Ohio - Art

Standing Female Nude Ink on paper Signed by the artist with his initials lower left "AB" Related to numerous drawings of the same model illustrated in: Elliott and Wooden, Aaron Bohr...

Ragtime Piano Collage, 1969 Signed and dated '69 lower right Address stamp verso Provenance: Acquired from the artist Joseph M. Erdelac, friend and patron of the artist Stephen Longs...

Building New York Watercolor on paper, c. 1915 Signed by the artist lower right (see photo) Partial watermark: "MADE IN ENGLAND... LINEN FIBER" Excellent, COLORS FRESH AND VIBRANT Br...

Hells Angel on his Hog Pen and ink on paper, 1969 Signed 'Longstreet' lower right (see photo) Titled and dated upper right Condition: excellent Image/Sheet size: 11 x 8 1/2 inches Pr...

Dharma Prayer Book Manuscript Folio Ink and gouache on handmade paper, 1875-1925) Miniature depicting Tibetan deity Script is Tibetan. Miniature Size: 2 3/8 x 1 ½ inches Part of a se...

Seven Screen print, 1968 Unsigned (as issued) Edition: 2500 From: Number (10 plates), with poems by Robert Creeley Printer: Domberger KG, Stuttgart Publisher: Edition Domberger Stutt...

Poles and Cypresses Woodcut printed in black, 1982 Unsigned From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arnéra, Vallauris. The set was published by Blum ...

Portrait of a Seated Woman oIl on canvas, c. 1930 Signed on the reverse in oil paint: "Paul W" Created while the artist was a student at the Minneapolis Institute of Arts Provenance: Estate of the artist Condition: Cleaned and stretched by Monica Radecki, South Bend, Indiana. The painting is unframed Canvas size: 30 x 24 inches This work created while the artist was in art school. Winchell studied art at the Minneapolis and Chicago Art Institutes in the 1930’s. He went on to teach at both institutions. Winchell studied under the noted artists Daniel Garber and Leon Kroll. Winchell exhibited at the Minneapolis Institute of Arts, Art Institute of Chicago and the Kansas City Art Institute. He retired to a quiet life in Painsville, Ohio. Paul H. Winchell (1903 – 1971) was a printmaker, illustrator, teacher, and gilder according to Crump, 2009 (Minnesota Prints and Printmakers, 1900- 1945, Minnesota Historical Society Press). He was the son of Mrs. Looman Winchell of Shepherd Rd as noted in a 1937 newspaper article (Painsville, O. Telegraph). Winchell grew up in North Perry, Ohio and then studied and worked as an instructor at the Art Institute of Chicago. He studied with Leon Kroll (1884 – 1974), Boris Anisfeld (1878-1973), Daniel Garber (1880 – 1958), Charles Woodbury (1864 – 1940), George Oberteuffer...

Neon Intaglio Etching, c. 1970 Signed, titled and numbered in pencil Edition: 99 (76/99) Image size: 7 1/2 x 7 1/2 inches Sheet size: 22 x 17 inches Condition: Excellent Carlos Dávil...

Acrylic on board Signed lower right corner Condition: Painting is excellent Frame has surface wear Provenance: Estate of the artist William C. Grauer (1895-1985) William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans...

Le Groupe Lithograph, 1963 Signed and numbered in pencil, lower right Edition: 75 (68/75) see photo Publisher: Erker Presse, St. Gallen blindstamp lower left. see photo From the suit...

Ave Maria-Nanban Music Color woodcut with mica sprinkles, 1925 Signed Hide in image, Signed Kawanishi Hide on printed mount From: Dojin zasshi, Hanga Magazine, Volume 5, No. 4 Condi...

Signed: Eisho zu From the series: "Contest of Beauties in the Pleasure District" (Kakuchi bijin-kurabe) Format: Oban Publisher: Yamaguchi ya Chusuke The courtesan Midorigi of the Wakamatsu ya bordello depicted against a decorated ground, holding an ornamental sculpture of an ox. Eisho Chokosai was a pupil of Eisho Hosoda, and is also known as Eisho Hosoda. Reference: Richard Lane...

Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...

(The poetess Chiyo turns to watch a flight of wild geese while sweeping up autumn leaves) Signature: Ichiyusai Kuniyoshi ga; Censor seal: Muramatsu Series: Kenjo hakkei ...

Mlle. Jeanne at the Window, No. II Charcoal on paper, 1933 Signed and dated lower right (see photo) Illustrated: Gustafson, Zimmerli Museum, 1988, "Benjamin Benno: A Retrospective Ex...

