American Perspectives

Kiechel Fine Art american perspectives www.kiechelart.com KIECHEL FINE ART

$20.00

K I E C H E L

F I N E

A R T

This catalogue represents a selection from Kiechel Fine Art’s recent inventory Further work can be viewed at www.kiechelart.com Frederic “Buck” Kiechel IV buck1@kiechelart.com 5733 South 34th Street, Suite 300 Lincoln, Nebraska 68516 tel: 402.420.9553 fax: 402.420.9554 Frontispiece: John Steuart Curry, Salvation is the Rock

KIECHEL FINE ART

a m e r i c a n

p e r s p e c t i v e s

K IECHEL F INE A RT c ata lo g u e

KIECHEL FINE ART

KIECHEL FINE ART

2008 Kiechel fine art

Since 1986, Kiechel Fine Art has specialized in American Regionalism.

Over the last 20 years, we have expanded our inventory to include a comprehensive collection that spans the 20th century. We are privileged to aquire and sell artwork for museum, corporate and private clients and we are pleased to offer the services of a certified appraiser. Our staff thanks its patrons and looks forward to providing exceptional service for many years to come.

KIECHEL FINE ART

in Memory of Toni Ellis

KIECHEL FINE ART

c o n t e n t s

PREFACE

3

CONTENTS

5

REGIONALISM

6-33

ASHCAN SCHOOL

34-36

AMERICAN SCENE

37-40

SOCIAL REALISM

41-45

20TH CENTURY ILLUSTRATION

46-49

THE AMERICAN WEST

50-58

NEW MEXICAN MODERNISM

59-64

SOUTHWESTERN LANDSCAPE

65-69

19th Century

71-72

MODERNISM

75-77

CONTEMPORARY LANDSCAPE

78-82

ARTISTS OF NEBRASKA

83-101

INDEX OF ARTISTS

102

KIECHEL FINE ART

thomas hart benton John Steuart Curry J o h n D e M a r t e l ly Anthony benton Gude Roger Medearis Dale Nichols Aaron Pyle Grant wood

KIECHEL FINE ART

1 John Steuart Curry Melora in the Cart c. 1944, Tempera with oil on paper laid on board 21 1/8 x 37 inches Signed lower right “John Steuart Curry” From “John Brown’s Body” by Stephen Vincent Benet The Ne’er Do Well [repainted in 1944 as Melora in the Cart] suggests economic upheaval...Curry produced...one of American art’s first images of the homeless taking to the roadways of Kansas and Oklahoma - an image that would within but a few years become emblematic of the Great Depression in America.

- Patricia Junker “John Steuart Curry: Inventing the Middle West”

KIECHEL FINE ART

2 John Steuart Curry Cherub 1940, Oil on canvas mounted on panel 20 x 16 inches Signed and dated lower left “John Steuart Curry 1940”

KIECHEL FINE ART

3 John Steuart Curry Still Life with Flowers, Vase and Statue of a Cherub c. 1939, Oil on canvas 35 x 47 inches (Right Image) Cherub Figurine

KIECHEL FINE ART

4 John Steuart Curry Sunset 1934, Oil on panel 20 x 26 inches Signed and dated lower right “John Steuart Curry 1934” An extremely simple composition in which the focal point is no longer the house or barn as in previous landscapes, but the sun itself, from which point a vigorous design of light streaks outward...This is the only real “sunset” that Curry ever did.

- Lawrence E. Schmeckebier

10 KIECHEL FINE ART

5 john sTeuart Curry Prize Stallions 1938, Lithograph Edition of 250 Published by Associated American Artists 12 3/4 x 8 3/4 inches Signed in pencil lower right “John Steuart Curry” / Titled and annotated lower left “Prize Stallions | To Chris on his Birthday | Dec 29th 1938 JSC” [Cole 31]

6 john sTeuart Curry Stallion and Jack Fighting 1943, Lithograph Edition of 250 Published by Associated American Artists 11 3/4 x 15 3/8 inches Signed in pencil lower right “John Steuart Curry” [Cole 37]

7 john sTeuart Curry Summer Afternoon 1940, Lithograph Edition of 250 Published by Associated American Artists 10 x 14 inches Signed in pencil lower right “John Steuart Curry” [Cole 35]

9 john sTeuart Curry Study for “Stallion and Jack Fighting” c. 1943, Graphite & ink on tracing paper 12 x 16 inches

10 john sTeuart Curry Study for “Summer Afternoon” 1940, Graphite 10 1/4 x 14 inches

Provenance: Estate of Kathleen Curry

Provenance: Estate of Kathleen Curry

Provenance: By descent, Chris L. Christensen, Dean of Agriculture, University of Wisconsin

8 john sTeuart Curry Study for “Prize Stallions” 1937, Conté crayon 12 x 17 inches Signed and annotated lower right “John Steuart Curry 1937 | To Chris and Cara Christensen | John & Kathleen” Provenance: By descent, Chris L. Christensen, Dean of Agriculture, University of Wisconsin

KIECHEL FINE ART 11

11 john sTeuart Curry The Fugitive 1935, Lithograph Edition of 25 12 7/8 x 9 3/8 inches Estate signed lower right by Kathleen Curry “John Steuart Curry (K.C.)” Titled lower left “Fugitive” [Cole 26]

12 john sTeuart Curry John Brown 1939, Lithograph Edition of 250 Published by Associated American Artists 14 3/4 x 10 3/4 inches Signed in pencil lower right “John Steuart Curry” [Cole 34]

13 john sTeuart Curry Coyotes Stealing a Pig (2nd Stone) 1927, Lithograph Edition of 50 10 x 15 inches Signed and dated in pencil lower right “John Steuart Curry 1927” Titled and numbered lower left “Coyotes Stealing a Pig 2nd Stone 50 prints” [Cole 3]

14 john sTeuart Curry Study for “The Fugitive” c. 1934-36, Graphite 22 1/8 x 17 inches

15 john sTeuart Curry Kansas Statehouse: Study for John Brown c. 1940, Conté Crayon 23 1/4 x 18 inches Signed and titled lower middle “Study for ‘John Brown’ John Steuart Curry 1940”

16 john sTeuart Curry Coyotes Stealing a Pig (1st Stone) 1927, Lithograph Edition of 16 10 x 15 inches Signed and dated in pencil lower right “John Steuart Curry 1927” Titled and numbered lower left “Coyotes Stealing a Pig 15/16” [Cole 2]

Provenance: Estate of Kathleen Curry

Provenance: Estate of Kathleen Curry

12 KIECHEL FINE ART

17 john sTeuart Curry Hounds and Coyotes 1931, Lithograph Edition of 25 10 x 14 inches Signed and dated in pencil lower right “John Steuart Curry 1931” Titled and numbered lower left “Hounds and Coyote 25 prints” [Cole 12]

18 john sTeuart Curry The Missed Leap 1934, Lithograph Edition of c. 250 Published by Associated American Artists 16 3/4 x 9 3/4 inches Signed in pencil lower right “John Steuart Curry” [Cole 23]

19 john sTeuart Curry Our Good Earth 1942, Lithograph Edition of 250 Published by Associated American Artists 12 3/4 x 10 1/8 inches Signed in pencil lower right “John Steuart Curry” [Cole 36]

20 john sTeuart Curry Sanctuary 1944, Lithograph Edition of 250 Published by Associated American Artists 11 5/8 x 15 5/8 inches Estate signed by Kathleen Curry lower right “John Steuart Curry (KC)” [Cole 38]

21 john sTeuart Curry The Plainsman 1945, Lithograph Edition of 250 Published by Associated American Artists 15 3/4 x 9 5/8 inches Signed in pencil lower right “John Steuart Curry” [Cole 40]

22 john sTeuart Curry Manhunt 1934, Lithograph Edition of c. 100 Published by Contemporary Print Group 9 3/4 x 12 3/4 inches Signed lower right “John Steuart Curry” Titled and dated in pencil lower left “Manhunt 1934” [Cole 22]

KIECHEL FINE ART 13

23 john sTeuart Curry Clowns in Dressing Tent 1932, Oil on masonite 12 x 16 inches Signed upper right “John Steuart Curry”

24 john sTeuart Curry Clowns and Equestrian Sketch 1932, Charcoal and chalk 15 1/4 x 19 inches Signed lower right “John Steuart Curry”

25 john sTeuart Curry The Belle of the Dove 1926, Ink, graphite and watercolor 16 1/4 x 10 3/4 inches Signed, titled and dated lower right “John S Curry The Belle of the Dove Paris Nov 1926”

26 john sTeuart Curry Parisian Street with Truck 1927, Watercolor 10 7/8 x 13 7/8 inches Signed and dated lower left “John S. Curry 27”

27 john sTeuart Curry Study of Two Oak Leaves c. 1935-40, Watercolor 18 x 12 inches

28 john sTeuart Curry Barber County, Kansas c. 1929, Watercolor 11 1/4 x 17 inches Signed and titled lower middle “John S. Curry Barber Co. 29- Kansas”

14 KIECHEL FINE ART

29 john sTeuart Curry State Fair #1 1940, Watercolor 8 x 26 1/4 inches Initialed

30 john sTeuart Curry The Prairie Fire 1940, Watercolor, ink, sepia 10 3/4 x 26 inches Titled Study for illustration from “The Prairie” by James Fenimore Cooper

KIECHEL FINE ART 15

16 KIECHEL FINE ART

31 john sTeuart Curry Study for “Salvation is the Rock” 1931, Graphite 10 1/4 x 14 1/4 inches Signed and dated lower right “John Steuart Curry 31” 32 john sTeuart Curry Study for “Salvation is the Rock” 1931, Watercolor 11 x 15 1/4 inches 33 john sTeuart Curry Salvation is the Rock 1931, Oil on canvas 20 x 24 inches Signed and dated lower right “John Steuart Curry 1931”

KIECHEL FINE ART 17

KIECHEL FINE ART 18

John Steuart Curry Salvation is the Rock O come, let us sing unto the LORD; let us make a joyful noise to the rock of our salvation. - Psalm 95:1 Grassroots religious revival meetings were popular subjects of American Regionalist painters during the 1930s. Salvation is the Rock is a masterpiece of the genre. This rare example of John Steuart Curry’s mature evangelical imagery, with its related watercolor and drawing, remained in Mrs. Kathleen Curry’s private collection until shortly before her death.

