1 1. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted. Artist Name: Federico Castellon Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971 Title of Object: (1967.824) “Birth of Apollo” Date of Design: c 1965 Medium: Print-Color Lithograph Dimensions: plate/block-in/cm: unknown image-in/cm: 19 ¼ x 15 1/8 in / 49 x 38.5 cm sheet-in/cm: 22 1/8 x 18 in / 56.2 x 45.7 cm Markings: Recto: LR Corner (Below Image) Signature: Castellon; LL Corner (Below Image) 67/80; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICO UNTITLED (NUDES WITH FLOWERED FIGURE) SU 67.827 Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give? 1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978. Sources listed in this book are located just prior to the works cited page below.
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1
1. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: (1967.824) “Birth of Apollo”
Date of Design: c 1965
Medium: Print-Color Lithograph
Dimensions: plate/block-in/cm: unknownimage-in/cm: 19 ¼ x 15 1/8 in / 49 x 38.5 cmsheet-in/cm: 22 1/8 x 18 in / 56.2 x 45.7 cm
Markings: Recto: LR Corner (Below Image) Signature: Castellon; LL Corner (Below Image) 67/80; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICO UNTITLED (NUDES WITH FLOWERED FIGURE) SU 67.827
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page below.
2. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
Sources listed: Freundlich. Federico Castellon: His Graphic Works 1936-1971. and Hilda Castellon in person.
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
2
1. Mullen, Chris. "Federico Castellon: From The Michael T. Ricker Collection." The Visual Telling Of Stories. www.fulltable.com/ (accessed May 4, 2012).
No information is given on the print. The site features a biography of the artist and a transcript of an interview conducted in 1971.
2. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
This book gives the print's title, artist, year, medium, edition size, and catalogue number all the same information I have given here. The images size is slightly different at 19 1/2 x 15 1/4 in / 48.9 x 38.7 cm.
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
Catalogue No. 131Three Color Lithograph-Light Green, Olive, and BeigeSize stated as 48.9 x 38.71
Not stated but it is likely in centimeters (cm) and the size varies by a few millimeters (mm) from my measurements.No Image is shown.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc. Color Lithography: Or chromolithography is the lithographic process that utilizes multiple lithographic stones/plates to create color within the image. This process requires multiple printings and very good registration.The lithographic process is a planographic process that utilizes a flat surface, usually Bavarian limestone, and the principle that oil repels water and water repels oil. The stone is ground down using a levigator to create a smooth surface. Then an image is created on the stone using an oil based medium and the entire plate/stone is treated with gum Arabic etch solution to reinforce the non-image areas. Prior to printing the stone is wetted. The areas with the oil based image repels the water and take the ink while the non-image areas absorb the water and repel the ink. Paper and a tympan are laid over the inked image and a scrapper is used to apply the necessary pressure to the matrix to print the image.
1 Freundlich, Federico Castellon, 129.
3
Watermark: LF Corner & UR Corner: B F K RIVES
"Rives BFK Printing Paper Specifications Mould made in France by Arjo Wiggins 100% cotton rag, neutral pH, buffered Watermarked Internally sized for controlled absorption Vellum surface Two natural deckles and two tear deckles"2
The paper is possibly:
Rives Heavyweight Printmaking Paper 175g 19x26 Cream
or Rives BFK Printmaking Paper
280g 22x30 Cream3
Lifetime Impression67/80 Edition Size 80
Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
September 25-October 21, 1978-Price $150.00-Whether it sold or not is unknown-not illustrated-condition unknown.
Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
Apollo is the most commonly known as the Greek god of the sun, he is also the god of prophecy, healing, plague, and music. Apollo and his twin sister Artemis, goddess of the moon and hunt, are the children of Zeus and Leto. When Hera, Zeus' wife, found out that Leto was pregnant with Zeus' children she declared that Leto could not give birth on "terra firma" or solid earth and to ensure that the children were never born she kidnapped the goddess of childbirth, Eileithyia. Thus, Leto carried the children for many years until she discovered a newly created floating island named Delos, which is not solid earth. Then Hera was tricked into releasing Eileithyia and Apollo was born.4
2 Rivesbkf.com, 2009, "Rives BKF Direct To You," www.rivesbkf.com/ (accessed May 1, 2012).
3 "Ibid." (accessed May 1, 2012).