Merieanna Etching and aquatint, c. 1900 Signed by the artist in pencil lower right Titled in pencil lower right corner of sheet Annotated "4" lower left below image Publisher's dryst...

Nude in a Mirror Ink and wash on paper, n.d. Signed in red ink lower right (see photo) Illustrated: Elliott & Wooden, page 153, a monograph on the artist's drawings Note: a cop...

Signed lower center edge Annotated verso: “5 Juin 1966 _____ et de soleil, de et d’oseille” Image: 6 3/4 x 4 5/8" Frame: 14 1/2 x 12 3/4" Finishe...

Long Light Notre Dame Oil on canvas, 1931 Note: the painting is NOT framed Signed and dated lower right Condition: Excellent Conservation by Monica Radecki, South Bend Canvas size: ...

Preliminary drawing for the sculpture Catacombs Black crayon on paper, 1971 Signed and dated lower right (see photos) Provenance: Estate of the artist Michael and Alan Lipton (sons) ...

Cover illustration for Die Graphischen Kunste, Volume 22 Color lithograph, 1899 Signed with the artist's initials lower center (see photo) From: The Graphic Arts, Volume 22, 1899 ...

Ponte Vecchio Florence Oil on canvas, 1927 Signed and dated lower right corner Titled upper left NOTE: this offering is UNFRAMED Condition: Excellent Conservation by Monica Radecki, ...

Layered torn paper collage

The Get Up (Plate 1 of 4) Watercolor on Yupo mounted to board, 2019 Signed with the artist's initials lower right Series: The Get Up (4 plates) Exhibited: Occupying A Space, Swope Ar...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the...

Der Kuss The Kiss (plate facing page 116) Color lithograph, 1898 Signed with the artist's initials in the image (see photo) Published in Pan, Volume IV.2 (Jul-Aug-Sept 1898) Publishe...

From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters without the calendarium as published Very ra...

Untitled Abstraction Graphite on paper, c. 1950 Unsigned Signed with the estate stamp verso (see photo) Provenance: Estate of the artist Inherited by his neighb...

Navajo Thunderbird Silversmith Signed in ink, titled in pencil Dimensions: 42 1/4 x 23 inches Mixed media on paper Provenance: Acquired from the art...

Man Sounding Horn (Psalm 150) Lithograph, 1969-1970 Estate signed: "Ben Shahn/by B.B. Shahn" in pencil lower center Stamped signature lower right (see photo) Signed by Mourlot Lith. in pencil lower right (see photo) Edition: 125 (67/125) see photo Psalm 150, "A Hallelujah Chorus" Published by Kennedy Graphics, Ltd., New York, NY Printed by Mourlot Graphics, Ltd., New York, NY Reference: Prescott 255 Kennedy Galleries, The Kennedy Graphics, 380, reproduced Condition: Very good Image/sheet size: 20 1/8 x 25 3/8 inches A posthumous print "This was the final project completed by Ben Shahn (1898-1969), leading American realist painter and muralist widely recognized for his socially conscious works. Born in Lithuania to Jewish parents, Shahn emigrated to the United States in 1906 and became a popular and versatile artist who worked in a variety of media and on a range of projects. His credits are as varied as assistant to muralist Diego Rivera, photographer for the Resettlement Administration (alongside the likes of Dorothea Lange and his friend, Walker Evans), maker of posters for the Office of War Information during WWII, and commercial artist for CBS. He is best known, however, for artwork depicting left-leaning political ideals and highlighting social concerns, such as his series of gouache paintings known as "The Passion of Sacco and Vanzetti...

Portrait de femme en buste, de profil a gauche, un tres large ruban noir du cou, Mme Marthe Letellier Drypoint, 1900-1901 Signed in pencil lower left (see photo) Titled in pencil low...

La butte de Montmartre et le Sacre-Couer (Sacre Coeur from a Distance) Lithograph, 1926 From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Rare signed proo...

Italian Cityscape Pastel on Strathmore paper, 1968 Signed and dated lower right with the estate signature with the initials RH Image size: 13 3/4 x 10 inches Condition: Excellent Pro...

Nature morte au bulbe d'ail Mezzotint, 1957 Signed, titled & numberred in pencil (see photos) Edition: 50 (40/50) Condition: Excellent Image: 10 7/8 x 11 5/8 inches Sheet: 14 7/8 x 1...

Magnificent Jungle Cats Etching, drypoint and monoprint inking of the plate Printed by the artist at Atelier 17, New York Annotated 1/5 in pencil Estate stamp and number, verso Editi...

