Works on Paper

Walasse Ting, LIthograph, Good Morning 25

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Walasse Ting (1929 – 2010), was a self taught Chinese born artist who spent 6 years studying in Paris where he developed relationships with members of the short-lived (1948 – 1951), but very influential Avant-garde art movement known as CoBrA, which was an acronym for Copenhagen, Brussels, and Amsterdam, where most of the founding members originated. This lithograph on Arches Paper, titled Good Morning 25, measures 35 x 26 inches, and is from a series of prints created in 1974 as an homage to his friend Sam Francis, a member of CoBrA.
46 x 26 inches
88,9 x 66.04 cm

Diego Rivera, Lithograph, Los abusos de los conquistadores, 1931


Image may contain: 1 person, drawing

The reintroduction of fresco painting into modern art and architecture helped establish Diego Maria de la Concepcion Juan Nepomuceno Estasnislao de la Rivera y Barrientos Acost y Rodriguez, better known as Diego Rivera (1886-1957), as the most important Mexican artist of the 20th century.
After studies at the Academy of San Carlos in Mexico City from 1898 to 1907, he moved to Europe, where after a short stay in Madrid, moved to Paris to join the growing list of artists in the School of Paris. After experimenting with the newly formed Cubism movement, he rather embraced the Post-Impressionism movement of simple forms and patches of color reflected by Paul Cezanne’s work.
His travels to Italy in 1920 allowed him to study Renaissance frescoes, which quickly became his preferred medium and propelled him to become the leader of Mexico’s Muralist Movement between 1922 and 1930. In September of 1930, he accepted a lcommission to paint a mural for the City Club of San Francisco and a fresco for the California School of Fine Art (later relocated to San Francisco Art Institute).
In 1931, he accepted an assignment to illustrate a book called Mexico: a study of two America’s, by Stuart Chase. This lithograph from an illustration in that book, titled “Los abusos de los conquistadores”, was a recurring theme in his murals. Being a lifelong atheist and a Communist, he frequently portrayed the exploiters and the exploited along with Catholic priests in the same murals.
According to Sotheby’s Latin American Art Department, this high quality lithograph on the same rice paper Diego used, was printed by Galeria Misrachi during Rivera’s life and marketed among “the Frida Kahlo Collection”.  The original is located in the Franz Mayer Museum in Mexico City.  

19 x 12.5 inches

48.26 x 31.75 cm


Animation Drawing, Mickey Mouse from Mickey’s Mellerdrammer, c. 1933

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In 1852, the harsh and cruel slave trade of America was attacked by abolitionist Harriet Beecher Stowe in her book, Uncle Tom’s Cabin, which was the world’s best selling novel (other than The Bible) in the 19th century.

In its first year of publication, more than one million copies were sold in Great Britain alone and countless plays followed in the ensuing years. It is believed anti-slavery sentiment generated by the book in the 1850’s was a major contributing factor in the American Civil War (1861-1865).

In 1928, Ub Iwerks corroborated with his friend, Walt Disney, to create an anthropomorphic mouse, replacing Oswald the Lucky Rabbit, an animated character he’d created, but who’s publishing rights were owned by Universal Pictures. Their success with Steamboat Willie (1928), one of the first animated films with sound, launched the career of the most recognizable animated character in the world, Mickey Mouse.

By 1933, Disney had produced numerous cartoons and had already been awarded two Academy Awards for his works, including The Three Little Pigs (1933), considered the most successful short animation of all time. Disney’s vision used emotionally charged stories to interest his audiences and led to the production and release of Mickey’s Mellerdrammer (1933), an 8 minute cartoon based on Stowe’s Uncle Tom’s Cabin, in which Mickey and his barnyard friends recreate an early minstrel show, wearing face black to stereotype their characters.

In the opening scene, Clarabelle Cow is seen applying lantern soot to her face and leaving the area around her mouth untouched, creating large white lips. Meanwhile Mickey, to apply his makeup, puts a firecracker in his mouth and lights it.
When it explodes, the ashes paint his face black and leave a large area around his lips white.

This series of six original animation drawings in pencil for Walt Disney’s Mickey’s Mellerdrammer (1933), show Mickey using firecrackers to blacken his face for his character in the production. Each of these drawings would have been traced through a celluloid sheet and then painted before being photographed and used in the movie. Walt considered the animation drawings to be the true art of animation and all other aspects of the production to be merely crafts.

