Lilah Toland

American, active 20th century

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See all 107 works of art
The image displays an arrangement of rectangular and square shapes outlined by subtle lines, varying in size. The colors used are soft browns and pale yellows. The shapes suggest a minimalist puzzle or a graphical representation of a building's floor plan. The canvas has a textured and aged appearance, with uneven edges.
John Cage, Lilah Toland, Crown Point Press, HV2(6) 1/3, 1992, aquatint with foulbiting on Betty Friedman handmade natural Acaba paper, Gift of Crown Point Press, 1996.94.29

HV2(6) 1/3

John Cage, Lilah Toland, Crown Point Press · 1992 · aquatint with foulbiting on Betty Friedman handmade natural Acaba paper ·  Accession ID  1996.94.29

The image displays a network of swirling lines creating a dense grid pattern. The abstract composition resembles tangled yarn or interwoven branches, resulting in a chaotic texture similar to undergrowth in a forest.
John Cage, Lilah Toland, Crown Point Press, (R3) (where R=Ryoanji), 1983, drypoint in black on J. Whatman paper, Gift of Kathan Brown, 1996.93.38

(R3) (where R=Ryoanji)

John Cage, Lilah Toland, Crown Point Press · 1983 · drypoint in black on J. Whatman paper ·  Accession ID  1996.93.38

Robert Bechtle, Lilah Toland, Crown Point Press, Sunset Intersection, 1983, softground etching on Exeter Vellum, Gift of Kathan Brown, 1997.8.33

Sunset Intersection

Robert Bechtle, Lilah Toland, Crown Point Press · 1983 · softground etching on Exeter Vellum ·  Accession ID  1997.8.33

The image displays a series of thin, black lines intersecting at various angles to form an abstract pattern within a rectangular space. The lines overlap to create a tangled appearance, resembling a mass of threads or a chaotic scribble. The texture has a resemblance to a bird's nest or dense brambles, evoking feelings of complexity and organic structure.
John Cage, Lilah Toland, Crown Point Press, R3 (where R=Ryoanji) OK to print, 1983, drypoint in black on J. Whatman paper, Gift of Kathan Brown, 1996.93.37

R3 (where R=Ryoanji) OK to print

John Cage, Lilah Toland, Crown Point Press · 1983 · drypoint in black on J. Whatman paper ·  Accession ID  1996.93.37

The image contains black lines and curves overlapping on a light background, forming an intricate pattern. The lines vary in thickness and form, with some looping and swirling while others appear more linear.
John Cage, Lilah Toland, Crown Point Press, R2 1 (where R=Ryoanji) OK to print, 1983, drypoint in black on J. Whatman paper, Gift of Kathan Brown, 1996.93.42

R2 1 (where R=Ryoanji) OK to print

John Cage, Lilah Toland, Crown Point Press · 1983 · drypoint in black on J. Whatman paper ·  Accession ID  1996.93.42

The image includes three elongated vertical lines with oval shapes at their ends, set against a textured blue background. The ovals contain intricate patterns and contrasting shades of black and white, with some areas showing a grid-like design or other textures.
Richard Diebenkorn, Lilah Toland, Crown Point Press, Clubs Blue Ground, 1982, hardground etching, spitbite aquatint, and drypoint on Rives Heavyweight White paper, Eugene L. and Marie-Louise Garbáty Fund and Patrons' Permanent Fund, 1996.77.67

Clubs Blue Ground

Richard Diebenkorn, Lilah Toland, Crown Point Press · 1982 · hardground etching, spitbite aquatint, and drypoint on Rives Heavyweight White paper ·  Accession ID  1996.77.67

The image displays an abstract design composed of lines and shapes. In the center, there is a figure wearing a hat with flower blossoms and butterfly-like patterns on its face. Surrounding the figure are floral and circular forms, resembling a garden scene mixed with elements that evoke planets and celestial bodies.
Günter Brus, Lilah Toland, Crown Point Press, The Diamond Cutter, 1982, hardground etching and drypoint in black on Head white-laid paper, Gift of Kathan Brown, 1998.40.61

The Diamond Cutter

Günter Brus, Lilah Toland, Crown Point Press · 1982 · hardground etching and drypoint in black on Head white-laid paper ·  Accession ID  1998.40.61

The image consists of flowing and curving lines that converge and diverge to form a complex, abstract shape. The lines are layered to create an impression of depth and movement, resembling roots or vines entwined in a loop or knot.
Richard Diebenkorn, Lilah Toland, Crown Point Press, Eiffelspade, 1982, aquatint in black on Whatman Linen Rag paper, Eugene L. and Marie-Louise Garbáty Fund and Patrons' Permanent Fund, 1996.77.61

Eiffelspade

Richard Diebenkorn, Lilah Toland, Crown Point Press · 1982 · aquatint in black on Whatman Linen Rag paper ·  Accession ID  1996.77.61

The image consists of geometric shapes and curved lines within a rectangular frame on a white background. The abstract composition includes a yellow teardrop shape intersected by a blue triangular section and circular forms, one outlined in red.
Richard Diebenkorn, Lilah Toland, Crown Point Press, Tri-Color Spade, 1982, color drypoint with aquatint and spitbite etching on Rives heavyweight white paper, Eugene L. and Marie-Louise Garbáty Fund and Patrons' Permanent Fund, 1996.77.63

Tri-Color Spade

Richard Diebenkorn, Lilah Toland, Crown Point Press · 1982 · color drypoint with aquatint and spitbite etching on Rives heavyweight white paper ·  Accession ID  1996.77.63

The image showcases an abstract composition with a dominant triangular shape filled with green and intricate patterns. The shape stands out against a soft pink background, with a deep blue horizontal strip at the top.
Richard Diebenkorn, Lilah Toland, Crown Point Press, Green Tree Spade, 1982, color aquatint on Whatman Special white laid paper, Eugene L. and Marie-Louise Garbáty Fund and Patrons' Permanent Fund, 1996.77.64

Green Tree Spade

Richard Diebenkorn, Lilah Toland, Crown Point Press · 1982 · color aquatint on Whatman Special white laid paper ·  Accession ID  1996.77.64