BENTON, Thomas Hart
Matted lithograph of a group of men cradling wheat. In the background are rolling hills at upper right under a group of billowing clouds.
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Drypoint etching of a young girl at right cutting paper; signed at lower right below image and at lower right of image; edition statement at lower left below image.
Drypoint print of a group of children gathered around the base of a tree taunting a black cat perched on a limb; title, date and signated below image.
Artist Peggy Bacon recalls her instructor realist painter George Bellows, "Everyone liked him but I was an exception…he was such a boastful man. It was always big I, little you...But he was forceful and he did sort of jolt a lot of people into doing a little bit better than they might have done…I remember I did a drypoint of the Bellows class with Bellows in the middle and I made prints of it. He said, 'Who did this? That's wonderful. That's really fine. That's the best thing that's been done in this class all year.’" Drypoint involves pressing a drawn line into a metal plate. The incised mark holds the ink which is then transferred to the paper. Bacon achieved a particularly crisp line by reducing the ridge, or burr, along the mark. "I love drypoint…that wonderful feeling that you have for the material and the real strength that you have to employ to get the line the right depth and richness and to do the cross-hatching so that the metal doesn't break down but still you get a rich black. I trained myself to hold the needle upright so…that you don't raise a big burr on one side and none on the other, then the plate doesn't wear down, you see. And I have had enormous editions considering." Oral history interview with Peggy Bacon, 1973 May 8, Archives of American Art, Smithsonian Institution
Black and white drypoint of a group ofscantily clad young women in a cramped bedroom quarters with a bunk bed. Signed at lower right below image with title at lower left.
Etching of a group of seated men wearing suits positioned around a large table; lone figure standing at upper center and appears to be making a plea.
Drypoint print of a man, seated and staring out the window as rain appears against the backdrop of other buildings. Signed and titled below image.
Woodcut of a large male figure at foreground on an ice sheet; he is cutting ice with a large serated bladed tool; background includes rolling hills with houses. Signed and titled at lower center and right.
Wood engraving of a crowded delicatessan; figures are positioned at an angle while a single female indentifies a selection. Signed, titled with edition statement written below image.
Lithograph of circus performers; lone female perched on the shoulders of a male straddling while stearing two horses; circus maestro at left wearing a formal black jacket and hat. Signed at lower right below image and in plate of image.
Lithograph of multiple figures trying to swim in the East River getting off and on various boats. On the background is a large tugboat with multiple passengers.
Lithograph of seated prisoners listening to a benedicton from a lone male figure at center left.
In Business Men’s Baths (1923) George Bellows depicts a group of men in an athletic club splashing around a pool and toweling themselves off. In a tradition that went back to Thomas Eakins, such scenes were the only acceptable way artists could depict the naked male body, an object otherwise unexposed in polite American society. Eakins had glorified that body as a modern incarnation of ancient Greek ideals. Bellows, instead, satirically exposes the modern reality of men’s bodies. Some are skinny, some are fat, some are old and bald; only a very few are beautiful. Businessmen were the new warriors of American society in the 1920s, responsible for American world-wide economic domination and the wealth which made life so pleasant; Bellows shows us what businessmen looked like stripped of this spurious glamour. Bruce Robertson, Representing America p. 47
Lithograph of a shirtless African American being put on fire by a group of men positoned around the centralized figure.
Lithograph of a wedding scene with bride and groom walking down the aisle flanked by guests; groom is wearing a top hat and tuxedo while the bride is carrying a large bouquet. Image is signed at lower right and below image.
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.
Lithograph of an elderly woman; she is seated with her left hand on a book, possibly a bible.
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 striking miners; at left is law enforcement with one figure positioning a rifle at the miners.
Lithograph of a single male figure seated on a bed holding a book in his hands while his feet are propped up on a chair. He has been identified as a Poet.
Lithograph of a group of men cradling wheat. In the background are rolling hills at upper right under a group of billowing clouds.
River scene with two men seated in a boat while navigating a river; one is steering with a single oar, the second with a long pole with his back towards the viewer. Another boat is positioned at the center background and appears to be drifting. The river is flanked by a large tree at upper left.
