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