Frans Masereel: Workers’ Paradise in 1939 Europe
Introduction As my bookshelf attests I’ve a great affinity for the Flemish...
Erich Glas: Through the Night vs. Leilot/Nights
(L) The portfolio cover for “Through the Night” and (R) the cover...
Gustav Wolf: His Monster Menagerie
Introduction This is the second of five ART I SEE blog posts...
Gustav Wolf: Confessio
INTRoduction Ever since 2015 when the Baltimore Museum of Art acquired a...
Justin Remo’s Big Finale
INTRODUCTION As introduced in my previous ART I SEE post, The Last...
Schatz’s “Der Ackermann und der Tod” woodcuts
Introduction For a collector of prints done in series–whether compiled as a...
Justin Remo Exits Dogwater Beach
Introduction What began as the need for a student to care for...
Jerome Clock mystery solved
Kitchen clock search When we started looking for a 19th-century 8-day shelf...
Baltimore Chairs: Plain painted wheelbacks
Introduction I thought my saga with Baltimore fancy chairs ended in 2021...
Goethe & Graf: Totentanz
INTRODUCTION While I’ve had this book of 28 etchings by German artist...
Gan Kolski: His End is My Beginning
Introduction: suicide (From the pink tab on the left page) “The next...
Isac Friedlander: Coney Island
Introduction If only Jane Haslem (1934-2020) had produced a catalogue raisonné on...
Linocuts: Making of Athena
Introduction I wouldn’t have created circular linoleum cuts had I not been...
Anne Desmet: Personal Tower of Babel
Introduction If Anne Desmet, one of the most accomplished contemporary wood engravers...