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Boston Copley Square Press 1991 1st Edition. Oblong Quarto. Cloth in dust jacket. 96pp 61 color and20 black and white illustrations; Decorated endpapers; Foreword by William H. Gerdts; (Chronology); (Bibliography); (Index). Mint condition with mint dust jacket in original shipping carton.
Boston Copley Square Press 2004 1st Edition. Oblong Quarto. Soft Cover 144pp 104 color and 9 black and white illustrations; Foreword by Patricia Hills; (Chronology); (Bibliography); (Index). Mint condition.
Boston Copley Square Press 1991 1st Edition. Oblong Quarto. Paperback. 96pp 61 color and 20 black and white illustrations; Foreword by William H. Gerdts; (Chronology); (Bibliography); (Index). Mint condition.
Signed lower left: GÄRTNER". In fine condition. 9 1/4 X 7 inches Signed lower left
Signed upper right: "FX Wölfle." In fine condition. 7 X 5 3/8 inches Signed upper right
Signed lower left: "G [?] Schröpler / Mchn"; inscribed verso: "Rast an der landstrasse." In fine condition. 6 1/4 X 8 1/8 inches Signed lower left
Signed lower left: GRUBER". In fine condition. 8 1/2 X 6 3/8 inches Signed lower left
Signed lower right: GRUBER". In fine condition. 8 1/4 X 6 3/8 inches Signed lower right
Signed lower right: "GRUBER". In fine condition 8 1/4 X 6 3/8 inches Signed lower right
Signed lower right: "Gärtner". In fine condition. 10 X 8 inches Signed lower right
20 X 20 inches from the estate of the artist
"Guitar Player I" is dated 1962. 32 X 24 inches from the estate of the artist
12 X 9 inches from the estate of the artist
Signed and dated in pencil lower left,"Jack Kramer / 1966". From the estate of the artist. In fine condition. 17 3/4 X 20 inches Signed in pencil
Signed and titled in pencil lower right,"Jack Kramer/Backview". From the estate of the artist. In fine condition. 22 X 15 inches Signed in pencil
Signed in pencil lower right: "Kramer", and titled. Verso: female study in pencil. In fine condition. From the estate of the artist. 15 X 22 inches Signed in pencil
Verso: Female Study in pencil. In fine condition aside from nicks along the margins, and paper lossin right corner, not extending to image. 15 X 22 inches From the estate of the artist
Inscribed on canvas verso: "GUITAR PLAYER I 1962". From the estate of the artist. 24 X 32 inches
From the estate of the artist. 23 X 28 inches
Chicago 25, State i/I. Way 21, Levy 34. Watermark 245 "Pro Patria," one of 47 posthumous impressions by Goulding May 26, 1904 (14 lifetime impressions by Way). Watermark identical to a print in the collection of the Hunterian Art Gallery at the University of Glasgow.signature in butterfly, lower right in facade. A fine impression in fine condition with full margins. 5 7/8 X 6 3/8 inches signed in the stone
AIC 69, Way 44, Levy 71. Watermark 219 (Chicago), one of 55 impressions printed by Goulding March 28, 1904 (26 lifetime impressions by Way). Signed in butterfly lower right. A fine impression in fine condition with full margins. 6 3/4 X 6 inches signed in the stone
As the artist himself suggested, these small sculptures can act as both "paperweights par excellence" and "superb weapons of self defense." Talcott intended them "to feel of as well as to look at, to turn over in one's hands like a smooth stone picked up on a beach."Dudley Vaill Talcott had the great fortune to be born into an artistic and encouraging family and thus was free to pursue his artistic endeavors without being forced to construct a more commercial career from his talents. The artist's formal training includes a year at Yale University and several courses at Académie de la Grande Chaumière in Paris. In 1925 Talcott began traveling on and off for six years, most notably to Norway and Greenland; these travels inspired the artist to write and illustrate two related books, Noravind and Report of the Company. After his travels, Talcott began to exhibit his work: at the Museum of Modern Art in 1930, the Whitney Museum of American Art in 1938, the Worcester Museum of Art in 1941, and the 1932 Olympic International Competition and Exhibition, where his sculpture The Wrestler received an honorable mention. Talcott also received several important commissions throughout his career, including a group of bas relief panels for the 1939 New York World's Fair, colored windows constructed from fiberglass laminate displayed in seven Pennsylvania public schools, a sculpture honoring the 500th birthday of Copernicus erected in Philadelphia, and several commissions for private collections. After the 1939 World's Fair, Talcott began to move away from traditional styles and materials and began to move toward more modern styles and materials. He built a body of work in a style of industrial modernism that incorporated industrial design, cubism, streamlining, modernism, and what is now referred to as Art Deco. 2 1/2 X 4 X 3 inches
