Lawrence lebduska private collectors-Self-Taught Art By Any of It Names by East Tennessee State University - Issuu

These intrinsically painted Edens propelled the artist and his work to celebrity among galleries, collectors, and museums during the rise of the avant-garde movement taking hold of the art world in New York and abroad. Especially in a time of conflict, Lebduska takes us away to magical spaces full of respite and folly, harmony and nature. Lebduska was an outsider artist who navigated the intensifying New York art scene without the academic training and institutional tenure of his contemporaries. He harnessed his skills as an artisan, translating these methods of formal expression through lively color fields to create the characteristic scenes and figures of his paintings. Like Rousseau, Lebduska did not confine his work and depictions to places he had ventured.

Lawrence lebduska private collectors

Lawrence lebduska private collectors

His Lawrence lebduska private collectors was an office clerk and his mother was a teacher for children with special needs. Values Quality. Etienne, Lawrence lebduska private collectors well as those from our permanent collection, and the private collections of Michael A. In the wake of this support from important contemporaries, colkectors insightful collectors, dealers and eventually scholars developed a serious interest in self-taught art. Even entire institutions and museums use terms like lebdusoa, visionary and art brut in their names to identify themselves. Shipping cost cannot be calculated.

Interpret pu ta fox. The Estate of Mrs. Harry N. Abrams

The Courtesy The Courtesy is all about experience. Gordon was born in Louisville, Kentucky, in and moved to New York with his family at the age of As for training, many have lots of training—but it is training that Lawrence lebduska private collectors gave themselves primarily through trial and error. His genius may be arguable but certainly he is a major self-taught artist. Olde Hearth Bread Co. Lacking proficiency in Lawtence, art became a llebduska in which he could relate his past experiences and express his personal view of the world. SEMC annual meeting is an Lawrence lebduska private collectors to convene innovative thinkers to envision new museum audiences, diverse community engagement, courageous conversations, inclusive museum boards, and fundraising resources. This engraving print is in excellent, clean condition. It certainly points to the character of lebduzka one sees in art created Women having sex background codes some of the best self-taught artists. Carnegie Institute. Critics and art world authorities have long played a game of categories. He was raised as a Catholic and went to the fifth-grade level when he left school to work. Some years later the term visionary came into vogue lfbduska indicate that some artists create work as a form of inner necessity or compulsion. We believe community partners are essential to mutual success; we work to build relationships and co-create with individuals and organizations.

Then with no formal training in art, he began to paint by using his knowledge of color gained from making stained-glass.

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The title for this exhibition reflects the fact that for many years, artists who have not attended art school but who have nevertheless created compelling art, seem to always have a label attached to their efforts. We have become accustomed to these labels that are often attached to self-taught artists. However, should not their work be acknowledged and accepted for what it is?

Why do we need to categorize artists or separate them out? Many of us who have been admiring and collecting this work have come to conclude that this kind of labeling may have outlived its usefulness. While it might serve a purpose for art historians or teachers, these labels can too often be misleading or confusing to the general audience.

So long as mankind has created art, there have been selftaught artists, and in a general discussion of art history they were considered just that—artists. However, along the way, only those who received training in art making came to be recognized as artists without any caveat. Over the past few decades, for a rising. It is reasonable to ask, why is there a need to classify or label self-taught artists in these different ways?

Of course, labeling is not a particularly unique phenomenon. Critics and art world authorities have long played a game of categories. In reality, this is often very difficult to do with any precision, especially with art and artists.

We have come to accept terms such as impressionism, expressionism, fauvism, modernism, minimalism, pop art, and others to distinguish periods or movements in art. While some of these were indeed formal groups of artists adhering to certain precepts or methods, they were just as often loose associations, or artists who did not know each other, but shared similar objectives. These terms can be useful when discussing phases in the history of art, however these can be rather restrictive and imprecise when labeling an individual artist, especially over a lifetime of work.

While there have been many exceptional artists who created work without the benefit of formal training, for many years the dominance of the art academies,. Around the beginning of the 20th century, a number of artists asserted themselves and rebelled against the academies. Important artists like Picasso, Kandinsky, Klee, Dubuffet, Burliuk and others began to argue that trained artists were often corrupted by their schooling, the academies, or other outside considerations.