4
The lithographic process is a planographic process that utilizes a flat surface, usually Bavarian limestone, and the principle that oil repels water and water repels oil. The stone is ground down using a levigator to create a smooth surface. Then an image is created on the stone using an oil based medium and the entire plate/stone is treated with gum Arabic etch solution to reinforce the non-image areas. Prior to printing the stone is wetted. The areas with the oil based image repels the water and take the ink while the non-image areas absorb the water and repel the ink. Paper and a tympan are laid over the inked image and a scrapper is used to apply the necessary pressure to the matrix to print the image.
Image:
4 Aaron Atsma, "Apollon," Theoi Greek Mythology: Exploring Mythology In Classical Literature And Art, 2011, www.theoi.com/ (accessed May 6, 2012).
5
2. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: (1964.124) “Poseidon’s Friend”
Date of Design: c 1963
Medium: Print-Color Lithograph
Dimensions: plate/block-in/cm: unknownimage-in/cm: 15 x 20 7/16 in / 38.1 x 51.9 cmsheet-in/cm: 19 7/8 x 25 ½ in / 50.5 x 64.8 cm
Markings: Recto: LR Corner (Below Image) Signature: Federico Castellon; LL Corner (Below Image) 11/100 Poseidon’s Friend; Verso: Long Bottom Edge (read from left to right) OVERSIZE C-D CASTELLON, FEDERICO
POSEIDON’S FRIEND IGAS 58 SU 64.124 (above this) 947
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page below.
2. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
Sources listed: Freundlich. Federico Castellon: His Graphic Works 1936-1971. and Hilda Castellon in person.
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
6
1. The Annex Galleries. "19th, 20th, & 21st Century Fine Prints." www.annexgalleries.com/ (accessed May 4, 2012).
This site gives the print's title, artist, year, medium, and catalogue number all the same information I have given here. The images size is slightly different at 15 x 20 1/2 inches. It lists a signature in the LR corner with the title and edition number written in pencil. It also states that it is #68 of 100 with the paper listed as smooth antique-white BFK Rives. This print was sold but there is no price or date given.
2. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
This book gives the print's artist, title, year, medium, edition size and catalogue number all the same information I have given here. The images size is slightly different at 15 1/4 x 20 1/2 in / 38.4 x 52.1 cm. This image is listed as 27/100.
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
Catalogue No. 125Two Color Lithograph-Black and Green-GreySize stated as 38.4 x 52.15
Not stated but it is likely in centimeters (cm) and the size varies by a few millimeters (mm) from my measurements.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc. Color Lithography: Or chromolithography is the lithographic process that utilizes multiple lithographic stones/plates to create color within the image. This process requires multiple printings and very good registration.The lithographic process is a planographic process that utilizes a flat surface, usually Bavarian limestone, and the principle that oil repels water and water repels oil. The stone is ground down using a levigator to create a smooth surface. Then an image is created on the stone using an oil based medium and the entire plate/stone is treated with gum Arabic etch solution to reinforce the non-image areas. Prior to printing the stone is wetted. The areas with the oil based image repels the water and take the ink while the
5 August L. Freundlich, Federico Castellon: His Graphic Works 1936-1971 (Syracuse: Syracuse University, 1978), 89, 128.
7
non-image areas absorb the water and repel the ink. Paper and a tympan are laid over the inked image and a scrapper is used to apply the necessary pressure to the matrix to print the image.
Watermark: LF Corner & UR Corner: B F K RIVES
"Rives BFK Printing Paper Specifications Mould made in France by Arjo Wiggins 100% cotton rag, neutral pH, buffered Watermarked Internally sized for controlled absorption Vellum surface Two natural deckles and two tear deckles"6
The paper is possibly:
Rives Heavyweight Printmaking Paper 175g 19x26 Cream
or Rives BFK Printmaking Paper
280g 22x30 Cream7
11/100-Edition Size 100Lifetime Impression
Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
September 25-October 21, 1978-Price $150.00-Whether it sold or not is unknown.September 22, 2008-Sold for an undisclosed amount by liveauctioneers.comUnknown date-Sold for an unknown amount by the Annex Gallery.
Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
Poseidon is the Greek god of the oceans as well as floods, drought, earthquakes and horses. He is one of the main Olympian gods and in most tellings second only to Zeus in power. Not bound to the seas, he is said to reside in both the Mediterranean and upon Mount Olympus. As ruler of the
6 Rivesbkf.com, 2009, "Rives BKF Direct To You," www.rivesbkf.com/ (accessed May 1, 2012).
7 "Ibid." (accessed May 1, 2012).
