American, Evanston IL 1922 - 1991 Los Angeles
Gift of Don Trevey to the Ken Trevey Collection
Image of a head which appears to be mirror images on each side with non-descript and abstracted features.
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Lithograph of formally dressed males wearing hats standing alongside a patterned wall-like structure and are staring at a nude female at center right; all are positioned under a black square populated by multiple figures.
Etching of two faces which appears to be a double protrait. Face at left is non-descript and appears to be disappearing into the background while the image at right is darkened; both wear a stark expression. Signed, dated and titled under image.
Image is completed in the style of an orange crate label and based on a photo by Dorothea Lange.These paintings by Ben Sakoguchi are part of the artist’s Orange Crate Label series. They mimic the brightly colored labels that were found on wooden produce cartons from the 1880s–1950s. To invoke the inspiration of these paintings, he even prefers they be installed in a vertical line as though stacked crates. Sakoguchi’s works relate to historical and current issues and events, depicting infamous characters or abuses of power. “When I paint with these labels,” he says, “it’s disarming, no matter the subject. People don’t want to be lectured about politics or race, so I use images and colors that soften the blow.” In this selection, Sakoguchi shows violent Chilean dictator August Pinochet and Gen. John L. DeWitt who, during WWII, advocated for and organized Japanese internment camps into which Sakoguchi and his family were forcibly relocated. Another shows the US Air Force stationed in a Thai base which was used as a launching pad for hundreds of bombing raids in Northern Vietnam.
Small painting completed in the style of an orange crate label; image is based on a photo of General John L. Dewitt, head of Western Defense Command & War Relocation Authority during World War II.These paintings by Ben Sakoguchi are part of the artist’s Orange Crate Label series. They mimic the brightly colored labels that were found on wooden produce cartons from the 1880s–1950s. To invoke the inspiration of these paintings, he even prefers they be installed in a vertical line as though stacked crates. Sakoguchi’s works relate to historical and current issues and events, depicting infamous characters or abuses of power. “When I paint with these labels,” he says, “it’s disarming, no matter the subject. People don’t want to be lectured about politics or race, so I use images and colors that soften the blow.” In this selection, Sakoguchi shows violent Chilean dictator August Pinochet and Gen. John L. DeWitt who, during WWII, advocated for and organized Japanese internment camps into which Sakoguchi and his family were forcibly relocated. Another shows the US Air Force stationed in a Thai base which was used as a launching pad for hundreds of bombing raids in Northern Vietnam.
Image is of a General seated at a table with three oranges in background completed in the style of an orange crate label; from a photo of General Augusto Pinochet.These paintings by Ben Sakoguchi are part of the artist’s Orange Crate Label series. They mimic the brightly colored labels that were found on wooden produce cartons from the 1880s–1950s. To invoke the inspiration of these paintings, he even prefers they be installed in a vertical line as though stacked crates. Sakoguchi’s works relate to historical and current issues and events, depicting infamous characters or abuses of power. “When I paint with these labels,” he says, “it’s disarming, no matter the subject. People don’t want to be lectured about politics or race, so I use images and colors that soften the blow.” In this selection, Sakoguchi shows violent Chilean dictator August Pinochet and Gen. John L. DeWitt who, during WWII, advocated for and organized Japanese internment camps into which Sakoguchi and his family were forcibly relocated. Another shows the US Air Force stationed in a Thai base which was used as a launching pad for hundreds of bombing raids in Northern Vietnam.
Image is of Air Force bomber planes with navel oranges done in style of an orange crate label; from a photo of Thailand sorties into Vietnam.These paintings by Ben Sakoguchi are part of the artist’s Orange Crate Label series. They mimic the brightly colored labels that were found on wooden produce cartons from the 1880s–1950s. To invoke the inspiration of these paintings, he even prefers they be installed in a vertical line as though stacked crates. Sakoguchi’s works relate to historical and current issues and events, depicting infamous characters or abuses of power. “When I paint with these labels,” he says, “it’s disarming, no matter the subject. People don’t want to be lectured about politics or race, so I use images and colors that soften the blow.” In this selection, Sakoguchi shows violent Chilean dictator August Pinochet and Gen. John L. DeWitt who, during WWII, advocated for and organized Japanese internment camps into which Sakoguchi and his family were forcibly relocated. Another shows the US Air Force stationed in a Thai base which was used as a launching pad for hundreds of bombing raids in Northern Vietnam.
Wood engraving of a single figure who appears to be a wooden structure. He is standing and holding onto a pole suggesting pain and agony. Signed at lower right.
Animated image of coyotes trying to steal a pig who is proving to be a formidable foe.
Lithograph of a small crowd gathered around a male figure positioned at center. He is standing behind a fence with a brick building at left and appears to be talking "to the people."
Lithograph of an elderly woman; she is seated with her left hand on a book, possibly a bible.
Horizontal image of multiple nude males and females posed in an upright position with their arms raised. They appear to be stopped by a barrier of non-descript figures and a structure of posts.
