id:			162163
accession number:	2001.9.1
share license status:	Copyrighted
url:			https://clevelandart.org/art/2001.9.1
updated:		2023-03-15 15:46:43.842000

Laurels Number Four: Riders in the Park, 1934. Milton Avery (American, 1885–1965), Laurels Gallery. Drypoint; sheet: 41.8 x 32.9 cm (16 7/16 x 12 15/16 in.); platemark: 10 x 12.8 cm (3 15/16 x 5 1/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund 2001.9.1 © Milton Avery Trust / Artists Rights Society (ARS), New York

title:				Laurels Number Four: Riders in the Park
title in original language:	
series:				
series in original language:	
creation date:			1934
creation date earliest:		1934
creation date latest:		1934
current location:		
creditline:			Norman O. Stone and Ella A. Stone Memorial Fund
copyright:			© Milton Avery Trust / Artists Rights Society (ARS), New York

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culture:	America, 20th century
technique:	drypoint
department:	Prints
collection:	PR - Drypoint
type:		Portfolio
find spot:	
catalogue raisonne: Lunn 6

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CREATORS

* Milton Avery (American, 1885–1965)  - artist

* Laurels Gallery  - published by

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measurements: Sheet: 41.8 x 32.9 cm (16 7/16 x 12 15/16 in.); Platemark: 10 x 12.8 cm (3 15/16 x 5 1/16 in.)
state of the work:	
edition of the work: 	Portfolio number 89 from an edition of 100

support materials:

	description:	wove paper
	watermarks:	

inscriptions:

	inscription:	signed in plate and below platemark, lower left in graphite: Milton Avery
	translation:	
	remark:		

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CURRENT EXHIBITIONS

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LEGACY EXHIBITIONS

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PROVENANCE

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fun fact:


digital description:


wall description:
Milton Avery was a quiet, humble man whose art reflected his life. Inspired by personal experience and based on direct observation, his relaxed, intimate works depict a serene, ideal world. Landscapes evoke summer trips to the country and seaside; urban scenes depict family and friends. From apparently ordinary subject matter, Avery constructed innovative works in which simplified flat forms build perfectly balanced, satisfying compositions. 

Between 1947 and 1948, Chris Ritter, director of the Laurel Gallery, New York, published four issues of Laurels, portfolios of prints, literature, and original calligraphy often on paper handmade by Douglass Howell. The museum's collection already includes the first two issues, with prints by Joan Miró, Stanley William Hayter, Reginald Marsh, and others. The five drypoints shown here were made for the fourth Laurels Portfolio. They encompass Avery's favorite motifs: landscape, seascape, and figure, all delineated with amazing economy. For example, the Nude with Long Torso is drawn with two horizontal lines that span the length of the plate. By subtly controlling the thickness of line or placement of a shape, a sense of roundness, weight, and a shallow space are created.

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