Raised in rural Kansas by strict Scots Covenanter parents, John Steuart Curry embraced the calling and commitment of his religion. Maturity deepened Curry’s faith, but the death of his brother and a friend during WWI led him to question his beliefs. The desperate years of the Great Depression intensified the artist’s doubt. By 1934, the year that he painted this work, Curry had become a celebrated member of the Regionalist triumvirate that included Thomas Hart Benton and Grant Wood.

Despite his misgivings, Curry’s religious background remained prominent in much of his work. Curry once stated that his style was formed “on the King James version of the Bible” and that he was “raised on hard work and the Shorter Catechism.” Using biblical imagery to impart his paintings with significance, Curry’s paintings use religion as a device to create parallels between biblical events and American culture.

Although two earlier paintings, Gospel Train and Prayer for Grace, 1929, are considered icons of Curry’s grassroots evangelical imagery, Salvation is the Rock, 1934, stands alone as a mature expression of the artist’s work. Preliminary studies reveal the artist’s creative process.

Originally Curry’s composition involved a preacher and his congregation.

Throughout the studies, new levels of complexity become apparent. With the addition of a choirmaster and choir in the finished painting, Curry intensifies the emotional interpretation. These carefully controlled figures become foils to the charged, turbulent worshippers. By including figures that seem to fall off the edges, the view is pushed forward into the center of the action. The preacher with his open-armed “hallelujah pose” (found in Curry’s signature works, John Brown and The Fugitive) engages the viewer. Curry uses a vibrant brush stroke, monochromatic color and carefully placed accents of vivid red to bind the two areas of figures together.

Curry’s treatment of the subject matter, from the position of both participant and disconnected observer, reflects his own difficult relationship with religion. The complexities of control, blind trust and manipulation are palpably visual. The raw emotion of this painting and complexity of design give credence to the following comment by Thomas Hart Benton: “It is not for me, yet standing, to judge our success as a whole. But I will risk thiswhatever may be said of Grant Wood and me, it will surely able said of John Curry that he was the most simply human artist of his day. Maybe, in the end, that will make him the greatest.”

19 KIECHEL FINE ART

34 THOMAS HART BENTON Harbor Scene 1918, Watercolor 10 x 15 inches Signed lower left “Benton” Exhibition History: Boise Art Museum San Francisco Museum of Modern Art “American Realism: Twentieth Century Drawings and Watercolors” November 7, 1985 - January 12, 1986

35 THOMAS HART BENTON Miners Going to Work 1940, Sepia, ink and pencil 14 x 17 inches Signed lower right “Benton” Provenance: Thomas Hart Benton Estate

18 KIECHEL FINE ART

Arts of Life in America Studies

by Henry Adams

36 THOMAS HART BENTON The Arts of Life in America (Double-Sided Figure Study) 1931, Oil on tin 21 x 16 inches Signed and dated lower left “Benton 31” (Recto image) Study for the “Indian Arts” mural (Verso image) Study for the “Arts of the South” mural

This painting is a study for Benton’s Whitney Mural of 1932, The Arts of Life in America, which is now in the New Britain Museum of American Art in New Britain, Connecticut.

This mural was Benton’s second mural of the 1930s, coming just after America Today, and was one of the most important and ambitious projects of his career. It was also one of the most controversial. When Benton delivered a lecture about the mural at the John Reed Club in January 1933, it ended in a chair-throwing brawl...The more complete of the two studies, the one on the “front,” depicts a semi-nude figure and relates to the panel Indian Arts.

The other study, showing an African-American woman feeding a baby, relates to a figure at the lower left of the panel portraying Arts of the South...What’s interesting about these two studies is that they reveal Benton’s thinking process as he developed his design...It’s rather nice that the two studies are of slightly different types: the one on the front in color, the one on the back in shades of gray, or what is known as grisaille. Benton made a point of making studies of both these types when he was planning a mural. When he was actually working on the wall he was too close to see the painting clearly. Making studies of different sorts helped him conceptualize the design, and understand exactly how the different forms fit together. When he got to the final painting, he was able to work quickly, without hesitation.

On the upper left of the study of the AfricanAmerican woman and her baby you can see where Benton mixed his colors, using the painting itself as a palette. Even Benton’s smears, however, have a wonderful liveliness of effect.

Benton often painted on panels of copper or tin, perhaps in part because he could obtain them from his father-in-law, an Italian copper and metal worker. In this case he also clearly liked the fact that the metal provided a mid tone between black and white which allowed him to build up the modeling very quickly.

In short, these masterful paintings provide a fascinating record of Benton’s working process, for one of the most important projects of his career.

KIECHEL FINE ART 19

37 Thomas Hart Benton A Drink of Water 1937, Lithograph Edition of 250 Published by Associated American Artists 14 1/2 x 10 inches Signed in pencil lower right “Benton” [Fath 15]

38 Thomas Hart Benton Edge of Town 1938, Lithograph Edition of 250 Published by Associated American Artists 9 x 10 3/4 inches Signed in pencil lower right “Benton” [Fath 22]

39 Thomas Hart Benton Frankie and Johnnie 1936, Lithograph Edition of 100 Published by Associated American Artists 16 3/8 x 22 1/8 inches Signed in pencil lower right “Benton” [Fath 11]

40 Thomas Hart Benton Goin’ Home 1937, Lithograph Edition of 250 Published by Associated American Artists 9 3/8 x 12 inches Signed in pencil lower right “Benton” [Fath 14]

41 Thomas Hart Benton Haystack 1938, Lithograph Edition of 250 Published by Associated American Artists 10 3/8 x 12 7/8 inches Signed in pencil lower right “Benton” [Fath 21]

42 Thomas Hart Benton Hymn Singer (also titled The Minstrel) 1938, Lithograph Edition 275/500 Published by Twayne Publishers 16 x 12 3/8 inches Signed in pencil lower right “Thomas H. Benton” [Fath 74]

20 KIECHEL FINE ART

43 Thomas Hart Benton In the Ozarks (also titled Homestead) 1938, Lithograph Edition of 250 Published by Associated American Aritsts 9 x 13 1/8 inches Signed in pencil lower right “Benton” [Fath 20]

44 Thomas Hart Benton Island Hay 1945, Lithograph Edition of 250 Published by Associated American Artists 10 1/2 x 13 inches Signed in pencil lower right “Benton” [Fath 68]

45 Thomas Hart Benton Loading Corn 1945, Lithograph Edition of 250 Published by Associated American Artists 10 1/4 x 13 1/4 inches Signed in pencil lower right “Benton” [Fath 65]

46 Thomas Hart Benton Mr. President 1971, Lithograph Edition of 150 Published by Associated American Artists 8 1/2 x 7 1/2 inches Signed in pencil lower left “Benton” [Fath 83]

47 Thomas Hart Benton Night Firing 1943, Lithograph Edition of 250 Published by Associated American Artists 13 1/8 x 8 3/4 inches Signed in pencil lower right “Benton” [Fath 57]

48 Thomas Hart Benton Rainy Day 1938, Lithograph Edition of 250 Published by Associated American Artists 8 3/4 x 13 3/8 inches Signed in pencil lower right “Benton” [Fath 23]

KIECHEL FINE ART 21

49 Thomas Hart Benton Self-Portrait (Head) 1973, Lithograph Edition of 150 Published by Associated American Artists 11 5/8 x 9 1/2 inches Signed in pencil lower right “Benton” [Fath 90]

50 Thomas Hart Benton Shallow Creek 1939, Lithograph Edition of 250 Published by Associated American Artists 14 1/4 x 9 5/16 inches Signed in pencil lower right “Benton” [Fath 32]

51 Thomas Hart Benton Slow Train Through Arkansas 1941, Lithograph Edition of 250 Published by Associated American Artists 12 1/4 x 10 inches Signed in pencil lower right “Benton” [Fath 46]

52 Thomas Hart Benton Strike (Mine Strike) 1933, Lithograph Edition of 300 Published by Contemporary Print Group 9 1/4 x 10 13/16 inches Signed [Fath 5]

53 Thomas Hart Benton Sunday Morning 1939, Lithograph Edition of 250 Published by Associated American Artists 9 5/8 x 12 3/8 inches Signed in pencil lower right “Benton” [Fath 26]

54 Thomas Hart Benton Ten Pound Hammer 1939, Lithograph Edition of 300 14 1/2 x 10 inches Signed in pencil lower right “Benton” [Fath 79]

22 KIECHEL FINE ART

55 Thomas Hart Benton The Farmer’s Daughter 1944, Lithograph Edition of 250 Published by Associated American Artists 13 1/8 x 9 7/8 inches Signed in pencil lower right “Benton” [Fath 62]

56 Thomas Hart Benton The Fence Mender 1940, Lithograph Edition of 250 Published by Associated American Artists 10 x 14 inches Signed in pencil lower right “Benton” [Fath 40]

58 THOMAS HART BENTON Tree Study Graphite 9 x 7 inches

59 THOMAS HART BENTON Martha’s Vineyard (Dune Landscape) Graphite 7 x 10 1/4 inches Two small graphite sketches on verso

Provenance: Charles Pollack Estate Moffett Collection, Kansas City

57 Thomas Hart Benton Threshing 1941, Lithograph Edition of 250 Published by Associated American Artists 9 1/4 x 14 inches Signed in pencil lower right “Benton” [Fath 48]

Provenance: Charles Pollack Estate Moffett Collection, Kansas City

KIECHEL FINE ART 23

ANTHONY BENTON GUDE (b. 1963) I guess I must have absorbed a lot growing up around (Benton) and his paintings. Many years later while attending art school, my instructors would often refer to the work of my granddad when looking over my drawings, not knowing of my relationship to him. I kept it a secret to avoid any special treatment or comparison.

The Benton legacy continues in Anthony Benton Gude, the grandson of Regionalist master Thomas Hart Benton.

In 1993, Gude was one of 51 artists selected in the exhibition “Under the Influence: The Students of Thomas Hart Benton” at the Albrecht-Kemper Museum in St. Joseph, Missouri. Although never officially one of Benton’s students, Gude spent his childhood summers with his grandparents, Tom and Rita Benton, at their home on Martha’s Vineyard. It was during the hours spent in Benton’s studio that Gude absorbed much of his grandfather’s influence, discovering that a talent for painting flowed in his blood as well.

Educated at the School of the Museum of Fine Arts in Boston and the Art Students League in New York City, Gude later used his grandparents’ farm home for inspiration. “I fell in love with the way the sunlight embraced the landscape, the contrasting seasonal colors and the simplicity of rural themes,” Gude said.