Paul Klee notably sought to create art like children because he felt that their art was innocent and untainted. Other accomplished artists even began to try to emulate in some ways the art of the self-taught. In the wake of this support from important contemporaries, some insightful collectors, dealers and eventually scholars developed a serious interest in self-taught art.

Among the earliest self-taught artists to gain attention were ordinary people from various walks of life: those who created art about everyday subjects for their own pleasure, from their heart and soul, not considering selling their art. Essentially, they created art and useful art objects that reflected the life and lifestyles of everyday folks.

These came to be called simply folk artists. Today, folk art as a style has become so popular that we find trained artists who try to appropriate the aesthetic in order to call themselves folk artists. But there is nothing like the real thing.

Therefore the term raw art began to be used. His definition meant that these artists were outside the artistic mainstream, untouched by taste or fashion, not aware of, or affected by, what was happening in the art world. Some years later the term visionary came into vogue to indicate that some artists create work as a form of inner necessity or compulsion. Certainly, some self-taught artists even asserted they had visions or were inspired by God and proclaimed that the art they were creating were essentially spiritual messages.

This suggests that this group of self-taught artists, often Southern, and particularly African-American, speak to us through their art in their own vocabulary and therefore a different language. Intuitive is yet another term. It certainly points to the character of what one sees in art created by some of the best self-taught artists.

Those artists begin their work without any preconceived notion of a goal or objective and only concludes when they find that their work has achieved a state that feels right to them. These terms derived from the idea that these artists were innocents and their art was simple, basic, or crude in its execution. These terms persisted and were quite popular for many decades.

While the use of categories is very interesting, is it always beneficial? Part of the problem is the lack of real consistency in the definition of these terms. Labels that might sometimes be useful in very narrow context are too often applied with a broad brush. Jean Dubuffet, long an admirer of the self-taught, coined the term art brut. He was particularly interested in those who.

Additionally, could not all of these terms be a bit uncomfortable for the artists? Are not all of their art works the product of multiple influences? Is it not the sum of all these factors that are the source of inspiration for their works? Some observers and writers might apply subtle and nuanced differences in the definition of their terms, appropriate again for a singular discussion, but not very helpful for general use. Of course, this term is not without pitfalls.

One issue is that many people presume self-taught to mean that a person has no education whatsoever, which is often not accurate. Self-taught artists can have varying levels of education. As for training, many have lots of training—but it is training that they gave themselves primarily through trial and error.

Broadly speaking, the self-taught artist is one who has started with an innate talent and has taught, trained, and educated themselves. To be clear, self-taught should not be used to either praise or diminish an artist.

Rather, it should be used to simply acknowledge the circumstances that play a part of who the artist is. They start with whatever raw talent they have been endowed with—creativity, drive, and native skills. Self-taught artists can come from every walk of life. Some are mainstream, some have physical or mental challenges, some are learned, some are innocent, some seem peculiar to us, while others seem surprisingly normal.

I could continue, but hopefully the point is clear. The idea here is not to argue in favor of, or against, being schooled in art making. There are plenty of artists, both trained and self-taught, who have successfully contributed great art, attained recognition, and even enjoyed financial rewards.

But as we acknowledge that the term self-taught is in common use, we can ask if it truly helps to define these artists. Even entire institutions and museums use terms like folk, visionary and art brut in their names to identify themselves. Finally, in this specific exhibition, you will see a wide variety of self-taught artists.

Some have been called folk, like Jack Savitsky who painted the everyday life of farmers and miners in small towns of Pennsylvania; or Luis Millingalli who tries to capture the flora, fauna, and village life of Ecuador before it is forever altered by industrialization.

Artists dubbed outsiders, like Victor Joseph Gatto, Justin McCarthy, and Lawrence Lebduska, did not adhere to the academic processes and techniques, but were recognized as masterful by their contemporaries. Some are considered visionary artists, like JB Murry, who painted gorgeous abstractions that he claims came directly from God; and Paul Lancaster who paints beautiful but not academically or technically perfect fantasies that,.