Japanese (mid 20th Century) Unsigned wood cut with hand embellishments in gouache created for a Japanese folding fan. Unsigned Image size: 8 3/8 x 18 1/8 inches Mounted on support sh...

Les Oignons de Siracuse Mezzotint, 1961 Signed, titled & annotated Epreuve d'Artiste vii/X in pencil Edition: Epreuve d'Artiste vii/X Reference: Passeron 315 Condition: Mint Image: ...

Untitled (Plate 2) Engraving, sugar-lift, and aquatint , 1970 Signed and numbered in pencil (see photo) From: Variations (8 plates) Edition: 100 (100/100) (see photo) Printed by Lac...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) No. 37365 ...

Jugentud (Youth) Color lithograph, 1975 Signed, numbered and titled in pencil (see photos) Edition: 250 (67/250) Signed, titled and numbered in pencil Published by Circle Gallery Ltd...

Festival No. 6 Color woodblock, 2002 Signed, titled and numbered in pencil (see photos) Edition: 50 (10/50), see photo Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Hamanishi Small 98 Condition: Excellent Sheet: 12 1/4 x 9 1/8"; Image 10 1/2 x 7 1/2" Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker...

Ancient Landscape II (Ancient City) Etching and drypoint, 1953-1955 Signed and titled in pencil by the artist; (see photo) Annotated: "E130 A/1" in pencil lower right Estate stamp v...

String bound booklet (portfolio) with six hand colored woodcuts, signed in pencil by the artist, tipped in the book Provenance: Estate of the artist By descent to his daughter Kir...

Blue and Red Space Ilk Screen, 1971 Signed and dated lower right (see photo) editioned lower left (see photo) Edition: 75 (75/75) Sheet size: 22 1/8 x 29 7/8" Image: 21-7/8 x 29-5/8"...

Untitled Acrylic and gold leaf collage on canvas, 2005 Unsigned Provenance: Estate of the Artist Condition: Excellent Image size: 10 13/16 x 8 5/8 inches Support Sheet size: 17 x 14 ...

Woman with Arms Crossed Mixed media collage-painting on stone chip surface, mounted on fabric, mounted on wood support by the artist, 1955 Signed and dated lower center Image size: 1...

Westminster Palace Etching, Drypoint, Aquatint, roulette and salt ground lift 1884 Depicts the Houses of Parliament, Big Ben Clock and Tower and the...

Les yeux noirs (The dark eyes) Lithograph, 1913 Lacking the artist's signature in pencil as sited in Duthuit. We have found numerous other impressions of this image with the initials...

Big Momma's Still Life #2 Oil pastel on rag paper, 2007 Signed by the artist lower left: "Sedrick Huckaby III" (see photo) Sheet size: 16 x 12 1/8 inches Frame: 28 x 24 inches Exhibi...

Tokyo Tower in Shiba Color woodblock, 1960 Signed and sealed lower right Signed with the artist's name:" Keimei" (see photo) Signed with the artist's seal in red (see photo) Publishe...

Signed with the artist's initials lower left From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters...

El Ultimo viaje del buque fantasma, Plate III Color lithograph, 1976 Signed and numbered in pencil From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Holiday Greeting Card for Madame R. G. Michel & Family (Goldfish in bowl, vase & red flowers) Etching & aquatint printed in colors, 1989 Signed in pencil lower right Folded Holiday c...