Gude further followed his grandfather’s inspiration into mural painting. He designed a method of creating murals that can be taken apart and reassembled once the mural’s space is completed. Using an intricate wooden frame designed to be both lightweight and extremely durable, he uses a single piece of canvas to create a giant easel canvas. Once the mural is finished, the canvas can be removed and rolled up. The mural is then capable of transport and installation anywhere in the world.

Gude continues to maintain ties to the legacy of Thomas Hart Benton, his own work a tribute to the relationship of grandfather and grandson.

24 KIECHEL FINE ART

60 Anthony Benton Gude The Yellow Cat 2005, Oil on panel 47 3/8 x 35 1/4 inches Signed and dated lower right 61 Anthony Benton Gude Sunflowers and Sage 1999, Oil on panel 20 x 20 inches Signed and dated lower right

62 Anthony Benton Gude Morrel Mushrooms 2007, Oil on panel 36 x 32 inches Signed lower right 63 Anthony Benton Gude Irises 2006, Oil on panel 14 x 12 inches Signed and dated lower left 64 Anthony Benton Gude Burning off the Brome 2005, Oil on panel 20 x 24 inches Signed lower right 65 Anthony Benton Gude Oat Harvest 2004, Oil on panel 17 x 23 inches Signed lower right

KIECHEL FINE ART 25

66 DALE NICHOLS Yesterday 1972, Oil on canvas 30 x 40 inches Signed lower right “Dale Nichols”

26 KIECHEL FINE ART

67 DALE NICHOLS To Grandfather’s Home We Go 1983, Oil on canvas 30 x 40 inches Signed and dated lower right “Dale Nichols 1983”

68 DALE NICHOLS The Last and Largest Load 1982, Oil on canvas 30 x 40 inches Poem in color calligraphy on verso

“The Last and Largest Load” Then the beauty of Nature, the tranquility and innocence of the countryman, his independence and his pleasing arts the care of bees, of poultry, of sheep, of cows, the dairy, the care of hay...

-Ralph Waldo Emerson

KIECHEL FINE ART 27

69 DALE NICHOLS Wyoming Plowman c. 1960, Oil on canvas 24 x 30 inches Signed lower right “Dale Nichols” Titled on verso

70 DALE NICHOLS Plowing the Fields 1965, Oil on canvas 18 x 24 inches Signed and dated lower left “Dale Nichols 1965”

28 KIECHEL FINE ART

71 DALE NICHOLS Grain Elevator 1939, Oil on canvas 24 x 30 inches Signed and dated lower left “Dale Nichols 1939”

72 Aaron pyle Homesteaders c. 1968-70, Oil on panel 18 5/8 x 26 1/2 inches Signed lower right “Pyle”

KIECHEL FINE ART 29

73 John Stockton De Martelly Blue Valley Fox Hunt 1937, Lithograph Edition of 250 12 3/4 x 16 1/2 inches Signed in pencil lower right “John S. de Martelley”

74 John Stockton De Martelly Old Man Towne Bought a New Scythe Lithograph Edition of 250 8 7/8 x 11 3/4 inches Signed in pencil lower right “John S. de Martelley”

75 Roger Medearis Country Singer 1995, Lithograph Edition of 100 14 x 19 7/8 inches Signed in pencil lower right “Roger Medearis 1995” Titled lower middle “Country Singer” Numbered lower left “26/100”

76 Roger Medearis Spring-fed Pond 1994, Lithograph Edition of 150 12 x 18 inches Signed in pencil lower right “Roger Medearis 1994” Titled lower middle “Spring-fed Pond” Numbered lower left “52/150”

77 Roger Medearis The Butterfly 1987, Lithograph Edition of 100 15 1/2 x 11 1/2 inches Signed in pencil lower right “Roger Medearis ‘87” Titled lower middle “The Butterfly” Numbered lower left “60/100”

78 Roger Medearis The Sycamore I 1993, Lithograph Edition of 100 15 1/2 x 17 3/4 inches Signed in pencil lower right “Roger Medearis 1993” Titled lower middle “The Sycamore” Numbered lower left “16/100 State I”

30 KIECHEL FINE ART

79 Roger Medearis Figure on a Pathway in a Landscape 1969, Graphite on tracing paper 17 1/2 x 23 1/4 inches Signed and dated lower left “Medearis 1969”

KIECHEL FINE ART 31

80 Grant Wood Approaching Storm 1940, Lithograph Edition of 250 Published by Associated American Artists 11 3/4 x 8 7/8 inches Signed in pencil lower right “Grant Wood” [Cole 19]

81 Grant Wood December Afternoon 1940, Lithograph Edition of 250 Published by Associated American Artists 8 7/8 x 11 3/4 inches [Cole 16]

82 Grant Wood February 1940, Lithograph Edition of 250 Published by Associated American Artists 8 7/8 x 11 7/8 inches Signed in pencil lower right “Grant Wood” [Cole 17]

83 Grant Wood Fertility 1939, Lithograph Edition of 250 Published by Associated American Artists 8 x 11 inches Signed in pencil lower right “Grant Wood” [Cole 15]

84 Grant Wood July Fifteenth 1938, Lithograph Edition of 250 Published by Associated American Artists 9 x 11 7/8 inches Signed in pencil lower right “Grant Wood” [Cole 5]

85 Grant Wood March 1939, Lithograph Edition of 250 Published by Associated American Artists 8 7/8 x 11 3/4 inches Signed in pencil lower right “Grant Wood” [Cole 14]

32 KIECHEL FINE ART

86 Grant Wood Midnight Alarm 1939, Lithograph Edition of 250 Published by Associated American Artists 11 7/8 x 7 inches Signed in pencil within image “Grant Wood” [Cole 12]

87 Grant Wood Seed Time and Harvest 1937, Lithograph Edition of 250 Published by Associated American Artists 7 1/2 x 12 1/2 inches Signed and dated lower right “Grant Wood - 1937” [Cole 2]

89 Grant Wood Vegetables 1939, Hand-colored lithograph Edition of 250 Published by Associated American Artists 8 1/2 x 11 inches Signed in pencil within image “Grant Wood” [Cole 8]

90 Grant Wood Wild Flowers 1939, Hand-colored lithograph Edition of 250 Published by Associated American Artists 7 x 10 inches Signed in pencil within image “Grant Wood” [Cole 10]

88 Grant Wood Shrine Quartet 1939, Lithograph Edition of 250 Published by Associated American Artists 8 x 11 7/8 inches Signed in pencil lower right “Grant Wood” [Cole 11]

KIECHEL FINE ART 33

george bellows John Sloan

34 KIECHEL FINE ART

91 GEORGE BELLOWS Artists Judging Works of Art 1916, Lithograph Edition of c. 52 14 3/4 x 19 1/16 inches Estate Signed lower right “Geo Bellows J.B.B.” Numbered lower left, “No 7” [Mason 18]

92 GEORGE BELLOWS Jean in a Black Hat 1923-24, Lithograph Edition of 48 Second state of two 10 1/2 x 9 1/4 inches Signed in pencil lower right “Geo Bellows” Titled lower middle “Jean in a Black Hat” Signed by printer in pencil lower left “Bolton Brown, imp.”

[Mason 187]

93 john sloan George Eliot 1890, Etching Edition of 100 (75 Printed) Only state 4 1/2 x 3 1/4 inches Signed in pencil lower right “John Sloan” Titled lower middle “George Eliot” Numbered lower left “100 proofs” Signed by printer lower left “Ernst Roth imp” [Morse 4]

94 john sloan Girl and Beggar 1910, Etching Edition of 100 (85 Printed) Second state of two 4 1/4 x 5 3/4 inches Signed in pencil lower right “John Sloan” Titled lower middle “Girl and Beggar” Numbered lower left “100 proofs” Signed by printer lower left margin “Ernst Roth imp” [Morse 150]

95 john sloan Girl with Harp 1891, Etching Edition of 100 (75 Printed) Only state 5 x 7 1/2 inches Signed in pencil lower right “John Sloan” Titled lower middle “Girl with Harp” Numbered lower left “100 proofs” Signed by printer lower left margin “Ernst Roth imp” [Morse 24]

96 john sloan Sculpture in Washington Square 1925, Etching Edition of 100 (75 Printed) Only state 8 x 10 inches Signed in pencil lower right “John Sloan” Titled lower middle “Sculpture in the Square” Numbered lower left “100 proofs” [Morse 218]

KIECHEL FINE ART 35

97 john sloan Seven-toed Pete 1929, Etching Edition of 100 (75 Printed) Only state 6 3/4 x 4 7/8 inches Signed in pencil lower right “John Sloan” Titled lower middle “Seventoed Pete” [Morse 240]

98 john sloan The Little Bride From the “New York City Life” series 1906, Etching Edition of 100 (85 Printed) Only state 5 1/4 x 6 7/8 inches Signed in pencil lower right “John Sloan” Numbered lower middle “100 proofs” Titled lower left “The Little Bride” Signed by printer lower left margin “Peter Platt imp.”

[Morse 138]

100 john sloan Woman with Etching Tray 1912, Etching Posthumous. Edition of 175 Only state 4 1/4 x 5 3/4 inches Estate signed lower right “John Sloan per HFS” Titled and dated lower middle “Woman with Etching Tray -1912-” Numbered lower left “175 proofs” [Morse 154]

101 john sloan The Women’s Page From the “New York City Life” series 1905, Etching Edition of 100 Second state of two 8 x 10 inches Signed in pencil lower right “John Sloan” Titled lower left “The Women’s Page” Numbered lower left margin “100 proofs” [Morse 132]

36 KIECHEL FINE ART

99 john sloan The Picture Buyer 1911, Etching Edition of 100 (85 Printed) Fifth state of five 5 1/4 x 7 inches Signed in pencil lower right “John Sloan” Titled lower middle “The Picture Buyer” [Morse 153]

ISABEL BISHO P ALE X AN D ER BLUM J OHN C OSTI G AN IRWIN HO F F MAN LOUIS LO Z OWI C K LUI G I LU C IONI RE G INAL D MARSH ROBERT RI G G S RUTH STARR ROSE G EOR G ES S C HREIBER WILLIAM SHAR P LYN D WAR D

KIECHEL FINE ART 37

102 ISABEL BISHOP Delayed Departure 1935, Etching Edition of 50 6 7/8 x 5 3/4 inches Signed in pencil lower right “Isabel Bishop” Numbered lower left “15/50” Printed by Stephen Sholinsky Blindstamp in lower right corner

103 ISABEL BISHOP Putting on Jacket Etching Edition of 50 5 7/8 x 3 7/16 inches Signed in pencil lower right “Isabel Bishop” Numbered lower left “15/50” Printed by Stephen Sholinsky Blindstamp in lower right corner

