Artist(s): Warrington Wickham Colescott, Jr. (American, 1921-2018) "Saturday Night in Mineral Point", 1980 Medium: Watercolor painting. Signature(s): Signed, titled, and dated in lower margin. Paperwork: Attached en verso is a label from The Fanny Garver Gallery, though it seems to originally have been for a different image. Damage: Plexiglass is scratched, and there is a piece broken behind the glass. Artwork appears to be in good overall condition. Measurement(s): 21 3/4" x 30 1/2" (sight), 30 1/2" x 38 1/4" (frame). It weighs 11 lbs. Third-party shipping or personal pickup is required. Please see our website for our shipping recommendations.
Warrington Colescott (American, 1921-2018) 'Your Day in Court' Mixed Media Print 1971, signed lower right, #14/40 lower left, depicting a chaotic, courtroom scene, dry-point, etching, aquatint, woodcut, soft-ground etching, letterpress plate on deckle edge paper, unframed Property from: Collection of Dr. & Mrs. Christopher Graf, Woodlot Gallery, Sheboygan, Wisconsin Sheet Size: 30 inches by 22 inches Category: Fine Art > Prints & Multiples Estimated Sale Time: 11:22 am CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Last modified: July 28, 2024, 9:29 pm
Warrington Colescott Audubon Paints Birds of Florida; To Your Good Health, Gastronomes! (two works) 1993, 1997 lithograph in colors on BFK Rives; etching in colors on BFK Rives 22.5 h x 30 w in (57 x 76 cm) 22.5 h x 30.125 w in (57 x 77 cm) Signed, titled, dated and numbered to lower edge of each work '69/75 Audubon Paints Birds of Florida Warrington Colescott 1993' and '4/30 To Your Good Health, Gastronomes! Warrington Colescott - 1997'. These works are number 69 from the edition 75 printed and published by John Gruenwald, Milwaukee and number 4 from the edition of 30 published for the Print Forum of Milwaukee Art Museum. This work will ship from Chicago, Illinois.
Artist: Warrington Colescott, American (1921 - 2018) Title: God Speaks To Joseph Smith Year: circa 1975 Medium: Etching, signed and numbered in pencil Edition: 11/75 Image Size: 19.5 x 15 inches Size: 30 x 22 in. (76.2 x 55.88 cm)
Artist: Warrington Colescott, American (1921 - 2018) Title: Your Friends At The IRS Year: 1975 Medium: Etching, signed and numbered in pencil Edition: 30 Size: 15 x 22 in. (38.1 x 55.88 cm)
Warrington Colescott (American 1921-2018) "At the Ball", 1978 Artist proof etching in color Signed lower right "Warrington Colescott" 26" x 20" Provenance: Graphics 1 and Graphics 2 Gallery, Boston, Massachusetts
Warrington Colescott (American, 1921-2018). An embellished artist's proof etching on paper. Titled, "The Great Society: Your Potato Salad Day at Court,"1970. A politically charged work in the artist distinctive satirical style, depicting lawyers,convicts, a judge, and others, with relief details. Artist pencil signature and dated 1970 lower right, with title bottom center, and "Artist Proof" lower left. Presented mat border and a wood frame. Provenance; a private collection. Work Size: 17.75 x 17.75 in. Dimensions: 28 X 28 X 1 in. Condition: Good overall condition having average age related surface wear and toning. Mat slightly yellows with toning. Frame having distress with moderate to heavy wear and losses to edges and corners. No glass. Estate fresh to the market. Shipping: Hill Auction Gallery does not offer in-house shipping for this item. Gallery will refer third party shippers for all domestic and international buyers. Purchaser pick up available upon request.
Warrington Colescott (American b. 1921), Your Day in Court, 1971, Mixed Media Print, Inscribed AP, Provenance: Van Straaten Gallery, Chicago, Nov. 11, 1975
Warrington Colescott (American, 1921-2018) Welcome to Watt Park, 1985 Color etching and aquatint on paper 23 1/2" x 35 1/2" (image) A sardonic vision of a national park ravaged by American industry. Pencil-signed, dated, titled, and editioned (artist's proof) to the bottom margin. The glazed frame measures 34 1/2" x 46 1/2". Like his brother Robert Colescott, Warrington Colescott created artwork with a biting satire; a master printer, he ran Mantegna Press with his wife, artist Frances Myers.
