Isabel Wolff Bishop, American, 1902 to 1988, color pencil painting on paper depicting a portrait of a man. Signed lower right. Framed. Isabel Bishop is known for City genre, street scenes and figure painting, graphic design. Born in Cincinnati, Ohio, Isabel Bishop was a leading painter and printmaker in New York City during the early and middle part of the 20th century. Her subject matter was urban life of common people in lower Manhattan, and she showed great sensitivity to individual personalities. Along with Reginald Marsh and the Soyer brothers, Bishop was an outstanding, determined realist when Abstract Expressionism was the all prevalent style. Modern and Contemporary American Fine Art, Portrait Paintings, Wall Art, and Collectibles. One of a kind artwork.
DESCRIPTION: Isabel Bishop (American, 1902-1988). Etching on paper. "Noon Hour". 1935. Signed in pencil lower right margin. Edition of 250. Teller 18. Small biography about artist attached to rear. Matted in wood frame. CIRCA: 20th Century ORIGIN: USA DIMENSIONS: Image H: 6.75" L: 4.75" Frame H: 16" W: 0.75" L: 13.25" CONDITION: Good condition Unless otherwise stated, all information provided is the opinion of our specialists. Should you have any specific questions regarding the condition of this lot, please use the ask question button or send us an email.
'The Cha-Cha', pencil and pen on paper, depicting a standing woman, initialed at the lower right. With Midtown Galleries tag attached verso. Dimensions: sight is 6" x 3 1/4", the frame 13" x 10". Provenance: From a Bucks County collection.
ISABEL BISHOP (1902-1988) Three etchings. 1940s. Reaching For the Coat Sleeve, 1943 * In the Bus, 1947 * Double Date Delayed, 1948. Each signed in pencil, lower right. Various sizes and conditions. Teller 32, 41, and 43.
ISABEL (WOLFF) BISHOP New York/Ohio, 1902-1988 "In the Bus", 1947. Edition of approx. 200 proofs printed by the artist. Signed in pencil lower right. Teller 41.
ISABEL BISHOP (AMERICAN 1902 - 1988) Head, Sleeping Girl, C.1935 Ink and wash, 5 x 6.7cm Signed Provenance: with D.C. Moore Gallery, New York; with Midtown Galleries Inc. New York
Bishop, Isabel (American, 1902-1988). "Students With Baby." Etching and aquatint. 1973. Signed l.r. Editioned l.l. 28/30. All in pencil. #71 in "Isabel Bishop: Etchings and Aquatints, A Catalogue Raisonne" by Susan Teller Plate size: 4 7/8" x 6 3/4". Frame size: 13 3/4" x 16".Sight near fine. Slight rippling bottom of plate.
Isabel Bishop (American, 1902-1988) - Eight Scenes of Everyday Women (8) Double Date Delayed 1948. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper. Plate: 5 x 3 1/2 in. (12.7 x 8.9 cm) Ice Cream Cones 1945. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper. Plate: 7 3/8 x 4 in. (18.7 x 10.2 cm) Snack Bar 1959. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper. Plate: 6 13/16 x 4 1/2 in. (17.3 x 11.4 cm) Outdoor Soda Fountain 1953. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper Plate size: 6 1/4 x 4 3/16 in. (15.9 x 10.6 cm) Office Girls 1938. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper Plate size: 8 x 5 in. (20.3 x 12.7 cm) Strap Hangers 1940. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper Plate size: 6 7/8 x 4 in. (17.5 x 10.2 cm) Lunch Counter 1940. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper Plate size: 7 1/2 x 3 15/16 in. (19.1 x 10 cm) Encounter 1941. Edition of 50. Signed ‘Isabel Bishop’ bottom right, etching on Rives paper Plate size: 8 x 5 7/16 in. (20.3 x 13.8 cm) (x8) Provenance Property from the Collection of Dr. Julian Katz and Dr. Sheila Moriber Katz, Gladwyne, Pennsylvania. Lot Essay Please note that a portion of the proceeds from the sale of the present lot will go to the Julian and Sheila Katz Scholarship Fund at the University of Chicago's Pritzker School of Medicine. To learn more about Dr. Julian Katz and Dr. Sheila Moriber Katz, please visit our website. For other works from the Katz Collection, see lots 69 - 90.
