Browse a sampling from our inventory below. We have many outstanding examples of 20th century art and design not illustrated here. We invite your inquiries.
Please be sure to visit our vintage book page.
We invite you to visit our archive to view works of art and design formerly in our inventory that are now in museums and private collections.
silver
&item=A Rare Sterling Silver Bowl&materials=&made_place=United States&made_year=circa 1950&dimensions=12 inches across&marked=Marked: <i>ALLAN ADLER/STERLING</i>&addendum=Related works illustrated in: <i>Allan Adler: A Top Name in Silver Connotes Versatility.</i> <u>Craft Horizons</u>, December 1954, 19.<br /><br />The teardrop shape as seen in this example was a favorite of the designer's and was utilized by him in his well known teardrop shaped tea and coffee service and related sugar caster.
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glass
&item=A <i>Huntu/Veil</i> Glass Vase&materials=&made_place=Made at the Nuutajarvi Glassworks, Finland&made_year=1947&dimensions=9.5 inches tall&marked=Signed: <i>Gunnel Nyman Nuutajarvi Notsjo</i>&addendum=
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&item=A Glass Bud Vase, Model 1309&materials=&made_place=Made at the Riihimaki glassworks, Finland&made_year=1963&dimensions=5 inches high&marked=Signed: <i>RIIHIMAEN LASO OY NANNY STILL</i>&addendum=On Nanny Still:<br><u>Nanny Still:Design 45 Anni</u>. Riihimaki, Finland: Suomen Lasimuseo, 1996 (this model illustrated on page 99.
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&item=<i>Pompadour</i>,A Cased Glass Vase&materials=&made_place=Made at the Riihimaki glassworks, Finland&made_year=1966&dimensions=10.5 inches tall&marked=&addendum=On Nanny Still:<br><u>Nanny Still:Design 45 Anni</u>. Riihimaki, Finland: Suomen Lasimuseo, 1996 (this model illustrated on page 102.
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&item=A Group of Three Opaque Glass Vases&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=circa 1969&dimensions=12, 10 and 5 inches tall respectively&marked=Signed: <i>Heikki Orvola Nuutajarvi Notsjo</i>&addendum=On Heikki Orvola: <u>The Modern Spirit - Glass From Finland</u>. Helsinki: The Finnish Glass Museum, 1985.
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&item=Three Glass <i>Iglu</i> Square Bowls&materials=&made_place=Made at the Nuutajarvi Glassworks, Finland&made_year=1973&dimensions=Large pair, 5.25 inches square each&marked=Signed: <i>Oiva Toikka Nuutajarvi Notsjo</i>&addendum=On Oiva Toikka: Alan Rosenberg. <i>Oiva Toikka.</i> in <u>Contemporary Designers</u>, Sara Pendergast, ed. London: Saint James Press, 1995.
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&item=A Cased Glass Vase, Model Number 1471&materials=&made_place=Made at the Riihimaki glassworks, Finland&made_year=circa 1966&dimensions=10 inches tall&marked=&addendum=
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&item=Two Cased Glass Vases, Model 1472&materials=&made_place=Made at the Riihimaki glassworks, Finland&made_year=circa 1966&dimensions=12 and 10 inches tall&marked=&addendum=
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&item=<i>Stromboli</i>, Cased Glass Vases, Model Number 1436 &materials=&made_place=Made at the Riihimaki glassworks, Finland&made_year=1963&dimensions=6 and 8 inches tall, respectively&marked=Marked with the firm's acid etched mark and engraved number 1436 &addendum=
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&item=A Glass Vase&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=circa 1960&dimensions=7.75 inches tall x 8 inches diameter&marked=&addendum=
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&item=A Set of Two Cased Glass Vases&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=1962&dimensions=Both 6.25 inches high, one 6 inches diameter, the other 5 inches diameter&marked=Both signed: <i>K.F. Nuutajarvi Notsjo - 62</i>&addendum=On Kaj Franck: Christopher Mount. <u>Kaj Franck: Designer</u>. New York: Museum of Modern Art, 1992.
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&item=A Cased Glass Vase&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=1965&dimensions=10.25 inches tall&marked=Signed: <i>K.F. Nuutajarvi Notsjo - 65</i>&addendum=On Kaj Franck: Christopher Mount. <u>Kaj Franck: Designer</u>. New York: Museum of Modern Art, 1992.
