Works on Paper

cover image

John Steuart Curry, Mississippi Noah back cover

John Steuart Curry, Study for Prize Stallions

Works on Paper Prints & Drawings 2007

5733 South 34th Street, Suite 300 Lincoln, Nebraska 68516 T 402.420.9553 F 402.420.9554

gallery@kiechelart.com www.kiechelart.com

Table of Contents

Josef Albers John James Audubon George Bellows Thomas Hart Benton Karl Bodmer Edward Borein Félix Buhot

173 121-122 144 53-82 123 125-128 155

George Catlin

129-137

Paul Cézanne

161

Thomas Coleman

183-213

William Ashby McCloy McKenney & Hall

168-170 124

William Wind McKim

108-120

Roger Medearis

177-182

Robert Riggs Georges Rouault

154 164-166

Roger Shimomura

174

Paul Signac

159

John Sloan

145-146

Edith Sternfeld

175

John Steuart Curry

1-52

Akio Takamori

172

Albrecht Dürer

156

Wayne Thiebaud

167

James Ensor

162

Leonard Thiessen

153

Harper’s Weekly

86

Winslow Homer

87-107

Rembrandt van Rijn Stow Wengenroth

157-158 152

Ellsworth Kelly

171

James McNeill Whistler

138-143

Fernand Léger

163

Florence White Williams

176

Albert Marquet

160

Grant Wood

Reginald Marsh

147-151

83-85

Preface

director

Vivian Kiechel

Works on paper has been a major focus of Kiechel Fine Art for over 20 years. This catalogue represents a broad spectrum of art ranging from DĂźrer and Rembrandt to Thiebaud, including a wide variety of pieces from our comprehensive collection of Regionalist prints and drawings.

gallery director

Frederick (Buck) Kiechel IV

We invite you to explore this catalogue’s diversity of quality work and look forward to serving you in the future.

j o h n s t eua r t c u rry (1 8 97-1 9 4 6)

1

Mississippi Noah 1931, Watercolor 14 ½ x 21 ½ inches Signed & dated, lower right provenance

By descent, Chris L. Christensen, dean of agriculture, University of Wisconsin, Madison

Born in Minden, Nebraska, Chris L. Christensen was named dean of the College of Agriculture at the University of Wisconsin in Madison in 1931. Christensen, a graduate of the University of Nebraska-Lincoln and the Harvard Graduate School of Business Administration, shared the University president’s sentiment that America’s future welfare depended on a renewal of the rural culture. By hiring the like-minded John Steuart Curry in 1936, Christensen started the first artist-in-residence program in the United States and established a new direction in education, by encouraging rural citizens throughout Wisconsin to take an active interest in art.

j o h n s t e ua r t c u r r y

2

Prize Stallions 1938, Lithograph, Edition of 250 12 ¾ x 8 ¾ inches, Signed and annotated “To Chris on his Birthday Dec 29th 1938 JSC” provenance

By descent, Chris L. Christensen, dean of agriculture, University of Wisconsin

3

Study for “Prize Stallions” 1937, Conté crayon 12 x 17 inches, Signed and annotated, lower right “To Chris and Cara Christmas 1937 John and Kathleen” provenance

By descent, Chris L. Christensen, dean of agriculture, University of Wisconsin 2

4

5

4 J o h n S t e ua r t C u r r y Study for “Stallion and Jack Fighting,” c. 1943, Graphite & ink on tracing paper, 12 x 16 inches 5 J o h n S t e ua r t C u r r y Stallion and Jack Fighting, 1943, Lithograph, Edition of 250, 11 ¾ x 15 ⅜ inches, Initialed & dated

6

6 J o h n S t e ua r t C u r r y Study for “Summer Afternoon,” 1940, Graphite, 10 ¼ x 14 inches 7 J o h n S t e ua r t C u r r y Summer Afternoon, 1940, Lithograph, Edition of 250, 10 x 14 inches, Signed

7

8

9

8 J o h n S t e ua r t C u r r y Study for “The Fugitive,” c. 1934-36, Graphite, 22 ⅛ x 17 inches 9 J o h n S t e ua r t C u r r y The Fugitive, 1935, Lithograph, Edition of 25, 12 ⅞ x 9 ⅜ inches, Signed & titled by Mrs. Kathleen Curry

10

10 J o h n S t e ua r t C u r r y Our Good Earth, 1942, Lithograph, Edition of 250, 12 ¾ x 10 ⅛ inches, Signed 11 J o h n S t e ua r t C u r r y John Brown, 1939, Lithograph, Edition of 250, 13 ⅞ x 16 ⅞ inches, Signed

