Anderson-Lamb

The image displays a collection of intersecting, curvilinear, and angular lines creating a complex pattern. These abstract shapes and lines convey movement and dynamic flow. The bold zigzags and swooping curves suggest a sense of rhythm and energy. The composition is accompanied by a poem and a signature.

To Yeats in Rapallo from 21 Etchings and Poems

Fred Becker, Theodore Russell Weiss, Anderson-Lamb, Morris Gallery

published 1960

Engraving and 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 1997.6.1.2

Not on view

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

Not on view

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.

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

Not on view

$The image displays dark, jagged shapes and angular lines forming an abstract figure on the right side of the page. The abstract composition suggests twisted branches or fractured shadows. The dark lines contrast with the lighter background, creating depth and movement. Handwritten text in a cursive style appears on the left side, balancing the heavy forms of the abstract shapes. The elements combine to show an interplay between structure and fluidity, reminiscent of a dance.$

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

Not on view

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.

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

Not on view

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.

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

Not on view

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.

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

Not on view

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.

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

Not on view

The image displays irregular, dark shapes scattered across the surface, along with lines of handwritten text. The abstract forms resemble cutouts and inkblots, suggesting silhouettes or shadowy figures. The shapes evoke a sense of abstract art, with some resembling broken pieces of pottery or abstract animal forms. The contrast between the dark shapes and the light background enhances their abstract quality, while the handwritten text adds texture and personal expression.

Nostalgia from 21 Etchings and Poems

Esteban Vicente, Peter Viereck, 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 1997.6.1.20

Not on view

The image shows swirling and interweaving lines creating an intricate abstract design. The lines loop and cross over each other, framing blocks of text at the center. The text is in French and is surrounded by a cloud-like border. Circular and elliptical shapes are scattered throughout the design. The overall arrangement is dynamic, drawing the eye across the different elements.

Poem by Jacques-Henri Lévesque from 21 Etchings and Poems

Stanley William Hayter, Jacques-Henry Lévesque, Anderson-Lamb, Morris Gallery

1947 (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 wove paper Accession ID 1997.6.1.8

Not on view

Anderson-Lamb

To Yeats in Rapallo from 21 Etchings and Poems

To Yeats in Rapallo from 21 Etchings and Poems