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&item=A Pair of Glass Vases&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=circa 1965&dimensions=6.25 inches high&marked=Both retaining their original labels: <i>Nuutajarvi/Notsjo - 1793/Suomi - Finland</i>&addendum=On Kaj Franck: Christopher Mount. <u>Kaj Franck: Designer</u>. New York: Museum of Modern Art, 1992.
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&item=A <i>Sargasso</i> Glass Goblet-Form Vase&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=1966&dimensions=6.25 inches high&marked=Signed: <i>Nuutajarvi Notsjo</i>&addendum=Illustrated in Ulf Hard af Segerstad, et al. <u>Kaj Franck, Designer</u>. Porvoo: Taideteollisuusmuseo, 1992, 202.
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&item=A Pair of Glass Goblets and a Bud Vase&materials=&made_place=Made at the Nuutajarvi glassworks, Finland&made_year=circa 1968&dimensions=4 inches high, each&marked=Signed: <i>Kaj Franck Nuutajarvi Notsjo</i>&addendum=On Kaj Franck: Ulf Hard af Segerstad, et al. <u>Kaj Franck, Designer</u>. Porvoo: Taideteollisuusmuseo, 1992.
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&item=A Rare Group of four <i>Aurinkopallo</i> (<i>Sunballs</i>)&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1956&dimensions=Largest 7.5 inches diameter&marked=Signed: <i>TS</i>&addendum=<i>In pure art glass the artist is subjective; in it he expresses his personality and ideas without... thought for practical considerations.... In pure utility glass chiefly practical and economic requirements are satisfied.... A long-awaited intermediate group appears in the new glass created by Timo Sarpaneva and now introduced by Iittala. It is utility glass in that it is intended for practical use, being the result of a specialized study. It is artistic glass in that each item in the group has its own aesthetic value, its own personality</i>. -Iittala <i>i-glass</i> brochure, 1956.<br /><br />Illustrated and described in: <u>Finnish Glass: Glass Manufacturers' Brochures from the 1950s</u>. Riihimaki, Finland: The Finnish Glass Museum, 1994, page 17.
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&item=Two Glass Bowls, <i>i-glass</i> Series&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1956&dimensions=5 and 6 inches high&marked=Signed: <i>TIMO SARPANEVA 25302</i>&addendum=<i>In pure art glass the artist is subjective; in it he expresses his personality and ideas without... thought for practical considerations.... In pure utility glass chiefly practical and economic requirements are satisfied.... A long-awaited intermediate group appears in the new glass created by Timo Sarpaneva and now introduced by Iittala. It is utility glass in that it is intended for practical use, being the result of a specialized study. It is artistic glass in that each item in the group has its own aesthetic value, its own personality</i>. -Iittala <i>i-glass</i> brochure, 1956.<br /><br />Illustrated and described in: <u>Finnish Glass: Glass Manufacturers' Brochures from the 1950s</u>. Riihimaki, Finland: The Finnish Glass Museum, 1994, page 16.
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&item=A Glass Bottle, <i>i-glass</i> Series, Model i-400&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1956&dimensions=7.5 inches tall&marked=&addendum=<i>In pure art glass the artist is subjective; in it he expresses his personality and ideas without... thought for practical considerations.... In pure utility glass chiefly practical and economic requirements are satisfied.... A long-awaited intermediate group appears in the new glass created by Timo Sarpaneva and now introduced by Iittala. It is utility glass in that it is intended for practical use, being the result of a specialized study. It is artistic glass in that each item in the group has its own aesthetic value, its own personality</i>. -Iittala <i>i-glass</i> brochure, 1956.<br /><br />Illustrated and described in: <u>Finnish Glass: Glass Manufacturers' Brochures from the 1950s</u>. Riihimaki, Finland: The Finnish Glass Museum, 1994, page 19.
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&item=A Glass Carafe and Four Tumblers (one shown) and a Matching Vase, <i>i-glass</i> Series, Carafe, model i-401; tumblers model, i-102&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1956&dimensions=Carafe--6.5 inches tall&marked=Signed: <i>T. SARPANEVA 2504</i>&addendum=<i>In pure art glass the artist is subjective; in it he expresses his personality and ideas without... thought for practical considerations.... In pure utility glass chiefly practical and economic requirements are satisfied.... A long-awaited intermediate group appears in the new glass created by Timo Sarpaneva and now introduced by Iittala. It is utility glass in that it is intended for practical use, being the result of a specialized study. It is artistic glass in that each item in the group has its own aesthetic value, its own personality</i>. -Iittala <i>i-glass</i> brochure, 1956.<br /><br />Illustrated and described in: <u>Finnish Glass: Glass Manufacturers' Brochures from the 1950s</u>. Riihimaki, Finland: The Finnish Glass Museum, 1994, page 19.