Isabel Bishop (American, 1902-1988) Etching- A Youth (Tough Guy) 1928 (Teller 6) 6x4 inches, 14 3/4 x 12 1/2 inches overall frame, signed in pencil, edition of 20. Provenance: Matthew S. Marks Co, Ltd., New York Acquired from the above by the present owner
2 American etchings- 1). Isabel Bishop (1902-1988)- Students on The Steps (Teller 78)- etching and aquatint, 1981, signed and numbered 66/75 in pencil. 8 1/8 x 7 1/2'' 2). Walter Tittle (1883-1966)- The Swan-etching, signed in pencil. 9 x 9"
Isabel Wolff Bishop (Ohio/New York, 1902-1988) black ink and wash on ivory paper drawing of a seated man reading the newspaper, viewed from behind, with penciled French line border. Signed in pencil, lower left. Housed under plexiglass in a partially silvered wooden frame with cream mat. Sight: 5" H x 4 3/4" W. Frame: 12 1/4" H x 12 1/4" W. Biography: "Born in Cincinnati, Ohio in 1902, Isabel Bishop moved to New York at the age of sixteen to study art at both the New York School of Applied Design for Women and the Art Students League. With a studio on 14th Street, Bishop was identified as a member of the Fourteenth Street School, along with Kenneth Hayes Miller and Reginald Marsh. Although Bishop was influenced by Renaissance and Baroque art, her late-1920s to the mid-1930s work is characterized by depiction of the urban working class and destitute men and women around Union Square. She served as a perceptive observer of appearance and action and sought to capture the everyday behaviors of normal people. Later in her life, she became enamored with the hustle and bustle of college students around New York University, which was a return to the very street scenes of her earlier days." Source: The Columbus Museum of Art (Georgia).
Isabel Bishop (American, 1902-1988), "Undressing," tempera and oil on canvas painting depicting a woman in the act of undressing. The artist's technique of unevenly layering paint over a striated gray ground gives the effect of the subject being viewed through a sheer, semi-reflective curtain. Unsigned. Label en verso for Midtown Galleries, New York, with exhibition stamp for the Tennessee Fine Arts Gallery at Cheekwood (exhibition dates unknown). Housed in a gold leaf frame with painted canvas mat. 16"H x 14"W. Frame - 23 1/2" H x 21 1/2"W. Biography: "Born in Cincinnati, Ohio in 1902, Isabel Bishop [Mrs. Harold G. Wolfe] moved to New York at the age of sixteen to study art at both the New York School of Applied Design for Women and the Art Students League. With a studio on 14th Street, Bishop was identified as a member of the Fourteenth Street School, along with Kenneth Hayes Miller and Reginald Marsh. Although Bishop was influenced by Renaissance and Baroque art, her late-1920s to the mid-1930s work is characterized by depiction of the urban working class and destitute men and women around Union Square. She served as a perceptive observer of appearance and action and sought to capture the everyday behaviors of normal people. Later in her life, she became enamored with the hustle and bustle of college students around New York University, which was a return to the very street scenes of her earlier days." Source: The Columbus Museum of Art (Georgia).