11

12

14

12 J o h n S t e ua r t C u r r y Coyotes Stealing a Pig, 1927, Lithograph, Edition of 50 (Second Stone), 10 x 15 inches, Signed, titled & dated 13 J o h n S t e ua r t C u r r y Hounds and Coyote, 1931, Lithograph, Edition of 25, 10 x 14 inches, Signed, titled & dated 14 J o h n S t e ua r t C u r r y Manhunt, 1934, Lithograph, Edition of 300, 9 ¾ x 12 ¾ inches, Signed, titled & dated 15 J o h n S t e ua r t C u r r y Sanctuary, 1944, Lithograph, Edition of 250, 11 ⅝ x 15 ⅝ inches, Signed

13

15

16

16 J o h n S t e ua r t C u r r y Hogs Fighting, 1938, Lithographic crayon, 9 x 13 inches 17 J o h n S t e ua r t C u r r y Hogs Fighting, 1938, Charcoal & watercolor, 13 ½ x 20 ½ inches

17

18

19

20

21

18 J o h n S t e ua r t C u r r y Haymakers, 1923, Watercolor, 9 ¾ x 14 ⅞ inches, Signed, titled & dated 19 J o h n S t e ua r t C u r r y Cows in Pasture, 1923, Watercolor, 14 ¼ x 19 ½ inches 20 J o h n S t e ua r t C u r r y Haying, c. 1925, Watercolor, 9 ¾ x 14 ¾ inches 21 J o h n S t e ua r t C u r r y Horses in Pasture with Rainbow, 1943, Watercolor, 21 ½ x 29 inches

22

23

22 J o h n S t e ua r t C u r r y Barber County, Kansas, c. 1929, Watercolor, 11 ¼ x 17 inches, Signed & titled 23 J o h n S t e ua r t C u r r y Lake Otsego No. 2, 1923, Watercolor, 6 ½ x 9 inches, Signed, titled & dated 24 J o h n S t e ua r t C u r r y Spring Plowing, c. 1925, Charcoal, 6 ¾ x 11 ½ inches 25 J o h n S t e ua r t C u r r y Farmers in Horsedrawn Wagon, 1933, Graphite, 4 ¾ x 7 inches 26 J o h n S t e ua r t C u r r y Bull: Study for Ajax, 1931, Charcoal, 12 x 16 inches

24

25

26

27

28

27 J o h n S t e ua r t C u r r y Prairie Sunrise, Study for Frontispiece for The Prairie by James Fenimore Cooper

1939, Watercolor, 8 ¾ x 6 inches, Annotated “Frontispiece” 28 J o h n S t e ua r t C u r r y Prairie Sunrise 2, Study for Frontispiece for The Prairie by James Fenimore Cooper

1939, Watercolor, 8 ¾ x 6 inches

30

31

29

j o h n s t e ua r t c u r r y 32

29 Winchester Tornado Study, 1929, Charcoal & lithographic crayon, 14 x 16 ¾ inches 30 Curry Ranch, Kansas No. 1, c. 1930, Charcoal, 13 ½ x 17 inches 31 Curry Ranch, Kansas No. 2, c. 1930, Graphite & lithographic crayon, 12 x 16 inches 32 Curry Homestead, Lithographic crayon, 10 x 14 inches 33 Kansas Scene, Approaching Storm, c. 1930, Charcoal, 9 ½ x 12 ¾ inches 33

34

36

34 J o h n S t e ua r t C u r r y Parisian Street with Truck, 1927, Watercolor, 10 ⅞ x 13 ⅞ inches, Signed & dated 35 J o h n S t e ua r t C u r r y The Dove: Love Like a Bird, 1928, Watercolor, 15 x 19 ¾ inches, Signed & titled 36 J o h n S t e ua r t C u r r y Café/Diner Scene, 1934, Watercolor, 17 ¾ x 24 inches, Signed & dated 37 J o h n S t e ua r t C u r r y The Belle of the Dove, November 1926, Ink & graphite with watercolor wash, 16 ¼ x 10 ¾ inches, Signed, titled & dated

35

37

39

38

40

38 J o h n S t e ua r t C u r r y Sunflower Ballet: Woman in Dance Costume, 1942, Watercolor, sepia & ink, 17 x 13 ½ inches, Titled, initialed & dated 39 J o h n S t e ua r t C u r r y Strongman, Circus, c. 1932, Graphite, 12 ½ x 10 ½ inches 40 J o h n S t e ua r t C u r r y Clowns and Equestrian Sketch, 1932, Charcoal & red chalk, 15 ¼ x 19 inches, Signed

42

J o h n S t e ua r t C u r r y 41

Paris No. 2: Seated Female Nude 1926-27, Charcoal with conté crayon 24 x 14 inches, Titled, initialed & dated

42

Male Figure Sketch Conté crayon, 19 ¼ x 13 inches

J o h n S t e ua r t C u r r y 43

Study for Unmortgaged Farm Kansas Statehouse, Topeka 1935, Charcoal & conté crayon 23 x 17 inches

44

Study for John Brown Mural Kansas Statehouse, Topeka 1940, Conté crayon 23 ¼ x 18 inches, Signed & titled