Artist: Warrington Colescott, American (1921 - 2018) Title: God Speaks To Joseph Smith Year: circa 1975 Medium: Etching, signed and numbered in pencil Edition: 11/75 Image Size: 19.5 x 15 inches Size: 30 x 22 in. (76.2 x 55.88 cm)
Warrington Wickham Colescott, Jr. (American, 1921-2018), Untitled (Cityscape), ink and watercolor on paper, signed lower right, sight: 10"h x 13"w, overall (with frame): 16"h x 19"w
Warrington Colescott (American, b. 1921) Raft of the Titanic, 1988 etching and aquatint signed, titled, dated, and numbered 16/25 in pencil 27 1/2 x 43 1/4 inches.
Warrington Wickham Colescott, Jr. (American, 1921-2018), "Lady at Leisure," circa 1960, screenprint, pen signed lower left, signed in plate lower left, titled below mat lower left, image: 12"h x 14"w, overall (with frame): 19.5"h x 20"w
DESCRIPTION: Etching on paper by Warrington Colescott (American, 1921 - 2018) entitled "I Feel Sick" from the series "Death in Venice". Pencil signed, dated, entitled and numbered "120/122" at bottom. CIRCA: 1971 ORIGIN: American DIMENSIONS: (Image) H: 17" W: 11.75" (Frame) H: 24.5" W: 19.5" CONDITION: Discoloration under matting in margin.
Two Warrington Colescott (American 1921-2018) Mixed Media on Paper Pieces to include, "The Bunny Club" 1964, pen and ink, crayon and watercolor signed lower right, label on verso 11" x 15" along with, "The Graveyard Scene" 12" x 17"
Lot 236 Warrington Wickham Colescott Jr. American (1921-2018) Picasso at Mouogins (2002) etching and aquatint signed lower right, editioned 162/200 plate: 17 1/2 x 23 3/4 inches unframed Provenance: From the Estate of Michael Sillerman
Warrington Colescott Am. (1921-2018) "History of Printmaking: Senedfelder Receives the Secrets of Lithography" 1976 Color etching and aquatint, framed under glass Signed and dated in pencil l.r., titled in pencil l.c., editioned "IV/XXV" in pencil l.l., exhibition label verso 14 1/2" x 20 1/2" sight, 23" x 27" framed
Artist: Warrington Colescott, American (1921 - 2018) Title: A Wild West: High Noon for Hoot Gibson Portfolio: Year: 1969 Medium: Lithograph, Signed and numbered in pencil Edition: 31/75 Size: 23.5 in. x 29.5 in. (59.69 cm x 74.93 cm)
A Warrington Colescott etching, Signed lower right in pencil. The Work is titled in pencil, lower middle, "History of Printmaking - Ben Franklin at Versailles". The etching is numbered in pencil in lower left (in Roman Numerals), "XXIV/XXV", indicating it may be an artist's proof. The piece is in very good condition, and so is its frame. The Image area measures 14 3/4" x 20 3/4". The Frame measures 22 1/2" x 29". Third-party shipping or personal pickup required.
This colorful piece is Signed in pencil lower right, and in the lower left, it is labeled in pencil, "artist's proof". The Title in the lower middle reads, " To your good health, Gastronomes!". The etching is in good condition. The Sight area measures 18" x 22". The Frame measures 25 1/2" x 30". Third-party shipping or personal pickup required.
An etching on woven paper titled "Top Level Man", depicting a raucus event with a woman jumping out of a cake. The Work is signed lower right, and dated 1966. It is numbered in pencil,"13/20" lower left. The Sight area measures 15 1/4" x 20 1/2". The Frame measures 22 1/4" x 27 1/4". Third-party shipping or personal pickup required.