Untitled (Man at Desk) Pen and ink on paper, 2012 Signed lower right Series: Portraits of Community: Hidden in Plain Sight, 2012 References And Exhibitions: Illustrated: Swarthmore College video for their exhibition "Hidden in Plain Sight," Jan 24- Feb 24, 2013. Born in Fort Worth in 1975, Huckaby has been creating some form of art since his childhood. In 1995, he began his formal art studies at Texas Wesleyan University in Fort Worth. After a brief stay he transferred to Boston University, where he received a BFA degree. He then earned a MFA degree from Yale University in New Haven, Connecticut. Huckaby is known for his powerful use of color and his exploration of cultural roles and the heritage of the African American family. His work has evolved from portraiture to objects and interiors that venerate his personal family legacy rooted in Fort Worth, Texas. Portraying these familiar subjects on a large scale and pushing his use of materials, Huckaby defines the significance of family and tradition while touching on the subject of ethnographic stereotypes in our culture. For the past few years he has concentrated his efforts on a series of quilt paintings. One of the series he created is a tribute to both of his Grandmothers and a celebration of the African American quilting tradition. He used the actual quilts sewn by family members as models for his paintings. These quilts document significant events in his family history. According to Huckaby, the paintings represent an artistic family legacy. The colorful, rhythmic abstracted patterns come together like the musical notes in African American musician John Coltrane's famous jazz composition, A Love Supreme, from which the painting series acquired its name. He has earned national acclaim for his work over the past several years. Huckaby has received the 2001 Louis Comfort Tiffany Award and the 2004 Joan Mitchell Foundation Painters and Sculptors Grant Program Award. More recently, he was the 2008 recipient of the prestigious Guggenheim Fellowship Award, which allowed him to travel the country and paint African-American quilts from private and public collections. Past Guggenheim Fellowship Award winners include Ansel Adams, Langston Hughes, Henry Kissinger, and Isamu Noguchi. He has exhibited at the Resource Center of African American Art in Atlanta, the Danforth Museum in Framingham, and the Studio Museum in Harlem. His work, including a painting titled Study for Little D and the Dollar, in the collection of the Whitney Museum of American Art in New York, can be found in important collections throughout the United States, including the Whitney Museum of American Art, the Museum of Fine Arts Boston, the Art Institute of Chicago, and the Minneapolis Museum of Art. Currently, Huckaby’s 18-by-14-foot oil painting Hidden in Plain Site (2011) is on view in the Amon Carter Museum’s atrium through October. Public Collections: Wichita Falls Museum of Art at Midwestern State University, American Dad African American Museum, Dallas, Texas, Grandmother’s Quilt The Amon Carter Museum of American Art, Fort Worth, Texas, The 99% - Highland Hills The Art Institute of Chicago, Chicago, Illinois, "Girl World" Study for Sustenance Installation Ball State University Museum of Art, Muncie, Indiana, "The Truth about Hip Hop" Study for Sustenance Installation Blanton Museum of Art, Austin, Texas Brandywine Workshop, Philadelphia, Pennsylvania, The 99% - Highland Hills City of Fort Worth, Fort Worth, TX, The Welcome Space Dallas/Fort Worth International Airport, Corporate Aviation, Texas, A Place Between Dallas/Fort Worth International Airport, Hyatt Regency Hotel, Texas, William Madison (Gooseneck Bill) McDonald Fort Worth Central Library, Fort Worth, Texas, Hazel Harvey Peace Portrait Grace Museum, Abilene, Texas, Cobby Harvard Art Museum, Cambridge, MA, Selection from The 99% Holdworth Center, Austin, TX, Selection from The 99% Jesuit Dallas Museum, Dallas, Texas, “Gone But Not Forgotten: Sha” Kansas African American Museum, Wichita, Kansas, Self Portrait (2) McNay Art Museum, San Antonio, Texas, Untitled (Anthony) Minneapolis Institute of Art, Minneapolis, Minnesota (Untitled) Museum of Fine Arts, Boston, Massachusetts, Enocio Museum of Texas Tech University, Lubbock, Texas, Big Momma...

The Pinks and the Blues Watercolor, pen and ink on paper, 1954 Signed and dated in ink lower left, titled in pencil verso. Provenance: Gift of the Artist Privat...

Wire Haired Girl and Cat Pen and ink with watercolor, c. 1930 Signed with the Estate stamp "B" Provenance: Estate of the Artist By descent to his son Edward ...

Bessie Smith - If You Don't Like My Peaches - Don't Shake My Tree Collage, 1980 Signed and dated in pencil lower right (see photo) Titled in pencil lower left Original price verso '3,000' (see photo) Provenance: Acquired from the artist Joseph M. Erdelac, Cleveland, friend and patron of the artist Condition: Very good Usual minor condition issues (wrinkling) associated with the artist's creation process Stephen Longstreet (1907-2002) The artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