8
seas he is lord over all that reside within or travel upon the them. Thus, all monsters of the oceans bow to him and all sea faring travelers are subject to his whims.8
The lithographic process is a planographic process that utilizes a flat surface, usually Bavarian limestone, and the principle that oil repels water and water repels oil. The stone is ground down using a levigator to create a smooth surface. Then an image is created on the stone using an oil based medium and the entire plate/stone is treated with gum Arabic etch solution to reinforce the non-image areas. Prior to printing the stone is wetted. The areas with the oil based image repels the water and take the ink while the non-image areas absorb the water and repel the ink. Paper and a tympan are laid over the inked image and a scrapper is used to apply the necessary pressure to the matrix to print the image.
Image:
8 Aaron Atsma, "Poseidon," Theoi Greek Mythology: Exploring Mythology In Classical Literature And Art, 2011, www.theoi.com/ (accessed May 6, 2012).
9
3. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: (1967.1394) “Mars and Venus”
Date of Design: c 1948
Medium: Print-Etching Aquatint
Dimensions: plate/block-in/cm: 9 1/8 x 10 7/8 in / 23.1 x 27.6 cmimage-in/cm: 9 1/8 x 10 7/8 in / 23.1 x 27.6 cmsheet-in/cm: 9 15/16 x 14 7/8 in / 25.2 x 37.8 cm
Markings: Recto: LR Corner (Below Image) Signature: Castellon; LL Corner (Below Image) 4th state; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICOMARS AND VENUS SU.67.306 (67.306 has been crossed out)
67.1394
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page below.
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
1. None found.
10
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
Catalogue No. 57Etching, Aquatint: Black Ed/50Size stated as 23.2 x 27.69
Not stated but it is likely in centimeters (cm) and the size varies by a couple of millimeters (mm) from my measurements.No Image is Shown.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc.
Etching: The process of using an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. In this instance a hard ground was likely used. The hard ground forms a durable, resilient base that can be drawn into. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing. Once the plate is sufficiently bitten it is removed from the acid and the ground is removed from the plate. The plate is inked either by wiping or dabbing ink onto the plate using a dabber or a roller, excess in is removed so that there only ink left inside the incised lines. The plate is placed on the press, a damp piece of paper is place on the plate, and a thick cloth, called a blanket, is placed over the paper. the a rolling press applies a lot of pressure forcing the paper into the incised lines. Damp paper and the blanket are used to make it easier for the paper to be pressed into the lines and to prevent damage to the paper.
Aquatint: An etching process where a powdered rosin is used as the ground. The rosin, in various particle sizes, is melted on the plate and then an image is created just like in etching. The rosin creates a tonal effect similar to shading with a pencil. See above for printing.
Lifetime Impression4th StateEdition Size 50
9 Freundlich, Federico Castellon, 125.
11
Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
No record of sales found.
Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
Mars and Venus, Greek Ares and Aphrodite, are the god of war and the goddess of love respectively. Aphrodite was forced to marry Hephaestus, the god of blacksmithing, by Zeus to prevent a war over her hand. It was a loveless marriage and there are many stories of Aphrodite's love affair with Ares. In ancient imagery they are often shown together, in some cases caught in a tryst by one of Hephaestus' traps.1011
The etching process uses an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing.
Aquatinting is an etching process where a powdered rosin is used as the ground. The rosin, in various particle sizes, is melted on the plate and then an image is created just like in etching. The rosin creates a tonal effect similar to shading with a pencil.
Image:
Unable to attach an image.
10 Aaron Atsma, "Ares," Theoi Greek Mythology: Exploring Mythology In Classical Literature And Art, 2011, www.theoi.com/ (accessed May 6, 2012).
11 Aaron Atsma, "Aphrodite," Theoi Greek Mythology: Exploring Mythology In Classical Literature And Art, 2011, www.theoi.com/ (accessed May 6, 2012).
12
4. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: (1967.1372) “Diana and Acteon"
Date of Design: c 1948
Medium: Print-Etching Wash
Dimensions: plate/block-in/cm: 5 3/8 x 9 ¼ in / 13.7 x 23.6 cmimage-in/cm: 5 3/8 x 9 ¼ in / 13.7 x 23.6 cmsheet-in/cm: 7 5/8 x 10 1/8 in / 19.5 x 25.7 cm
Markings: Recto: LR Corner (Below Image) Signature: Castellon; LL Corner (Below Image) 3rd State; LL Corner (Within Image) Diana and Acteon FC; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICO
“DIANA AND ACTEON” SU 67.30667.1372
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page below.
2. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
Sources listed: Freundlich. Federico Castellon: His Graphic Works 1936-1971. and Hilda Castellon in person.
13
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
1. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
This book gives the print's artist, year, and catalogue number all the same information I have given here. The images size is slightly different at 5 3/8 x 9 in / 13.7 x 22.9 cm. The title is given as "Diana and Acteon #1" and the medium is listed as an etching. It also states that the edition size is 50.
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
Catalogue No. 51Diana and Acteon #1Etching; Dark Brown Ed/50Size stated as 13.7 x 22.912
Not stated but it is likely in centimeters (cm) and the size varies by a few millimeters (mm) from my measurements.No Image is Shown. There is another entry, number 46, titled "Diana and Acteon" with similar information. This is not the image I chose thus the correct entry must be the one above. Even though number 51 is not shown, number 46 is. That is how I know which is the correct Diana and Acteon entry.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc.
Etching: The process of using an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. In this instance a hard ground was likely used. The hard ground forms a durable, resilient base that can be drawn into. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing.
12 Freundlich, Federico Castellon, 125.
14
Once the plate is sufficiently bitten it is removed from the acid and the ground is removed from the plate. The plate is inked either by wiping or dabbing ink onto the plate using a dabber or a roller, excess in is removed so that there only ink left inside the incised lines. The plate is placed on the press, a damp piece of paper is place on the plate, and a thick cloth, called a blanket, is placed over the paper. the a rolling press applies a lot of pressure forcing the paper into the incised lines. Damp paper and the blanket are used to make it easier for the paper to be pressed into the lines and to prevent damage to the paper. Wash: I don't know what this is referring to though I believe it is a process to create the light tonal effect of the images background.
Lifetime Impression3rd StateEdition Size 50
Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
September 25-October 21, 1978-Price $90.00-Whether it sold or not is unknown.
Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
Acteon, in Greece Aktaion, was a famous hunter. While out on a hunt with fifty of his hunting dogs he came across Diana, in Greece Artemis, bathing. Artemis, goddess of the moon, the hunt, and wild animals, is not known for her understanding or forgiveness and in a rage she turned him into a stag. Then she drove his own hunting dogs into a frenzy, inciting them to hunt down and devour Aktaion.13
The etching process uses an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid
13 Aaron Atsma, "Artemis Wrath 1," Theoi Greek Mythology: Exploring Mythology In Classical Literature And Art, 2011, www.theoi.com/ (accessed May 6, 2012).
15
bath and the exposed areas are eaten away to form the image lines for printing.
Image:
16
5. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: (1967.827) “Greeks and Ionic Columns”
Date of Design: c 1948
Medium: Print-Etching Aquatint
Dimensions: plate/block-in/cm: 3 7/8 x 4 15/16 in / 9.9 x 12.6 cmimage-in/cm: 3 7/8 x 4 15/16 in / 9.9 x 12.6 cmsheet-in/cm: 7 x 8 15/16 in / 17.8 x 22.7 cm
Markings: Recto: LR Corner (Below Image) Signature: Castellon; LL Corner (Below Image) edition 7; LL Corner (Within Image) CASTELLON; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICO UNTITLED (GREEKS AND IONIC COLS.)SU.67.306 67.824
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page below.
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
1. None found.
17
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
Catalogue No. 53Etching, Aquatint; Brown Ed/7Size stated as 9.9 x 12.614
Not stated but it is likely in centimeters (cm).No Image is Shown.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc.
Etching: The process of using an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. In this instance a hard ground was likely used. The hard ground forms a durable, resilient base that can be drawn into. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing. Once the plate is sufficiently bitten it is removed from the acid and the ground is removed from the plate. The plate is inked either by wiping or dabbing ink onto the plate using a dabber or a roller, excess in is removed so that there only ink left inside the incised lines. The plate is placed on the press, a damp piece of paper is place on the plate, and a thick cloth, called a blanket, is placed over the paper. the a rolling press applies a lot of pressure forcing the paper into the incised lines. Damp paper and the blanket are used to make it easier for the paper to be pressed into the lines and to prevent damage to the paper.