McKesson produced an engrossing narrative in art and word, exploring the questions of gender well before his time. Racism, sexism, immigration, the mass media, science and technology, religion, freedom of expression, class inequalities, and art history, all inspire his pieces.

All of the artists in this exhibit have been driven to make art by an inner force, not by commercial reward. They create art not just because they want to, but rather because they have to. Each is strongly individualistic. Like a child who draws outside the lines, they are not seeking to be different, they just are. Like the title of the exhibition, I trust you will find the works to be at their core, and in their spirit, thoughtful, exciting, provocative, and full of positive tension.

But whether you embrace or disavow labels, I hope you find the art entertaining, inspirational, amusing, and perhaps even educational. He spent early years in Mississippi and school years in Chicago, before dropping out at age 17 to join the Army.

Amos went to Vietnam in time for the Tet Offensive and volunteered for a second tour. He worked for a while in a psychiatric hospital, then for 30 years in a retirement home, before retiring himself from what he called a very stressful job. Amos had no training in art when he began to make drawings and paintings in his spare time. As a schoolboy, he had done all sorts of illustrations when they were needed for classrooms, year books, and the like.

His only exposure to art was visits to museums while awaiting connections for his long bus commutes going back and forth between. Primarily his art evolved from his very perceptive observations of life in the neighborhoods and on the streets.

While their titles indicate some theme, there are often numerous points to ponder in a single work. Paintings are humorous and often irreverent, but they are never cruel. They just reflect life as Amos views it.

He cannot recall when someone first offered to buy his works but he has been in a number of group shows, had three one person shows at the highly respected Athenaeum Art Center, exhibited at the American Visionary Art Museum and is included in many private fine art collections. Lawrence Amos died July 17, He was released briefly only to be committed again in , after displaying symptoms diagnosed as schizophrenia.

Arning began making art in when Helen Mayfield, a hospital employee who attempted an early form of art therapy, encouraged him to do some drawing. His early works were in crayon on paper and were primarily still life, animal, and landscape subjects drawn from childhood memories of his life on the farm. Arning collected magazine advertisements and photos which he used as source materials like many self-taught artist.

Arning always worked in the same general manner, covering the entire surface of the paper with dense strokes of color. In , when he was asked to leave the hospital for unspecified bad conduct, he moved to live with a sister and stopped making art.

The sale of his work had paid for his hospitalization and achieved for him a certain degree of fame, but despite subsequent stays in various nursing homes, he never again created art. He died in McGregor, Texas, in When he was five, his parents took him back to their native home in Corleone, Sicily. In he returned to Omaha to live with an uncle, but two years later he returned to Corleone and was married.

He brought his family to America in , and worked in the repair shop for the Union Pacific Railroad, in Omaha, Nebraska. Badami spent all of his spare time painting, determined to become a better artist.

Lacking proficiency in English, art became a way in which he could relate his past experiences and express his personal view of the world.

In , after thirty years of service, Badami retired from the Union Pacific Railroad.

Collection of Michael A. Subsequently with failing health, she lived in nursing homes until she died in They may make you laugh. Arning always worked in the same general manner, covering the entire surface of the paper with dense strokes of color. Some of the featured objects have been gifted to the KMA, while others are promised gifts. Published on Mar 5, His early works were in crayon on paper and were primarily still life, animal, and landscape subjects drawn from childhood memories of his life on the farm.

Lawrence lebduska private collectors

Lawrence lebduska private collectors

Lawrence lebduska private collectors

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Added to his failing health, he stopped making art and finally moved out of his home and into a nursing home. He died there on May 18, , just short of his 99th birthday. Cromer is a fine self-taught artist and a very well educated young man. Not a credential one often hears about a self-taught artist, nevertheless it is a fact. His penchant for education comes naturally enough; both parents were science teachers.

He was not encouraged toward art when he showed an aptitude for drawing in childhood but he says his mother was supportive of his creative instincts, his father clearly wanted him to become a doctor or lawyer. This is a bit poignant, since his father had some aspiration to be an artist in his youth. Being an artist though was not a practical thing to do and after all practical is how life is supposed to be when you live in small towns of southwest Virginia.