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&item=A Glass <i>Finlandia</i> Vase, Model 3350&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1964&dimensions=9.75 inches high&marked=Signed: <i>timo sarpaneva 3350</i>&addendum=Related examples illustrated and described in: <u>Timo Sarpaneva: A Retrospective</u>. New York: American Craft Museum, 1994.
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&item=A Glass <i>Finlandia</i> Bowl, Model 3357&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1964&dimensions=3.75 inches high, 6.75 inches diameter&marked=Signed: <i>timo sarpaneva 3357</i>&addendum=Related examples illustrated and described in: <u>Timo Sarpaneva: A Retrospective</u>. New York: American Craft Museum, 1994.
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&item=A Glass <i>Finlandia</i> Vase, Model 3359&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1964&dimensions=11.25 inches high&marked=Signed: <i>TIMO SARPANEVA 3359</i>&addendum=Related examples illustrated and described in: <u>Timo Sarpaneva: A Retrospective</u>. New York: American Craft Museum, 1994.
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&item=Three Glass <i>Finlandia</i> Vases&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1964&dimensions=the tallest 7 inches&marked=&addendum=Related examples illustrated and described in: <u>Timo Sarpaneva: A Retrospective</u>. New York: American Craft Museum, 1994.
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&item=A Glass <i>Novitas</i> Vase&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1964&dimensions=9 inches tall&marked=Signed: <i>TS</i>&addendum=On Timo Sarpaneva: <u>Timo Sarpaneva: A Retrospective</u>. New York: American Craft Museum, 1994.
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&item=A Glass <i>Novitas</i> Vase&materials=&made_place=Made at the Iittala glassworks, Finland&made_year=1964&dimensions=7.25 inches tall&marked=Signed: <i>TS</i>&addendum=On Timo Sarpaneva: <u>Timo Sarpaneva: A Retrospective</u>. New York: American Craft Museum, 1994.
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ceramics, enamels, etc.
&item=A Matte Glazed Stoneware Plate&materials=&made_place=Made in the artist's studio in Ann Arbor, MI&made_year=circa 1960&dimensions=9 inches diameter&marked=Signed: <i>JT</i>&addendum=J. T. Abernathy studied at the famed Cranbrook Academy of Art where he was a student of Finnish ceramist Maija Grotell. He has worked as an independent artisan in Ann Arbor, Michigan, since 1956. His work is distinguished by it abstract, calligraphic decoration and unusually large scale.<br /><br />Partial bibliography:<br />“The Ceramics of J.T. Abernathy.” <u>The Saginaw Museum Bulletin</u>, January 1955.<br /><br />Charles Meyer. “A New Group of Ceramics.” <u>Bulletin of the Detroit Institute of Arts</u>, Vol. XXXVII, #1, 1957/58.<br /><br />“Cranbrook Shows National Crafts.” <u>The Detroit News</u>, 13 October 1957, E13.
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&item=A Matte Glazed Stoneware Vase&materials=&made_place=Made in the artist's studio in Ann Arbor, MI&made_year=circa 1960&dimensions=8 inches tall&marked=Signed: <i>JT</i>&addendum=J. T. Abernathy studied at the famed Cranbrook Academy of Art where he was a student of Finnish ceramist Maija Grotell. He has worked as an independent artisan in Ann Arbor, Michigan, since 1956. His work is distinguished by it abstract, calligraphic decoration and unusually large scale.<br /><br />Partial bibliography:<br />“The Ceramics of J.T. Abernathy.” <u>The Saginaw Museum Bulletin</u>, January 1955.<br /><br />Charles Meyer. “A New Group of Ceramics.” <u>Bulletin of the Detroit Institute of Arts</u>, Vol. XXXVII, #1, 1957/58.<br /><br />“Cranbrook Shows National Crafts.” <u>The Detroit News</u>, 13 October 1957, E13.