A Lithograph titled "Strolling Singers" by Warrington Colescott. It is Signed lower right in pencil, and dated 1971. It is Numbered with Roman Numerals lower left "XXIII/XXV", indicating it may be an artist's proof. The Print and frame are in very good condition. The Print is float-framed, and the sheet measures 14 3/4" x 23". The Frame measures 26 3/4" x 34 1/4". Third-party shipping or personal pickup required.
An etching on woven paper that is signed lower right by the artist Warrington Colescott, and numbered lower left, 23/40. It is titled in pencil in the lower middle, "Famous American Riots II: Railroad". It was Created in 1969. The Work is float-framed, with the full sheet measuring 23" x 31". The Frame measures 34" x 43". Third-party freight shipping or personal pickup required.
Warrington W. Colescott (1921-2018) A Moonlight Swim (Moonlight Swimmers), 1952 Screenprint in colors on paper 11-3/4 x 14-3/4 inches (29.8 x 37.5 cm) (image) Signed, dated, and titled in ink along lower edge HID01801242017
Warrington W. Colescott (b. 1921) Lincoln at Ford's Theater, 1973 Etching, drypoint, and aquatint in colors on Arches paper 30 x 22-1/4 inches (76.2 x 56.5 cm) (sheet) Ed. 24/75 Signed, numbered, dated, and titled in pencil along lower edge Property from the Rex Rivolo Collection, Long Island, New York HID01801242017
WARRINGTON WICKHAM COLESCOTT, JR. Wisconsin/California, 1921-2018 "Family Night at Fred's Pleasure Club", 1997. Signed and titled lower right "Warrington Colescott". Edition 7/150.
Warrington Colescott (American, 1921-2018), Mother's Day -1966, Limited Edition Etching 1/30. Signed, titled, numbered and dated in graphite. Work has been removed from the frame and the frame is no longer available. Paper height 22.5 in., width 30.12 in.
Warrington Colescott (American, 1921-2018) Custer's Last Stand from A Wild West series, 1968 color lithograph signed, dated, titled, and numbered in pencil lower margin edition of 200 embossed stamp lower left 18" x 14"
Warrington Colescott (American, 1921-2018), Mother's Day -1966, Limited Edition Etching 1/30. Signed, titled, numbered and dated in graphite. Framed approx. 25.75 x 31 in. NOTE: DUE TO THE SIZE, FRAGILITY AND/OR WEIGHT, THIS ITEM(S) WILL NEED TO BE PACKAGED AND SHIPPED VIA UPS. WE CAN NOT PROVIDE IN HOUSE PACKAGING/SHIPPING FOR THIS ITEM. HIGH BIDDER WILL NEED TO PAY OUR INVOICE FIRST THEN UPS WILL CONTACT VIA EMAIL ON FILE TO OBTAIN PAYMENT FOR PACKING AND SHIPPING.
Warrington Colescott (American, b 1921) etching "The Great Moon Trip", color etching on paper, pencil signed "Warrington Colescott 1972", edition 40/100, 16-1/2" x 20-1/2" plate, 22-1/4" x 30" sheet, matted 26-1/2" x 30-1/2", excellent condition, Unframed, hinged, under mat, titled and numbered in lower margin, no stains or damage.