Cromer was born in in Princeton, West Virginia. It was a pastime while watching television in the evening. The pastime gave way to obsession and drawing developed into painting. Experimenting with new techniques and learning rapidly what works for him, he has developed technical competency and his own. His works are expressive and vivid. Often they are obsessively detailed. Objects may be recognizable but always describe his special viewpoint. They not only entertain but often challenge the viewer.

Early in the 20th century the townspeople of Erwin hanged a circus elephant named Mary from a railroad crane. William Cross and Mary the elephant are two of the many interesting things for which Erwin has become well known.

He has been carving for over 20 years, but only a few years ago found his niche in stone. He has had no training.

His subject matter is usually religious themes or the female nude with an occasional diversion into something clearly imaginary. William Gregory Cash also known by his artist name, William Cross, passed away after a short battle with lung cancer Saturday, April 11, Gatto was born in in a New York City tenement. At age 4 his mother died and his laborer father put him and four brothers into an orphanage until his father remarried 4 years later. Gatto loved his stepmother and remained close until she died in He was raised as a Catholic and went to the fifth-grade level when he left school to work.

The only jobs he held were unskilled and low paying. He became a professional feather weight boxer in , with some 30 fights in 6 years. His brother John, was a criminal and Joe was imprisoned for a robbery he did not do. He tried to escape twice. Gatto decided to become an artist himself. At age 45, he began to paint with no artistic background except drawing in school. In , the Charles Barzansky Gallery gave him a one-man show which was a triumph. Over the years, his work was bought and exhibited by major.

Gatto was a man of bright and dark sides. He was befriended by artists Sterling and Dorothy Strauser, who assisted Gatto during summers in the Poconos, Ivan Black, the publicist brought Gatto to the attention of the Barzanskys, boarded him for a year at his Woodstock home; and the Barzanskys promoted him. But he was an abrasiveness tough who would verbally abuse and misuse such friends. Gatto died at 71 on May 27, And they do.

While they appear as real people and objects to the eye, they are products of her imagination and are extraordinarly expressive, even evocative. Simple in one sense but wonderfully rich and dynamic.

Sybil Gibson was born in Dora, Alabama, in She would have come from a prominent family for her father was a banker, merchant and coal mine operator. There she married and taught school for ten years. Following the death of her husband in , she seemed to be plagued by health and financial problems and later became somewhat reclusive.

She even disappeared one week before her oneperson show at the Miami Museum of Modern Art was to open in May, Later, she reappeared in Birmingham, Alabama. Subsequently with failing health, she lived in nursing homes until she died in At the age of 55, Sybil had begun to paint.

She told how she. Using tempera poster paint and brown paper bags she created her first works. People became quite enthusiastic over them. Her works are in far too many museums and collections to list and comparisons to other fine artists too numerous to mention.

Sybil Gibson is simply one of the truly great self-taught American artists. TED H. Gordon was born in Louisville, Kentucky, in and moved to New York with his family at the age of After graduating from high school, he worked at numerous odd jobs messenger, clerk, apprentice, and bricklayer while sporadically attending various college courses. In , he moved to the West Coast, married and settled down in San Francisco.

In , he graduated from San Francisco State College, with a major in social welfare. Gordon then went to work in a state institution for the mentally retarded and took some additional college work at UCLA. Then, after 25 years with the Federal Service, Gordon retired in Gordon had no formal art training; his ability is a natural gift and self-taught. There was a relapse of several years before he returned to this pastime; augmenting this original repertoire with stylized cats, birds, fish, flowers, mandalas, and designs.

He finds especially fascinating the shape and form of the human physiognomy with its many lines and shadows; and its endless grimaces. Whatever the motivation for his obsession, the wonderfully detailed and intriguing works are a joy to view and study.

Gordon has had numerous solo and group exhibits in the United States and Europe. He dropped out of school after the fifth grade and was taught at home by his schoolteacher mother.

He also read dictionaries, encyclopedias, Popular Mechanics issues, and National Geographic. These sources provided a diverse, if eccentric, education for the artist, traces of which can often be found in his artwork.

He began using scrap lumber to make whirligigs, windmills, ferris fheels, indians, Amazon women, angels and an assortment of animals, all of which he painted in bright colors and assembled in his yard.