104 ALEXANDER A. BLUM Abigail Jones Prop.

Etching Published by Associated American Artists 10 1/8 x 14 inches Signed in pencil lower right “A.A. Blum” Titled lower left “Abigail Jones Prop - ”

105 john EDWARD COStigan Workers in the Field c. 1936, Etching Only state 8 5/16 x 12 7/8 inches Signed in pencil lower right “J.E. Costigan N.A. S.A.E.” Titled lower left “Workers in the Field”

106 IRWIN D. HOFFMAN Rodeo 1934, Etching Edition of 62 Published by Associated American Artists 6 x 11 1/4 inches Signed in pencil lower right “Irwin D. Hoffman”

107 Louis Lozowick Skaters Island 1944, Lithograph Edition of 250 Originally printed in 1937 as an edition of 20 Published by Associated American Artists 10 1/2 x 9 1/4 inches Signed in pencil lower right “Louis Lozowick” [Flint 150]

38 KIECHEL FINE ART

108 Luigi Lucioni Trees and Shadows 1957, Lithograph Edition of 250 Published by Associated American Artists 9 x 10 3/8 inches Signed in pencil lower right “Luigi Lucioni”

109 Reginald Marsh Bowery 1928, Etching Edition of 30 6 1/8 x 5 1/4 inches Estate signed lower right “Reginald Marsh (F.M.)” Numbered lower left “25” [Sasowsky 15]

110 Reginald Marsh Modern 1939 Venus 1969, Etching and engraving on copper Edition of 100, Whitney Museum Plates Originally printed in 1937 as an edition of 30 8 x 12 inches Numbered lower left “Proof” [Sasowsky 184] Provenance: From the collection of Senator William Benton

111 Reginald Marsh Star Burlesk 1933, Etching Edition of 100 11 3/4 x 8 3/4 inches Estate signed lower right “Reginald Marsh (F.M.)” [Sasowsky 142]

112 Reginald Marsh Striptease in New Jersey 1951, Etching Edition of 250 Published by Associated American Artists 7 7/8 x 10 inches Signed in pencil lower right “Reginald Marsh” [Sasowsky 236]

113 Reginald Marsh Wooden Horses 1969, Etching and engraving on copper Edition of 100, Whitney Museum Plates Originally printed in 1937 as an edition of 30 8 x 12 inches Numbered lower left “Proof” [Sasowsky 171] Provenance: From the collection of Senator William Benton

KIECHEL FINE ART 39

114 Reginald Marsh Nude Male c. 1930, Conté crayon 14 1/2 x 9 inches Signed in pencil lower right “Reginald Marsh”

115 Robert Riggs Fighter and Handlers 1932, Lithograph Only proof 15 1/4 x 9 3/4 inches

116 Ruth Starr Rose Going to Heaven 1945, Lithograph 10 3/4 x 13 1/4 inches Signed and dated in pencil lower right “Ruth Starr Rose ‘45” Inscribed lower left “to Nathan with much love from Ruth”

117 GEORGEs SCHREiBER Without a Net 1944, Lithograph Edition of 250 9 x 14 inches Signed in pencil lower right “G. Schreiber”

118 William Sharp Ambulance Lithograph 9 5/8 x 12 3/8 inches Signed in pencil lower right “Wm Sharp”

119 Lynd Ward Landscape with Logs Wood engraving 9 x 15 inches Signed in pencil lower right “Lynd Ward” Titled lower left “Landscape with Logs”

40 KIECHEL FINE ART

Will Barnet W i l l i a m G r o pp e r Joseph Hirsch B e n SHAHN

KIECHEL FINE ART 41

120 Will Barnet August 1940, Etching 9 3/4 x 8 inches Signed in pencil lower right “Will Barnet” Titled lower left “August”

121 Will Barnet Irish Kids From the portfolio “Will Barnet / Images of Children / A Suite of 8 Woodcuts and Etchings Created from 1937 to 1940” 1982, Woodcut on Sekishu Kozo Originally printed in 1938 Edition of 60 Published by Associated American Artists 11 1/2 x 8 15/16 inches Signed in pencil lower right “Will Barnet” Numbered lower middle “50/60” Titled lower left “Irish Kids”

122 Will Barnet Waiting From the portfolio “Will Barnet / Images of Children / A Suite of 8 Woodcuts and Etchings Created from 1937 to 1940” 1982, Woodcut on Sekishu Kozo Originally printed in 1937 Edition of 60 Published by Associated American Artists 10 1/16 x 11 5/16 inches Signed in pencil lower right “Will Barnet” Numbered lower middle “41/60” Titled lower left “Waiting”

123 Will Barnet The Young Couple 1971, Etching and aquatint Edition of 225 17 3/4 x 15 3/8 inches Signed lower right “Will Barnet” Numbered lower middle “119/225” Titled lower left “The Young Couple”

124 William Gropper Swing Low, Sweet Chariot c. 1940, Lithograph Edition of 250 Published by Associated American Artists 12 1/2 x 8 5/8 inches Signed in pencil lower right “William Gropper”

125 Joseph Hirsch Banquet 1945, Lithograph Edition of 250 9 3/4 x 13 5/8 inches Signed in pencil lower right “Joseph Hirsch”

42 KIECHEL FINE ART

126 Joseph Hirsch Shark 1967, Lithograph Edition of 100 10 7/8 x 8 inches Signed in pencil lower right “Joseph Hirsch” Numbered lower left “A.P.” [Cole 54]

127 BEN Shahn Beatitudes 1955, Wood engraving Edition of 400 10 1/4 x 15 1/8 inches Signed lower left “Ben Shahn print.”

Titled lower middle “Beatitudes artist proof” Inscribed lower middle “For Ella & Abe” Lower right “Leonard Baskin. Sculpsit.”

[Prescott 21]

128 BEN Shahn Ben Shahn March 3-28 1964, Poster 27 1/8 x 20 5/8 inches Signature reproduced in red lower right [Prescott 187]

129 BEN Shahn J. Parnell Thomas c. 1949, Letterpress Unpublished edition 9 1/4 x 6 1/8 inches Signature reproduced lower right [Prescott 239]

130 BEN Shahn Memories of Many Nights of Love From the Rilke Portfolio 1968, Lithograph Edition of 200 17 1/2 x 14 1/2 inches Signed in red ink lower right “Ben Shahn” [Prescott 131]

131 BEN Shahn Oppenheimer 1970, Poster 40 1/2 x 28 1/8 inches Signature reproduced in black lower right [Prescott 201]

KIECHEL FINE ART 43

132 BEN Shahn Phoenix 1952, Serigraph Unspecified edition, 120 known 22 7/8 x 22 1/4 inches Signed in red ink lower right “Ben Shahn” [Prescott 13]

133 BEN Shahn Screams of Women in Labor From the Rilke Portfolio 1968, Lithograph Edition of 200 21 1/8 x 17 1/4 inches Signed in red ink lower right “Ben Shahn” [Prescott 132]

135 BEN Shahn To Childhood Illness From the Rilke Portfolio 1968, Lithograph Edition of 200 21 x 17 inches Signed in red ink lower right “Ben Shahn” [Prescott 126]

136 BEN Shahn Untitled (Farmer and Wife) Pen & ink 7 x 7 inches Brief line sketch on verso

44 KIECHEL FINE ART

134 BEN Shahn Phoenix 1965, Wood engraving Edition of 200 9 1/4 x 8 1/4 inches Signed in pencil lower right “Ben Shahn” Artist’s red stamp above signature Numbered lower middle “113/200” Signed by the printer lower left “Stefan Martin sc” [Prescott 62]

137 BEN Shahn Vandenberg, Dewey and Taft 1941, Color Serigraph Unspecified edition, 4 known 15 x 22 1/8 inches Signed in ink lower right “Ben Shahn�

[Prescott 5] This early serigraph follows the Shahn painting style of the period. Shahn good-naturedly satirized the omnipresent professional smiles of politicians by giving these men rows of too perfect teeth set in frozen, grinning faces.

- Kenneth W. Prescott The Complete Graphic Works of Ben Shahn

KIECHEL FINE ART 45

F RIT Z EI C HEBER G RO C K WELL K ENT NORMAN RO C K WELL P AUL S Z E P

46 KIECHEL FINE ART

138 Fritz Eichenberg In Praise of Folly (Portfolio of 10 prints) 1972, Wood engravings on Japanese Mulberry paper Edition 119/150 Published by Aquarius Press; Printed by James Lanier 18 x 12 inches (each) Signed lower right corner of each print “Fritz Eichenberg”

KIECHEL FINE ART 47

139 Rockwell kent Beowulf: Beowulf 1931, Lithograph Edition of 150 13 13/16 x 10 1/2 inches Signed in pencil lower right “Rockwell Kent” [Jones 72]

140 Rockwell kent Beowulf: Beowulf and the Dragon 1931, Lithograph Edition of 150 13 1/2 x 10 1/8 inches Signed in pencil lower right “Rockwell Kent” [Jones 75]

141 Rockwell kent Beowulf: Funeral Pyre 1931, Lithograph Edition of 150 13 5/8 x 10 1/4 inches Signed in pencil lower right “Rockwell Kent” [Jones 76]

142 Rockwell kent Beowulf: Hand Holding Sword 1931, Lithograph Edition of 150 7 9/32 x 7 1/8 inches Signed in pencil lower right “Rockwell Kent” [Jones 70]

143 Rockwell kent Christmas at Stonehenge Wood engraving Uncatalogued edition 10 3/8 x 14 3/4 inches Signed in pencil lower right “Rockwell Kent”

144 Rockwell kent Godspeed 1931, Wood engraving Edition of 150 5 3/8 x 6 7/8 inches [Jones 84]

48 KIECHEL FINE ART

145 Rockwell kent Wayside Madonna 1927, Wood engraving Edition of 800 (c. 50 signed) 10 1/4 x 5 3/8 inches Signed in pencil lower right “Rockwell Kent” [Jones 18]

146 Norman RockwelL A Born Financier 1914, Pen & ink 12 x 7 1/2 inches Signed and dated lower right “Compliments of Norman 1914” Titled lower middle “A Born Financier”

147 paul SZEP Have I made it perfectly clear, that I cannot tell a lie?