45

Children of Adam Illustration for Leaves of Grass

43

by Walt Whitman

44

1943, Sepia, ink, & conté crayon 10 x 6 ½ inches

46

Study of Woman with Upraised Arm Conté crayon, 11 x 16 inches

45

46

47 J o h n S t e ua r t C u r r y Woman in Hat “Ellen,” Conté crayon 19 ½ x 14 ½ inches

48

J o h n S t e ua r t C u r r y Three Nude Studies, 1935, Charcoal, 25 x 19 inches (each)

49

50

49 J o h n S t e ua r t C u r r y Henry Fleming, Frontispiece for Red Badge of Courage, 1944, Ink & lithographic crayon, 11 x 7 inches, Initialed 50 J o h n S t e ua r t C u r r y Wild Bill Cody, Frontiersman, 1927, Charcoal, 18 Âź x 12 Âź inches, Signed & dated

51

50

51 J o h n S t e ua r t C u r r y Portrait of Justin Sturm,

November 16, 1936, Conté crayon, ink & wash, 23 x 18 inches, Annotated, signed & dated Nebraska native, Justin Strum, was a hero and starting end for Yale in its 1921 victory over Princeton. He published his first novel in 1926 and wrote many short stories for Harpers, Colliers, Pictorial Preview and Redbook magazines. He also was a succcessful sculptor and friend of John Steuart Curry.

52 J o h n S t e ua r t C u r r y Football, Study for Touchdown, 1938, Conté crayon, 12 1∕3 x 9 inches

53 t h o m a s h a r t b e n t o n (1 8 8 9 -1 975) Frankie and Johnnie, The Missouri State Capitol series,

1936, Lithograph, Edition of 100, 16 ⅜ x 22 ⅛ inches, Signed

thomas hart benton

54

A Drink of Water 1937, Lithograph, Edition of 250 10 x 14 ¼ inches

55

54

The Farmer’s Daughter 1944, Lithograph, Edition of 250 13 ⅛ x 9 ⅞ inches

56

The Fence Mender 1940, Lithograph, Edition of 250

57

10 x 14 inches 57

Flood 1937, Lithograph, Edition of 250 12 ¼ x 9 ¼ inches

55

58

Discussion 1969, Lithograph, Edition of 250 9 ¾ x 12 inches

58

56

*a l l

signed

thomas hart benton

59

Frisky Day 1939, Lithograph, Edition of 250 7 13∕16 x 12 1∕16 inches

60

Island Hay 1945, Lithograph, Edition of 250 10 x 12 ⅝ inches

59

61

Loading Corn Also titled Shucking Corn

62

1945, Lithograph, Edition of 250 10 ¼ x 13 ¼ inches 62

Mr. President 1971, Lithograph, Edition of 150 8 ½ x 7 ½ inches

60

63

Planting Also titled Spring Plowing 1939, Lithograph, Edition of 250 10 x 12 ½ inches

63

64

Rainy Day 1938, Lithograph, Edition of 250 8 ¾ x 13 ⅜ inches *a l l

61

64

signed

thomas hart benton

65

Repairing the Sloop 1973, Lithograph, Edition of 250 13 ⅞ x 17 ⅞ inches

68 65

66

Self-Portrait 1973, Lithograph, Edition of 150 11 ⅝ x 9 ½ inches

67

Sorghum Mill 1969, Lithograph, Edition of 250 9 ⅝ x 13 ¾ inches

68

Spring Tryout 1943, Lithograph, Edition of 250 9 ½ x 13 ⅝ inches

69

The Hymn Singer 1950, Lithograph, Edition of 500 16 x 12 ⅜ inches

69

70

66

Youth Music 1974, Lithograph, Edition of 250 16 ⅞ x 20 ⅝ inches *a l l

67

70

signed

71

72

71 t h o m a s h a r t b e n t o n County Politics, 1973, Lithograph Edition of 250, 13 ⅞ x 16 ⅞ inches, Signed 72 t h o m a s h a r t b e n t o n Study for “County Politics,” 1973, Graphite, 14 x 17 inches

73

75

73 t h o m a s h a r t b e n t o n Mountain with Cabin at Base, c. 1940, Watercolor & ink, 8 ½ x 11 ½ inches, Signed 74 t h o m a s h a r t b e n t o n Towboat, c. 1935-1940, Sepia, ink & graphite, 8 ½ x 11 ½ inches, Signed 75 t h o m a s h a r t b e n t o n The Steamboat Cincinnati, A Sidewheeler on the Mississippi River,

c. 1930-35, Sepia, ink & graphite, 8 ½ x 11 ½ inches, Signed 76 t h o m a s h a r t b e n t o n Study for Making Camp, c. 1930-1940, Waterolor, ink, pencil & tempera, 11 x 14 inches

74

76

thomas hart benton

77

Missouri Man (Jesse James) Study for Missouri State Capitol Mural, Jefferson City 1936, Graphite 14 x 16 inches, Signed & titled

thomas hart benton

78

Portrait of Karl Novhdurst c. 1930-1940, Sepia, ink & pencil 11 ¼ x 8 ¼ in.