When inspiration failed, Jennings resorted to a favorite trick; he pressed his fingers into his closed eyelids and sought ideas in the blotches of color, which appear. From the late s until his death he lived alone, without electricity, telephone, or running water.

Jennings committed suicide in April of , due to his fears concerning the impending millennium and his failing health. Without any art education, Lancaster began to paint about and has gained increasing recognition for his creations.

His works are in many private collections, as well as the permanent collections of the Smithsonian, American Visionary Art Museum, Parrish Museum and University of Virginia collection. His work grew exceptionally so that many cannot believe he is self taught. Lancaster has even taught himself how to create etchings.

This graphics work has proven significant for it is in his etchings that his great facility for the drawn line and subtle color can be fully accomplished. Paul is a simple man, quiet, and modest. He is part Cherokee Indian which contributes to his personality and is clearly reflected in his work. He belongs to the outdoors and his works always belong to nature and the spiritual.

The subjects of his work are the forest, woods, and streams. Figures are in his works but they may, in many works, seem unimportant, helpful for proportion but not always essential to the presentation. When he does include figures they. Working strictly from imagination, he often animates his trees and rocks suggesting animal or human forms.

Lancaster is a true self-taught artist in every respect-his knowledge and technique are natural gifts not academic. His skills have been honed over 50 years of work. While his style ranges from the simple to extraordinarily complex, it is always innocent and honest. In this sense, he is great rather than good.

Then with no formal training in art, he began to paint by using his knowledge of color gained from making stained-glass. He received no formal artistic training. However, he did work painting murals, creating stained-glass decorations and work for private homes in New York. Lebduska submitted his paintings to group shows around New York, notably at the Opportunity Gallery and the Bourgeois Gallery.

In , the Contemporary Arts Gallery held a near sell out show of his works. This exhibition was said to have influenced Abby Aldrich Rockefeller to. Lebduska was aided then by the Long Island dealer Eva Lee, who helped him to recuperate and start painting again. Lebduska died in He once lived with an uncle who bred horses in Orangeville, Maryland, where he had the opportunity to observe animals and their temperament.

Due to poor circumstances and undiagnosed dyslexia, he went to school only through the fourth grade. However, his father was a mechanic and his grandfather a blacksmith, so he became skilled, particularly in welding. He left home at age 14 making his way with odd jobs and lived in Florida for a while. At age 20, he returned home, bought a piece of ground in Pink Lily and built a house.

Charlie had a severe accident in that left him rather disabled. During this period in which he says he prayed for meaning for his life and came to know that he was to make art. Charlie had made toys for children when he was only a child himself so after recovering enough to work; he began making new toys which evolved to become extraordinary sculptures. Old car hoods have been incised for figurative studies. A broken hub cap has its face covered with utensils and twine to create an image.

Bike wheels, gears, spokes, chains, and odd strips and bands of metal are combined into a family. He is surrounded by art as his home is an environment where his largest sculptures share their space with his grazing cows. Charlie is an especially sensitive man but rarely speaks of the difficulties of his life, instead he focuses on his drive to create meaningful art which he hopes will be appreciated. Still, those rough and bold sculptures cannot hide their tender inner self.

Best known for his sculpture, Charlie also creates paintings on everything from canvas to odd pieces of wood. These colorful semi-abstractions often convey similar messages as his three dimensional work but may evoke pre-historical themes or even other world imagery.

Charlie Lucas is one of the best of the southern black self-taught artists who have gained international reputations in the art world. He is widely collected and included in a large number of museum collections. His genius may be arguable but certainly he is a major self-taught artist.

Never quite fitting the limited definitions of the art world, he may not be easily categorized, however his work is growing in recognition and is highly prized by many collectors.

Justin McCarthy was born in Weatherly, Pennsylvania, in , the son of a newspaper executive. As a young man, he expected to become a lawyer but failed to pass the bar examination. McCarthy pursued various schemes to make his living and finally settled into a life of raising and selling vegetables. In , McCarthy began to paint, an activity he claims resulted from a visit to Paris and the Louvre in For many years his work was unnoticed except by customers for his patent medicines and the buyers of produce he peddled from a truck.