Original animation drawings, Walt Disney Studios, c. 1933

Framed images 16.75 x 33.75 inches

42.54 x 85.73 cm


BG-199-OP-1, Led Zeppelin and Rolling Stones


Original Bill Graham First Printing, BG-199-OP-1, Led Zeppelin and The Rolling Stones, Fillmore Auditorium, San Francisco and The Oakland Coliseum, Oakland, CA, November 6-9, 1969, Artist – Randy Tuten



James Whistler, Etching, Annie Seated 1859

Many of us have heard of Arrangement in Grey and Black No. 1, one of the most famous paintings done by an American artist outside the United States. It is a rather large oil on canvas, measuring almost 5 feet square (56.8 x 63.9 inches).

Employing a palette almost exclusively in shades of grey, the artist’s iconic image of an elderly woman in profile, sitting in a rocking chair, was painted in 1871 and was initially rejected by the Royal Academy of Art in London. It was, however, finally accepted at their 104th Exhibition in 1872 and was the last work the artist ever submitted for the Academy’s approval, with which he maintained a long standing feud.

For more than twenty years, the painting was exhibited throughout Europe at various shows before it was purchased in 1891 by Musee d’Orsay in Paris, where it still resides. It has made numerous exhibition trips to the United States since its purchase, has been universally accepted as representing motherhood, and was honored for its image on a U.S. postage stamp in 1934.

The artist, who attended West Point Military Academy for three years before being expelled, spent his early artistic career in Paris, where he prolifically produced etchings, drawing favorable comparison’s to Rembrandt’s.

This etching and drypoint, titled, Annie, commonly called Annie Seated, was created in 1858-1859, and is typical of his early images that focused on family and friends. In it, his niece, Annie Harriet Haden, aged 9-10, sits facing the artist in a chair and due to the subject, is among his most beloved etchings. She was the daughter of his half-sister and brother-in-law, the well known artist and etcher, Francis Seymour Haden.

Etching and drypoint, 1858-59, 131 x 94 mm., Kennedy 30 ii/ii, MacDonald 32 iii/iii. This extremely fine impression, printed with a light plate tone on laid paper with good margins, has an image that measures 5 3/4 x 3 3/4 inches. A simple, yet elegant custom museum frame complements the work..

Perhaps this etching with drypoint by James Abbott McNeill Whistler (1834-1903), who’s most famous painting, commonly called Whistler’s Mother, should simply be called, Whistler’s Niece.

 Etching, Annie Seated, 1859

An extremely fine impression in excellent condition set into a custom museum mounting.

6 x 4.5 inches

15.2 x 11.4 cm


Joan Miro, Etching and Aquatint, Gaudi XIV, 1979

Gaudí XIV (D. 1073)
Etching and aquatint in colors, 1979, on Arches, artists proof signed in pencil, published by Maeght Editeur, Paris, with full margins, generally in very good condition

P. 17 x 13 1/8 (432 x 333 mm.)
S. 26 x 19¾ in. (660 x 502 mm.)


Henri Matisse, Graphite Sketch, Nude Females

Graphite study on paper, two females by Henri Matisse, c. 1910

14 x 10 inches

35.6 x 25.4 cm


Jules Pascin, Ink and Watercolor, Sidewalk Cafe

Pascin Cafe Scene

Julius Mordecai Pincas (March 31, 1885 – June 5, 1930), known as Pascin, was born in Bulgaria but is best known as a painter in Paris, where he was strongly identified with the Modernist movement and the artistic circles of Montparnasse.  Ink and watercolor of a woman in blue hat in a cafe with a gentleman.

12 x 9 inches

30.5 x 22.9 cm


Joan Miro, Le Dandy, Aquatint with Etching and Carborundum

Le Dandy (D. 492)

Aquatint with etching and carborundum in colors, 1969, on Chiffon de Mandeure, signed in pencil, numbered 20/75, with full margins, in very good condition

16 x 17.1/8 in.

41.9 x 43.5 cm


Henri de Toulouse-Lautrec, Floreal, Lithograph, 1895



Original cover sheet lithographic songsheet titled Floreal, by Henri de Toulouse-Lautrec (1864-1901).  Between 1895 and 1896, Lautrec created 16 images fora series of  sheet music for his friend, the composer and bassoonist, Desire Dihau. The series was titled Melodies de Desire Dihau.  

Printed with black ink on cream wove paper.

14 x 11 in

35.6 x 27.9 cm




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