Maynard Dixon (1875-1946)
Snake Kiva-Orabi, 1902
pastel on paper
11 x 8 inches
$ 16,000.00
In 1902 Dixon accepted a commission for illustration work from the Santa Fe Railroad. In addition to being a source of income, it was an opportunity to return to AZ, with which he had become enthralled on his first trip there in 1900. He accompanied photographer Frederick I. Monson in Los Angeles on his assignment to photograph the Hopi on their remote mesas.
It was, and remains, extremely rare for Anglos to be invited to reside with and observe the Hopi. Dixon spent considerable time in Hopi country, including a 1923 trip in which he convalesced for four months, living with Namoki, one of the snake priests, and his blind brother, Loma Himma. Dixon earned the trust of his Native American acquaintances and subjects through the years through showing them respect and displaying a genuine interest in their beliefs, practices, and cultures. Even though he worked an an illustrator of western subjects, he had disdain for romanticized, condescending depictions of all westerners. Here he has created an honest and admiring imaged of the Hopi village adobe architecture and ceremonial structure of the kiva.
Signature
Front: Snake Kiva-Oraibi, '02
Verso: Kennedy Galleries LTD sticker and label
Maynard Dixon (1875-1946)
Bear and Bull Fight, 1926
Gouache on Paper
15 x 10 inches
$ 25,000.00
Commissioned illustrations for the 1926 University of California (CAL) Yearbook
Signature
signed and dated lower left
Maynard Dixon (1875-1946)
Wolf Dancer, 1926
Gouache on Paper
15 x 10 inches
$ 25,000.00
Commissioned illustrations for the 1926 University of California (CAL) Yearbook
Signature
signed and dated lower left corner
Waldo Midgley (1888-1986)
Untitled- Port scape/ Landscape, 1933
Watercolor
21 x 14 inches
$ 5,000.00
V. Douglas Snow (1927 - 2009)
untitled (abstract), 1956
acrylic on paper
11 x 14 inches
$ 3,000.00
Lee Deffebach (1928-2005)
Odd-Lot System, 1964
Ink and Collage
27.75 x 32.5 inches
$ 900.00
George Dibble (1904 - 1992)
Valley Sunset #26
Watercolor
20 x 28 inches
$ 1,800.00
Lee Deffebach (1928-2005)
Pacific Heights, 1982
Watercolor
9 x 12 inches
$ 1,950.00
Don Olsen (1910-1983)
unititled (Ink & Collage series)
ink and collage
20.25 x 27.25 inches
$ 5,000.00
Conrad Buff (1886-1975)
Zion, 1931
lithograph
12.50 x 17.25 inches
$ 3,000.00
Sven Birger Sandzen (1871-1954)
Utah Poplars, 1930
lithograph
20 x 16 inches
$ 1,500.00
A pencil-signed and titled lithographic composition of tall poplar trees.
Signature
Pencil signed and titled bottom. Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.
Sven Birger Sandzen (1871-1954)
Arroyo with Trees, 1925
lithograph
12 x 18 inches
$ 1,500.00
A pencil-signed and titled image of trees before a Southwestern gully.
Sven Birger Sandzen (1871-1954)
Timberline Snow, 1925
lithograph
9 7/8 x 13.75 inches
$ 900.00
A pencil-signed and titled vista of Pike's Peak, with cedars in the foreground. Executed on cream laid paper, in a wooden frame that measures 19 7/8" x 23 1/4".
Signature
Pencil signed and titled. Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.
Sven Birger Sandzen (1871-1954)
The Red Canyon, 1927
lithograph
17 x 22.25 inches
$ 900.00
A pencil-signed and titled view of the Colorado River, executed near Moab, Utah. Alternately titled Red Rock Canyon and In the Canyon. Edition of 50.
Signature
Pencil signed - title lower left and signed lower right. Printed signature and dated lower right.
Carl Oscar Borg (1879-1947)
Hopi Village, Walpi, 1932
drypoint etching
7.50 x 7.50 inches
$ 4,750.00
Roy Lichtenstein (1923 - 1997)
Temple, 1964
lithograph
23.75 x 17.75 inches
$ 11,000.00
Color offset lithograph on cream wove paper, 1964. Published by Leo Castelli Gallery, New York. A very good impression with strong colors. This image was also printed as a mailer to announce Lichtenstein's (1923-1997) "Landscapes" exhibition at Leo Castelli Gallery from October 24-November 19, 1964.