In the s, after 40 years of painting without recognition, he began to be appreciated in outdoor art shows. About the same time he met Sterling and Dorothy Strauser who encouraged him and brought his works to the attention of museums and collectors.

The Museum of Modern Art included his work in a traveling exhibition in Justin McCarthy is able to observe and translate his impressions into paintings, which have the elements, we have grown accustomed to appreciate and enjoy in much of the 20th Century painting.

McCarthy stands apart, however, because he is untrained and his innate sensibilities find expression naturally in abstract terms employed consciously by the trained artist. McKesson was born into a well-to-do New York family in , and lived a rather privileged life with many opportunities. While he seemed to appreciate this position, things did not seem to work.

His businessman father brought him into the company following a very good education, but he did not seem to be an effective manager. Trying the army, he learned early that he was not cut out to be a soldier. Then he tried to teach school but he said that was a disaster.

So he was pleased when his wife, the poet Madeleine Mason, convinced him that he need not have a career but could stay home, for he loved the arts, his wife, and the secret explorations of his mind. It is these explorations that emerge in his provocative works of art.

So we can share a bit as we view his drawings and paintings that are complex, exotic, and subtlety erotic. To meet this gentle, unassuming man was a joy. He was an interesting and articulate companion.

He lived in the same New York apartment since the s and alone since his wife died in However, he hardly seemed reclusive for he was active in body, mind, and soul. As Dr. Rather they are eagerly sought by admirers of both and are included in important collections and museums. He was born in December, , in Cotopaxi, a spiritual place at the foot of a volcano.

His mother, Marie Rosa, died when he was only 10 and his father Santiago died when he was 14, so he was left to fend for himself at an early age.

This was of great significance to me. I started as a painter, without having had any art schooling, when I was 12 years of age. He met the Ecuadorean master painter Guayasamin, who befriended him, purchased works and allowed him space within which to work. After a decade of painting, exhibitions began to come in Madrid, Paris, Rome, and throughout South America where he was well received.

Now we have the opportunity to see the works of Millingalli in the United States. His colors are strong but not always primary, his figures crisp, and static but full of life. He says that making his own toys was the beginning of his creativity, however, that creativity did not flourish until , just before he retired. In the interim, Jessie had immigrated to the United States, worked a variety of jobs, primarily custodian of a high school, raised a family and became a naturalized citizen.

Wishing to free his mind from concern about two children involved in the first Gulf War, he sought out an activity. It became his new career in art. Jessie began creating his art by recycling waste corrugated boxes and bulletin board paper.

It was plentiful and cost nothing. He began to make frames for photographs and soon came to fill in the frames with objects and developed scenes. Cutting the materials at three different angles yielded him different textures, effects, and coloration. Using ample quantities of glue for stability and a protective coating, he finished his art works. Since then he has gained widespread recognition and received rave reviews for numerous one person and group shows throughout the country.

He has been the subject of a PBS feature, and is being purchased by collectors and museums. There is simply nothing like them in the art world today. They are precisely crafted and beautifully artistic. Jessie suffers from emphysema and has now moved to Colorado. Because of his health and since his process is tedious and slow, the number of works remains small.

How does an illiterate black man, born in rural Georgia, just after the turn of the century create wonderful, colorful, emotion laden renderings that are admired by art museums and prized by collectors? Murry thought he was inspired by God and when we see the response to his work should we doubt. Born in Warren County, Georgia, in , Murry attended school for only a month.

He spent the remainder of his working life as a field hand on farms in the area. He married in , and with his wife Cleo had 11 children. Murry was known as a good man who practiced his religion in an unremarkable way until his visions occurred. Afterwards, he was outspoken and quite dedicated to doing the works he felt the Lord had called him to create.

During the decade before he died in , he created a body of mystical paintings and spiritual writings. Whether done on adding machine tape as some early works or on high quality materials which he later used, J.

Clearly there is no attempt to draw figures that are commonly recognizable and there is no attempt to render according to some academic code for color use. Weekly Auctions of Exceptional Items. Log In Join. Find Auctions. Asian Antiques. Popular Searches. Browse By Origin. Browse By Style. Featured Designers.