ZSISSLY (ALBRIGHT, Malvin Marr)
Lithograph of a lone figure sitting at a table. The individual is wearing female clothing but appears to have a male physique. The table is covered with cloth and is flanked by decorative memorabilia.
Dark colored lithograph of a parade route; most of the on-lookers are in shadow with an exception of a small child tugging an adult female at lower right. Signed and titled below the image.
Lithograph of a lecherous male trying to engage in conversation with a centrally positioned female at a bar. He is wearing a haunting expression while invading female's personal space.
Shriner's Quartet includes a group of Shriners singing in front of pyramid-shaped forms inspired by their early organizational structure of growing out of a Temple of the Ancient Arabic Order Nobles of the Mystic Shrine. In later years, the Shriner's are well known for their charity especially their pediatric hopsitals which covers all costs associated with patient care.
Horizontal image of multiple workers paving a street with asphalt; included at upper right is a cityscape with buildings and figures standing in front.
Lively image of a group of children playing in a park; many are running and they appear to be playing tag. A group of individuals are seated at upper right while a woman pushing a baby carriage is located at upper left background. Signed at lower left.
Dark colored lithograph of two miners standing in front of a coal mine; they seem to be completing their work shift as suggested by their facial features and disshelved clothing. Signed, titled and dated underneath the image.
Lithograph of a dance hall including multiple figures talking and dancing while a single couple is positioned together at center; stove pipe furnace locate at upper left. Signed with title at below image.
Three small woodcuts printed on single sheet; images includes male figures working on constuction sites; signed underneath each image.
Stark image of multiple figures sleeping.
Color lithograph of a group of Klansmen with lighted torches travelling thru tall grass setting stuctures on fire. Upper background are burning structures with smoke billowing into the sky accented by pink-red tone. A roup of African Americans are positioned at lower right.
This lithograph includes a group of African American men positioned in a tightly held group with their hands raised. The figures are positioned against a stark depiction of a telephone pole. The image is in reference to the Scottsboro six who were tried and then later acquitted of sexual assualt against two white women. It was a groundbreaking case which supported the right of defendants to adequate legal counsel.
In the 1930s college football was the national rage, attracting over 70,000 to some games and immortalizing the Notre Dame football team and Knut Rockne. Benton Spruance’s Spinner Play, 1934, depicts college kids from the University of Pennsylvania. Spruance’s print, in its extreme stylization of the figures, aims to reveal the essential power of the game, the brute force of one team pitted against another. The game was brutal too: in 1931 there were 40 college fatalities, a figure which diminished only slightly throughout the decade.
Lithograph of two waitresses cleaning a table; figure at left is facing forward leaning on the table while figure in foreground has her back towards viewer. Signature capture at lower left of image.
Lithograph of two seated females on a couch. Female at left is reading while the female at right appears to be dozing with her head propped up with her left hand.
Bust portrait of a female looking outward toward the left; she is wearing a concerned grin. Signed below image at right.
Despite its title, this lithograph includes multiple gaunt faced figures in dark clothing while the central male is carrying crutches. The figure at left is in shadow and appears to be tipping his hat while a female figure with a pained expression looks on at right. Signed and titled below image.
Lithograph of a female holding an infant in a protective stance. Her back is towards the viewer and she appears to be wearing an apron.
Lithograph of a standing male figure staring out with a stark look; multiple figures stand in the background.
Lithograph of multiple figures positioned around a bench while two of the seated men play checkers. Signed, dated with AP below image. It appears to be winter suggested by the men's clothing of hats and coats while the trees are barren.
Lithograph of three roller skaters with their backs towards viewer. They are skating on concrete and appear to be having difficulty keeping their balance.
Lithograph of a group of three business men sitting at a table who appear to be in a discussion; two of the figures have their backs to the viewer while the third figure's face is obscured from view. Signed, dated and titled below image.
Etching of a sunbathing couple postioned atop a roof with a black cat standing between them. Cityscape in background. Signed at lower right with title and date at lower left.
Etching of a male figure at center foreground dancing with a drum suspended from his back; multiple onlookers cheer him with figure at left playing an instrument.
Lithograph of a man taking a break while harvesting a field with a plow pulled by an oxen. Female figure stands at right holding a basket most likely lunch. Signed at lower right.
Speriences Meetin (from Carolina Low Country portfolio)
Lithograph of a lone male at center foreground gesturing with his arm raised and stomping his feet. He is flanked by multiple individuals including two seated females at lower left.
Gullah Rhythm (from Carolina Low Country portfolio)
Lithograph of two African Americansmales dancing at center stage. Background includes multiple men playing instruments and clapping hands.