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&item=A Selection of <i>Crater</i> Glazed Ceramic Vessels&materials=&made_place=Made at the Pigeon Forge Pottery (Tenessee)&made_year=circa 1960&dimensions=Various shapes and sizes up to 10 inches diameter. Several more shapes and sizes not illustrated are currently in our inventory.&marked=Signed: <i>Pigeon Forge Pottery/Douglas Ferguson</i>&addendum=The Pigeon Forge Pottery was founded by Douglas Ferguson in 1946. In 1976 Helen Bullard wrote that “Douglas Ferguson's operation in Pigeon Forge is a recognized pattern for an artistic, small-production, prestigious and profitable craft set-up.”<br /><br />Selected references on Douglas Ferguson:<br />Edward L. Dupuy and Emma Weaver. <u>Artisans of the Appalachians</u>. Asheville, NC: The Miller Printing Company, 1967, 54-55.<br /><br />Helen Bullard. <u>Crafts and Craftsmen of the Tennessee Mountains</u>. Falls Church, VA: The Summit Press, Ltd., 1976, 21-24.
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&item=A Selection of <i>Crater</i> Glazed Ceramic Vases&materials=&made_place=Made at the Pigeon Forge Pottery (Tenessee)&made_year=circa 1960&dimensions=Various shapes and sizes up to 11 inches in height. Several more shapes and sizes not illustrated are currently in our inventory.&marked=Signed: <i>Pigeon Forge Pottery/Douglas Ferguson</i>&addendum=The Pigeon Forge Pottery was founded by Douglas Ferguson in 1946. In 1976 Helen Bullard wrote that “Douglas Ferguson's operation in Pigeon Forge is a recognized pattern for an artistic, small-production, prestigious and profitable craft set-up.”<br /><br />Selected references on Douglas Ferguson:<br />Edward L. Dupuy and Emma Weaver. <u>Artisans of the Appalachians</u>. Asheville, NC: The Miller Printing Company, 1967, 54-55.<br /><br />Helen Bullard. <u>Crafts and Craftsmen of the Tennessee Mountains</u>. Falls Church, VA: The Summit Press, Ltd., 1976, 21-24.
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&item=A Selection of Drip Glazed Ceramic Vessels&materials=&made_place=Made at the Pigeon Forge Pottery (Tenessee)&made_year=circa 1960&dimensions=Various shapes and sizes up to 9 inches diameter. Several more shapes and sizes not illustrated are currently in our inventory.&marked=Signed: <i>Pigeon Forge Pottery/Douglas Ferguson</i>&addendum=The Pigeon Forge Pottery was founded by Douglas Ferguson in 1946. In 1976 Helen Bullard wrote that “Douglas Ferguson's operation in Pigeon Forge is a recognized pattern for an artistic, small-production, prestigious and profitable craft set-up.”<br /><br />Selected references on Douglas Ferguson:<br />Edward L. Dupuy and Emma Weaver. <u>Artisans of the Appalachians</u>. Asheville, NC: The Miller Printing Company, 1967, 54-55.<br /><br />Helen Bullard. <u>Crafts and Craftsmen of the Tennessee Mountains</u>. Falls Church, VA: The Summit Press, Ltd., 1976, 21-24.
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&item=<i>Jewel</i> plates, enamel on copper&materials=&made_place=United States&made_year=circa 1970&dimensions=&marked=Signed with the artist's characteristic device&addendum=On Annemarie Davidson:<br><br>(Hal Nelson). <u>The Enamels of Annemarie Davidson</u>. Long Beach, CA: The Long Beach Museum of Art, 2004.<br><br> Alan Rosenberg. <i>Alluring Enamel.</i> <u>Modernism Magazine</u>. Spring 2003.
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&item=<i>Jewel</i> plates and canister, enamel on copper&materials=&made_place=United States&made_year=circa 1970&dimensions=&marked=Signed with the artist's characteristic device&addendum=On Annemarie Davidson:<br><br>(Hal Nelson). <u>The Enamels of Annemarie Davidson</u>. Long Beach, CA: The Long Beach Museum of Art, 2004.<br><br> Alan Rosenberg. <i>Alluring Enamel.</i> <u>Modernism Magazine</u>. Spring 2003.