Aquatint: An etching process where a powdered rosin is used as the ground. The rosin, in various particle sizes, is melted on the plate and then an image is created just like in etching. The rosin creates a tonal effect similar to shading with a pencil. See above for printing.
Lifetime Impression7/7 Edition Size 7
Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
14 Freundlich, Federico Castellon, 125.
18
No record of sales found.
Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
A mid-6th century BCE style of architecture originating from the Ionian Greeks, colonists off the coast of Asia Minor. It became mainland Greece's style of architecture in the 5th century BCE and the first great temple in this style was the Temple of Hera on Samos. Built later that century the Temple of Artemis at Ephesus was one of the seven wonders of the ancient world. The Ionic style is most recognizable by its volute, the spiral, scroll like decoration on the corner of the capitals.
The etching process uses an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing.
Aquatinting is an etching process where a powdered rosin is used as the ground. The rosin, in various particle sizes, is melted on the plate and then an image is created just like in etching. The rosin creates a tonal effect similar to shading with a pencil.
Image:
Unable to attach an image.
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6. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: “Judgement of Paris”
Date of Design: c 1947
Medium: Print-Etching
Dimensions: plate/block-in/cm: 4 15/16 x 3 15/16 in / 12.5 x 10 cmimage-in/cm: 4 15/16 x 3 15/16 in / 12.5 x 10 cmsheet-in/cm: 11 x 7 7/8 in / 28 x 20 cm
Markings: Recto: LR Corner (Below Image) Signature: F. Castellon; LL Corner (Below Image) 47/50; UR Corner (Within Image) CASTELLON; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICO “JUDGEMENT OF PARIS” SU 67. 306 67. 1013
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page below.
2. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
Sources listed: Freundlich. Federico Castellon: His Graphic Works 1936-1971. and Hilda Castellon in person.
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
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1. Federico Castellon: A Memorial Exhibition of Prints. New York: Associated American Artists, 1978.
This book gives the print's artist, title, year, medium, edition size and catalogue number all the same information I have given here. The images size is slightly different at 5 x 4 in / 12.4 x 10 cm.
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
Catalogue No. 42Size stated as 12.4 x 1015
Not stated but it is likely in centimeters (cm) and the size varies by a few millimeters (mm) from my measurements.No Image is Shown.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc.
Etching is the process of using an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. In this instance a hard ground was likely used. The hard ground forms a durable, resilient base that can be drawn into. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing. Once the plate is sufficiently bitten it is removed from the acid and the ground is removed from the plate. The plate is inked either by wiping or dabbing ink onto the plate using a dabber or a roller, excess in is removed so that there only ink left inside the incised lines. The plate is placed on the press, a damp piece of paper is place on the plate, and a thick cloth, called a blanket, is placed over the paper. the a rolling press applies a lot of pressure forcing the paper into the incised lines. Damp paper and the blanket are used to make it easier for the paper to be pressed into the lines and to prevent damage to the paper.
Lifetime Impression47/50 Edition size 50
15 Freundlich, Federico Castellon, 124.
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Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
September 25, 2012-October 21, 2012-Price $110.00-Whether it sold or not is unknown.Found an old e-bay listing for this print however, I was unable to access the actual listing so I don't know the sale price or the date.
Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
The goddess of discord, Eris, was denied entry to the wedding of Peleus and Thetis. In a fit of anger she cast a golden apple addressed "to the fairest" amongst the goddesses. Hera, Aphrodite, and Athena all laid claim to the apple and originally asked Zeus to judge who what the most beautiful. Wanting nothing to do with the contest he ordered Hermes to have Paris, prince of Troy, judge the goddesses. Each goddess offered him gifts for the apple and he chose Aphrodite, who had offered him the love of Helen. Helen, known as Helen of Troy, was the most beautiful woman on earth and her subsequent abduction lead to the beginning of the Trojan war.16
The etching process uses an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing.
Image:
16 Aaron Atsma, "Judgement Of Paris," Theoi Greek Mythology: Exploring Mythology In Classical Literature & Art, 2011, www.theoi.com/ (accessed May 7, 20112).
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7. Catalog Raisonne research worksheet-fill out the questionnaire below by examining the subject print, the Gordon's Print Price Annual (either disk or hard copy) and reference materials in the Art Collection Library and at Bird Library. Compare dimensions actually made by you from the original art work with at least three other sources and note those sources on the paper. Make sure the art work is illustrated (photocopy from a reference book) and the source of the illustration is noted.
