text:
1995 in baseball

Major League Baseball

 * World Series: Atlanta Braves over Cleveland Indians (4-2); Tom Glavine, MVP

 * All-Star Game, July 11 at The Ballpark in Arlington: National League, 3-2; Jeff Conine, MVP

Other champions

 * Caribbean World Series: Senadores de San Juan (Puerto Rico)
 * College World Series: Cal State-Fullerton
 * Cuban National Series: Villa Clara over Pinar del Río
 * Japan Series: Yakult Swallows over Orix BlueWave (4-1)
 * Korean Series: OB Bears over Lotte Giants
 * Big League World Series: Tainan, Taiwan
 * Junior League World Series: Lake Charles, Louisiana
 * Little League World Series: Shan-Hua, Tainan, Taiwan
 * Senior League World Series: Dunedin, Florida
 * Pan American Games: Cuba over Nicaragua
 * Taiwan Series: Uni-President Lions

Awards and honors

 * Baseball Hall of Fame
 * Richie Ashburn
 * Leon Day
 * William Hulbert
 * Mike Schmidt
 * Vic Willis
 * Most Valuable Player
 * Mo Vaughn (AL) Boston Red Sox
 * Barry Larkin (NL) Cincinnati Reds
 * Cy Young Award
 * Randy Johnson (AL) Seattle Mariners
 * Greg Maddux (NL) Atlanta Braves
 * Rookie of the Year
 * Marty Cordova (AL) Minnesota Twins
 * Hideo Nomo (NL) Los Angeles Dodgers
 * Manager of the Year Award
 * Lou Piniella (AL) Seattle Mariners
 * Don Baylor (NL) Colorado Rockies
 * Woman Executive of the Year (major or minor league): Mary Cain, Portland Rockies, Northwest League
 * Gold Glove Award
 * J. T. Snow (1B) California Angels (AL)
 * Roberto Alomar (2B) Toronto Blue Jays (AL)
 * Robin Ventura (3B) Chicago White Sox (AL)
 * Omar Vizquel (SS) Cleveland Indians (AL)
 * Ken Griffey Jr. (OF) Seattle Mariners (AL)
 * Kenny Lofton (OF) Cleveland Indians (AL)
 * Devon White (OF) Toronto Blue Jays (AL)
 * Iván Rodríguez (C) Texas Rangers (AL)
 * Mark Langston (P) California Angels (AL)
 * Mark Grace (1B) Chicago Cubs (NL)
 * Craig Biggio (2B) Houston Astros (NL)
 * Ken Caminiti (3B) San Diego Padres (NL)
 * Barry Larkin (SS) Cincinnati Reds (NL)
 * Steve Finley (OF) San Diego Padres (NL)
 * Marquis Grissom (OF) Atlanta Braves (NL)
 * Raúl Mondesí (OF) Los Angeles Dodgers (NL)
 * Charles Johnson (C) Florida Marlins (NL)
 * Greg Maddux (P) Atlanta Braves (NL)

Major League Baseball final standings

 * Note: All teams played 144 games instead of the normal 162 as a consequence of the 1994–95 Major League Baseball strike. Seattle and California each played 145 games due to a one game AL West tiebreaker.

 * The asterisk denotes the club that won the wild card for its respective league.

January–June

 * March 9 – Major League Baseball goes ahead with choosing the cities for the 1998 expansion: Phoenix, Arizona, and St. Petersburg, Florida. Phoenix gets the National League Arizona Diamondbacks, and St. Petersburg gets the American League Tampa Bay Devil Rays.  To keep the leagues even-numbered, the Milwaukee Brewers switch to the National League after the 1997 season, giving the NL 16 teams and the AL 14 teams.
 * March 10 – Michael Jordan announces that he is leaving the Chicago White Sox organization and will return to the Chicago Bulls of the National Basketball Association.
 * April 2 – After 232 days, the 1994–95 MLBPA Players Strike comes to an end when judge Sonia Sotomayor ends the strike.
 * April 8 – The Colorado Rockies sign free agent outfielder Larry Walker.
 * April 25 – Major League Baseball begins its strike-shortened 144-game season.
 * April 26 – The Colorado Rockies open Coors Field with an 11-9 victory over the New York Mets in 14 innings.
 * May 23 - Opposing pitchers Kevin Foster of the Chicago Cubs and Marvin Freeman of the Colorado Rockies each hit a home run off each other. Chicago defeated Colorado 7-6 in a game at Coors field in Colorado.
 * May 26 – Ken Griffey Jr. of the Seattle Mariners fractures his left wrist while making a spectacular catch at the wall during the Mariners 8-3 victory over the Baltimore Orioles. Griffey would miss the next 73 games as a result of the injury.
 * May 28 – The Chicago White Sox (5) and Detroit Tigers (7) combine for a record 12 home runs in one game at Tiger Stadium.
 * June 3 – Pedro Martínez of the Montreal Expos pitches 9 perfect innings against the San Diego Padres before losing the perfect game on a 10th inning leadoff double by Bip Roberts as the Expos defeat the Padres 1-0 in 10 innings at Jack Murphy Stadium.
 * June 30:
 * Eddie Murray of the Cleveland Indians gets his 3,000th career hit in a 3-1 Cleveland win over the Minnesota Twins at the Metrodome.
 * Mark McGwire hits a walk-off grand slam in the ninth inning off closer Lee Smith to give the Oakland Athletics an 8–5 victory over the California Angels.