Lithograph Edition of 100 11 1/2 x 10 inches Signed lower right “Szep” Titled lower middle Numbered lower left “22/100” Blindstamp lower left

KIECHEL FINE ART 49

LEONAR D BAS K IN K a r l BO D MER E D WAR D BOREIN G EOR G E C ATLIN WH D K OERNER HARRY J A C K SON BOB S C RI V ER F RAN C IS C O Z UNI G A

50 KIECHEL FINE ART

148 Karl Bodmer Hunting the Grizzly Bear Tableau 36 1939-41, Engraving 25 1/4 x 30 5/8 inches

149 George Catlin Antelope Shooting Plate No. 20 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 12 1/8 x 17 3/4 inches

150 George Catlin Buffalo Dance Plate No. 8 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 12 x 17 3/4 inches

151 George Catlin Buffalo Hunt, Approaching in a Ravine Plate No. 11 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 12 3/4 x 17 1/2 inches

152 George Catlin Buffalo Hunt, On Snow Shoes Plate No. 15 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 12 1/4 x 17 3/4 inches

153 George Catlin Buffalo Hunt, White Wolves Attacking a Buffalo Bull Plate No. 10 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 12 x 17 1/2 inches

KIECHEL FINE ART 51

154 George Catlin Group of North American Indians Plate No. 1 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 17 1/2 x 13 inches

155 George Catlin Mah-To-Toh-Pa One of six additional plates published in the second British edition of “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 17 x 12 inches

156 George Catlin Snow-Shoe Dance Plate No. 14 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 12 1/4 x 17 3/4 inches

157 George Catlin Wild Horses at Play Plate No. 3 from “Catlin’s North American Indian Portfolio” 1944-45, Hand-colored lithograph 13 1/4 x 17 3/4 inches

158 Edward Borein Bucked Off Pen & ink 8 1/2 x 10 1/2 inches

159 Edward Borein Harnessed Pen & ink 4 x 4 inches

52 KIECHEL FINE ART

160 Edward Borein On the Drive Pen & ink 6 x 8 inches

161 Edward Borein Wolf Study Pen & ink 6 1/2 x 3 1/2 inches Signed in ink within image “Borein”

162 Edward Borein Trail Herd Etching 7 x 12 1/2 inches Signed in pencil lower right “Edward Borein” [Galvin 101]

163 Leonard Baskin Sitting Bull 1972, Lithograph Edition of 160 Published by Kennedy Graphics 29 1/2 x 18 inches Signed lower right “Baskin”

164 Francisco Zuniga Cuatro Figuras 1972, Lithograph 16 1/2 x 22 1/4 inches Signed lower right “Zuniga 72” Numbered lower middle “E.P.I. #5”

165 Francisco Zuniga La Fonda (The Inn) 1981, Color Lithograph Edition of 100 16 1/2 x 22 1/4 inches Numbered, signed and dated lower left “49/100 Zuniga 1981”

KIECHEL FINE ART 53

166 Harry Jackson Ropin’ a Star 1982, Bronze Cast 36 of an edition of 60 24 1/2 x 8 1/2 x 22 1/2 inches Thumb-printed, signed and dated on base “Harry Jackson 1982” Stamped by Harry Jackson Studio Numbered “RS 36” 167 Bob Scriver Three Bears 1991, Bronze Edition 29/110 7 1/2 x 11 x 8 1/2 inches Signed, dated and numbered “Bob Scriver 1991 29/110”

168 Harry Jackson The Marshal II 1979, Bronze Cast 36 of an edition of 60 17 x 18 1/2 x 6 inches Thumb-printed, signed and dated on base “Harry Jackson 1979” Stamped by Harry Jackson Studio Titled “MA II”

54 KIECHEL FINE ART

169 William H.d. Koerner Law Must Act 1921, Oil on canvas 36 x 28 inches Signed and dated lower right “W.H.D. Koerner 1921”

KIECHEL FINE ART 55

170 William H.d. Koerner The Wharf at Pittsburgh for Saturday Evening Post, February 7, 1931 Story by Stewart Edward White, “The Long Rifle - Mountain Man” 1928, Oil on Strathmore board 23 x 25 inches Initialed lower right “WHDK” The rough men listened to Joe Crane’s tall stories of the prairies and mountains.

171 William H.d. Koerner The Painted Stallion for Saturday Evening Post, October 3, 1925 Story by Hal G. Evarts, “The Painted Stallion” 1925, Oil on Strathmore board 31 7/8 x 39 1/4 inches Initialed lower right “K” The painted stallion stood and looked back across the lower country which he had just traversed a wild and beautiful picture with his flowing whitre mane and tail streaming in the air.

56 KIECHEL FINE ART

172 William H.d. Koerner The Black Dog for Metropolitan, February 1922 Story by A.E. Coppard, “The Black Dog” 1922, Oil on Strathmore board 30 1/2 x 23 1/2 inches Initialed lower right “K” He was a stern, simple man, but he is so just.

173 William H.d. Koerner War Plumes and Muskets for Saturday Evening Post, April 6, 1929 Story by Hal G. Evarts, “Tomahawk Rights” 1929, Oil on Strathmore board 31 x 60 inches Signed lower right “W.H.D. Koerner” This savage procession glided along without speech, the moonlight glinting on the musket barrels, war plumes and naked shoulders, a fascinating sight, yet one fraught with peril.

KIECHEL FINE ART 57

174 William H.d. Koerner The Stick Up for Saturday Evening Post, April 28, 1917 Story by Eugene Manlove Rhodes, “Over, Under, Around and Through” 1917, Oil on Strathmore board 23 1/2 x 12 1/2 inches Initialed lower right “K” At the crossing of Largo Draw he had been held up by a single robber on horseback.

175 William H.d. Koerner Ahead of the Law for Saturday Evening Post, June 12, 1920 1920, Oil on Strathmore board 21 x 17 inches Initialed lower right “K” The little mare leaped forward and carried him away at a mad gallop toward the mountains and a barely possible freedom.

176 William H.d. Koerner Wolf Dog for Saturday Evening Post, August 4, 1934 Story by Hal G. Evarts, “The Wolf Dog” 1934, Oil on Strathmore board 24 x 34 inches Initialed upper right “WHDK” The Squatter was a dour man of unsociable nature, and he had no great love for Catlin.

58 KIECHEL FINE ART

EMIL BISTTRAM HOWAR D C OO K LEO G AREL WAR D LO C K WOO D BEATRI C E MAN D ELMAN LOUIS RIBA K

KIECHEL FINE ART 59

177 Emil Bisttram Old Taos Church c. 1955, Oil on panel 16 x 20 inches Signed and dated lower right “Bisttram 55”

178 Emil Bisttram Sails in the Night 1950, Lithograph 12 x 13 1/4 inches Signed and dated in pencil lower right “Emil J Bisttram Taos N.M. 1950” Titled and numbered lower left “Sails in the Night 25P” Blindstamp of printer Lynton Kistler in lower left corner

60 KIECHEL FINE ART

179 Howard Cook Rosanna 1939, Lithograph Edition of 250 Published by Associated American Artists 11 3/4 x 8 13/16 inches Signed in pencil lower right “Howard Cook”

180 Emil Bisttram Taos Mountains in Spring c. 1920-30, Watercolor 13 3/4 x 20 inches Signed lower right “E.J. Bisttram” (Left Image) verso mountain scene

KIECHEL FINE ART 61

181 LEO GAREL Pool at Sunset 1967, Gouache 33 5/8 x 29 1/4 inches

183 LEO GAREL Winter Sunset Gouache 26 1/4 x 31 1/2 inches Signed lower right “Garel”

62 KIECHEL FINE ART

182 LEO GAREL Quarry at Reservoir Gouache 32 3/4 x 27 inches Signed lower left “Garel”

185 Ward Lockwood Rocky Landscape Pastel 24 x 29 1/2 inches Signed lower right “Lockwood” 184 Ward Lockwood Forest 1956, Oil and casein 30 3/4 x 22 5/8 inches Signed lower right “Lockwood”

186 Beatrice Mandelman Thermal Beings Acrylic 18 3/4 x 24 3/4 inches Signed lower right “B. Mandelman”

187 Beatrice Mandelman #1 Acrylic 24 x 31 1/2 inches Signed lower right “Mandelman”

KIECHEL FINE ART 63

188 LOUIS RIBAK Atlantis Red Black Movement Oil on canvas 40 1/8 x 32 1/4 inches Signed lower right “Ribak”

190 LOUIS RIBAK Rocks of Atlantis Oil on canvas 20 1/2 x 30 1/8 inches Signed lower right “Ribak”

64 KIECHEL FINE ART

189 LOUIS RIBAK White Canyon #15 Oil on canvas 64 7/8 x 51 inches Signed lower right “Ribak”

ARTHUR BISHO P J E F F RIES MERRILL MAHA F F EY WILLIAM ROBINSON LEI G H E D G AR P AYNE E D MELL F ORREST MOSES

KIECHEL FINE ART 65

191 William Robinson Leigh Arizona Landscape 1941, Oil on board 21 1/2 x 27 inches Signed and dated lower right “W.R. Leigh N.Y. 1941”

66 KIECHEL FINE ART

192 Edgar Payne Summer Sierras c. 1920, Oil on canvas 12 x 16 inches Signed lower right “Edgar Payne”

KIECHEL FINE ART 67

193 Merrill Mahaffey Canyon Redwall (Grand Canyon near Mt. Hayden North Rim) 1979, Oil on canvas 46 1/2 x 67 1/2 inches Signed lower right “Merrill Mahaffey”

194 Merrill Mahaffey Humphrey’s Peak c. 1979, Oil on canvas 43 x 57 inches Signed lower right “Merrill Mahaffey”

68 KIECHEL FINE ART

195 ED Mell Evening Cloud Drift 2000, Monotype 7 x 14 1/2 inches Signed in pencil lower right “Ed Mell” Numbered lower left “1/1”

197 FORREST MOSES Landscape 87-239 Monotype 35 1/4 x 22 3/4 inches Signed lower right “Moses”

196 ED Mell Rusted Rock 2000, Monotype 7 x 14 1/2 inches Signed in pencil lower right “Ed Mell” Numbered lower left “1/1”

198 Arthur Bishop Jeffreys Autumn Landscape 1932, Oil on canvas 18 x 24 inches Signed and dated lower right “A.B. Jeffreys 1932”

KIECHEL FINE ART 69

F ELI X BUHOT J OSE P H P ENNELL J AMES WHISTLER

70 KIECHEL FINE ART

199 Felix Buhot Westminster Palace 1884, Etching 15 x 23 inches Signed and titled with artist’s red owl stamp [Bourcard-Goodfriend 155]