Signed & titled Illustration in Life magazine, July 26, 1937

79

“Buck Swamper” BM Owens c. 1930-1940, Pencil & ink 11 ½ x 8 ½ inches Signed & titled

78

79

80

Wrestlers in Ring c. 1950, Watercolor & ink 9 x 10 inches Signed

81

Cats, Martha’s Vineyard c. 1925-30, Sepia, ink & pencil 7 ¾ x 7 inches Signed Illustrated in K.A. Marling’s

80

81

Tom Benton and His Drawings

82 t h o m a s h a r t b e n t o n Miners Going to Work, 1940, Sepia, ink and pencil, 14 x 17 inches, Signed, lower right

grant wood (1 8 91-1 9 42)

83

March 1939, Lithograph Edition of 250 8 ⅞ x 11 ¾ inches Signed

84

December Afternoon 1940, Lithograph Edition of 250 8 ⅞ x 11 ¾ inches

85

In the Spring 1939, Lithograph Edition of 250 9 x 11 ⅞ inches Signed

86 Harper’s Weekly; A Journal Of Civilization, Volume 6

Includes all issues from January-December, 1862. Profusely illustrated with engravings and maps. Thick, bound folio.

87

w i n s l o w h o m e r (1 8 3 6 -1 910) Snap-the-Whip, September 20, 1873, Harper’s Weekly, Wood engraving, 13 ½ x 20 ½ inches

Winslow homer

88

All in the Gay and Golden Weather June 10, 1869, Appletons’ Journal Wood engraving, 6 x 5 inches

91

89

Flirting on the Sea-shore, and on the Meadow September 19, 1874, Harper’s Weekly Wood engraving, 13 x 5 inches

88

90

New England Factory Life—‘Bell-Time’ July 25, 1868, Harper’s Weekly Wood engraving, 8 ¾ x 12 ⅞ inches

92

91

On the Road to Lake George August 23, 1873, Harper’s Weekly Wood engraving, 9 ¼ x 14 inches

92

89

Sea-Side Sketches—A Clam-Bake August 23, 1873, Harper’s Weekly Wood engraving, 9 ¼ x 14 inches

93

93

Ship-Building, Gloucester Harbor October 11, 1873, Harper’s Weekly Wood engraving, 9 ⅜ x 13 ¾ inches

94

90

Spring Farmwork—Grafting April 30, 1870, Harper’s Weekly Wood engraving, 6 13∕16 x 9 1∕16 inches

94

winslow homer

95

Summer in the Country July 10, 1869, Appletons’ Journal

95

Wood engraving, 4 ½ x 6 ½ inches 96

The Artist in the Country 1869, Appletons’ Journal

98

Wood engraving, 6 ⅝ x 6 ¼ inches 97

The Bathers August 16, 1873, Harper’s Weekly Wood engraving, 13 ¾ x 9 ¼ inches

98

96

The Picnic Excursion August 14, 1869, Appletons’ Journal Wood engraving, 9 x 11 ¾ inches

99

The Robin’s Note August 20, 1870, Every Saturday Wood engraving, 9 ⅛ x 8 ⅞ inches

99

100

Winter at Sea— Taking in Sail off the Coast January 16, 1869, Harper’s Weekly Wood engraving, 8 ⅞ x 11 ¾ inches

100

97

101

102

103

h a r p e r ’ s w e e k ly c i v i l wa r s e r i e s 101 w i n s l o w h o m e r Christmas Boxes in Camp, January 4, 1862, Wood engraving, 10 ⅞ x 9 ⅛ inches 102 w i n s l o w h o m e r Filling the Cartridges at the United States Arsenal at Watertown, Massachusetts, July 20, 1861, Wood engraving, 10 ⅞ x 9 ¼ inches 103 w i n s l o w h o m e r Floral Department of the Great Fair, April 16, 1864, Wood engraving, 10 ⅞ x 9 ⅛ inches

104

106

h a r p e r ’ s w e e k ly c i v i l wa r s e r i e s 104 w i n s l o w h o m e r A Shell in the Rebel Trenches, January 17, 1863, Wood engraving, 9 ⅛ x 13 ¾ inches 105 w i n s l o w h o m e r The War for the Union 1862—A Bayonet Charge, July 12, 1862, Wood engraving, 13 ⅝ x 20 ⅝ inches 106 w i n s l o w h o m e r Our Watering Places—The Empty Sleeve at Newport, August 26, 1865, Wood engraving, 9 ¼ x 13 ¾ inches 107 w i n s l o w h o m e r The Army of the Potomac—A Sharpshooter on Picket Duty, November 15, 1862, Wood engraving, 9 ⅛ x 13 ⅝ inches

105

1 07

109

110

111

w i l l i a m w i n d m c k i m (1 916 -1 9 9 5)