Signature
Signed, dated and numbered 230/300 bottom center
Richard Diebenkorn (1922 - 1993)
untitled (from Club/Spade Group '81-82), 1982/ 1986
lithograph
39.75 x 27 inches
$ 7,000.00
This work is from Eight by Eight to Celebrate the Temporary Contemporary, a portfolio of prints by eight artists produced to help raise funds for the Museum of Contemporary Art, Los Angeles (MOCA).
Signature
Signed, dated and numbered to lower edge ‘233/250 RD 82’ with blindstamps. This work is number 233 from the edition of 250 printed by Gemini G.E.L., Los Angeles and published by the Museum of Contemporary Art, Los Angeles.
Biography
Rising to prominence in the 1950s and 1960s, Richard Diebenkorn shaped an evocative style of post-war abstraction widely celebrated for its lyrical quality. A founding member of the Bay Area Figurative Movement, Diebenkorn explored the spaces between figuration and abstraction to great effect, creating distinct and critically lauded series initially inspired by epiphanic glimpses of aerial views of surrounding landscapes.
Born in Portland, Oregon, Diebenkorn’s family relocated to San Francisco when the artist was two years old, and he would spend the majority of his life in California. He began drawing at the age of four or five, and studied art at Stanford University beginning in 1940. In 1943, he enlisted as a Marine and served until the end of World War II. Upon completing his military service, Diebenkorn used the G.I. Bill to enroll at the California School of Fine Arts, where he would soon become a faculty member teaching alongside Elmer Bischoff, David Park, Hassel Smith, and Clyfford Still.
Diebenkorn’s first solo exhibition with a commercial gallery was in 1952, at Paul Kantor Gallery in Los Angeles. He went on teaching and creating work, crossing back and forth between strict abstraction and more representational styles. In 1966, Diebenkorn and his wife Phyllis moved to Santa Monica, California, and he took a teaching position at the University of California, Los Angeles. In 1967, he began his most famous series of paintings, the Ocean Park series, which comprised roughly 135 large-scale abstract works painted over an 18-year period.
Diebenkorn retired from UCLA in 1973, eventually settling in Northern California with his wife in 1988. Today, his works are held in the collections of the Metropolitan Museum of Art, New York, the National Gallery of Art, Washington, D.C., and the Fine Art Museums of San Francisco, among others.
Waldo Midgley (1888-1986)
Alligator and turtle
etching
3.75 x 5.5 (site)
$ 1,500.00
Wulf Barsch (1943)
untitled, 1986
lithograph
22 x 20 inches
$ 400.00
Lee Deffebach (1928-2005)
A Visit to Moab, 1989
monotype
6 x 6 inches (site)
$ 900.00
Kawase Hasui (1883-1957)
Cloudy Day at Mizuki in Ibaragi
Woodblock Print
10.25 x 14.13 inches
$ 1,350.00
Kobayashi Kiyochika (1847 - 1915)
Shimbashi Station, c. 1881
Woodblock Print
9.50 x 14.50 inches
$ 350.00
Kiyochika Kobayashi studied western style and Japanese style oil painting. Later he turned to woodblock printing. During the Sino-Japanese war he depicted many war scenes on Ukiyo-e. His style is a synthesis of Western and Japanese painting style. His works showed the strong influence of Western perspectives, changes of lights and mainly night effects. He is considered the last of the important Ukiyo-e print makers.
Kazuma Oda (1881 - 1956)
Views of Osaka - Osada Fukei - Tosabori River, 1919
lithograph
19.40 x 13.30 inches
$ 1,200.00
From the series, "Osaka fukei" (Views of Osaka). "Tosabori River" A house boat anchored in the Tosabori river. A row of storage houses are lining up on the opposite river bank. Kazuma Oda was a well know Sosaku Hana artist. Very Rare. Before W.W.II.
His prints are in the collections of major museums such as The Tokyo National Museum of Modern Art, the British Museum, the Museum of Fine Arts Boston.