Isabel Bishop (American, 1902-1988) - Soda Fountain with Passersby Oil and tempera on canvas 22 1/8 x 32 ¼ in. (56.2 x 81.9cm) Executed in 1960. Provenance The Artist. The Artist's Estate. Midtown Galleries, New York, New York. Acquired directly from the above in 1961. Virginia Museum of Arts, Richmond, Virginia (Museum purchase through The John Barton Payne Fund, accession number 61.13). Exhibition “Judge the Jury,” Virginia Museum of Fine Arts, Richmond, Virginia, December 30-February 12, 1961. “1932-1962: 30th Anniversary Loan Exhibition, Loans from American Museums and Collectors,” Midtown Galleries, New York, New York, November 23-December 15, 1962. “Anniversary Convocation,” Mary Baldwin College, Staunton, Virginia, April 18-May 1, 1968. “Exhibition of Newly Elected Members,” American Academy of Arts and Letters, New York, New York, May 17-June 18, 1972. “Isabel Bishop,” University of Arizona, Tucson, Arizona, November 15-December 15, 1974. "Contemporary Works from the Virginia Museum," Peninsula Arts Association, Newport News, Virginia, February 5-26, 1979. “Art of the 30's," Virginia Museum of Fine Arts, Richmond, Virginia (Artmobile), January 1980-June 1981. Literature Ernest Harms, "The Art of Isabel Bishop," in American Artist, January 1961, Volume 25, no. 2, Issue 242, pp. 28-33 (illustrated p. 30). Isabel Bishop: First Retrospective Exhibition, an exhibition catalogue, University of Arizona, Tucson, 1974, no. 51, p. 200 (illustrated #41). Karl Lunde, Isabel Bishop, Abrams, New York, 1975, pp. 69, 74, colorplate 61 (illustrated). Helen Yglesias, Isabel Bishop, Rizzoli Inc., New York, 1989, p. 121 (illustrated). Mary Sweeney Ellett, “Isabel Bishop: The Seamless Web,” in Arts in Virginia, Vol. 30, no. 1, 1991, pp. 23-32; p. 21-22, fig. 8 (illustrated on cover and via details). Lot Essay Born in Cincinnati, Ohio, Isabel Bishop spent her childhood in Detroit, Michigan, raised in a very proper and respectable family of intellectuals. She moved to New York at the young age of 16 to hone her burgeoning drawing skills at the New York School of Applied Design, with the intention of working in the illustration field during the auspicious time known then as the 'Golden Age of Illustration.’ Two years later, however, she switched to studying painting at the Art Students League. The loose organization of the school allowed Bishop to work under various professors and explore different styles and influences. Following a complicated relationship with Max Weber, who deprecated her work, Bishop went on to study under Kenneth Hayes Miller, who would become a lifelong mentor and friend. Bishop instantly fell in love with New York when she moved there as a teenager, and grew enthralled by the chaotic, yet beautiful movement of large crowds traversing the city streets and avenues. The artist recalls the awakening she felt as she came back to New York after a brief interlude in Maine: "I was struck by the beauty, drama, and miraculous effects of a crowd of people in motion. It seemed magical. It seems as though the movement involved more than I could take in with my eyes because the air became solid–it was like a continuum, this ambiance in which this beautiful interchange took place." Although she exclusively executed her oils in her Fourteenth Street Studio, Bishop regularly ventured around Union Station in search of inspiration. Considered a haven for artists in the 1920s and 1930s, the area had transformed over the years–the mansions, elegant department stores, and fashionable strollers slowly were replaced by small industries, in-and-out restaurants, and workers who poured into the streets at lunchtime or on their way to/from work. Bishop especially liked to paint walking women and to capture their slim silhouettes as they stopped for a quick bite or a refreshment at the local soda fountain. The present painting is an important work by the artist, which perfectly reflects her decade-long obsession with movement, and especially with the motif of people walking in the street. "I have come to think that walking is absolutely beautiful, and I could not tell you why,” Bishop explained. She first explored the theme of small anonymous individuals colliding in a big city in the 1930s and soon made it her speciality, which earned her recognition and representation by the then-new Midtown Galleries, who promoted her until her death in 1988. When painting Soda Fountain with Passersby in 1960, Bishop was most interested in the location depicted. At the center of the composition is the diner at the corner of Twenty-Third Street, which had a “fascinating, beautiful warmth” and lured passersby at lunch and dinner time, as a neon light attracts flies. Bishop especially liked the effects that the electric lights and the glass reflections projected onto the passing crowds, which made them look like phantasmagoric specters idling in the street. About