112

108

Boar’s Head

113

1967, Graphite 13 ½ x 17 inches Signed, dated & annotated

American Royal

115

Jack

1937, Ink wash

1940, Graphite

9 x 12 inches

9 x 12 inches

Signed, titled & dated

Signed

Danae

116

Bobcat and Wild Turkey

1973, Color lithograph

1985, Lithograph

Edition 30/35

Edition of 50

24 ½ x 18 inches

14 ⅜ x 11 ¾ inches

Signed

Signed & titled

The Sign

117

Old Gladiator

c. 1965, Lithograph

1978, Lithograph

Edition of 30

Edition of 50

16 ¾ x 12 ¾ inches

19 ⅝ x 12 ⅝ inches

Signed & titled

Signed & titled

Late Fall

118

Leda

1994, Lithograph

1979, Lithograph

11 ½ x 16 inches

9 ½ x 11 ½ inches

Signed

Signed

Roughed Grouse

119

Spanish Jack

1939, Graphite

1967, Graphite

13 ½ x 17 inches

19 x 16 inches Signed & titled

114

Pronghorns 1967, Lithograph

120

Fighting Rooster

Edition of 50

Studies for Old Gladiator

10 ⅛ x 13 inches

1978, Watercolor & pencil

Signed & titled

12 x 9 inches Signed & titled

114

118

115 109

112

116

110 119

111

113

1 17

120

121

j o h n j a m e s au d u b o n (178 5 -1 8 51) White Heron, 1837, Hand-colored engraving with aquatint & etching, 25 9∕16 x 38 inches

j o h n j a m e s au d u b o n (178 5 -1 8 51) 122

Purple Martin 1827, Hand-colored engraving with aquatint & etching 25 � x 20 ½ inches Ex. collection Duke Bernhard II (1800-1882), Saxe-Meiningen

123

k a r l b o d m e r (1 8 0 9 -1 8 9 3) Hunting of the Grizzly Bear, Tableau 36, 1839-1841, Hand-colored lithograph, 25 ¼ x 30 ⅝ inches

124 t h o m a s m c k e n n e y & j a m e s h a l l War Dance of the Sauks and Foxes, 1837, Hand-colored lithograph, 19 ⅛ x 23 ¾ inches

125

1 27

125 e dwa r d b o r e i n (1 872 -1 9 4 5) On the Drive, c. 1935, Pen & ink, 6 x 8 inches 126 e dwa r d b o r e i n (1 872 -1 9 4 5) Harnessed, c. 1935, Pen & ink, 4 x 4 inches 127 e dwa r d b o r e i n (1 872 -1 9 4 5) Wolf Study, c. 1935, Pen & ink, 6 ½ x 3 ½ inches, Signed 128 e dwa r d b o r e i n (1 872 -1 9 4 5) Bucked Off, c. 1935, Pen & ink, 8 ½ x 10 ½ inches

126

128

130

130

1 31

129 g e o r g e c at l i n (179 6 -1 872) The Snow-Shoe Dance, 1844-45, Hand-colored lithograph, 12 ¼ x 17 ¾ inches 130 g e o r g e c at l i n (179 6 -1 872) Antelope Shooting, 1844-45, Hand-colored lithograph, 12 ⅛ x 17 ¾ inches 131 g e o r g e c at l i n (179 6 -1 872) Attack of the Grizzly Bear, 1844-45, Hand-colored lithograph, 12 ¼ x 17 ½ inches

132

136

134

132 g e o r g e c at l i n (179 6 -1 872) Ball-Play Dance, 1844-45, Hand-colored lithograph, 12 ⅜ x 17 ¾ inches 133 g e o r g e c at l i n (179 6 -1 872) Buffalo Dance, 1844-45, Hand-colored lithograph, 12 x 17 ¾ inches 134 g e o r g e c at l i n (179 6 -1 872) Buffalo Hunt, Approaching in a Ravine, 1844-45, Hand-colored lithograph, 12 ¾ x 17 ½ inches 135 g e o r g e c at l i n (179 6 -1 872) Buffalo Hunt, On Snow Shoes, 1844-45, Hand-colored lithograph, 12 ¼ x 17 ¾ inches 136 g e o r g e c at l i n (179 6 -1 872) Buffalo Hunt, White Wolves Attacking a Buffalo Bull,

1844-45, Hand-colored lithograph, 12 x 17 ½ inches 137 g e o r g e c at l i n (179 6 -1 872) Wild Horses at Play, 1844-45, Hand-colored lithograph, 12 ⅛ x 17 ⅝ inches

133

135

137

138

j a m e s m c n e i l l w h i s t l e r (1 8 3 4 -1 9 0 3) The Troubled Thames

c. 1870, Etching & drypoint on antique cream laid paper, 4 ½ x 9 inches Wide margins, third state of three, ex-collection of Charles C. Cunningham, ink stamp verso (not in Lugt), a brilliant impression of this extremely scare print.