Artist Name: Federico Castellon
Nationality & Dates: Spanish (Born in Almeria, Spain) September 14, 1914-July 7, 1971
Title of Object: (1967.1357) “Greek Myth No. 1”
Date of Design: c 1947
Medium: Print-Etching
Dimensions: plate/block-in/cm: 8 15/16 x 6 5/8 in / 22.7 x 16.9 cmimage-in/cm: 8 15/16 x 6 5/8 in / 22.7 x 16.9 cmsheet-in/cm: 9 13/16 x 7 3/8 in / 24.9 x 18.7 cm
Markings: Recto: LR Corner (Below Image) Signature: Castellon; LL Corner (Below Image) 3rd state; LC (Within Image) CASTELLON 47; Verso: LR Corner (read from top to bottom) CASTELLON, FEDERICO UNTITLED (GREEK MYTH #1) SU 67.306 67.1357
Publications: Where have you found other written descriptions of the subject art work and what sources (bibliography) do they give?
1. Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Sources listed in this book are located just prior to the works cited page.
Illustrations: Where have you found other illustrations of the subject art work and what information is given with these illustrations?
1. None found.
Previous Catalog Raisonne Information: Note the source of the entry, any differences between your collected data and what you find published about the subject print.
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Catalogue No. 39Etching, Brown Ed/50Size stated as 22.2 x 16.917
Not stated but it is likely in centimeters (cm) and the size varies by a few millimeters (mm) from my measurements.No Image is Shown.
Notes: Describe the medium utilized by the artist and give a brief description (2-3 paragraphs) on the process. Any idea of edition size, how many times the subject image was printed, lifetime impression?, posthumous impression?, etc.
Etching is the process of using an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. In this instance a hard ground was likely used. The hard ground forms a durable, resilient base that can be drawn into. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing. Once the plate is sufficiently bitten it is removed from the acid and the ground is removed from the plate. The plate is inked either by wiping or dabbing ink onto the plate using a dabber or a roller, excess in is removed so that there only ink left inside the incised lines. The plate is placed on the press, a damp piece of paper is place on the plate, and a thick cloth, called a blanket, is placed over the paper. the a rolling press applies a lot of pressure forcing the paper into the incised lines. Damp paper and the blanket are used to make it easier for the paper to be pressed into the lines and to prevent damage to the paper.
Lifetime Impression3rd StateEdition Size 50
Special Information: Track record of sales for selected print, where did they sell, what price, when were they offered, were they illustrated, what were their conditions?
No record of sales found.
17 Freundlich, Federico Castellon, 124.
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Annotated Label: These are short entries that accompany the specific objects. They can focus on an artist biography, the processes utilized, the context of the image in relation to the other objects or history. No more than 250 words (each), must include process and related information.
Depicted here are various figures from Greek mythology. The helmed female, for instance, is likely Athena. This work is possibly a study print or a print that is made of parts of a work but is not the final composition.
The etching process uses an acid to eat away at a plate creating the lines of an image. Plates, usually copper or zinc, are covered with a material that resist the acid, protecting the plate, called a ground. Grounds come in different types, generally, a hard ground or a soft ground, made from a mix of asphaltum (tar), wax, and varnish. Once the ground is set a needle is used to draw on the plate, removing the ground and allowing the acid or mordant to bite the plate. Once the drawing is complete the plate is placed in an acid bath and the exposed areas are eaten away to form the image lines for printing.
Image:
Unable to attach an image.
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Curatorial Rationale: Every curatorial rationale should include the 'what's' and the 'why's of your "exhibition". Explain what the viewer will be looking at, explain why the selections were made, the reason for the associations, and the overall concept of the selections. Be direct, terse and clear. This is not an essay, it's an overview and "key" for the works presented.