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&item=<i>Jewel</i> plate, enamel on copper&materials=&made_place=United States&made_year=circa 1970&dimensions=9 inches square&marked=Signed with the artist's characteristic device&addendum=On Annemarie Davidson:<br><br>(Hal Nelson). <u>The Enamels of Annemarie Davidson</u>. Long Beach, CA: The Long Beach Museum of Art, 2004.<br><br> Alan Rosenberg. <i>Alluring Enamel.</i> <u>Modernism Magazine</u>. Spring 2003.
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&item=Rosewood boxes with enameled lids (wood boxes handmade by Blaine Rathe) &materials=&made_place=United States&made_year=&dimensions=4 x 6 inches&marked=Signed with the artist's characteristic device&addendum=On Annemarie Davidson:<br><br>(Hal Nelson). <u>The Enamels of Annemarie Davidson</u>. Long Beach, CA: The Long Beach Museum of Art, 2004.<br><br> Alan Rosenberg. <i>Alluring Enamel.</i> <u>Modernism Magazine</u>. Spring 2003.
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&item=Walnut boxes with enamel inset lids (wood boxes handmade by Blaine Rathe)&materials=&made_place=United States&made_year=&dimensions=3.5 x 9.25 inches&marked=Signed with the artist's characteristic device&addendum=On Annemarie Davidson:<br><br>(Hal Nelson). <u>The Enamels of Annemarie Davidson</u>. Long Beach, CA: The Long Beach Museum of Art, 2004.<br><br> Alan Rosenberg. <i>Alluring Enamel.</i> <u>Modernism Magazine</u>. Spring 2003.
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furniture, lamps, etc.
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&item=A Printed Linen Textile Sample&materials=&made_place=Manufactured by Schumacher&made_year=1955&dimensions=46 x 23 inches&marked=Marked in selvage <i>The Taliesin Line of Frank Lloyd Wright</i> with Wright's characteristic mark&addendum=
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&item=A Printed Linen Textile Sample&materials=&made_place=Manufactured by Schumacher&made_year=1955&dimensions=45.5 x 23 inches&marked=Marked in selvage <i>Design 101 an Exclusive Schumacher Handprint</i> &addendum=
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fine art
&item=<i>Untitled (ABI)</i>&materials=Gouache on board, in original frame&made_place=&made_year=1945&dimensions=22 x 18 inches (sight)&marked=Signed and dated: <i>Edward John Stevens, Jr. 1945</i>&addendum=Stevens was featured on the cover of <u>Life</u> magazine in 1950 (<i>Nineteen Young American Artists</i>. <u>Life</u>, 20 March 1950).<br><br>Selected Bibliography:<br><i>Stevens: a Precocious Talent Comes of Age</i>. <u>Art News</u>, February 1946, 98.<br><br>Alene Talmey. <i>Vogue Spotlight.</i> <u> Vogue</u>, 15 March 1946, 155.<br><br><i>TodayÕs Collectors: Broker Buys American</i> [Roy Neuberger collection]. <u>Art News</u>, May 1946, 54.<br><br><i>Nineteen Young American Artists.</i> <u>Life</u>, 20 March 1950 (Stevens on cover).<br><br><i>The Watercolor Series: Presenting Edward John Stevens, Jr.</i> <u>American Artist</u>, October 1953, 49.
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&item=<i>Still Life</i>&materials=Gouache on paper, framed&made_place=&made_year=1945&dimensions=22 x 18 inches, sight; 32 x 28 inches, framed&marked=Signed and dated: <i>Edward John Stevens, Jr. 1945</i>&addendum=Stevens was featured on the cover of <u>Life</u> magazine in 1950 (<i>Nineteen Young American Artists</i>. <u>Life</u>, 20 March 1950).<br><br>Selected Bibliography:<br><i>Stevens: a Precocious Talent Comes of Age</i>. <u>Art News</u>, February 1946, 98.<br><br>Alene Talmey. <i>Vogue Spotlight.</i> <u> Vogue</u>, 15 March 1946, 155.<br><br><i>TodayÕs Collectors: Broker Buys American</i> [Roy Neuberger collection]. <u>Art News</u>, May 1946, 54.<br><br><i>Nineteen Young American Artists.</i> <u>Life</u>, 20 March 1950 (Stevens on cover).<br><br><i>The Watercolor Series: Presenting Edward John Stevens, Jr.</i> <u>American Artist</u>, October 1953, 49.
