Provenance

Sylvan Cole

Sylvan Cole Gallery
Sylvan Cole Gallery

American, 1918 - 2005

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See all 36 works of art
The image features intricate lines and swirling shapes forming an abstract pattern. In the center, there is a large oval with vertical lines resembling legs, surrounded by looped and jagged lines. The overall composition is chaotic, with scribbles and markings resembling an encrypted language or graffiti. The central figure is enclosed within a border-like framework amidst the variety of shapes.
Pierre Alechinsky, Dotremont Christian, Anderson-Lamb, Morris Gallery, Poem 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, 1997.6.1.1

Poem from 21 Etchings and Poems

Pierre Alechinsky, Dotremont Christian, 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  1997.6.1.1

The image shows bold, intersecting lines and shapes creating an abstract pattern on the right side. On the left, there is handwritten text arranged in a column.
Ben Nicholson, Sir Herbert Read, Anderson-Lamb, Morris Gallery, Tenement from 21 Etchings and Poems, published 1960, etching and drypoint from two plates 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, 1997.6.1.12

Tenement from 21 Etchings and Poems

Ben Nicholson, Sir Herbert Read, Anderson-Lamb, Morris Gallery · published 1960 · etching and drypoint from two plates 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  1997.6.1.12

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 features a collection of organic and flowing shapes, intertwined with an abstract style. The lines curve and twist, resembling a whimsical creature. These abstract forms appear to dance alongside a poem embedded into the artwork. The juxtaposition of text and abstract shapes adds a familiar yet surreal element within a defined border.
Letterio Calapai, William Carlos Williams, Anderson-Lamb, Morris Gallery, To a Poor Old Woman 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, 1997.6.1.4

To a Poor Old Woman from 21 Etchings and Poems

Letterio Calapai, William Carlos Williams, 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  1997.6.1.4

The image depicts a cityscape seen from a covered terrace with large columns framing the view. The city features various buildings, including spires and domes. The architecture includes classic-style buildings and a prominent spire. The brushstrokes are precise, capturing details of the stone surfaces and architectural elements. The color palette consists of soft sepia tones. The city extends across a body of water, and the foreground includes patterned stone flooring.
John Taylor Arms, Stockholm, 1940, etching and aquatint in black on laid paper, Corcoran Collection (Gift of the Friends of the Corcoran Gallery of Art), 2015.143.1384

Stockholm

John Taylor Arms · 1940 · etching and aquatint in black on laid paper ·  Accession ID  2015.143.1384

The image displays an intricate design comprised of flowing, organic shapes and intersecting lines, creating an abstract representation. The shapes suggest a human skull with contours resembling eye sockets and a nasal cavity. The design is surrounded by cross-hatched lines and shading, adding texture and depth. In the center, there is a block of text related to the concept of 'mind.'
Salvatore Grippi, Richard Wilbur, Anderson-Lamb, Morris Gallery, Mind from 21 Etchings and Poems, 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, Prospero Foundation Fund, 1997.6.1.7

Mind from 21 Etchings and Poems

Salvatore Grippi, Richard Wilbur, 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  1997.6.1.7

The image features an array of dark lines and swirling shapes creating an abstract pattern across the top and right side of the page. The abstract shapes resemble tangled branches or vines weaving around and among themselves. Among these shapes are dense strokes and lighter, finer lines, evoking the intricate chaos of a forest or a web. Below the abstract section, there is hand-written text which appears to mimic traditional handwriting but is interspersed with dynamic forms, enhancing the contrast between the structured letters and the abstract lines. The familiar forms of letters and words anchor the freeform shapes above them, providing a juxtaposition between the tangible and the abstract.
Louis Schanker, Harold Norse, Anderson-Lamb, Morris Gallery, Most Often in the Night 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, 1997.6.1.18

Most Often in the Night from 21 Etchings and Poems

Louis Schanker, Harold Norse, 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  1997.6.1.18

This is a depiction of a drawing featuring handwritten poetry titled "Fiercely, Lady, Do We Ride," by David Lougee. The image includes abstract and natural motifs such as swirling patterns, trees, leaves, a sun, and morning grass or crops. The abstract drawings are in black and surround the text, adding visual depth. The use of earthy tones and raw texture gives it an organic feel that complements the text's exploration of seasons and landscapes.
Karl Schrag, David Louis Lougee, Anderson-Lamb, Morris Gallery, Fiercely, Lady, Do We Ride 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, 1997.6.1.19

Fiercely, Lady, Do We Ride from 21 Etchings and Poems

Karl Schrag, David Louis Lougee, 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  1997.6.1.19

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

The image contains bold, black shapes curling around the left and bottom edges. These shapes create an abstract frame. The abstract imagery has lines that flow organically. In the lower right corner, a smaller, curved shape with a pointed end can be seen. Central to the image is a block of handwritten text.
Jacques Lipchitz, Hans Sahl, Anderson-Lamb, Morris Gallery, Gedicht (Poem) 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, 1997.6.1.10

Gedicht (Poem) from 21 Etchings and Poems

Jacques Lipchitz, Hans Sahl, 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  1997.6.1.10