this special effect, Bishop said, "I love it, but I have to make the painting say what I feel about it. How? I don’t know. I’ve been working on it for a couple of months. I’ve made endless small sketches, not, I’m afraid with the aim of making the subject more literally right, but simply to keep the feeling that I have about it alive." To capture this ephemeral feeling, Bishop devised a tedious method later characterized by scholars as Bishop’s signature “deep frozen technique.” The artist herself acknowledged: “I do use a very complex technique I’m sorry to say. Not because I wanted to be complex, but in an effort to make the painting speak back to me. I’d do anything to get that result." Striving for perfection, Bishop–who was considered the most literate among her peers–researched, embraced, and evolved many preexisting techniques and traditions. One of her influences was Peter Paul Rubens's use of gesso, which is evident here as the painting was layered with several coats of the paint mixture. The series of random vertical and horizontal lines Bishop then drew in gelatin, powdered charcoal, and white lead works to ensnare the drawn figures within a transparent, trembling surface, creating a “web-like, mobile environment,” as Helen Yglesias describes it. The scholar continues to describe Bishop's technique: “The drawing was then added in pencil or ink and black or umber tempera. Then varnish was applied and blotted at once in order to keep the gesso less absorbent of the oil painting that was to be applied over it. Tone upon tone was then overladen this tacky round, the striped underpainting remaining visible through the layers of oil.” The result is a refreshingly dynamic image, which contrasts with other contemporary views of New York City–such as those by Bishop's friend, Reginald Marsh, and Edward Hopper–that focused on the seedy, solitary, and depressing aspects of city life. Here, Bishop uplifts the viewer: she paints the scene as a scrolling fresco, enlivened by golden hues and sporadic bold touches of color. Although the figures walk alone and don't interact, their relationship to one another, however short-lived, is felt and understood. As passersby, they enter into a very natural, almost instinctive, dance in the concrete jungle, reflecting the artist’s comfort in her environment–the city which pushed her to find a unique stylistic voice that inspired critics like Emily Genauer to dub her “with vehemence and conviction, (…) one of the most important woman painters in America.”
Isabel (Wolff) Bishop New York, Ohio, (1902 - 1988) men and women walking etching with aquatint Signed lower right, numbered 54/ 65 lower left. Biography from the Archives of askART: Born in Cincinnati, Ohio, Isabel Bishop was a leading painter and printmaker in New York City during the early and middle part of the 20th century. Her subject matter was urban life of common people in lower Manhattan, and she showed great sensitivity to individual personalities. Along with Reginald Marsh and the Soyer brothers, Bishop was an outstanding, determined realist when Abstract Expressionism was the all-prevalent style. She spent her childhood in Detroit, Michigan, and in 1918, at age sixteen, went to New York to study illustration at the New York School of Applied Design for Women. She attended the Art Students League where Kenneth Hayes Miller and Guy Pene du Bois became major influences. Hayes inspired her to turn to the street life of New York for subject matter and insisted on fine draftsmanship. DuBois made her aware of character and personality differences. In 1925, she turned to etching, beginning with nude studies and then turning to vignettes of everyday life. For many years she had a studio on Union Square at 14th Street, and the Square provided her with much human activity subject matter. She shared a subject interest with Reginald Marsh, and she traveled with him and Kenneth Hayes Miller in Europe in 1931 to study the Old Masters. In 1938, she worked as a Muralist for the W.P.A., and did a mural for the U.S. Post Office in New Lexington, Ohio, and also illustrated the Jane Austen novel Pride and Prejudice in 1946. She was an elected Member of the National Academy of Design, a Life Member of the National Academy of Design, and had representation in New York with the Midtown Gallery. Source: American Women Artists by Charlotte Streifer Rubinstein
