Anderson-Lamb

Anderson-Lamb Co.
Anderson-Lamb Company

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The image shows bold, geometric shapes and lines intersecting and overlapping predominantly on the left side. These dark forms resemble shattered glass pieces or angular edges of a deconstructed object. On the right side, there is a neatly written poem, creating a contrast with the abstract shapes.
Franz Kline, Frank O'Hara, Anderson-Lamb, Morris Gallery, Poem from 21 Etchings and Poems, 1957, published 1960, etching over heliogravure from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.9

Poem from 21 Etchings and Poems

Franz Kline, Frank O'Hara, Anderson-Lamb, Morris Gallery · 1957, published 1960 · etching over heliogravure from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.9

The image includes bold lines and shapes that convey movement. The word "LOVE" is depicted abstractly, merging and overlapping with the flowing black shapes. The curved lines and bulbous forms suggest familiar objects like waves or the contours of a human face, while the thick black strokes add depth and intensity. This artwork combines dynamic shapes and marks to invite viewer interpretation.
Willem de Kooning, Harold Rosenberg, Anderson-Lamb, Morris Gallery, Revenge from 21 Etchings and Poems, 1957 (published 1960), etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives wove paper, Prospero Foundation Fund, 1997.6.1.5

Revenge from 21 Etchings and Poems

Willem de Kooning, Harold Rosenberg, Anderson-Lamb, Morris Gallery · 1957 (published 1960) · etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives wove paper ·  Accession ID  1997.6.1.5

This is a drawing of a waterfall and a poem. The image features an intricate line drawing depicting a waterfall cascading down a rocky landscape. The sketching is comprised of flowing, curved lines and varying thicknesses, resembling the flow of water against a textured cliff or landscape. The image includes a poem titled "The Blue Waterfall" by Horace Gregory, referencing artist Hokusai known for works in the ukiyo-e genre of Japanese art. The poem explores themes of nature and art, connecting the waterfall's imagery with Hokusai's artistic legacy. The drawing and the poem evoke a sense of reverence for nature's beauty and the enduring influence of art.
Ezio Martinelli, Horace Gregory, Anderson-Lamb, Morris Gallery, The Blue Waterfall from 21 Etchings and Poems, published 1960, etching and aquatint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.11

The Blue Waterfall from 21 Etchings and Poems

Ezio Martinelli, Horace Gregory, Anderson-Lamb, Morris Gallery · published 1960 · etching and aquatint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.11

This is a drawing of a poem surrounded by abstract figures. The artwork presents handwritten text detailing a poem called "The Hand that Signed the Paper" by Dylan Thomas, set amidst abstract and surrealist illustrations. The visuals showcase large hands and human forms intertwined with the text. The illustrations suggest a link between the power of written words and human impact, creating a surreal and distorted impression. This reinforces the poem's theme about the consequences of remote decision-making. The drawing employs heavy lines and textures to heighten the dramatic and dark atmosphere.
Peter Grippe, Dylan Thomas, Anderson-Lamb, Morris Gallery, The Hand that Signed the Paper Felled a City from 21 Etchings and Poems, published 1960, etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.6

The Hand that Signed the Paper Felled a City from 21 Etchings and Poems

Peter Grippe, Dylan Thomas, Anderson-Lamb, Morris Gallery · published 1960 · etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.6

The image showcases a variety of twisting and curving lines with small cross shapes dispersed throughout. Abstract forms resembling stylized flames or tendrils create a dynamic visual rhythm. Handwritten text is overlaid on top, suggesting connections to familiar objects like flames or waves interacting with floating particles. The overall effect evokes an abstract tapestry filled with flowing motion and spontaneous energy.
Helen Phillips, André Verdet, Anderson-Lamb, Morris Gallery, Poem from 21 Etchings and Poems, published 1960, relief etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.14

Poem from 21 Etchings and Poems

Helen Phillips, André Verdet, Anderson-Lamb, Morris Gallery · published 1960 · relief etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.14

This image features a drawing of a poem titled "Praise to the End!" by Theodore Roethke. The poem is written in flowing script on textured paper. Below the poem is an abstract illustration with dynamic swirling forms in dark tones on a light background. The print includes a signature and is marked 50/50, indicating it is from a limited series.
Adja Yunkers, Theodore Roethke, Anderson-Lamb, Morris Gallery, Praise to the End! from 21 Etchings and Poems, published 1960, etching and aquatint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; 2 etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.21

Praise to the End! from 21 Etchings and Poems

Adja Yunkers, Theodore Roethke, Anderson-Lamb, Morris Gallery · published 1960 · etching and aquatint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; 2 etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.21

The image contains a complex composition of intertwining lines and shapes, with curves, spirals, and angular structures. It evokes chaotic sea waves, towering rock formations, and possibly an upturned ship hull. In the center are clustered shapes resembling aquatic creatures or corals, suggesting an underwater environment. Handwritten text is interspersed throughout the image, adding narrative layers and enhancing its abstract quality.
Kurt Roesch, Alastair Reid, Anderson-Lamb, Morris Gallery, Underworld from 21 Etchings and Poems, published 1960, etching, aquatint, and drypoint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.16

Underworld from 21 Etchings and Poems

Kurt Roesch, Alastair Reid, Anderson-Lamb, Morris Gallery · published 1960 · etching, aquatint, and drypoint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.16

The image displays dark, jagged shapes and angular lines forming an abstract figure on the right side of the page. The abstract composition suggests twisted branches or fractured shadows. The dark lines contrast with the lighter background, creating depth and movement. Handwritten text in a cursive style appears on the left side, balancing the heavy forms of the abstract shapes. The elements combine to show an interplay between structure and fluidity, reminiscent of a dance.
André Racz, Thomas Merton, Anderson-Lamb, Morris Gallery, Aubade-Harlem from 21 Etchings and Poems, published 1960, etching and aquatint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.15

Aubade-Harlem from 21 Etchings and Poems

André Racz, Thomas Merton, Anderson-Lamb, Morris Gallery · published 1960 · etching and aquatint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.15

The image displays a variety of lines and geometric shapes, including triangles, circles, and abstract forms scattered across the composition. In the upper portion, there is a large triangular shape with horizontal lines extending downwards. The bottom half features abstract shapes resembling musical instruments, a ladder, and a windmill-like structure. These elements form an abstract composition.
Attilio Salemme, Morris Weisenthal, Anderson-Lamb, Morris Gallery, Tiresias from 21 Etchings and Poems, published 1960, etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.17

Tiresias from 21 Etchings and Poems

Attilio Salemme, Morris Weisenthal, Anderson-Lamb, Morris Gallery · published 1960 · etching from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.17

Ben-Zion, David Ignatow, Anderson-Lamb, Morris Gallery, The Faithful One from 21 Etchings and Poems, published 1960, etching and drypoint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper, Prospero Foundation Fund, 1997.6.1.3

The Faithful One from 21 Etchings and Poems

Ben-Zion, David Ignatow, Anderson-Lamb, Morris Gallery · published 1960 · etching and drypoint from a portfolio of 10 etchings; six etching and aquatints; two engraving and etchings; two etching and drypoints; and one etching, aquatint, and drypoint on Rives paper ·  Accession ID  1997.6.1.3