As the artist himself suggested, these small sculptures can act as both "paperweights par excellence" and "superb weapons of self defense." Talcott intended them "to feel of as well as to look at, to turn over in one's hands like a smooth stone picked up on a beach."Dudley Vaill Talcott had the great fortune to be born into an artistic and encouraging family and thus was free to pursue his artistic endeavors without being forced to construct a more commercial career from his talents. The artist's formal training includes a year at Yale University and several courses at Académie de la Grande Chaumière in Paris. In 1925 Talcott began traveling on and off for six years, most notably to Norway and Greenland; these travels inspired the artist to write and illustrate two related books, Noravind and Report of the Company. After his travels, Talcott began to exhibit his work: at the Museum of Modern Art in 1930, the Whitney Museum of American Art in 1938, the Worcester Museum of Art in 1941, and the 1932 Olympic International Competition and Exhibition, where his sculpture The Wrestler received an honorable mention. Talcott also received several important commissions throughout his career, including a group of bas relief panels for the 1939 New York World's Fair, colored windows constructed from fiberglass laminate displayed in seven Pennsylvania public schools, a sculpture honoring the 500th birthday of Copernicus erected in Philadelphia, and several commissions for private collections. After the 1939 World's Fair, Talcott began to move away from traditional styles and materials and began to move toward more modern styles and materials. He built a body of work in a style of industrial modernism that incorporated industrial design, cubism, streamlining, modernism, and what is now referred to as Art Deco. 4 X 4 X 1 1/2 inches
As the artist himself suggested, these small sculptures can act as both "paperweights par excellence" and "superb weapons of self defense." Talcott intended them "to feel of as well as to look at, to turn over in one's hands like a smooth stone picked up on a beach."Dudley Vaill Talcott had the great fortune to be born into an artistic and encouraging family and thus was free to pursue his artistic endeavors without being forced to construct a more commercial career from his talents. The artist's formal training includes a year at Yale University and several courses at Académie de la Grande Chaumière in Paris. In 1925 Talcott began traveling on and off for six years, most notably to Norway and Greenland; these travels inspired the artist to write and illustrate two related books, Noravind and Report of the Company. After his travels, Talcott began to exhibit his work: at the Museum of Modern Art in 1930, the Whitney Museum of American Art in 1938, the Worcester Museum of Art in 1941, and the 1932 Olympic International Competition and Exhibition, where his sculpture The Wrestler received an honorable mention. Talcott also received several important commissions throughout his career, including a group of bas relief panels for the 1939 New York World's Fair, colored windows constructed from fiberglass laminate displayed in seven Pennsylvania public schools, a sculpture honoring the 500th birthday of Copernicus erected in Philadelphia, and several commissions for private collections. After the 1939 World's Fair, Talcott began to move away from traditional styles and materials and began to move toward more modern styles and materials. He built a body of work in a style of industrial modernism that incorporated industrial design, cubism, streamlining, modernism, and what is now referred to as Art Deco. 2 1/2 X 6 X 2 inches
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