Isabel (Wolff) Bishop New York, Ohio, (1902 - 1988) students outdoors etching Signed lower right, numbered 6/100 lower left. Biography from the Archives of askART: Born in Cincinnati, Ohio, Isabel Bishop was a leading painter and printmaker in New York City during the early and middle part of the 20th century. Her subject matter was urban life of common people in lower Manhattan, and she showed great sensitivity to individual personalities. Along with Reginald Marsh and the Soyer brothers, Bishop was an outstanding, determined realist when Abstract Expressionism was the all-prevalent style. She spent her childhood in Detroit, Michigan, and in 1918, at age sixteen, went to New York to study illustration at the New York School of Applied Design for Women. She attended the Art Students League where Kenneth Hayes Miller and Guy Pene du Bois became major influences. Hayes inspired her to turn to the street life of New York for subject matter and insisted on fine draftsmanship. DuBois made her aware of character and personality differences. In 1925, she turned to etching, beginning with nude studies and then turning to vignettes of everyday life. For many years she had a studio on Union Square at 14th Street, and the Square provided her with much human activity subject matter. She shared a subject interest with Reginald Marsh, and she traveled with him and Kenneth Hayes Miller in Europe in 1931 to study the Old Masters. In 1938, she worked as a Muralist for the W.P.A., and did a mural for the U.S. Post Office in New Lexington, Ohio, and also illustrated the Jane Austen novel Pride and Prejudice in 1946. She was an elected Member of the National Academy of Design, a Life Member of the National Academy of Design, and had representation in New York with the Midtown Gallery. Source: American Women Artists by Charlotte Streifer Rubinstein
Isabel (Wolff) Bishop New York, Ohio, (1902 - 1988) students walking etching Signed lower right, numbered 51/100 lower left. Biography from the Archives of askART: Born in Cincinnati, Ohio, Isabel Bishop was a leading painter and printmaker in New York City during the early and middle part of the 20th century. Her subject matter was urban life of common people in lower Manhattan, and she showed great sensitivity to individual personalities. Along with Reginald Marsh and the Soyer brothers, Bishop was an outstanding, determined realist when Abstract Expressionism was the all-prevalent style. She spent her childhood in Detroit, Michigan, and in 1918, at age sixteen, went to New York to study illustration at the New York School of Applied Design for Women. She attended the Art Students League where Kenneth Hayes Miller and Guy Pene du Bois became major influences. Hayes inspired her to turn to the street life of New York for subject matter and insisted on fine draftsmanship. DuBois made her aware of character and personality differences. In 1925, she turned to etching, beginning with nude studies and then turning to vignettes of everyday life. For many years she had a studio on Union Square at 14th Street, and the Square provided her with much human activity subject matter. She shared a subject interest with Reginald Marsh, and she traveled with him and Kenneth Hayes Miller in Europe in 1931 to study the Old Masters. In 1938, she worked as a Muralist for the W.P.A., and did a mural for the U.S. Post Office in New Lexington, Ohio, and also illustrated the Jane Austen novel Pride and Prejudice in 1946. She was an elected Member of the National Academy of Design, a Life Member of the National Academy of Design, and had representation in New York with the Midtown Gallery. Source: American Women Artists by Charlotte Streifer Rubinstein
Isabel Bishop (American 1902-1988) "Noon Hour" etching signed lower right having Associated American Artists label lower left of matting plate 7 3/4" x 5"
Isabel Bishop (1902-1988) In The Bus (Teller 41) drypoint, 1947/50, signed in pencil, edition of 200, published by Miniature Print Society. 4 7/8 x 3 1/8''
Signed in pencil lower right and annotated HC lower left, with full margins. Catalogue Raisonne: Teller 66 Frame Measurements H 16.5" W 20.25" Provenance: From the Estate of Prominent Collector, Leon Zielinski, Macomb County, MI
DESCRIPTION: A signed Isabel Bishop (American, 1902-1988) etching in black on woven paper titled "In the bus". Signed in pencil. Framed. CIRCA: Mid. 20th Century. ORIGIN: USA. DIMENSIONS: W: 3 3/4" H: 5 1/2". Frame is H: 15 3/4" W: 13 1/2". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
Isabel Bishop (American, 1902-1988) three etchings, comprising two compositions of men standing in conversation, and a semi-abstract female nude in a 3/4 length pose. All rubber stamped with the artists signature at bottom right, and pencil numbered left "38/50". All bear publishers blindstamp at bottom right. Provenance: Phyllis Lucas Gallery, NYC. [Image, smallest: 6" H x 4" W; Image, largest: 10" H x 6 15/16" W]. In good condition.
ISABEL BISHOP AMERICAN, 1902-1988 STUDENTS OUTDOORS and SEVEN STUDENTS, from "WALKERS IN THE CITY" SERIES Etching and aquatint on paper with watermark Numbered: 58/100; 55 /75 and signed: Isabel Bishop (2)
Isabel (Wolff) Bishop (American, 1902 - 1988) "Girl at Soda Fountain" - Etching Pencil signed and numbered (40/50) lower margin. Impression Size: 5.5 x 3 in. Overall Framed Size: 16 x 13 in. Framed behind glass.