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&item=<i>Jungle Altar</i>&materials=Gouache on paper in original frame&made_place=&made_year=1946&dimensions=22 x 18 inches (sight)&marked=Signed and dated: <i>Edward John Stevens, Jr./1946</i>Inscribed in margin: Jungle Altar Edward John Stevens, Jr. 1946</i>&addendum=Stevens was featured on the cover of <u>Life</u> magazine in 1950 (<i>Nineteen Young American Artists</i>. <u>Life</u>, 20 March 1950).<br><br>Selected Bibliography:<br><i>Stevens: a Precocious Talent Comes of Age</i>. <u>Art News</u>, February 1946, 98.<br><br>Alene Talmey. <i>Vogue Spotlight.</i> <u> Vogue</u>, 15 March 1946, 155.<br><br><i>TodayÕs Collectors: Broker Buys American</i> [Roy Neuberger collection]. <u>Art News</u>, May 1946, 54.<br><br><i>Nineteen Young American Artists.</i> <u>Life</u>, 20 March 1950 (Stevens on cover).<br><br><i>The Watercolor Series: Presenting Edward John Stevens, Jr.</i> <u>American Artist</u>, October 1953, 49.
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&item=<i>Ancient God</i>&materials=Gouache on paper in original frame&made_place=&made_year=1950&dimensions=21 x 16.75 inches, sight; 32 x 27 inches, framed&marked=Signed and dated: <i>Edward John Stevens, Jr. 1950</i>&addendum=Stevens was featured on the cover of <u>Life</u> magazine in 1950 (<i>Nineteen Young American Artists</i>. <u>Life</u>, 20 March 1950).<br><br>Selected Bibliography:<br><i>Stevens: a Precocious Talent Comes of Age</i>. <u>Art News</u>, February 1946, 98.<br><br>Alene Talmey. <i>Vogue Spotlight.</i> <u> Vogue</u>, 15 March 1946, 155.<br><br><i>TodayÕs Collectors: Broker Buys American</i> [Roy Neuberger collection]. <u>Art News</u>, May 1946, 54.<br><br><i>Nineteen Young American Artists.</i> <u>Life</u>, 20 March 1950 (Stevens on cover).<br><br><i>The Watercolor Series: Presenting Edward John Stevens, Jr.</i> <u>American Artist</u>, October 1953, 49.
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&item=<i>Sea Flowers</i>&materials=Gouache on paper in original frame&made_place=&made_year=1955&dimensions=22 x 18 inches (sight)&marked=Signed and dated: <i>Edward John Stevens, Jr. 1955</i>&addendum=Stevens was featured on the cover of <u>Life</u> magazine in 1950 (<i>Nineteen Young American Artists</i>. <u>Life</u>, 20 March 1950).<br><br>Selected Bibliography:<br><i>Stevens: a Precocious Talent Comes of Age</i>. <u>Art News</u>, February 1946, 98.<br><br>Alene Talmey. <i>Vogue Spotlight.</i> <u> Vogue</u>, 15 March 1946, 155.<br><br><i>TodayÕs Collectors: Broker Buys American</i> [Roy Neuberger collection]. <u>Art News</u>, May 1946, 54.<br><br><i>Nineteen Young American Artists.</i> <u>Life</u>, 20 March 1950 (Stevens on cover).<br><br><i>The Watercolor Series: Presenting Edward John Stevens, Jr.</i> <u>American Artist</u>, October 1953, 49.
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&item=<i>Still Life With Lemons</i>&materials=Oil on canvas, in original frame&made_place=&made_year=1960&dimensions=15.5 X 11.5 inches (sight)&marked=Signed: <i>Carlyle Brown 60</i>&addendum=Carlyle Brown began his career as a protégé of Pavel Tchelitchew. His paintings were collected by influential style-setters such as Millicent Rogers, Van Day Truex, Baron Alexis de Rede, Antonio del Castillo and Edward James.<br /><br />On Carlyle Brown: <i>Carlyle Brown of Ischia</i>. <u>Harper's Bazaar</u>, March 1953, 148.