Signature
"K. Oda" printed on the bottom margin.
Dated 1919
Kazuma Oda (1881 - 1956)
Arifuku Hot Spring, Iwami, 1925
Woodblock Print
15.50 x 10.38 inches
$ 3,500.00
Many artists of the first half of the 20th century drifted back and forth between the two poles of sosaku-hanga and shin-hanga. Oda Kazuma was an artist who was able to produce notable works by both means; that is, with a publisher or independently.
Signature
Signed at the upper right, Kazuma hitsu, with artist's seal Oda, dated in margin at lower left, Taisho juyonnen (Taisho 14 [1925]), followed by the title, Iwami Arifuku onsen, published by Watanabe Shozaburo
Torii Kotondo (1900-1976)
Nagajuban (Long Undergarment), c. 1929
Woodblock Print
18.50 x 11.88 inches
$ 1,800.00
A dai oban print titled Nagajuban (Long Undergarment) embossed on the lower margin, dated Showa yonen shichigatsu (Showa 4 [1929], 7th month), signed Kotondo ga, sealed Torii, lower left with embossed publisher seal Sakai-Kawaguchi go ban (Sakai Kawaguchi, joint publication), reverse with hand-numbered limited edition paper label Gaikoku-yuki ni-hyaku-mai kagiri zeppan, dai yonjuni-go, Torii Kotondo (for foreign export, limited edition of 200 printed, number 42, by Torii Kotondo)
Ito Shinsui (1898-1972)
Early Spring, March 15, 1931
Woodblock Print
15.40 x 10.50 inches
$ 550.00
Ito Shinsui
Early Spring, March 15, 1931
15.40 x 10.50 inches
Woodblock Print
Retail Price $550
"Senshun" (Early Spring). Modern fashionable lady wearing a fur and a blue cap. A rare newspaper insert, "Showa Bijin Fuzoku", for Jiji Shinpo Newspaper.
Signature
Shinsui. "Ito Shinsui" is printed on the lower margin.
Kobayashi Kiyochika (1847 - 1915)
Moon over a Town Street, ca. 1930's
Woodblock Print
10.20 x 7.50 inches
$ 500.00
The full moon high on the sky illuminates a town street with utility poles and the houses under the hill.
Shima Art Company's round seal.
"Made in Japan" is stamped on the back.
Signature
'Kobayashi Kiyochika'., Ca. 1930's
Distributor: Shima Art Co.
Technique: Ukiyo-e
Size: Chuban
Umetaro Azechi (1902-1999)
Snowman
Woodblock Print
11 x 16 inches (site)
$ 1,900.00
Koizumi Kishio (1893-1945)
Fall Festival at Yasukuni Shrine, 1931
Woodblock Print
15.5 x 12 inches
$ 600.00
From the series One Hundred Pictures of Great Tokyo in the Showa Era, carved and printed by the artist, published by Asahi Press
"Yasukuni Jinja no Aki Matsuri" (The Autumn Festival at Yasukuni Shrine). Thousands of people are watching the fireworks. The large torii gate looms over them. Yasukuni shrine is a large Shinto shrine which commemorates fallen soldiers. The series One Hundred Pictures of Great Tokyo in the Showa Era was created between 1928 and 1940 and depicted the new land marks, and the people of Tokyo's daily lives during the recovery from the Great Kanto Earthquake of 1923.
Signature
Artist stamp lower left, carved and printed by the artist and published by Asahi Press
Biography
Japanese 1893-1945
Only two sosaku hanga artists actually received training from traditional block carvers; one was Hiratsuka Un-'ichi; the other was Koizumi Kishio; but while Hiratsuka used the skills he acquired solely for his own expressive purposes, Koizumi actually earned his living for a time as a block carver He might have continued in that role, in fact, if he hadn't met and received encouragement from Tobari Kogan. Through Kogan he was introduced to Onchi and Yamamoto and became involved in the Nippon Sosaku Hanga Kyokai. He took part in the successful 1919 exhibition and continued to exhibit regularly thereafter.