Isabel Bishop (1902-1988) ''In The Bus'' (Teller 41) drypoint, 1947/50, signed in pencil, edition of 200, published by Minitaure Print Society, very slightly light struck and some paper toning at edges. 4 7/8 x 3 1/8''
Isabel Bishop (1902-1988) ''Encounter'' (Teller 27) etching, 1940-41, signed and numbered 28/50 in pencil, published in 1978, very good condition. 8 x 5 3/8''
Isabel Bishop (American, 1902-1988) three etchings, comprising two compositions of men standing in conversation, and a semi-abstract female nude in a 3/4 length pose. All rubber stamped with the artists signature at bottom right, and pencil numbered left "38/50". All bear publishers blindstamp at bottom right. Provenance: Phyllis Lucas Gallery, NYC. [Image, smallest: 6" H x 4" W; Image, largest: 10" H x 6 15/16" W]. In good condition.
Isabel Bishop American, 1902-1988 Girl at Lunch Counter, 1960 Signed Isabel Bishop (ll) Ink and graphite on paper 8 3/4 x 7 1/4 inches (22.22 x 18.41 cm) Provenance: Midtown Galleries, New York C Estate of Ruth G. Castor
Etching and aquatint. 1981. "Entrance to Union Square." Pencil signed and editioned 39/75 lower edge. Dimensions: (Frame) H 16.25" x W 15.5", (Sight) H 9.25" x W 8.5" Condition: Few nicks and dings to frame edges.
Isabel (Wolff) Bishop (American, 1902 - 1988) "Girl at Soda Fountain" - Etching Pencil signed and numbered (40/50) lower margin. Impression Size: 5.5 x 3 in. Overall Framed Size: 16 x 13 in. Framed behind glass.
(American, 1902-1988) Gina, Portrait of a Young Lady, signed lower left "Isabel Bishop", mixed media on Masonite, 11 x 9 in.; fine carved limed wood frame, 20-1/4 x 18-1/4 in.Exhibited: National Academy of Design, New York, NY, 119th Annual Exhibition (label verso) Provenance: Midtown Galleries (label verso); Collection of an Important Atlanta, Georgia Family
ISABEL (WOLFF) BISHOP New York/Ohio, 1902-1988 Two works: 1) Summer Travelers in the Subway. #51 in the artist's catalog raisonne. Etching, 7.75" x 3.75". Framed 16" x 13". 2) Color planning sketch with notes. Ink on paper, 4.5" x 3" sight. Framed 8.5" x 6.5".
ISABEL (WOLFF) BISHOP New York/Ohio, 1902-1988 Five studies of female nudes in various poses. Unsigned. From the estate of the artist with one with her New York bank deposit slips verso.
ISABEL (WOLFF) BISHOP New York/Ohio, 1902-1988 Two works, both titled "Girls at Counter 1982": a watercolor sketch/study for an etching, which is executed in the reverse of the sketch. From the artist's estate.
Isabel Bishop (American, 1902-1988) Young Mother pen and ink on paper signed Isabel Bishop (center right) sight: 6 1/2 x 4 inches. Property from the Collection of Edith S. Peiser, Boca Raton, FL Provenance: Midtown Galleries, New York
ISABEL BISHOP (1902-1988) Spectators. Etching. 177x125 mm; 7x5 inches, full margins. With the artist's signature ink stamp, lower right, and numbered 50/50 in pencil, lower left. Published by the Sylvan Cole Gallery and Midtown Galleries, New York. From Eight Etchings: 1927–1934. 1933 (printed 1989). A very good impression. Teller 15. Bishop was born in Cincinnati, though moved often as a child. She began studying art at age 12 in Detroit at the John Wicker Art School. In 1918, she moved to New York and continued her studies at the New York School of Applied Design for Women and the Art Students League where she studied with Kenneth Hayes Miller who greatly influenced her. She acquired her studio in Union Square in 1926 and become part of a group of artists known as the Fourteenth Street School who depicted the urban environment and its inhabitants in a realist manner. She often depicted the New Woman that first emerged in the 1920s who worked outside the home; her subjects were often shopping, riding the subway and enjoying urban life. She looked towards Old Masters, particularly Dutch and Flemish artists, in how she rendered the form and movement of city dwellers. In 1938, she worked as a Muralist for the WPA, and completed a mural for the U.S. Post Office in New Lexington, Ohio.