139

139

140

j a m e s m c n e i l l w h i s t l e r (1 8 3 4 -1 9 0 3) The Fair, 1895, Lithograph, Edition of 15, 9 5∕16 x 6 1∕16 inches

Lithograph printed on wove paper, margins trimmed to image, Inscription on back: Whistler Lyme Regis; only 15 prints.

140

j a m e s m c n e i l l w h i s t l e r (1 8 3 4 -1 9 0 3) The Swan and the Iris, 1883, Etching, 5 ¼ x 3 ¼ inches

Wide margins, first state of two, before the sails on the boat are completely shaded and with all the fine lines printing clearly. Superb and early impression of this scarce print.

Included in Cecil Lawson, A Memoir, London, The Fine Art Society, 1883, along with two etchings by Herbert Herkomer.

141

j a m e s m c n e i l l w h i s t l e r (1 8 3 4 -1 9 0 3) The Forge, 1861, Drypoint, 7 ½ x 12 ½ inches

Edition proof printed by the artist apart from publication in the Thames Set, intermediate state between third and fourth states of five, Kennedy 68. Fine impression.

142

142

j a m e s m c n e i l l w h i s t l e r (1 8 3 4 -1 9 0 3) The Little Pool, 1861, Etching, 4 ⅛ x 5 inches

Wide margins. Second state (of 8), with the foul biting and before the re-working. Ex-collection of Percy Thomas, (see Lugt supplement 2450, lower left recto) and Dr. D. J. Macauley, Halifax, Yorkshire, inscribed in pencil and dated 1922, lower margin recto. From 16 Etchings. A fine, early impression, with sharp, defined lines.

143

j a m e s m c n e i l l w h i s t l e r (1 8 3 4 -1 9 0 3) Title to the French Set, 1858, Etching & drypoint, 4 ½ x 5 ¾ inches Full margins. Printed by Delâtre, Paris. A superb, dark impression. Kennedy 25.

143

144 g e o r g e b e l l o w s (1 8 8 2 -1 9 25) The Pool-Player, 1921, Lithograph, 5 â…› x 10 inches, Signed

Ex. collection of Senator William Benton

145

145 j o h n s l oa n (1 871-1 9 51) The Little Bride, 1906, Etching, Edition of 100, 5 ¼ x 6 ⅞ inches, Signed & titled 146 j o h n s l oa n (1 871-1 9 51) The Women’s Page, 1905, Etching, Edition of 100, second state, 4 ½ x 6 inches, Signed & titled

146

r e g i n a l d m a r s h (1 8 3 4 -1 9 0 3) etchings from the collection of s e n at o r w i l l i a m b e n t o n f r o m t h e w h i t n e y m u s e u m o f a r t p l at e s

147

Battery (Belles) 1938, Etching & engraving on copper 9 1∕16 x 12 1∕16 inches

148

Wooden Horses 1936, Etching & engraving on copper 8 x 13 5∕16 inches

149

Modern 1939 Venus 1936, Etching & engraving on copper 8 x 12 inches

150

150 r e g i n a l d m a r s h (1 8 3 4 -1 9 0 3) Nude Male, c.1930, Conté crayon, 14 ½ x 9 inches, Signed 151 r e g i n a l d m a r s h (1 8 3 4 -1 9 0 3) Nude Female, 1931, Conté crayon, 10 ¼ x 16 inches, Signed

151

s t o w w e n g e n r o t h (1 9 0 6 -1 978) 152

Vase of Flowers 1963, Watercolor 13 ½ x 9 ž inches Signed

153

153 l e o n a r d t h i e s s e n (1 9 0 3 -1 9 8 9) Lennie’s Shoes,

c. 1928, Graphite, charcoal & white chalk, 11 ¾ x 13 ¼ inches, Signed, titled & dated 154 r o b e r t r i g g s (1 8 9 6 -1 970) Fighter and Handlers, 1932, Lithograph, Edition of 250, 15 ¼ x 9 ¾ inches

154

155

f ĂŠ l i x b u h o t (1 8 47-1 8 9 8) Westminster Palace, 1884, Etching, 15 x 23 inches

a l b r e c h t d Ăź r e r (1471-1 528) 156

Virgin with the Swaddled Child 1520, Engraving 5 ž x 3 ⅞ inches A brilliant, richly inked Meder A impression.

Ex. collection David Bernhard Hausmann (Lugt 377, verso). Trimmed on the plate mark.

Bartsch 38; Meder 40.

157 r e m b r a n d t va n r i j n (16 0 6 -16 6 9) The Flight into Egypt: Crossing a Brook

1654, Etching, 3 ¾ x 5 ¾ inches Usticke’s second state (e) (of three), with little or no wear in the densest areas of fine cross-hatching and with still somewhat sharper square plate corners. A superb, evenly printed impression with strong contrasts. Barrsch 55; Biorklund 54-D; Hollstein (White and Boon) 55.