Although Koizumi was not particularly adventurous as an artist, his work has an unaffected (even, at times, naive) quality that can be extremely appealing. He spent the bulk of the 1930s working on his ambitious One Hundred Pictures of Great Tokyo in the Showa Era series. Source: LiveAuctioneers
Hiroshi Yoshida (1876-1950)
Grand Canyon, 1925
Woodblock Print
11.50 x 16.25 inches
First Edition
$ 11,000.00
Signature
Earliest "red" Jizuri seal in upper left margin
Brush signed and sealed by the artist
Pencil titled and signed in the bottom margin
Original Japanese woodblock print
The United States Series, First Edition - Earliest State, 1925
Publisher: the artist
Reference: Abe #11
Hiroshi Yoshida (1876-1950)
Chikugo River, 1927
Woodblock Print
16 x 10.75 inches
First Edition
$ 2,500.00
Koshiro Onchi (1891 - 1955)
Shin Nihon Hyakkei No 29 Unzen Ikkei (One Hundred Views of New Japan), 1938
Woodblock Print
10 x 13.10 inches
$ 1,495.00
From the series "Shin Nihon Hyakkei" (One Hundred Views of New Japan) No 29 "Unzen Ikkei" The panoramic view of Mt. Unzen in Nagasaki prefecture.
Signature
"Ko" in a circle at the bottom left.
Ito Shinsui (1898-1972)
Soshun no Yoshida (Early Spring in Yoshia), c. 1938
Woodblock Print
10.75 x 15.75 inches
$ 1,100.00
An oban yoko-e print of Soshun no Yoshida (Early Spring in Yoshida), from the series Izu hakkei no uchi (Eight Views of Izu), of fields with Mount Fuji in the distance, publisher Watanabe Shozaburo seal (G: 1942-45), printer Ono Gintaro;
Signature
signed and sealed Shinsui
Umetaro Azechi (1902 - 1999)
Recollections of Tokyo - Sengaku Temple, 1945
Woodblock Print
7.75 x 10.35 inches
$ 600.00
Sekino Jun'ichiro (1914-1988)
Blue Roof Tops
Woodblock Print
27.38 x 18.38 inches
$ 1,400.00
Biography
Junichiro Sekino, a painter, graphic designer and a woodblock* print maker was one of the noted artists of the Sosaku Hanga* movement, an important current of Japanese art.
Sekino was stylistically and technically diverse: he easily switched from figurative to abstract art, from black and white compositions to colourful expression. He was also flexible with subjects. Sekino sometimes resorted to mixing Western and Japanese techniques in his works.
He grew up in Aomori City alongside Shiko Munakata, the future 'Japanese Picasso', studying printmaking and oil painting. 1936 brought him a Bunten award for his etching*, awarded by the government. In 1939 he moved to the capital, where he came across the Sosaku Hanga movement and studied under one of its fathers: Koshiro Onchi. He kept a dual direction of his studies: traditional Japanese woodblock printing techniques as well as Western ones, modeling himself on the great artists of Japan and West.
During the war Sekino worked in a factory producing ammunition, as artistic life in Japan in those harsh years had literally reached a standstill. After the war, Sekino struggled to survive producing book illustrations. The 1950's were a better time for Sekino, and he launched his first show in Tokyo in 1953.
His works were also exhibited outside Japan and bought internationally by such European and American entities as the Bibliothèque Nationale in Paris, the MOMA (Museum of Modern Art) in New York and The Boston Museum of Fine Arts.
In 1958 he received an invitation from the Rockefeller Foundation and the American Japan Society. From then on Sekino traveled and taught around the world. From 1965 he held a position at Kobe University." Submitted by Bill Lockwood, whose source was The Japanese Gallery website.
Kiyoshi Saito (1907-1997)
Garden Tenryuji Kyoto, 1950
Sosaku Woodblock print
28.20 x 21.50 inchers
11/80
$ 1,600.00
The garden of Tenryü-ji Temple, in Kyoto, is known as the oldest Zen temple garden in Japan. This print is another good example of Saitö’s work that was inspired by the Dutch artist Piet Mondrian’s (1872-1944) geometric paintings. Mondrian’s designs inspired Saitö to search for the essential elements within nature, and to express them in flat areas filled with color and texture in bold, graceful designs
Signature
signed and stamped lower left and titled at bottom