Warrington Colescott Wisconsin, California, (1921 - 2018) Stag Night Smoker at Key Biscayne, 1972 etching and aquatint pencil signed and dated lower right, numbered 33/120 lower left. Biography from the Archives of askART: "Warrington Colescott, Who Etched With a Satirical Edge, Dies at 97," Obituary, The New York Times, By Richard Sandomir, October 4, 2018 Warrington Colescott, an innovative printmaker who deftly navigated the intersection between tragedy and high comedy with biting etchings about civil rights, history, politics and the Internal Revenue Service (which audited him), died on Sept. 10 at his farmhouse in Hollandale, Wis., southwest of Madison. He was 97. His son, Julian, confirmed the death. "Etching quickens the blood, lights up the eye, affects the satirical mind in the same way that a low-cut neckline affects Dracula," Mr. Colescott wrote in a catalog for an exhibition of his prints at the Milwaukee Art Museum in 1996. A Fulbright and Guggenheim fellow whose prints are widely collected, Mr. Colescott employed a figurative style that tinkered liberally with reality in wildly colorful, cartoonish and sometimes disquieting ways. In Birmingham Jail (1963) was inspired by the bloody demonstrations in the Deep South against segregation in the 1950s and early '60s. Its two panels show rows of darkened jail cells where protesters are beaten by grotesquely drawn police officers — images that Mr. Colescott interspersed with pictures of a girls choir and Bart Starr, the Alabama-born quarterback of the Green Bay Packers, his favorite team. Nearly 30 years later, in An Environmental President Meets Hole-in-the-Ozone (1992), Mr. Colescott depicts a party-like flight to space on Air Force One with President George Bush, his wife, Barbara, and his staff. While flight attendants serve coffee and sunscreen, Mr. Bush peers through binoculars at the gaping hole in the ozone. "Golly!" he says. "A big mother." Beneath the jet, a whale is harpooned in the middle of an oil spill. "He was a dyed-in-the-wool Democratic progressive," Mary Weaver Chapin, who curated a retrospective exhibition of Mr. Colescott's prints at the Milwaukee Art Museum in 2010, said in a telephone interview. "And this was really an attack on Bush's environmental policy." Mr. Colescott sometimes created series of etchings, like one about Lyndon B. Johnson's Great Society, another about the bank robber John Dillinger and a third, A History of Printmaking, that re-imagines historical moments in graphic arts involving Benjamin Franklin and artists such as Rembrandt, Albrecht Dürer and Robert Rauschenberg. In the riot of bellicose images that compose Goya Studies War (1976), Mr. Colescott shows Goya — the Spanish master who created a series of prints in the early 19th century called "The Disasters of War" — talking to a general and taking notes while a corpse is removed on a cart. "What makes Colescott's work so appealing is its mix of erudition and irreverence," the critic Jennifer A. Smith wrote in 2010 in Isthmus, an alternative weekly newspaper in Madison, about an exhibition of his work that year at the city's Grace Chosy Gallery. His prints, she added, were in the tradition of artists and social critics like William Hogarth and Honoré Daumier. Warrington Wickham Colescott Jr. was born on March 7, 1921, in Oakland, Calif., to Creole parents from Louisiana. His mother, Lydia (Hutton) Colescott, was a schoolteacher who played the piano; his father, Warrington Sr., was a porter on the Southern Pacific Railroad and played the violin. As a boy, Warrington was drawn to artifacts that his father brought him from fighting in France during World War I — like a gas mask and a dented helmet — and used them to play war with his friends and scare people on Halloween. He drew pictures, too, and was influenced by newspaper comic strips. "My drawing style has, in many ways, remained constant since childhood," he said in the book Progressive Printmakers: Wisconsin Artists and the Print Renaissance (1999), which he wrote with Arthur Hove. "The marks of the pen or brush spill out with a kind of attack. Ultimately, they all fuse together and become a narration." He drew cartoons for his high school newspaper and for the campus newspaper and humor magazine at the University of California, Berkeley, where he earned a bachelor's degree in art. One of his cartoon creations was adapted into Berkeley's mascot, Oski the Bear. In 1942, Mr. Colescott was drafted into the Army and served in Okinawa late in World War II and in Korea as part of the postwar occupation. On his return, he got his master's in art from Berkeley and began teaching drawing and painting at Long Beach Community College in California. He joined the University of Wisconsin-Madison in 1949, where he taught painting and printmaking for 37 years. Mr. Colescott started out concentrating on painting and silk screens but became fascinated with etching after a year