Untitled Pastel on paper, 1922 Signed with the artist's initials in pencil Provenance: Estate of the artist Francis M. Nauman (label) Private collection, NY A very early abstract/cubist work by Kelly. Created while the artist was studying with Arthur Carles in Philadelphia. Leon Kelly (October 21, 1901 – June 28, 1982) was an American artist born in Philadelphia, PA. He is most well known for his contributions to American Surrealism, but his work also encompassed styles such as Cubism, Social Realism, and Abstraction. Reclusive by nature, a character trait that became more exaggerated in the 1940s and later, Kelly's work reflects his determination not to be limited by the trends of his time. His large output of paintings is complemented by a prolific number of drawings that span his career of 50 years. Some of the collections where his work is represented are: The Metropolitan Museum in New York, The Whitney Museum of American Art, the Museum of Modern Art, the Philadelphia Museum of Art, and Boston Public Library. Biography Kelly was born in 1901 at home at 1533 Newkirk Street, Philadelphia, PA. He was the only child of Elizabeth (née Stevenson) and Pantaleon L. Kelly. The family resided in Philadelphia where Pantaleon and two of his cousins owned Kelly Brothers, a successful tailoring business. The prosperity of the firm enabled his father to purchase a 144-acre farm in Bucks County PA in 1902, which he named "Rural Retreat" It was here that Pantaleon took Leon to spend every weekend away from the pressures of business and from the disappointments in his failing marriage. Idyllic and peaceful memories of the farm stayed with Leon and embued his work with a love of nature that emerged later in the Lunar Series, in Return and Departure, and in the insect imagery of his Surrealist work. "If anything," he once said,"I am a Pantheist and see a spirit in everything, the grass, the rocks, everything." At thirteen, Leon left school and began private painting lessons with Albert Jean Adolphe, a teacher at the School of Industrial Art (now the University of the Arts) in Philadelphia. He learned technique by copying the works of the old masters and visiting the Philadelphia Zoo, where he would draw animals. Drawings done in 1916 and 1917 of elephants, snakes and antelope, as well as copies of old master paintings by Holbein and Michelangelo, heralded an impressive emerging talent. In 1917, he studied sculpture with Alexander Portnoff but his studies came to an abrupt halt with the start of World War I. Being too young to enlist, he joined the Quartermaster Corp at the Army Depot in Philadelphia, where he served for more than a year loading ships with supplies and, along with other artists, working on drawings for camouflage. By 1920, the family's fortunes drastically changed. His father's business had failed due to the introduction of ready made clothing and his marriage, unhappy from the beginning, dissolved. Broken by circumstance Pantaleon left Philadelphia to begin a wandering existence looking for work leaving Leon to support his mother and grandmother. He found a job in 1920 at the Freihofer Baking Company where he worked nights for the next four years. Under these circumstances Leon continued to develop his skills in drawing and painting and learned of the revolutionary developments in art that were taking place in Paris. During the day he was granted permission to study anatomy at the Philadelphia School of Osteopathy where he dissected a cadaver and perfected his knowledge of the human figure. He also met and studied etching with Earl Horter, a well known illustrator, who had amassed a significant collection of modern art which included work by Brancusi, Matisse, and Cubist works by Picasso and Braque. Among the artists around Horter was Arthur Carles, a charismatic and controversial painter who taught at the Pennsylvania Academy of Fine Arts. Leon enrolled in the Academy in 1922, becoming what Carles described as, "his best student". In the next three years Leon work ranged from academic studies of plaster casts, to pointillism, to landscapes of Fairmount Park in Philadelphia, as well as a series of pastels showing influences from Matisse to Picasso. Clearly influenced by Earl Horter's collection and Arthur Carles he mastered analytical cubism in works such as The Three Pears, 1923 and 1925 experimented with Purism in Moon Behind the Italian House. In 1925 Kelly was awarded a Cresson Scholarship and on June 14 he left for Europe. Paris The first trip to Europe lasted for approximately three and a half months and introduced Kelly to a culture and place where he felt he belonged. Though he returned to the Academy in the Fall, he left for Europe again a few months later to begin a four-year stay in Paris. He moved into an apartment at 19 rue Daguerre in Paris and began an existence intellectually rich but in creature comforts, very poor. "I kept a cinderblock over the drain in the kitchen sink to keep the rats out of the apartment" he once explained. He frequented the cafes making acquaintances with Henry Miller, James Joyce and the critic Félix Fénéon as well as others. His days were split between copying old master paintings in the Louvre and pursuing modernist ideas that were swirling through the work of all the artists around him. The Lake, 1926 and Interior of the Studio, 1927, now in the Newark Museum. Patrons during this time were the police official Leon Zamaran, a collector of Courbets, Lautrecs and others, who began collecting Kelly's work. Another was Alfred Barnes of the Barnes Collection in Philadelphia. In 1929 Kelly married a young French woman, Henriette D'Erfurth. She appears frequently in paintings and drawings done between 1928 and the early 1930s. Philadelphia The stock market crash of 1929 made it impossible to continue living in Paris and Kelly and Henriette returned to Philadelphia in 1930. He rented a studio on Thompson Street and began working and participating in shows in the city's galleries. Work from 1930 to 1940 showed continuing influences and experimentation with the themes and techniques acquired in Paris as well as a brief foray into Social Realism. The Little Gallery of Contemporary Art purchased the Absinthe Drinker...

Read the Signs, No. 7 Watercolor on Yupo paper, 2013 Signed with the artist's signature lower right (see photo) Series: Read the Signs (22 watercolors) Exhib...