158 r e m b r a n d t va n r i j n (16 0 6 -16 6 9) The Angel Departing from the Family of Tobias

1641, Etching & drypoint, 4 ⅛ x 6 ¼ inches A superb, early impression, with the drypoint printing strongly on the back of Tobias’s head, with strong contrasts and inky plate edges. Biorklund’s third state (of six), before the lines in the blank triangular space lower left; Usticke’s third state (of seven); White and Boon’s second state (of four). Ex. collection Jan Baptist de Graaf (Lugt 1120, lower left recto), Alexandre-Pierre-Francois Robert Dumesnil (Lugt 2200, lower center recto) and Frederik F. Hansen (Lugt 2813, verso).

pau l s i g n ac (1 8 6 3 -1 9 3 5) 159

La Seine en Crue en. 1910, 1923, Lithograph 5 ¾ x 8 ½ inches

a l b e r t m a r q u e t (1 8 9 6 -1 9 8 4) 160

Le Port de Naples 1925, Lithograph 8 ¾ x 5 ⅜ inches Original lithograph, signed in pencil with the blindstamp of the publisher, Galerie des Peintres-Graveurs. On chine voland, with large, full margins, in good condition.

161

161 pau l c é z a n n e (1 8 3 9 -1 9 0 6) Paysage á Auvers, July 1873, Etching, 5 ⅛ x 4 ⅜ inches 162 j a m e s e n s o r (1 8 6 0 -1 9 4 9) Sentier A Groenedael, 1888, Etching (second state) 5 ½ x 4 inches Original etching, second (final) state, printed by Evely, on Japan, with large margins, in good condition

162

f e r n a n d l é g e r (1 8 81-1 9 5 5) 163

Tête de Femme (Head of a Woman) 1949, Color lithograph, 260/300 24 ½ x 17 inches, Signed

164

164

165

g e o r g e s r o uau lt (1 871-1 9 5 8) Ballerine, 1930, Aquatint, Edition of 270, 12 ¼ x 8 ¼ inches

165 g e o r g e s r o uau lt (1 871-1 9 5 8) Jongleur, 1930, Aquatint, Edition of 270, 12 ¼ x 8 ¼ inches 166 g e o r g e s r o uau lt (1 871-1 9 5 8) L’ Quais, 1937, Aquatint, 12 x 8 ⅛ inches

166

167 way n e t h i e b au d (b o r n 1 9 2 0) Six Italian Desserts, 1979, Color lithograph, 19/50, 15 x 20 inches, Signed, dated & numbered

w i l l i a m a s h b y m c c l oy (1 91 3 -2 0 0 0)

168

Ladder VIII (The Barrier) 1982, Collograph & silkscreen on Murillo, A.P. 15 11 ¼ x 17 ¼ inches Signed

169

Ladder II 1980, Collograph on Rives BFK, A.P. 7 11 ½ x 18 inches Signed

170

The Five Ages 1982, Collograph & silkscreen on Murillo, A.P. 2/6 14 x 20 ½ inches Signed

171

17 2

171 e l l s w o r t h k e l ly (b o r n 1 9 2 3) Black Curve,

1972, One-color linecut, embossed, 41/75, 17 ¼ x 20 ½ inches, Signed & numbered 172 a k i o ta k a m o r i (b o r n 1 9 5 0) Fruit Tree, 1993, Screenprint, 1/30, 29 ½ x 11 inches

174 17 3

173 j o s e f a l b e r s (1 8 8 8 -1 976) Untitled, 1964, Color lithograph, 65/125, 11 x 10 ⅞ inches, Signed & numbered 174 r o g e r s h i m o m u r a (b o r n 1 9 3 9) Match, No Mix, No. 1, 1993, Lithograph, 1/30, 19 ¾ x 24 ¼ inches, Signed

175

176

175 e d i t h s t e r n f e l d (1 8 9 8 -1 9 9 0) Field and Mountain Scene with Cattle, c. 1960, Watercolor, 15 ½ x 14 inches 176 f l o r e n c e W h i t e w i l l i a m s (1 9 0 0 -1 9 5 3) Berkshires: Near Summit of Peterburg Mountain where New York and Massachusetts Meet,

c. 1930, Watercolor, 8 ¾ x 9 ¾ inches, Signed

177 r o g e r m e d e a r i s (1 9 2 0 -2 0 01) Figure on a Pathway in a Landscape,

1969, Graphite, 17 ½ x 23 Ÿ inches, Signed & dated

17 8

17 9

178 r o g e r m e d e a r i s (1 9 2 0 -2 0 01) The Butterfly, 1987, Hand-colored lithograph, 84/100, 15 ½ x 11 ½ inches, Signed 179 r o g e r m e d e a r i s (1 9 2 0 -2 0 01) The Sycamore II, 1993, Hand-colored lithograph, 60/100, 15 ½ x 17 ¾ inches, Signed