Initially, these prints were chosen because the content of each print is based on Greek mythology. Each image illustrates a scene from Greek mythology, some of the scenes are traditional and some are untraditional. The artist, Federico Castellon, has created many prints featuring Greek scenes and not all of them are featured. These particular prints were chosen from his collection to display two different comparisons. First, this selection of prints exhibits a variety of processes including lithography, etching, and aquatint. Not only did Castellon use different processes to create his prints but he also mixed processes. Of the prints I chose the earliest are only etchings, the mid-range prints are etching/aquatint and etching/wash, and the most recent prints are color lithographs.Second, they present a linear progression from realism to surrealism in the artist's style of work. The earlier works, such as "Greek Myth No. 1", demonstrate a more realistic representation. In these prints there is little to no distortion of the subjects and the lines are generally sharper. One print, "Mars and Venus" displays a midpoint between the realism and surrealism. The subjects are slightly distorted and the back ground is vague though some sharp clear details can still be made out. While the later works, such as "Poseidon's Friend" demonstrate a more surrealistic portrait, the subjects and background are distorted with bodies that are unrealistic, and very soft, almost watery, lines are seen. Overall, this selection of prints demonstrates Castellon's versatility while presenting the same subject matter.
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Notes:I believe that many of the 1947 and 1948 prints are published in Bulfinch, Thomas, Mythology: The Age of the Fable; or Stories of Gods and Heroes, Doubleday, Garden City, New York, 1948. However, I could not get a hold of the right copy to verify which images are published. Therefore, I did not list this book on any of the Catalog Raisonne sheets. Also, I tried to get a hold of some of the books listed below but the ILL's did not come in on time.
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Bibliography for Freundlich, August L. Federico Castellon: His Graphic Works 1936-1971. Syracuse: Syracuse University, 1978.
Illustrated Books
Abraham, Gerald Ernest Heal, A Hundred Years of Music, Aldine Publishing Co., 1964.
Abraham, Gerald Ernest Heal, A Hundred Years of Music, Grosset and Dunlap, New York, 1961.
Buck, Pearl, The Man Who Changed China: The Story of Sun Yat-Sen, Random House, New York, 1954.
Bulfinch, Thomas, Mythology: The Age of the Fable; or Stories of Gods and Heroes, Doubleday, Garden City, New York, 1948.
Erasmus Hall High School, The Erasmian, Erasmus Hall High School, Vol. LXII, No. 1, Article: By Federico Castellon, "After Erasmus: Art," 1959.
Gordon, P., The Story of J. J. Audubon, Grosset & Dunlap, Inc., New York, 1955.
Poe, Edgar Allen, Mask of the Red Death, Aquarius Press, Baltimore, Maryland, 1969.
Price, O. M., The Story of Marco Polo, Grosset & Dunlap, Inc., New York, 1954.
Roskolenko, H., I Went Into the Country, Compass Editions, Black Faun Press, New York, 1954.
Saint, Exupery, Antoine De., The Little Prince, McMillan & Co., New York, 1954.
Schwartz, Delmore, Shenandoah (A Verse Play), New Directions, New York, 1941.
Scott, Sir Walter, The Talisman, Limited Edition, New York, Etchings Printed by M. Beaune; Creteil, France. Editions of 1500.
Thorne, Alice, The Story of Madam Curie, Signature Books, Grosset & Dunlap, Inc., New York, 1959.
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Books
American Artists Group, Original Etchings, Lithographs, and Woodcuts by American Artists, American Artists Group, New York, 1936.
Art Students League, 100 Prints by 100 Artists Etc., New York, 1975.
Baur, John I. H., Revolution and Tradition in Modern American Art, Harvard University Press, Cambridge, Mass., 1959.
Beall, F., American Prints in Library of Congress Collection, The Johns Hopkins Press, Baltimore & London, 1970.
California, University of, Five Centuries of Printing, Santa Barbra, 1967.
Cummings, Paul, Dictionary of Contemporary American Artists, St. Martin's Press, New York, 1971.
Dodgson, C., Fine Prints of the Year 1938, Minton Balch, New York, 1938.
Frost, Rosamond, Contemporary Art: The March of Art From Cezanne Until Now, Crown Publishers, Inc., New York, 1942.
Goodrich, Lloyd and John I. H. Baur, American Art of Our Century, Whitney Museum of Art, New York, 1961.
Jean, Marcel, The History of Surrealist Painting, Grove Press, New York, 1960.
Mendelowitz, Daniel M., A History of American Art, Holt, Rinehart, and Winston, Inc., New York, 1961.
Pearson, Ralph M., Experiencing American Pictures, Harper and Brothers, New York, 1943.
Reese, Albert, American Prize Prints of the Twentieth Century, American Artists Group, Inc., New York, 1949.
Ross, John and Clare Romano, The Complete Printmaker, The Free Press, New York, 1972.