200 Felix Buhot L’Hiver a Paris 1879, Etching and aquatint 9 x 13 3/8 inches Signed and dated in plate [Bourcard-Goodfriend 128]

201 Joseph Pennell Alhambra from the Mountain of the Sun Illustration for “The Alhambra”

by Washinton Irving 1896, Lithograph Edition of 500 6 x 8 1/2 inches Signed in print

202 Joseph Pennell United Fruit Boat 1925, Etching Edition of 250 7 7/8 x 5 3/4 inches Signed in print [Weurth 852]

203 James McNeill Whistler Nursemaids: le bonnes de Luxembourge 1894, Transfer Lithograph Edition of c. 3000 Published in December 1894 issue of ‘The Art Journal’ 9 x 6 1/2 inches Printed butterfly [Way 48, Levy 79]

204 James McNeill Whistler The Doctor - Portrait of my Brother 1895, Transfer Lithograph Edition of c. 3000 Published in the 1896 issue of ‘The Pageant’ 8 1/2 x 6 inches [Way 78, Levy 117]

KIECHEL FINE ART 71

205 James McNeill Whistler Bibi Lalouette 1859, Etching and drypoint Second state of two 8 7/8 x 6 inches Signed and dated in plate [Kennedy 51] Provenance: Fine Art Society, London

72 KIECHEL FINE ART

M i l t o n Av e r y Claire Falkenstein Yozo Hamaguchi Ale x K at z E l l s w o r t h K e l ly Eugene Larkin joan miro henry moore Pierre Soulages Carol Summers R u fi n o Ta m ayo Way n e T h i e b au d V i c t o r Va s a r e ly harold waldrum jamie wyeth

KIECHEL FINE ART 73

206 MILTON AVERY Nursing Baby 1972, Drypoint 4 15/16 x 4 1/16 inches Signature in reverse in plate Reprinted in 1972 from the original 1933 plate

207 Claire Falkenstein Untitled Etching and collograph Edition of 70 21 x 17 1/4 inches Signed lower right “Claire Falkenstein” Numbered lower left “17/70”

208 YOZO HAMAGUCHI Fourteen Cherries 1966, Mezzotint Edition of 50 20 1/2 x 9 1/2 inches Signed lower right “Hamaguchi” Numbered lower left “18/50”

209 Ellsworth Kelly Black Curve 1972, One-color linecut Edition of 75 17 1/4 x 20 1/2 inches Signed lower right “Kelly” Numbered lower left “41/75”

210 Joan Miro Red and Blue 1960, Color lithograph Edition of 100 23 x 15 inches Signed lower right “Miro” Numbered lower left “54/100” [Maeght 269]

211 Pierre Soulages Composition No. XIV Lithograph Edition of 200 24 3/4 x 18 7/8 inches Signed lower right “Soulages” Numbered lower left “78/200”

74 KIECHEL FINE ART

212 Carol Summers The Vatican seen from the Air 1958, Woodcut on Japanese paper Edition of 220 14 x 21 inches Signed lower right “Carol Summers” Titled lower middle ”The Vatican seen from the Sun” Numbered lower left “94/220”

215 Rufino Tamayo Untitled (Woman) Color lithograph Edition of 150 23 3/8 x 21 inches Signed lower right “R Tamayo” Numbered lower left “93/150”

213 Henry MOore Head of Prometheus 1950, Color lithograph Edition of 183 12 1/4 x 9 inches Signed and dated lower right “Moore ‘50” [Cramer 22]

214 Victor Vasarely Untitled 1965, Color silkscreen 23 1/2 x 23 1/2 inches Signed lower middle “Vasarely 65” Numbered lower right “49/125” Titled lower left

216 Wayne Thiebaud Six Italian Desserts 1979, Color lithograph Edition of 150 15 x 20 inches Signed and dated lower right “Thiebaud 1979” Numbered lower left “19/50”

217 Jamie Wyeth Moon and the Horse Color lithograph 22 1/4 x 33 inches Signed lower right “Jamie Wyeth” Numbered lower left “AP”

KIECHEL FINE ART 75

218 Alex Katz Orange Band 1979, Silkscreen Edition of 80 40 x 28 1/4 inches Numbered and signed lower left “41/80 Alex Katz”

76 KIECHEL FINE ART

219 Harold Joe Waldrum Casa Colorado 1980, Oil on linen 40 x 34 1/4 inches

220 Eugene Larkin Abstract Sports Figures Oil on masonite 45 x 34 1/4 inches Signed lower right “Larkin�

221 Harold Joe Waldrum Cundingo Oil on linen 50 1/4 x 48 1/4 inches

222 Harold Joe Waldrum Pewter Cordova Oil on linen 28 1/8 x 24 inches

KIECHEL FINE ART 77

HAROL D G RE G OR HY D E SOLOMON J AMES WINN K EITH C ROWN E D ITH STERN F EL D F LOREN C E WILLIAMS

78 KIECHEL FINE ART

223 JAMES WINN May Corn Crib #6 1986, Acrylic on paper 26 x 72 inches

KIECHEL FINE ART 79

224 Harold Gregor Illinois Landscape #73 1985, Oil and acrylic on canvas 36 x 82 inches Signed lower right “H. Gregor”

80 KIECHEL FINE ART

225 KEITH CROWN Storm over Ranchos 1969, Watercolor 29 3/8 x 36 7/8 inches Signed and dated right of center “Crown 69” Watercolor sketch on verso

226 Edith Sternfeld Field and Mountain Scene with Cattle c. 1960, Watercolor 15 1/2 x 14 inches Signed lower right “Edith A. Sternfeld”

227 Florence White Williams Berkshires: Near Summit of Petersburg Mountain where New York and Massachusetts Meet c. 1930, Watercolor 8 3/4 x 9 3/4 inches Signed and titled lower right

KIECHEL FINE ART 81

228 HYDE SOLOMON Towards Evening 1975, Oil on canvas 21 x 17 inches Initialed and dated upper right “H.S. ‘75”

230 HYDE SOLOMON Clouds and Plain 1975, Oil on canvas 25 1/8 x 33 inches Signed and dated upper right “Hyde Solomon ‘75”

82 KIECHEL FINE ART

229 HYDE SOLOMON Easterly 1975, Oil on canvas 32 x 25 inches Signed upper left “Hyde Solomon ‘75”

Wendy Jane Banta m Neil Christensen Judith Cherry Terence Duren Toni Ellis Hal Holoun Aaron Holz Dan Howard Keith Jacobshagen Karen Kunc Gl adys Lux deborah Murphy Francisco Souto Robert We aver diana woods

KIECHEL FINE ART 83

KEITH JACOBSHAGEN (b. 1941) I’m a Midwesterner who has stayed put to make sense of where I live. My interest in the land is crystallized in my paintings about it.

By combining intimate reflections with a deep understanding and respect for nature, Keith Jacobshagen celebrates landscape in a manner reminiscent of the early Dutch masters.

Through their trademark low horizons and wide, dominant skies, Jacobshagen’s paintings elicit a variety of emotions inspired by the Midwestern countryside.

At the site, Jacobshagen takes notes that include exact time and location as well as other intangibles such as wind levels and smells. In this manner, his small works are akin to diary entries or the comprehensive landscape descriptions of a Willa Cather novel. Though Jacobshagen moves into the studio as his paintings increase in size, each work maintains the same freshness of life as those painted in the field. The vantage point is placed above eye level in the majority of his work. This perspective, along with the artist’s careful arrangement of forms on the picture plane energizes the scene through what Art in America describes as “romantic self expression and a naturalist’s cooly objective vision.”

Raised in Wichita, Kansas, Jacobshagen graduated from the Kansas City Art Institute and received his Master of Fine Arts from the University of Kansas. His work has been received with high acclaim throughout the United States and was featured on CBS’s “Sunday Morning with Charles Osgood.”

Recently retired in the spring of 2008 as a professor at the University of NebraskaLincoln, Jacobshagen received the Outstanding Research and Creativity Award for his extraordinary contributions. His work is featured on the cover of the Smithsonian Press/University of Iowa publication “Plain Pictures: Images of the American Prairie” and recently exhibited in the retrospective “Beyond the Horizon: Paintings by Keith Jacobshagen, 1990-2005” at the Sioux City Art Center in Sioux City, Iowa.

84 KIECHEL FINE ART

231 Keith Jacobshagen Christmas Eve - 40th & Yankee Hill Rd - 21 degrees 2004, Pastel 10 1/4 x 13 inches Titled, signed and dated lower right 232 Keith Jacobshagen N. 134th St. & Raymond Rd. 9.21.99 - 65 degrees 1999, Watercolor 7 1/4 x 10 1/4 inches Titled, signed and dated right edge

233 Keith Jacobshagen True North (Louisville June Rain) 2008, Oil on canvas 50 x 52 inches Signed 234 Keith Jacobshagen Quonset Salt Valley 1988, Oil on canvas 26 x 60 inches Signed

KIECHEL FINE ART 85

HAL HOLOUN (b. 1939) Hal Holoun received his B.A. degree from Hastings College in Hastings, Nebraska, and his M.A. from the University of Wyoming in Laramie in the early 1960s. Trained in abstract art, Holoun’s shift to landscape painting was prompted by his captivation with the interplay between earth and sky.

Many of his landscapes take place at either dawn or dusk when the colors are most intense and the earth-sky event most dramatic. In his finest landscape works, “something spiritual occurs” in which Holoun himself essentially serves as the conduit by which the scene is rendered onto canvas.

Holoun has held a variety of teaching positions and has been a full-time artist since 1980. His work has been included in numerous group and invitational exhibitions at such institutions as the Tucson Art Museum and the Museum of Nebraska Art. Holoun appeared on CBSTV’s “Sunday Morning” with Roger Welsch in 1996 and has been featured in American Artist magazine. His work is included in the corporate collections of The Marriott Corp., Los Angeles, and First National Bank, Omaha.

235 Hal Holoun Still Water / Fremont Lakes 2008, Oil on linen 54 x 48 inches Signed and dated on verso 236 Hal Holoun Study No. 4 / Fremont Lakes 2008, Oil on linen 24 x 20 inches Signed and dated on verso

86 KIECHEL FINE ART

237 Hal Holoun March Thaw 2008, Oil on canvas 34 x 50 inches Signed 238 Hal Holoun Spring Thaw 2003, Oil on linen 32 x 48 inches Signed 239 Hal Holoun Morning Painting, Middle Loup River 2008, Oil on linen 28 x 42 inches Signed

KIECHEL FINE ART 87

TERENCE DUREN (1906-1968) Born in Shelby, Nebraska, Terence Duren grew up on a farm and spent much time painting his native state from his studio on the grounds of his home. During the 1920s, he studied at the Art Institute of Chicago and the Cleveland Art Institute and then went to Paris where he enrolled at the Ecole des Beaux Arts. In Paris, he was told by Henri Matisse to never deviate from his fresh style because it set him apart.