181

182

180 r o g e r m e d e a r i s (1 9 2 0 -2 0 01) Country Singer, 1995, Lithograph, 26/100, 14 x 19 ⅞ inches, Signed 181 r o g e r m e d e a r i s (1 9 2 0 -2 0 01) The Butterfly, 1987, Lithograph, 60/100, 16 x 12 inches, Signed 182 r o g e r m e d e a r i s (1 9 2 0 -2 0 01) The Sycamore I, 1993, Lithograph, 16/100, 15 x 17 ž inches, Signed

180

196

186 183

190

193

187

1 97

191

194

184 198

188

185

189

192

195

199

t h o m a s c o l e m a n (1 9 3 5 -1 971)

183

184

Tortoise

189

Tow Shells: Tarragona

195

1969, Mezzotint, 5/30

1964, Intaglio

5 13∕16 x 6 13∕16

7 ⅝ x 9 ∕16 inches

17 ⅝ x 10 15∕16 inches

Window

3

190

John Reflected in a Toy

196

The Gibbet: After Rembrandt

1969, Four-color lithograph

1968, Tri-color lithograph

1961, Intaglio

Edition of 10

Edition of 10

14 ¾ x 12 ⅜ inches

15 7∕16 x 11 15∕16 inches

15 9∕16 x 12 inches 197

185

The Day

1961, Intaglio

Kx9

Small Fortune I

J.P. with Tin Bug

1965, Embossed intaglio

1969, Lithograph

1966, Tri-color lithograph

Edition of 25

Edition of 10

13 ⅛ x 11 ⅞ inches

18 ⅞ x 12 9∕16 inches

191

9 ½ x 9 ½ inches 192 186

The Painter C.R.

198

White Circle

Large Skindiver

1961, Intaglio

1964, Intaglio

1964, Four-color intaglio

Edition of 8

Edition of 20

Edition of 25

18 ∕16 x 13 ¾ inches

17 9∕16 x 11 9∕16 inches

7

17 ⅝ x 23 ∕16 inches 7

193 187

188

Untitled: Four Shells

Diagram

199

Pluto

1966, Five-color lithograph

1966, Engraving

1970, Lithograph

Edition of 10

Edition of 25

12 x 17 ¾ inches

19 x 12 ⅞ inches

13 15∕16 x 11 inches

Bird

*a l l

One Shell

194

1969, Intaglio

1962, Intaglio

Edition of 15

Edition of 12

11 ½ x 17 ¼ inches

17 5∕6 x 11 7∕16 inches

signed

203 207

210

200

204 208

211

209

21 2

201

205

202

206

t h o m a s c o l e m a n (1 9 3 5 -1 971)

200

Large Fortune

206

Actor

1964, Intaglio, 17/30

1962, Etching, 15/15

23 9∕16 x 19 ¾ inches

23 ⅝ x 14 ¾ inches

212

E.V.A. 1966, Five-color lithograph Edition of 10 18 x 13 9∕16 inches

201

Personal Muse

207

Photo: Andorra

1962, Etching & aquatint

1970, Four-color lithograph

Edition of 20

Edition of 10

1964, Tri-color intaglio

8 7∕16 x 6 ¾ inches

14 ¾ x 19 ⅝ inches

Edition of 25

213

Skindiver: Nebraska Navy

15 11∕16 x 11 ¾ inches 202

203

204

205

Untitled: Two Women

208

Cropduster

with Glasses

1964, Etching & engraving

1969, Two-color lithograph

Edition of 20

17 5∕6 x 20 ⅞ inches

16 ¾ x 20 ⅜ inches

Small Fortune II

209

1968, Tri-color lithograph

photoengraving & etching

Edition of 10

16 ¾ x 14 inches

15 ¾ x 11 ¾ inches 210

1968, Tri-color lithograph

Edition of 25

Edition of 10

10 ⅞ x 13 9∕16 inches

12 x 15 7∕16 inches 211

signed

Baby Sucking Her Toe

1966, Etching

Where is Your Axis?

*a l l

Dog Jumping for a Balloon

1966, Four-color

K.H.

Signed

Ak-sar-ben

1963, Intaglio

1965, Photoengraving & etching

16 x 15 15∕16 inches

Edition of 25 17 ⅝ x 22 ⅝ inches

213

Art of the West spring 2007 Louis Ribak, Rocks of Atlantis

gallery

director

5733 South 34th Street

Vivian Kiechel

Suite 300

vivian@kiechelart.com

Lincoln, Nebraska 68516 T 402.420.9553 F 402.420.9554

gallery director

Buck Kiechel buck1@kiechelart.com

office

2341 Bretigne Drive Lincoln, Nebraska 68512 T 402.423.0340 F 402.423.4270

a s s o c i at e d i r ec t o r

Gloria Garrett gloria@kiechelart.com l ay o u t & d e s i g n

w w w. k i e c h e l a r t. c o m g a l l e r y @ k i e c h e l a r t. c o m

Josie Stauffer josie@kiechelart.com