Lithograpic selft portrait of Thomas Hart Benton standing at an easel. The image includes a three quarter view of the artist wearing a jacket with brushes in this hand.
Companion mezzotint of 1992.67 of students on their way to and from a building. Stairway positioned throughout center of image includes long shadows which are also evident on the individuals walking up and down the stairs suggesting a particular time of day. Edition statement at lower left with signature at lower right.
Companion print of 1992.66 of students walking up and down stairs to the entrance of a building. This mezzotint casts elongated shadows throught the image suggesting a later time of day such as dusk.
Etching of two standing females loosely drawn suggesting a casual interaction. Both women appear to be conversing while figure at right is yawning.
Etching of two women seated at a snack bar eating. Woman at foreground is darkened to make it appear she is closer to the viewer. Signed at lower right with edition statement at lower left.
Lithograph with a centralized image of a male standing at a bar and accepting a drink from a bartender; at lower foreground is a man crouching ove rthe counter while a non descript male is positioned at upper left.
Lithograph of a centralized male figure seated at a food counter drinking a cup of coffee; his reflection appears in the window with a sign bearing the name SALMON SANDWICH.
Wood engraving of a sailor hugging a buxom female who appears to be enjoying herself; signed at lower right with edition statement and title at lower left.
Wood engraving of a sailor groping a feale; both are seated at a round table with a lone sailor positioned at upper right.
Horizontal etching of a men's locker room with multiple nude males seated and standing.
Etching of two young males on a beach; foreground figure is kneeling with his arms outstretched in a yawn. The second figure in background is laying proned on his stomach with his knees bent upright.
Lithograph of a crowded gathering of people of multiple age and race dancing and celebrating. They are positioned under two spotlights with a banner indicating THE GOSPEL TRAIN written over a multi car train.
Lithograph of a manhunt with law enforcement holding guns and following the scent of a search dog. Additional figures are riding a horses and carrying guns.
Lithograph of an African American family perched atop a house which is being submerged and swallowed by a rising tide of water. Male figure at right has his arms raised in prayer while children and female figure tries to climb to the top.
Lithograph of a male African American standing and perched in a tree. There are multiple figures in the right background who appear to be searching for him.
Animated image of coyotes trying to steal a pig who is proving to be a formidable foe.
DE MARTELLY, John Stockton
Lithograph of two figures positioned on a river bank with a full moon positioned over their heads. The female at right is leaning against a fence while playing a guitar while a male figure reclines at her feet.
Lithograph of an African American male perched against bricks. Figure appears to be looking out over the landscape.
Lithograph of multiple figures, both men and women, reaping hay while a shitless male figure is taking a drink of water from a large basin.
Untitled #3 from 41 Etching Drypoints
Single line drawing etching of a scantly clad seated female figure gazing towards the left.
b. United States, Portland 1922 - 1993 Berkeley
Wood engraving of a county fair. Centralized image a large steer being rated by judge at right while others look on.
Lithographic image of monkeys perched in a cage while onlookers populate lower foreground; single male figure wearing a black hat turns away.
Lithograph of a crowded clinic scene; centralized image of a mother holding a crying infant while a doctor looks on from right. Upright nurse standing at right.
Lithograph of a farm yard with a single female feeding geese and other fowl populating the foreground; barnyard structures in the background.
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.
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.
Lithograph of three figures with single female flanked by two males. Figures appear to mourning with their heads cast down in sadness.
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.
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 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.
Lithograph of a crowded box office scene with patrons dressed in tuxedos and evening gowns mingling about. Signed and titled below image.
Lithograph of multiple male figures on a stage appearing to audition for a role.
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 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.
Woodcut of African Americans populating a revival meeting with single male at center foreground.
Black and white etching of multiple couples dancing while others are seated at tables.
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.
Lithograph of a bowling alley; angular image with players throwing balls while on-lookers are seated at lower left and right foreground.
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.
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
image: 11 x 8 in Balck and white image of a man wearing a hat holding cards against his mouth.
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.
Australian/b. United States, 1881 - 1962
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
Bread Line - No One Has Starved
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
sheet: 9 1/8 x 7 3/4 inches; mat: 11 5/8 x 9 5/8 inches