Known for his work in mural and landscape painting, illustrating and stage production, he did numerous illustrations for the Omaha World Herald and exhibited at the Metropolitan Art Museum in New York and the Corcoran Gallery in Washington, D.C. He died of lung disease in Columbus, Nebraska.

GLADYS LUX (1899-2003) Gladys Marie Lux, born in born in Chapman, Nebraska, graduated from Kearney State College and the University of NebraskaLincoln before going on to study at the School of the Art Institute of Chicago in the late 1920s. She returned to the University of Nebraska to complete her master’s degree in 1935.

240 Terence Duren Easter Hats Oil on canvas 19 1/8 x 15 1/2 inches Signed

Working both in oil and watercolor, Lux was part of the Regionalist movement, painting the Nebraska scene during the 1930s and ’40s. Her paintings exhibited at the Art Institute of Chicago, the Kansas City Art Institute and Joslyn Art Museum in Omaha, as well as at the New York World’s Fair in 1939. In addition to her successful artistic career, Lux was a dedicated professor of art at Nebraska Wesleyan University in Lincoln from 1927-1967. Lux died at age 104 on November 14, 2003.

241 Gladys Lux Barn in Winter c. 1935, Watercolor 12 x 15 inches Signed

88 KIECHEL FINE ART

WENDY JANE BANTAM (b. 1969) There was never a question I was to be an artist.

The only question was, ‘Which medium would it be?’ As a child growing up in rural Nebraska, Wendy Jane Bantam immersed herself in a world full of nature and animals; she delighted in creating surrealistic fantasy worlds of storytelling animals. Today, Bantam continues to express this vivid imagination through her art. Using energetic brushstrokes, textured paint and rich layers of color, Bantam fills her canvases with personal iconography that gives her work a signature narrative quality.

Bantam received her B.F.A. from the University of Kansas and her M.F.A. degree in painting from the University of Nebraska-Lincoln. She has worked as a full-time studio artist for over 15 years. She exhibits regularly in gallery and museum shows nationwide including the Museum of Nebraska Art in Kearney and Sheldon Memorial Art Gallery in Lincoln and also has participated in juried competitions in Kansas City, Missouri. Bantam completed an artist residency in Bali, Indonesia, studying Balinese painting. She currently resides in Lincoln.

242 Wendy Jane Bantam Your Dog and Your Cat Wait for Your Return 2004-08, Oil on canvas 48 x 48 inches Signed 243 Wendy Jane Bantam Penguin at Errant Fountain 2004, Oil on canvas 35 x 58 inches Signed 244 Wendy Jane Bantam Paris Hilton Dreams of Christmas 2008, Oil on canvas 48 x 48 inches Signed

KIECHEL FINE ART 89

NEIL CHRISTENSEN (b. 1948) In my work I have authority over everything—it is my world and I can come to it and everything has order and serenity. I hope that is what the viewer will see and relate to.

Neil Christensen uses a combination of cool light, low vantage point and shallow space to create a feeling of quiet monumentality in his still lifes. By juxtaposing objects of contrasting color, shape and texture, Christensen reflects his contemporary roots and training in abstract art. As stated in the Museum of Nebraska Art’s monograph about his work, “Christensen’s work proclaims that even in a Styrofoam cup, a broken egg shell, a glass dish or a violet there is something interesting to look at and a mystery to be unraveled. Like haiku, Christensen’s paintings can be seen as objects of meditation.”

A native Nebraskan, Christensen received both undergraduate and master’s degrees in art at the University of Nebraska-Lincoln.

His numerous honors include solo and group exhibitions at the Museum of Nebraska Art and the Sheldon Memorial Art Gallery.

245 NEIL CHRISTENSEN Calla Series 2008 2008, Oil on panel 32 x 28 inches Signed 246 Neil Christensen Rainbow Twizzlers 2007, Oil on panel 28 x 32 inches Signed 247 Neil Christensen Tulips, Backlit 2008, Oil on panel 21 x 20 1/2 inches Signed

90 KIECHEL FINE ART

JUDITH CHERRY Judith Ernst Cherry received her bachelor’s degree from Valparaiso University in Indiana and her M.F.A. from the University of Nebraska-Lincoln. She has shown her work regionally and nationally in group and solo exhibitions and won numerous awards for painting as well as photography.

Cherry’s solo exhibitions include the Museum of Nebraska Art in Kearney; the Quincy Arts Center in Quincy, Illinois; Sheldon Memorial Art Gallery in Lincoln, Nebraska; and Collin County Community College in Plano, Texas. The New York Times highlighted her solo show in August 2003 as one of its art recommendations.

Cherry’s work is in the collections of many distinguished corporate and private collections throughout the country as well as several museums. The artist taught for several years in the department of art and art history at the University of Nebraska-Lincoln.

248 Judith Cherry Unswept Floor, Oldest Baby in the World 1998-99, Oil on panel 49 1/2 x 37 1/2 inches Signed 249 Judith Cherry It’s the Money Honey 2001, Oil on panel 20 x 20 inches Signed 250 Judith Cherry Thin Red Lines 2007, Oil on panel 36 x 48 inches Signed

KIECHEL FINE ART 91

TONI ELLIS (1939 - 2008) Toni Ellis, a San Francisco Bay Area artist, specialized in contemporary still life. Born in Lincoln, Nebraska, Ellis began painting in her teens before studying English at Swarthmore College in Pennsylvania. After nearly 30 years of working as a grief counselor, Ellis returned to painting at the age of 55.

With inspiration from everyday items such as fruit and pottery, Ellis’ work plays on a subtle relationship between color and form.

She has exhibited nationwide and her work is included in the corporate collections of Hewlett Packard Company and Kaiser Hospital.

She has been featured in American Artist; The Artist’s Magazine, June 2001; Gentry Magazine, April 2002; and Lincoln Lifestyles Magazine, Summer 2005.

251 Toni Ellis Pots, Apples & Orange Drape 2007, Oil on canvas 20 x 20 inches Signed 252 TONI ELLIS Funnel & Yellow Persimmon 2007, Oil on canvas 14 x 18 inches Signed 253 TONI ELLIS Squash in Black and Tan Bowl 2007, Oil on canvas 14 x 18 inches Signed

92 KIECHEL FINE ART

254 Toni Ellis Eggs on Brocade 2007, Oil on canvas 24 x 24 inches Signed 255 TONI ELLIS Eggplant and Bananas #2 2007, Oil on canvas 20 x 24 inches Signed

KIECHEL FINE ART 93

Aaron Holz (b. 1972) Aaron Holz’s portrait work investigates relationships of individuals, painting techniques and art movements through small-scale portraits. The ground in each painting is made with a thick layer of acrylic gesso that has been combed and then painted from multiple directions. The figure is rendered on a layer of clear resin that is poured over that textured surface. The portrait floats above a background of color and pattern.

In certain passages, the actual depth of the surface interferes with the eye’s ability to see illusory depth of the painted figure. There is an exchange between the implied depth of the painting and the physical depth of the material, a hybridization that combines elements of Op-Art and Portraiture in ways that challenge traditional figure/ground relationships.

Aaron Holz received his M.F.A. in Painting from the University of Albany, State University of New York in 2001. He has exhibited work in group and solo shows in New York and Boston.

His work was included in the exhibition “Face Forward – Portraiture In Contemporary Art” at Columbia University’s LeRoy Nieman Gallery, New York, NY. Aaron Holz serves as an assistant professor of painting at the University of Nebraska in Lincoln, where he lives and works.

256 Aaron Holz Luke & Isabel 2008, Oil, resin, acrylic on panel 15 x 15 inches (each) Signed Portrait Commissions Available 257 Aaron Holz Dana & Rusty 2004, Oil, resin, acrylic diptych on panel 12 x 14 inches (each) Signed

94 KIECHEL FINE ART

DAN HOWARD (b. 1931) Influenced by artists of such varying styles as Caravaggio, Rembrandt, De Kooning and Jack Levine, as well as many of the German Neo-Expressionists, Dan Howard’s work often blurs the line between representational and abstract art. His experimentation with different canvas preparations, his use of intense colors and his expressive brush strokes have created myriad visual combinations in his characteristic larger-sized oil paintings. The result is an emphasis on audience participation and the role of individual interpretation. “I want to make the viewer part of the process. That makes for a richer experience,” Howard said.

Throughout his career, Howard has been both a dedicated art teacher-administrator and a gifted professional artist. He chaired the departments of art at Arkansas State University, Kansas State University and the University of Nebraska-Lincoln. Howard has received numerous prizes, awards and honors including the top awards in the three longest running national open painting competitions: Society of Four Arts, Palm Beach, Fla.; Butler Institute, Youngstown, Ohio; and Chautauqua Institution, New York.

The Omaha World-Herald has acknowledged Howard as “Nebraska’s leading awardwinning artist.” His work is a part of more than 600 public, private and corporate collections including Hallmark Cards, West Law Publishing, United Airlines, Minnesota Mining & Manufacturing (3M), Holiday Inn, Pepsi Cola, Riceland Foods, Sheraton Hotels, Con Agra and numerous others.

258 DAN HOWARD Out of this World: VI (Super Nova) 2007, Oil on linen 55 x 47 inches Signed 259 DAN HOWARD Out of this World: VIII (Jupiter’s Moon IO) 2007, Oil on linen 59 x 51 inches Signed

KIECHEL FINE ART 95

KAREN KUNC (b. 1952) I am interested in evocative inferences about how we have come to live with nature—the shaping of landscape, cultivation and destruction activities, wild and domestic nature, shelters, markers, spaces, natural and evolved forms—icons that come from living with, and against, nature.

A great deal of Karen Kunc’s inspiration comes from the Nebraska landscape, however the resulting images are combinations of multiple shapes and colors that suggest, rather than identify, the disparate natural forms that served as their models. Although the artist’s primary medium is woodcut, her methods are often untraditional to that field. Her prints contain a significant number of intense colors, which she produces with an uncharacteristically small number of woodcuts. She achieves this end by attaching stencils to a particular block of wood—a method borrowed from screen printing. These artistic and technical innovations have distinguished Kunc from other artists working in the woodcut medium.

