)
Edition 54/125
Leroy Neiman, Bjorn Borg
Serigraph, 23 1/2 x 17 in. (59.7 x 43.2 cm)
Edition 54/300
Leroy Neiman, Hammer Gallery Poster, 1974
Poster, 28 1/2 x 22 in. (72.4 x 55.9 cm)
Pablo Picasso, Deux Nus Assis
Engraving, 10 x 7 in. (25.4 x 17.8 cm)
Edition 39/100
After Van Rijn Rembrandt, Prodigal Son
Engraving, 6 1/2 x 5 in. (16.5 x 12.7 cm)
Deborah Remington, Abstract (Figure), 1989
Color Lithograph, 24 x 17 in. (61 x 43.2 cm)
Manuel Robbe, In Brittany
Aquatint Engraving, 14 x 19 1/4 in. (35.6 x 48.9 cm)
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
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.
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
Norman Percevel Rockwell, Summer
Black and White Lithograph, 13 1/2 x 13 in. (34.3 x 33 cm)
Suite of the Four Seasons
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
Norman Percevel Rockwell, Winter
Black and White Lithograph, 13 1/2 x 13 in. (34.3 x 33 cm)
Suite of the Four Seasons
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
J. Saunier, Line Abstract, 1977
Engraving, 10 3/4 x 8 1/4 in. (27.3 x 21 cm)
Edition 22/250
Bill Schenk, Hurry Sundown, 1985
Color Lithograph, 21 x 38 in. (53.3 x 96.5 cm)
Edition 19/60
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
Charles Hazelwood Shannon, Rising from the Sea
Lithograph Printed in Brown Ink, 12 x 15 in. (30.5 x 38.1 cm)
Jeanette Pasin Sloan, Expresso, 1995
Color Lithograph, 14 x 14 in. (35.6 x 35.6 cm)
Moishe Smith, Old Corn
8 3/4 x 11 3/4 in. (22.2 x 29.8 cm)
Edition 147/250
Marco Spalatin, Red Geometric
Color Lithograph, 12 x 15 in. (30.5 x 38.1 cm)
Nicki Starnie, AKI NO YUQU, 1986
Aquatint on Handmade Paper, 17 x 23 1/2 in. (43.2 x 59.7 cm)
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
John Stobart, Laclede's Landing
Print, 16 1/2 x 12 in. (41.9 x 30.5 cm)
Edition 187/350
Peter Takal, Trees in Landscape
Black and White Lithograph, 10 x 15 3/4 in. (25.4 x 40 cm)
Mark Tobey, Pensees Germinales, 1973
Drypoint Engraving, 9 3/8 x 5 3/4 in. (23.8 x 14.6 cm)
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
Jack Tworkov, T.L. #7, 1978
Color Lithograph, 24 x 23 1/2 in. (61 x 59.7 cm)
Edition 86/125
Victor Vasarely, IUSKA
Serigraph, 25 x 25 in. (63.5 x 63.5 cm)
Edition 48/300
William T. Wiley, DENEB, 1996
Color Lithograph, 25 1/4 x 18 in. (64.1 x 45.7 cm)
Edition 265
Grant Wood, Tree Planting Group, 1937
Lithograph, 8 1/2 x 11 in. (21.6 x 27.9 cm)
Edition of 250
Andrew Wyeth, Upland Country, 1939
Watercolor on Paper, 21 1/2 x 29 1/4 in. (54.6 x 74.3 cm)
Owen Gallery