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&item=<i>By Appointment Only</i>&materials=Acrylic on board, in original frame&made_place=&made_year=1963&dimensions=27 inches x 19 inches (sight)&marked=Signed: <i>Bobst 63</i>&addendum=<i>Tucker Bobst's work combines extraordinary craftsmanship with an inner vision that is clear and often so startlingly profound that it elevates his work to a level well above mere competence... Like the classic Japanese haiku, his works consist of carefully crafted layers of meaning and emotional nuance which can be openly and amusingly straightforward and deeply complex and disturbing at the same time</i>. -Ron Barber, <u>Tucker Bobst</u>, np: 2002
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&item=Pair of Fashion Illustrations, Commissioned by <i>Mademoiselle</i>&materials=Gouache on board&made_place=&made_year=circa 1950&dimensions=20 x 14 inches, each&marked=Signed: <i>Tom Funk</i>&addendum=Tom Funk's illustrations appeared frequently in Mademoiselle, House Beautiful, House and Garden, the New Yorker, Good Housekeeping and other leading magazines.
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&item=<i>Bird Cage</i>&materials=Color lithograph, framed&made_place=From an edition of 35&made_year=1956&dimensions=22 x 16.25 inches (sight)&marked=Signed: <i>Spruance 56</i>&addendum=<i>Artists tend to shy away from meeting the demands of lithography printing; and the demands of such complex color images as Spruance's are especially rigorous and stringent... Most of Spruance's important color prints are quite involved, consisting of as many as ten colors... Insofar as the art of lithography in the United States is concerned, Spruance was, indeed, a twentieth-century pioneer in the use of color. </i>-Ruth E. Fine. <br /><br />Selected references on Benton Spruance:<br />Ruth E. Fine and Robert F. Looney. <u>The Prints of Benton Murdoch Spruance: a Catalogue Raisonne</u>. Philadelphia: University of Pennsylvania Press, 1986. <br /><br />Lloyd M. Abernathy. <u>Benton Spruance, the Artist and the Man</u>. Philadelphia: Art Alliance Press, 1988.
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&item=<i>Magdalene</i>&materials=Color lithograph, framed&made_place=From an edition of 30&made_year=1956&dimensions=23 x 16.5 inches (sight)&marked=Signed: <i>Spruance 56</i>&addendum=<i>Artists tend to shy away from meeting the demands of lithography printing; and the demands of such complex color images as Spruance's are especially rigorous and stringent... Most of Spruance's important color prints are quite involved, consisting of as many as ten colors... Insofar as the art of lithography in the United States is concerned, Spruance was, indeed, a twentieth-century pioneer in the use of color. </i>-Ruth E. Fine. <br /><br />Selected references on Benton Spruance:<br />Ruth E. Fine and Robert F. Looney. <u>The Prints of Benton Murdoch Spruance: a Catalogue Raisonne</u>. Philadelphia: University of Pennsylvania Press, 1986. <br /><br />Lloyd M. Abernathy. <u>Benton Spruance, the Artist and the Man</u>. Philadelphia: Art Alliance Press, 1988.
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&item=<i>Bacchanalian Group After Mantegna</i>&materials=Engraving&made_place=Number 21 from an edition of 40&made_year=1948&dimensions=17.5 27.5 inches&marked=Inscribed and signed: <i>Bacchanalian Group After Mantegna 21/40 J.L. Steg 48</i>&addendum=
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&item=<i>Roman Head</i>&materials=Etching &made_place=Number 1 of an edition of 20&made_year=1945&dimensions=10 x 7 inches&marked=Signed and numbered: <i>1/20 Taubes</i>&addendum=
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&item=<i>Donna Con Ucelli</i>&materials=Lithograph&made_place=number 5 of an edition of 25&made_year=1956&dimensions=&marked=Inscribed and signed: <i>Donna Con Ucelli 5/25 Dimitri Hadzi '56 Roma</i>&addendum=On Dimitri Hadzi:<br>“Dimitri Hadzi, 85, Sculptor and Art Professor, Is Dead” [obituary]. <u>New York Times</u>, 1 May 2006.