ISABEL BISHOP (1902-1988) Group of 4 etchings. Ice Cream Cones No. 2, 1945 * Seated Woman with Hat, 1949 * Fourteenth Street Oriental, 1950 * Two Girls Outdoors (Helping with the Veil, 1953. Each printed later, 1981. Each signed in pencil, lower right. Various sizes. Very good impression with strong contrasts. Bishop was born in Cincinnati, though moved often as a child. She began studying art at age 12 in Detroit at the John Wicker Art School. In 1918, she moved to New York and continued her studies at the New York School of Applied Design for Women and the Art Students League where she studied with Kenneth Hayes Miller who greatly influenced her. She acquired her studio in Union Square in 1926 and become part of a group of artists known as the Fourteenth Street School who depicted the urban environment and its inhabitants in a realist manner. She often depicted the New Woman that first emerged in the 1920s who worked outside the home; her subjects were often shopping, riding the subway and enjoying urban life. She looked towards Old Masters, particularly Dutch and Flemish artists, in how she rendered the form and movement of city dwellers. In 1938, she worked as a Muralist for the WPA, and completed a mural for the U.S. Post Office in New Lexington, Ohio. Teller 37, 44, 45 and 49.
ISABEL BISHOP (1902-1988) Group of 4 drawings. People Walking, watercolor on cream wove paper. 465x375 mm; 14 1/2x18 1/4 inches. Signed in pencil, lower right recto. With figural studies in ink verso. Circa 1975 * Standing Nude, ink and watercolor. 233x168 mm; 9 1/4x6 1/2 inches. Initialed in pencil, lower right recto. Circa 1970 * Girl Walking, pen and ink with watercolor. 235x275 mm; 9 3/8x10 3/4 inches. Initialed in pencil, lower right recto. Circa 1972. * Study of Youths Walking, watercolor. 193x400 mm; 7 1/2x15 3/4 inches. Signed in pencil, lower right recto. Circa 1975. Provenance: Private collection, New York.
ISABEL BISHOP (1902-1988) Three drawings. Figural Studies, watercolor and pen and ink on cream wove paper. 340x540 mm; 13 1/4x21 1/4 inches. Signed in pencil, lower right recto. Circa 1945 * Study for Women at Subway, watercolor on cream wove paper. 335x458 mm; 13x18 inches. Circa 1960 * Seven Women. 330x490 mm; 13x19 inches. Both signed in pencil, lower right recto. Circa 1968. Provenance: Private collection, New York.
ISABEL BISHOP (1902-1988) Three etchings. Sisters, 1948 * Interlude, 1952 * Summer Travelers No. 2, 1958. Each printed later, 1981-85. Each signed in pencil, lower right. Various sizes. Very good impressions. Bishop was born in Cincinnati, though moved often as a child. She began studying art at age 12 in Detroit at the John Wicker Art School. In 1918, she moved to New York and continued her studies at the New York School of Applied Design for Women and the Art Students League where she studied with Kenneth Hayes Miller who greatly influenced her work. She acquired her studio in Union Square in 1926 and become part of a group of artists known as the Fourteenth Street School who depicted the urban environment and its inhabitants in a realist manner. She often depicted the New Woman that first emerged in the 1920s who worked outside the home; her subjects were often shopping, riding the subway and enjoying urban life. She looked towards Old Masters, particularly Dutch and Flemish artists, in how she rendered the form and movement of city dwellers. In 1938, she worked as a Muralist for the WPA, and completed a mural for the U.S. Post Office in New Lexington, Ohio. Teller 43A, 48 and 52.
ISABEL BISHOP (1902-1988) Three etchings. A Youth. 150x101 mm; 6x4 inches, full margins. Edition of 25. Signed and numbered xxi/xxv in pencil, lower margin. Printed by Stem Graphics, New York, with the blind stamp lower right. Published by Associated American Artists, New York. 1928 * Delayed Departure. 175x146 mm; 6 7/8x5 3/4 inches, full margins. Signed and numbered 45/50 in pencil, lower margin. Printed by Stem Graphics, New York, with the blind stamp lower right. Published by Sylvan Cole Gallery, New York. From Isabel Bishop, Eight Etchings 1930-1959. 1935 * Lunch Counter. 186x980 mm; 7 1/4x3 7/8, wide margins. Edition of 50. Signed and titled in pencil, lower margin. Printed by Stem Graphics, New York. Published by Associated American Artists, New York. From Eight Etchings I, 1938-1959. 1940. Each a very good impression. Teller 6, 18A and 24.