Weber, W., A History of Lithography. International Textbook Co., Scranton, New York, 1966.
Weddige, Emil, Lithography, International Textbook Co., Scranton, New York, 1966.
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Zigrosser, Carl, Six Centuries of Fine Printing, Covici-Friede, New York, 1937.
Zigrosser, Carl, The Artist in America, Alfred A. Knopf, New York, 1942.
Zigrosser, Carl, The Artist in America: Close-Ups Of Contemporary Print Makers, Alfred A. Knopf, New York, 1962.
Zigrosser, Carl, The Book of Fine Prints, (Revised Edition) Crown Publishers, New York, 1966.
Illustrated Periodicals
Abbott Laboratories Medical Journals, 1956-57.
Barnett, Lincoln, "Sumerian Civilization," Life Magazine, (The Epic of Man series), June 4, 1959.
CIBA Symposie, Medical Journals, New York, New York. Series of 12 Paintings for Covers, 1941.
Graves, Ralph, "Memorable Victories in the Fight of Justice," Life Magazine, April 2, 1951, 12 Plates.
Martibanex, Felix M.D., Edited by Epic of Medicine, M.D. Magazine; Vol. 3, #5, May, 1959; Vol. 3, #7, July, 1959; Vol. 3, #9, Sept., 1959; Vol. 4, #10, Oct., 1960; Vol. 5, #4, April, 1961.
Periodicals"New Exhibitions of the Week, Federico Castellon Show Brilliant Promise," Art News, November 28, 1936, p. 15.
"The Collectors," Art Digest, April 1, 1939, p. 20.
"Technical Virtuosity of Castellon; Sculpture by Dioda," Art News, May 13, 1939, pp. 14-15.
"Young Castellon, Who Recalls Poe and Redon," Art Digest, May, 1939, p. 25.
"Contemporary Prints," Worcester Art Museum News Bulletin and Calendar, February, 1940.
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"Chicago's Host to Seventh Print International," Art Digest, December, 1939, p. 24.
"Watercolor Annual Impresses Grafly as Less Genteel, More Robust," Art Digest, November 15, 1940, p. 8.
"Enlivened Exhibits and Interiors at the 38th Philadelphia Print-Aquarelle Annual," Art News, November 16, 1940, p. 13.
"Federico Castellon," Art News, April 15, 1941, p. 27.
"The Richly Imaginative Art of Castellon," Art Digest, April 15, 1941, p. 19.
""Swope Gallery, Dedicated to American Art, Opens in Terre Haute," Art Digest, April 1, 1942, pp. 5-10.
"National Academy Opens First Annual of Contemporary Drawing," Art Digest, January 1, 1945, p. 5.
"Print Annual Opens," Art Digest, July, 1946, p. 12.
"These Won Record Prizes," Art News, July 1, 1946, pp. 30-31.
"Federico Castellon," by Carl Zigrosser, American Artist, May, 1949, pp. 27-31.
"The Watercolor Series," American Artist, May, 1949, p. 37.
"Pennell Purchase Annual at Library of Congress," Art Digest, August, 1949, p. 16.
Art News, June, 1949, p. 39.
"Review, Werk," March, 1951, p. 28.
"Castellon and Wengenroth," Art News, January, 1952.
"The Art Galleries, A Heratimsin Progress," New Yorker, New York, February 9, 1952, p. 76.
"Federico Castellon," Art News Review, February, 1952, p. 44.
"Federico Castellon," Art News Review, February 1, 1952, pp. 19-20.
"Federico Castellon," Art News Review, January, 1964, p. 54.
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"Federico Castellon," Art News Review, May, 1966, p. 15.
Catalogues"An American Dream World-Romantic Realism-1930-55," 1976, Whitney Museum (Downtown Branch), New York.
"164th Annual Exhibition," 1969, Pennsylvania Academy of Fine Arts, Philadelphia.
"Catalogue #3," Weyhe Gallery, New York.
"Contemporary Graphics," 1977, Housatonic Museum of Art, Bridgeport, Connecticut.
"Curator's Choice," 1975, Brooklyn Museum, Brooklyn, New York.
"Federico Castellon Exhibitions," 1972, American Academy of Arts and Letters, New York.
"Five American Printmakers," 1947, Philadelphia Art Alliance, Philadelphia.
"From the Collection," 1977, University of Maine, Oromo, Maine.