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 &item=<i>Bullfight</i>&materials=Wood engraving in original frame&made_place=From an edition of 30&made_year=1949&dimensions=15.5 x 23.25 inches (sight)&marked=Signed: <i>Misch Kohn 1949</i>&addendum=At the time it was made this print was the largest wood engraving ever achieved. The print is in its original, wonderful, frame and the original mat and interior have been replaced with archival materials. <br /><br />Illustrated and discussed in: <br /><br />Carl Zigrosser. <u>Misch Kohn</u>. New York: The American Federation of Arts, 1961.<br /><br />Jo Farb Hernandez. <u>Misch Kohn: Beyond the Tradition</u>. Monterey, CA: Monterey Museum of Art, 1998. <br /><br /><i>Bullfight was the first of a series of masterpieces that were innovations in many ways. Technically they were innovations because of their large size, unprecedented in wood engraving; also because of their combination of minute textures and big over-all design, and because of the way in which they were printed, that is to say not in a regular woodcut press but in a lithographic press... Misch Kohn is one of the few contemporary printmakers whose work approaches the high caliber of [the] great print tradition. The important phase of his work was inaugurated in 1949 with the large wood engravings Bull Fight and Tiger.... Bull Fight is a full-rounded statement. It is not just another bullfight but a portrayal of the essential drama of life and death, a ritual ballet in which the elegance and precision of the matador and the power and fury of the bull play their part.</i> -Carl Zigrosser, 1961.
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 &item=<i>Mountain Climbers</i>&materials=Wood engraving&made_place=From an edition of 30&made_year=1950&dimensions=27.25 x 10.5 inches&marked=Inscribed and signed: <i>30 imp Mountain Climbers Misch Kohn 1950</i>&addendum=Illustrated and discussed in: <br /><br />Carl Zigrosser. <u>Misch Kohn</u>. New York: The American Federation of Arts, 1961.<br /><br />Jo Farb Hernandez. <u>Misch Kohn: Beyond the Tradition</u>. Monterey, CA: Monterey Museum of Art, 1998.
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&item=<i>Untitled</i>&materials=Etching and engraving&made_place=&made_year=1951&dimensions=9.5 x 6.5&marked=Signed: <i>Vincent Malta Ô51</i>&addendum=Selected bibliography:<br>Jules Heller. <u>Printmaking Today</u>. New York: Holt, Rinehart and Winston, 1958.<br><br><u>Art Students League Annual</u>. New York: Art Students League, 1978, 54.<br><br>Vincent M. Mallozzi, “Success Finally Catches Up With an Artist.” <u>New York Times</u>, October 20, 2005.
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&item=<i>Homage to Lieou Pei</i>&materials=Woodcut&made_place=Artist's Proof (edition of 200)&made_year=1952&dimensions=12 x 16 inches&marked=Inscribed and signed: <i> Homage to Lieou Pei Artist's Proof S. Moy - 52</i>&addendum=On Seong Moy:<br>David Acton. <u>A Spectrum of Innovation: Color in American Printmaking, 1890-1960</u>. Worcester, MA: Worcester Art Museum, 1990.
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&item=<i>Fish in Nets 2</i>&materials=Engraving and aquatint&made_place=Published by the Color Print Society, 1953&made_year=&dimensions=15 x 18 inches&marked=Inscribed and signed: <i>Fish in Nets 2 Danny 53</i>&addendum=On Danny Pierce:<br><i>Fish in Nets</i> described in Irvin Haas, “May Color Prints,” <u>Art News</u>, May 1953, 12.
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&item=<i>Pierced and Beset</i>&materials=Intaglio color print&made_place=Number 10 of an edition of 15&made_year=1952&dimensions=16 x 24 inches&marked=Inscribed and signed: <i>Pierced and Beset 10/15 Lee Chesney 52</i>&addendum=<br><i>Pierced and Beset</i> illustrated in “New Talent in the USA,” <u>Art in America</u>, February 1956, 52.<br><br>On Lee Chesney:<br>David Acton. <u>A Spectrum of Innovation: Color in American Printmaking, 1890-1960</u>. Worcester, MA: Worcester Art Museum, 1990.
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&item=<i>Untitled</i>&materials=Woodcut&made_place=Number 4 of an edition of 12&made_year=1953&dimensions=&marked=Signed: <i>W.L./1950</i>&addendum=One shown from a series of three related prints in our inventory.<br /><br />William Littlefield was the subject of a retrospective exhibition at the Cape Cod Museum of Art, 2006.
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&item=<i>Untitled</i>&materials=Engraving&made_place=Artist's proof&made_year=Circa 1965&dimensions=17.5 x 12 inches&marked=Signed: <i>Piza EA</i>&addendum=Piza's painstaking and unusual method of gouging and manipulating his copper plates results in the highly textured surfaces of his prints, as in this example.)
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