of study at the Slade School of Fine Art in London in the 1950s under his Fulbright grant. His initial etchings were abstract, but they soon evolved to a more figurative look that suited the events and figures he would illustrate. The shift to etching on copper plates — part of the group of intaglio techniques that includes engraving, drypoint and aquatint — transformed his career. But he said the process was physical and time-consuming. "Etching is so slow that you have a lot of time to think while you work on your plates," he said in a 1995 oral history interview with the University of Wisconsin-Madison. Mr. Colescott created Inside IRS (1974), a Bosch-like descent into a hellish government fortress, not long after he was audited by the Internal Revenue Service. Not long after he was audited by the I.R.S., he created Inside the IRS (1974), a Bosch-like descent into a hellish government fortress where agents wear Cossack uniforms and a taxpayer is forced to hang by his heels while being shaken down for his last cents. "The composition is divided into clear-cut regions, almost like an El Greco painting," the art historian Richard Cox wrote in 1988 in the catalog to an exhibition of Mr. Colescott's prints at the Elvehjem Museum of Art (now the Chazen Museum of Art) in Madison. "But in this instance," he added, "the taxpayer cannot expect to find any heavenly solace above, for there he meets other webbed-footed tormentors who pull his hair and grab for his testicles." Mr. Colescott produced his last print in his farmhouse studio two years ago. In addition to his son, he is survived by his daughter, Lydia Cole Scott, and seven grandchildren. Another son, Louis, died last year. His wife, Frances (Myers) Colescott, an artist and printmaker, died in 2014; previous marriages, to Vera Sedloff and Ellen Moore, ended in divorce. His younger brother, Robert, a painter whose work was garishly satirical, died in 2009. They had a distant relationship and, with their Creole heritage, differed over their racial makeup. Robert considered himself African-American; Warrington considered himself white. Asked to compare his and his brother's work in 2011, Warrington Colescott told the magazine of the alumni association at California, Berkeley, "He's a very good painter and he's much rougher than I am." Then he added: "He's an attack artist … I'm not that narrow. Sometimes I feel good, I make people happy. But I enjoy the attack as well."
Warrington Wickham Colescott Wisconsin, California., (1921 - 2018) The Great Moon Trip, 1972 etching aquatint Pencil signed, dated and numbered 5/100 lower margin. Biography from the Archives of askART: Biography from Annex Galleries Warrington Colescott was born in Oakland, California in 1921. His parents, Warrington, Sr. and Lydia Colescott, moved to Oakland from Louisiana in 1920. Earning his B.A. and M.A. from the University of California at Berkeley, he continued with studies at the Grande Chaumiere, Paris, and the Slade School of Art, London. He received prestigious fellowships with a Guggenheim in 1959, followed by a Fulbright in 1966, and National Endowments for the Art Artists Fellowships in 1976, 1979, and 1983. Colescott was a Professor of Art at the University of Wisconsin at Madison between 1949 and 1978 and was named Professor Emeritus in 1986. His early graphics were abstractions created in the medium of serigraphy. By the early 1960s he turned his focus on intaglio printmaking and his imagery evolved into social satire and commentary. He has produced a number of narrative satires, including one on the history of printmaking. Colescott has exhibited internationally and his work is included in the Victoria and Albert Museum, Metropolitan Museum, Museum of Modern Art, Bibliotheque Nationale-Paris, and numerous other public collections.
Artist: Warrington Colescott, American (1921 - 2018) Title: Your Friends At The IRS Year: 1975 Medium: Etching, signed and numbered in pencil Edition: 30 Image Size: Size: 15 x 22 in. (38.1 x 55.88 cm)
Warrington Colescott (American, 1921-2018) My German Trip: Albrecht Dürer, 1992 soft-ground color etching and aquatint with relief rolls through stencils signed, dated and numbered in pencil lower margin BFK Rives France blindstamp along left edge edition of 20 10 7/8" x 13 7/8" Catalog Note: Inscribed in pencil lower margin: At Nürnberg Albrecht Dürer welcomed me and gave me a tour of the shop followed by a delicious lunch with the apprentices. Agnes had prepared hasenpfeffer mit nockerlin.
Warrington Colescott (American, 1921-2018) History of Printmaking: Hayter Discovers Viscosity, 1976 color lithograph signed, dated, titled and numbered in pencil lower margin edition of 50 embossed stamp lower right 11 11/16" x 15"
Warrington Colescott (American, 1921-2018) Ode to Orange County (California), 1969 color etching and aquatint signed, dated, titled and numbered pencil lower margin edition of 50 23 7/8" x 35 5/8"