Kunc’s work has been featured in several publications on printmaking. Her prints are contained in the collections of numerous major museums worldwide including the Museum of Modern Art in New York, the Smithsonian in Washington, D.C., and the Victoria-Albert Museum in London. She is a professor of printmaking in the department of art and art history at the University of Nebraska-Lincoln.

260 Karen Kunc Becoming Visible 1998, Woodcut Color Trial Proof 42 x 20 inches Signed 261 KAren Kunc Spring from Broken Ground 2003, Woodcut Edition 5/6 14 5/8 x 26 5/8 inches Signed 262 KAren Kunc A Jaded Nature 1992, Woodcut Edition 7/41 45 1/8 x 30 1/8 inches

96 KIECHEL FINE ART

DEBORAH MURPHY Some people may feel that what I choose to portray is mundane and not a vision grand enough to warrant the attention I devote to the subject. But as an artist I am not a mere casual observer... My work is an effort to capture the pastoral quality of the Midwestern landscape with its delicate and elusive beauty, but also to put forth a dramatic appeal.

Born and raised in North Platte, Nebraska, Deborah Murphy attended Kearney State College where she received a B.A. in art. She has worked as a professional artist since 1973.

Murphy has shown her work in numerous national and regional exhibitions. Her exhibition history includes many noteworthy achievements: Purchase Awards, Juror’s Merit Awards, the Mid-America Arts Alliance/ National Endowment for the Arts Fellowship Award in Painting and Works on Paper, and the Nebraska Arts Council Distinguished Achievement Fellowship Grant.

Murphy’s work appears in numerous collections around the country: Austin Peay State University, Clarksville, Tenn.; Bradley University, Peoria, Ill.; Sioux City Art Center, Sioux City, Iowa; H&R Block, Kansas City; Papio Natural Resources District, Omaha; Wayne State College; Great Plains Art Collection, University of Nebraska-Lincoln; Omaha Airport Authority; Elkhorn Valley Bank, Norfolk; and the Museum of Nebraska Art, Kearney.

263 DEBORAH MURPHY Because the Sky is Blue 2006, Acrylic on canvas 35 x 24 inches Signed 264 DEBORAH MURPHY Everything Changes 2005, Acrylic on canvas 20 x 20 inches Signed

KIECHEL FINE ART 97

Francisco Souto (b. 1973) Francisco Souto was born in Venezuela, and received his BFA from the Herron School of Art in 2000, and his MFA from Ohio State University in 2002. He has participated in a wide range of national and international exhibitions throughout the United States, Europe, Venezuela, Russia, Egypt and Japan.

Significant exhibitions include: Latin American Contemporary Printmaking Masters, Italy; the 6th Kochi triennial exhibition of prints, Japan; the IV Novosibirsk International Biennial of Contemporary Graphic Art, Russia; the 5th British International Miniature Print Exhibition, UK; 12th International Print Biennial, Bulgaria; the Boston Printmakers 2003 North American Print Exhibition; and the Los Angeles Printmaking Society 18th National Exhibition, California.

Souto has taught workshops and has been a visiting artist in the US and abroad including: the Anderson Ranch Arts Center, Colorado; the Universidad de los Andes, Venezuela; American University in Cairo, Egypt; Academy of Fine Art Helsinki, Finland; University of Texas, Austin; Museo Grabado, Zacatecas, Mexico; and the Columbus College of Art and Design. He has received many awards and grants and his work is in many important public and private collections worldwide.

He is currently an associate professor in the department of art and art history at the University of Nebraska-Lincoln.

265 Francisco Souto El otro, el mismo N VI 2007, Mezzotint and silkscreen 23 x 31 inches Signed 266 Francisco Souto Trivium MMV 2006, Mezzotint 12 x 15 inches Signed 267 Francisco Souto Estudio de superficies 2004, Mezzotint Edition 10/20 9 x 12 inches Numbered, titled, signed and dated

98 KIECHEL FINE ART

DIANA WOODS (b. 1958) As an experimental artist, I try to push the boundaries and explore the territory of color, composition, line and texture. My work bridges painting and sculpture in a patchwork of ideas.

Using canvas or wood as a painting surface, Woods incorporates anything from oil paints to metals, glass, pumice, screen and found objects to create layers of texture and color.

With her studio located at the base of the Colorado National Monument, Woods draws inspiration from the natural world. “The canyons tower above me, constantly changing in shadows and light. My work represents the spirit and soul of nature in abstracted forms.�

Diana Woods received her B.F.A. degree from William Woods College in 1980. She has worked as a professional artist for more than 20 years, exhibiting in California, Colorado, Iowa, Montana, Nebraska and New Mexico.

268 DIANA WOODS Mystic Trees 2008, Oil, copper, gold leaf on wood 60 x 20 inches Signed 269 DIANA WOODS Faith 2007, Oil, copper, gold leaf on wood 36 x 24 inches Signed

KIECHEL FINE ART 99

270 Robert Weaver Bat 1977, Lithograph 24 x 18 inches

271 Robert Weaver Cigar Jar Still-life 1977, Lithograph 16 x 21 inches Signed and dated lower right “Robert Weaver ‘77” Numbered lower middle “Color Trial Proof” Titled lower left “Cigar-Jar Still-life”

272 Robert Weaver Pakistani Dancer 1974, Lithograph Edition of 15 40 x 30 inches Signed and dated lower right “Robert Weaver ‘74” Numbered lower middle “12/15” Titled lower left “Pakistani Dancer”

273 Robert Weaver Self-Portrait (age 41) 1978, Lithograph 29 5/8 x 22 inches Signed and dated lower right “Robert Weaver ‘78” Numbered lower middle “Red State Color Trial Proof” Titled lower left “Self-Portrait”

274 Robert Weaver Toy Tank II 1978, Lithograph Edition of 20 17 x 24 inches Signed and dated lower right “Robert Weaver ‘78” Titled lower middle “Toy Tank II” Numbered lower left “15/20”

275 Robert Weaver Plant 1961, Charcoal 20 x 18 inches Signed and dated lower right “R Weaver ‘61”

100 KIECHEL FINE ART

276 Leroy Neiman Blackshirts 1974, Serigraph 20 x 26 inches Signed lower right “Leroy Neiman” Numbered lower left “AP”

277 Leroy Neiman Breakaway 1974, Serigraph 26 x 20 inches Signed lower right “Leroy Neiman” Numbered lower left “AP”

279 Leroy Neiman Game of the Century 1974, Serigraph 20 x 26 inches Signed lower right “Leroy Neiman” Numbered lower left “AP”

280 Leroy Neiman National Champions 1974, Serigraph 20 x 26 inches Signed lower right “Leroy Neiman” Numbered lower left “AP”

278 Leroy Neiman Coach Devaney 1974, Serigraph 26 x 20 inches Signed lower right “Leroy Neiman” Numbered lower left “A.P.” Signed on verso by Bob Devaney and Johnny Rogers

KIECHEL FINE ART 101

IN D E X Milton Avery 206 Wendy Bantam 242-244 Will Barnet 120-123 Leonard Baskin 163 George Bellows 91-92 Thomas Hart Benton 34-59 Karl Bodmer 148 Isabel Bishop 102-103 Edward Borein 158-162 Emil Bisttram 177-178, 180 Alexander Blum 104

O F

A RTISTS Harry Jackson 166, 168 Keith Jacobshagen 231-234

Arthur Bishop Jeffries 198 Alex Katz 218

Pierre Soulages 211

Rockwell Kent 139-145

Francisco Souto 267-269

WHD Koerner 169-176

Edith Sternfeld 226

Karen Kunc 260-262

Carol Summers 212

Eugene Larkin 220

Paul Szep 147

William Robinson Leigh 191

Rufino Tamayo 215

Ward Lockwood 184-185 Louis Lozowick 107

George Catlin 149-157

Luigi Lucioni 108

Judith Cherry 248-250

Gladys Lux 241

Howard Cook 179 John Costigan 105 Keith Crown 225 John Steuart Curry 1-33 John De Martelly 73-74 Terrence Duren 240 Toni Ellis 251-255

Robert Weaver 270-275

Reginald Marsh 109-114 Roger Medearis 75-79 Ed Mell 195-196 Joan Miro 210

Yozo Hamaguchi 208 Joseph Hirsch 125-126 Irwin Hoffman 106

James Winn 223 Grant Wood 80-90 Diana Woods 265-266 Jamie Wyeth 217

Forest Moses 197

Francisco Zuniga 164-165

Dale Nichols 66-71 Edgar Payne 192 Joseph Pennell 201-202 Aaron Pyle 72 Louis Ribak 188-190 Robert Riggs 115 Norman Rockwell 146

Hal Holoun 235-239

Ruth Starr Rose 116

Aaron Holz 256-257

Georges Schreiber 117

Dan Howard 258-259

Bob Scriver 167

102 KIECHEL FINE ART

Florence Williams 227

Henry Moore 213

Leroy Neiman 276-280

Anthony Benton Gude 60-65

Lynd Ward 119 Harold Waldrum 219, 221-222 James McNeill Whistler 203-205

Deborah Murphy 263-264

William Gropper 124

Victor Vasarely 214

Merrill Mahaffey 193-194

Claire Falkenstein 207 Harold Gregor 224

Wayne Thiebaud 216

Beatrice Mandelman 186-187

Fritz Eichenberg 138 Leo Garel 181-183

John Sloan 93-101 Hyde Solomon 228-230

Ellsworth Kelly 209

FĂŠlix Buhot 199-200

Neil Christensen 245-247

Ben Shahn 127-137 William Sharp 118

gallery 5733 South 34th Street Suite 300 Lincoln, Nebraska 68516 tel: 402.420.9553 fax: 402.420.9554 office 2341 Bretigne Drive Lincoln, Nebraska 68512 tel: 402.423.0340 fax: 402.423.4270 www.kiechelart.com gallery@kiechelart.com

director Frederic “Buck� Kiechel IV buck1@kiechelart.com associate director Gloria Garrett gloria@kiechelart.com layout & design Josie Stauffer josie@kiechelart.com photography John Nollendorfs Photography

KIECHEL FINE ART 103

www.k iechela rt.com

PURCHASE S A LES CONSIGNMENT | CORPORATE ESTATE PRIVATE Me mbe r of t h e i n t e r nat i o nal f i n e p r i n t d e a l e r s a s s o c i at i o n c e rt if i ed b y t h e i n t e r nat i o n al s o c i e t y of a p p ra i s e r s

104 KIECHEL FINE ART