Robert Riggs’ was commissioned by one of the largest pharmaceutical companies at the time, Smith, Kline and French, to do a suite of prints surrounding the theme of medical care and the treatment of the insane in the US. The portfolio which resulted was meant to be sold to doctors for display in their offices, a comical notion considering the disturbing and dreary subject matter. Accident Ward depicts the aftermath of a violent domestic dispute in which the participants are patched up by doctors. Psychopathic Ward pictures mentally ill patients wandering about in a confused or tormented state and shoved into a bare room. Rather than showing doctors as heroes, Riggs’ prints focus on the patients being treated and seem to call out for more advanced medical practices to assist with treatment.
sheet: 9 1/8 x 7 3/4 inches; mat: 11 5/8 x 9 5/8 inches
sheet: 27 1/2 x 39 in; framed: 30 x 42 in
2 plates measuring overall 23 1/4 x 33 1/2 inches, on one sheet
Bread Line - No One Has Starved
Charles Locke’s Hole in the Wall (1930) presents a typical situation, a group of men at the bar—in this case finishing their lunch. Locke vitalizes the scene with class difference: sitting side-by-side but not interacting, the men in the foreground are carefully distinguished by their dress to suggest different socioeconomic backgrounds. The man on the left, with his cloth cap, sweater under his jacket and downcast eyes fulfills the expectations of a working class type, while the man next to him wears a hat with a brim, a tie, is looking up; to complete the difference, he smokes a cigar while the other smokes a cigarette. Bruce Robertson, Representing America p. 36
Australian/b. United States, 1881 - 1962
image: 11 x 8 in Balck and white image of a man wearing a hat holding cards against his mouth.
Clement Haupers’ Shore Leave (1935) presents a sailor’s impressive backside to us while three women admire his front, eyeing all the different particulars. Above them an ironic display of song titles: After Every Party, Turn out the Lights, Fit as a Fiddle, Here Lies Love, Take Me in Your Arms, Contend, and Til Tomorrow fill out the lower register, while above float And So To Bed, Night and Day, All of Me and others. The sentences they spell out are quite obvious. Hauper cleverly exposes the extreme sexuality of popular music—most of it aimed at women—and exposes its effect. Bruce Robertson, Representing America p. 46
sheet: 15 x 12 inches; mat: 16 1/2 x 13 1/2 in
Etching of a centralized image of a scantily clad female who appears to be dancing. She is facing a male at right whose back is turned towards the viewer while multiple figures appear in the left background in a celebratory mode. Signed, dated with title below image.
Lithograph of a bowling alley; angular image with players throwing balls while on-lookers are seated at lower left and right foreground.
Lithograph of a wrestling match with two figures engaged on a mat; bottom figure is turned upward in a scissor motion. Referee looks on from right.
Black and white etching of multiple couples dancing while others are seated at tables.
Woodcut of African Americans populating a revival meeting with single male at center foreground.
Lithograph of scantily dressed females in upper foreground from left to right; they are bathed with lights while a male director appears to be speaking while gesturing with his left hand while holding a megaphone in his right.
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Lithograph of a female figure on a chaise being attended to by multiple figures. Lights are cast on her figure highlighting the woman's figure and face.
Black and white lithograph with multiple figures overlooking a stage scene. Figures appear to be controlling certain functions of a stage production. Signed and titled below image.
Lithograph of multiple male figures on a stage appearing to audition for a role.
Lithograph of a crowded box office scene with patrons dressed in tuxedos and evening gowns mingling about. Signed and titled below image.
Lithograph of men sitting at a table eating a meal; waitress at right is serving the table while a vending machine type of apparatus with pies is positioned in left background. Signed at lower right.
Wood engraving of the interior of a subway car; crowded passengers sit while appearing tired. Title, signed and edition written below image.
b. United States, 1901 - 1990 Fritz Eichenberg was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes both wrote and illustrated his own reporting. In 1933, the rise of Adolf Hitler convinced Eichenberg, a public critic of the Nazis, to emigrate with his wife and children to the United States, where he settled in New York City for most of the remainder of his life. He taught art at the New School for Social Research and at Pratt Institute and was part of the Works Progress Administration's Federal Arts Project. In his prolific career as a book illustrator, Eichenberg worked with many forms of literature but specialized in material with elements of extreme spiritual and emotional conflict, fantasy, or social satire, illustrating such authors as include Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day—whom he met at a Quaker conference on religion and publishing in 1949—and frequently contributed illustrations to Day's newspaper the Catholic Worker until he died in 1990.
Wood engraving of an exterior scene of multiple figures sitting on stairs; image include a mother nursing a baby, children wrestling and a male talking to a man while holding a newspaper in his hand. Below image includes signature, title and edition statement.
Fritz Eichenberg was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes both wrote and illustrated his own reporting. In 1933, the rise of Adolf Hitler convinced Eichenberg, a public critic of the Nazis, to emigrate with his wife and children to the United States, where he settled in New York City for most of the remainder of his life. He taught art at the New School for Social Research and at Pratt Institute and was part of the Works Progress Administration's Federal Arts Project. In his prolific career as a book illustrator, Eichenberg worked with many forms of literature but specialized in material with elements of extreme spiritual and emotional conflict, fantasy, or social satire, illustrating such authors as include Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day—whom he met at a Quaker conference on religion and publishing in 1949—and frequently contributed illustrations to Day's newspaper the Catholic Worker until he died in 1990.