Weyhe Gallery

Erhard Weyhe Gallery
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The image shows a grid-like pattern created by intersecting vertical and horizontal lines. The design resembles the texture of a woven material, similar to burlap or heavy linen. The surface is dotted with small, irregular specks.
Max Weber, The Spiral Press, Weyhe Gallery, Woodcuts and Linoleum Blocks by Max Weber, 1956, bound volume containing 30 woodcuts and 3 linocuts, Gift of Jack and Margrit Vanderryn, 2015.114.70

Woodcuts and Linoleum Blocks by Max Weber

Max Weber, The Spiral Press, Weyhe Gallery · 1956 · bound volume containing 30 woodcuts and 3 linocuts ·  Accession ID  2015.114.70

The image on the left features a series of geometric shapes and intersecting lines. These shapes form a shadowy silhouette resembling a combination of a boat and a building, with lines extending from it. The use of light and shadow gives the image a sense of depth, while the angular lines evoke maritime or architectural structures. On the right page, the text reads "THE LITHOGRAPHS of RICHARD DAY By MERLE ARMITAGE" with additional publication information below.
Richard Day, Merle Armitage, Weyhe Gallery, The Lithographs of Richard Day, 1932, bound volume with one lithograph, Corcoran Collection, 2015.143.1426

The Lithographs of Richard Day

Richard Day, Merle Armitage, Weyhe Gallery · 1932 · bound volume with one lithograph ·  Accession ID  2015.143.1426

The image shows an abstract, stylized figure from head to upper thighs standing upright. The person's head is slightly tilted to one side, with simplified, linear facial features. The hair is abstractly depicted. The clothing blends into the organic forms of the body. The space around the figure is filled with abstract lines and shapes, suggesting texture or movement. There are no identifiable objects like jewelry. The background is plain with the figure and surrounding designs contrasting against a pale, textured surface. The artist's signature is visible at the bottom right.
Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery, Nude Woman with Arm Upraised, 1930-1932 (published 1956), linocut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.56

Nude Woman with Arm Upraised

Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery · 1930-1932 (published 1956) · linocut in black on laid paper ·  Accession ID  2015.114.56

The image displays a collection of curvilinear and angular shapes enclosed within a tall rectangle. These shapes create a dynamic composition without any representational subject matter. Light and dark areas contribute to the contrast and depth of the image. The overall style resembles geometric abstraction, reminiscent of cubist art.
Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery, Primitive Figure, 1921-1925 (published 1956), woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.55

Primitive Figure

Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery · 1921-1925 (published 1956) · woodcut in black on laid paper ·  Accession ID  2015.114.55

The image shows angular and curved lines forming abstract shapes resembling three human-like figures. The figures have elongated facial features and expressive eyes. The central figure appears to be pointing to an open book-like shape. The composition suggests individuals engaged in a discussion or presentation, perhaps in a setting related to reading or storytelling. The lines and shapes create depth and interaction among the figures, merging familiar elements with an abstract motif.
Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery, Feast of Passover, 1920 (published 1956), woodcut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.52

Feast of Passover

Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery · 1920 (published 1956) · woodcut in black on laid paper ·  Accession ID  2015.114.52

The image shows an abstract human figure from head to feet, in a standing position with hands pressed together in front of the chest. The face has geometric shapes, and the head is slightly bowed. The hair is abstract and continuous above the head. The body is outlined with simple lines, and there are no clothes or adornments on the figure. The background is a textured, dark rectangle, with the artist's signature "Max Weber" at the bottom.
Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery, Prayer, 1920 (published 1956), linocut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.53

Prayer

Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery · 1920 (published 1956) · linocut in black on laid paper ·  Accession ID  2015.114.53

The image shows a monochromatic depiction of a person's upper body, focusing on their face and one hand. The person is in profile, slightly hunched forward with their head turned to the side. The facial features are stylized, with a prominent eye and exaggerated ear. The person's hair is roughly textured, blending with the background. Abstract lines and textures surround the person, with a hand visible in the lower portion. The background has textured patterns, emphasizing the figure's isolation. There are no visible jewelry or objects, and the overall tone is subdued with grey and white contrasts creating depth. The signature "Max Wolfe" is at the bottom.
Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery, Large Primitive Head in Profile, 1920-1921 (published 1956), linocut in black on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.54

Large Primitive Head in Profile

Max Weber, The Spiral Press, Joseph Blumenthal, Weyhe Gallery · 1920-1921 (published 1956) · linocut in black on laid paper ·  Accession ID  2015.114.54

Two individuals are depicted in the image, with their full upper bodies shown, extending down to the waist. The person on the right is positioned facing forward with arms raised above their head. The individual on the left appears to be leaning slightly forward with their head near the shoulder of the other person. The image's style highlights delicate facial features, with both having fine, curling lines suggesting wavy hair. Both figures are unclothed and are composed using light, sparse lines giving an impression of softness. The background consists of abstract patterns of shading and smudges, predominantly on the left side, creating a textured contrast against the otherwise plain backdrop. There is no visible jewelry or objects in the image.
Arthur B. Davies, George C. Miller, Weyhe Gallery, Nymphs of the Stream, 1919-1920, lithograph with lithotint in black on wove paper, Gift of David P. Tunick, 2009.127.10

Nymphs of the Stream

Arthur B. Davies, George C. Miller, Weyhe Gallery · 1919-1920 · lithograph with lithotint in black on wove paper ·  Accession ID  2009.127.10

Arthur B. Davies, George C. Miller, Weyhe Gallery, Free of Clouds, 1919-1920, lithograph with lithotint in black on wove paper, Gift of David P. Tunick, 2009.127.9

Free of Clouds

Arthur B. Davies, George C. Miller, Weyhe Gallery · 1919-1920 · lithograph with lithotint in black on wove paper ·  Accession ID  2009.127.9

This is a drawing of figures falling and interacting chaotically, centered around a larger central figure. The composition depicts a scene full of movement where several figures appear to be in various poses of falling or floating around a prominent central figure. The figures are sketched with a combination of fine lines and shading to give a sense of depth and movement, with some figures more delineated than others. The drawing uses a monochromatic palette, focusing on line and shading to convey emotions and movement.
Arthur B. Davies, George C. Miller, Weyhe Gallery, Bird Men, 1919-1920, lithograph with lithotint in black on wove paper, Gift of David P. Tunick, 2009.127.14

Bird Men

Arthur B. Davies, George C. Miller, Weyhe Gallery · 1919-1920 · lithograph with lithotint in black on wove paper ·  Accession ID  2009.127.14

Bibliography

1996

  • Wiliams, Reba White. The Weyhe Gallery Between the Wars, 1920-1939. Ph.D. diss., The City University of New York, 1996.

2009

  • Williams, Reba White. The Weyhe Gallery Between the Wars, 1919-1940. Ph.D. diss., The City University of New York, 1996.