Sell a Similar Item. Don't Miss Your Next Treasure. Set up a search alert to hear when American Paintings items arrive. Paintings American Antique. Lawrence Lebduska. White Wolf Attacks Mare. Nov Elk In Early Fall. Horses At Mountain River. Pair Of Mules. Running Goats.

Galerie St. Etienne - Lawrence Lebduska at Galerie St. Etienne - Biography

Panic: signed "Lebduska" lower right. Sequential portfolio: eight plates; and [Untitled]. Album Cinetique: two plates. Untitled Abstraction. Untitled, from New York International Portfolio. Untitled painting for cover of book.

Untitled Yellow and Blue. Untitled; and Untitled. Untitled, from Ten from Leo Castelli. Poster for Carnegie International Exhibition; and a reproduction of a drawing. Schwarzwald portfolio. Robot with Flying Object Number Three. Madonna with Flowers IV. L'Ultimo dei Generali. Corridor Store Front, Project. Wrapped Walkway: Kansas City, Mo. Packed Kunsthalle Bern. Bach 2 Violin Concerto. Filtres a Air; and Eclipse d'eclisses.

Mike and Bob Abrams. Still Life with Flowers and Fruit. Custom Print No. Foot Medication Poster. Forest Ranger, from Ten from Leo Castelli. F Exhibition Poster. Rank; and The Divine Comedy: 31 plates. Ark; and The Divine Comedy: 33 plates. Mark; and The Divine Comedy: 33 plates. Dwan Gallery poster. Homage to Frederick Kiesler. Passport, from Ten from Leo Castelli. Drag-Johnson and Mao. Hamantashen and Rainbow. Hearts and a Watercolor. The Picture of Dorian Gray: eight plates. Face for a Lipstick Ad.

Zurich Improvisations: two prints. Two works: Head in Profile and Untitled Kiss. Calder's Circus - 16 Circus Drawings portfolio. Table Series Artist. Painting What He Knows. Six Drawing Tables portfolio. Back of a Woman Wearing a Black Bra. Four works: Two Men; Room for Rent; and two posters. Miniature Soft Drum Set. Calling…: two prints; and Tree…: two prints. Falling Man: four prints. Falling Man: six prints. Portrait of Nina Abrams. Two works: Standing Figure and Figure. Two works: Two Figures and Head.

January: five plates and cover. Amelia, plate 3 from serie Novisaurias. Untitled Two Figures. Arrows and Airplane at Left. Sanctuary Wired for Broadcast.

Three works: Three geometric prints. Three works: Three print posters. Poster for David Hockney at Andre Emmerich. Four works: Three prints and a drawing. Two works: Untitled and Untitled.

Untitled: two prints. Two works: Untitled; and Invest in the Future lithograph. Two works: Winter Hills and Cloudy Ranges. Two works: Glass and Untitled Abstraction. Two works: Mountain Garden and Morning Mystery. Stamps Figure of a Girl. Dos caras [Two Faces]. Reymundo de la Rosas and Unknown Huichol Indian artist.

Untitled: seven prints. Elephant reaching for the last branch on a tree, Kenya. Head of Albert Einstein. For After the Flood. Two Standing Figures in Landscape. Reclining Figure; and a trial proof of Reclining Figure. Four Reclining Figures with Architectural Background. Three Reclining Figures. Annette Facing Front Annette de face. Amoureux avec cheval. Figure on Horseback.

Persian School and Asian School. Groupe de trois femmes. Picasso, clad in a bright green terry-cloth robe, confronts the camera on front steps of Chateau de Vauvenargues. Intellectual Illumination. Relief documenta III. Bouquet de reves pour Nelia: 14 plates. Attributed to Albert Ernest Carrier-Belleuse. Two works: Psyche and Cupid and Nymph with Satyr.

Maison du Marin Mariner's House. Le Basse Cour Feeding Fowl. Jacques Villon and Marcel Vertes. Antelope and Tigers. Leopard and Snake by a Lake. Harmony Three Nudes. Head of Harry Abrams. Portrait of Mrs. David Davidovich Burliuk.

Peasant with Chickens. Peasants at a Table Russian Tea Party.

Lawrence lebduska private collectors

Lawrence lebduska private collectors

Lawrence lebduska private collectors