July–September

 * July 11 – The National League defeats the American League in the All-Star Game 3-2, on an 8th-inning pinch-hit home run by Jeff Conine. Conine becomes the 10th player to homer in his first All-Star at bat, and is named the Game's MVP. Frank Thomas, Craig Biggio and Mike Piazza also hit home runs.
 * July 14 – At Dodger Stadium, Ramón Martínez of the Los Angeles Dodgers no-hits the Florida Marlins 7-0. On June 3 of this same season, Martínez' brother Pedro, pitching for the Montréal Expos against the San Diego Padres at Qualcomm Stadium, pitches nine perfect innings only to have his bid for a perfect game broken up by a Bip Roberts single leading off the 10th. Otherwise the Martinezes are not the second brother combo, after Bob and Ken Forsch, to pitch Major League no-hitters, and they do not become the first to do so in the same season.
 * July 18 – Albert Belle of the Cleveland Indians becomes the second player to hit a walk-off grand slam against California Angels closer Lee Smith this season. Mark McGwire of the Oakland Athletics does that on June 30. The only other pitchers in major-league history to surrender two game-ending grand slams in one season are Satchel Paige (1952) and Lindy McDaniel (1963). New York Mets closer Francisco Rodríguez joins this group during the 2009 season.
 * July 30 – Mike Schmidt, Richie Ashburn, Vic Willis, William Hulbert and Leon Day are inducted into the National Baseball Hall of Fame in Cooperstown, New York.
 * August 10 – The Los Angeles Dodgers are forced to forfeit to the visiting St. Louis Cardinals when inebriated fans react to several close calls by throwing souvenir baseballs onto the field.
 * August 13 – New York Yankees Hall of Fame outfielder Mickey Mantle loses his battle with liver cancer and dies at the age of 63. He had undergone a liver transplant on June 8. One of his last public appearances was at a news conference on July 11 in Dallas, the same day that the MLB All-Star Game that year was held in nearby Arlington, Texas. His funeral is held 2 days later with Bob Costas delivering the eulogy.
 * August 25 – The Philadelphia Phillies defeat the Los Angeles Dodgers 17-4 at Veterans Stadium. Hideo Nomo only pitches 3 innings. Jeff Juden hits a grand slam in the 4th inning. Gregg Jefferies hits for the cycle, the first Phillie to do so since Johnny Callison in 1963.
 * August 29 – Against the Colorado Rockies at Three Rivers Stadium, Paul Wagner of the Pittsburgh Pirates has a no-hitter broken up by an Andrés Galarraga single with two out in the ninth. The hit is the only one Wagner allows in defeating the Rockies 4-0. The no-hitter would have been the first by a Pirate since John Candelaria in 1976.
 * September 4 – Robin Ventura of the Chicago White Sox becomes the eighth player in major league history to hit two grand slams in a single game, doing so in the 4th and 5th innings of the White Sox 14-3 win over the Texas Rangers. The last to do it is Frank Robinson in 1970.
 * September 6 – Cal Ripken Jr. of the Baltimore Orioles plays in his 2,131st consecutive major league game to surpass Lou Gehrig's 56-year record. When the game becomes official in the middle of the fifth inning, Ripken takes a victory lap around Camden Yards during the 22-minute standing ovation from the sellout crowd, including President Bill Clinton. In the game, Ripken goes 2-for-4, including a home run, in Baltimore's 4-2 win over California. It is baseball's most memorable moment in the 1990s.
 * September 8 – The Cleveland Indians clinch the American League Central Division with a 3-2 win over the Baltimore Orioles. It is Cleveland's first postseason appearance since 1954, and ends the then-longest post-season drought in the Major Leagues.
 * September 13 – Second baseman Lou Whitaker and shortstop Alan Trammell of the Detroit Tigers play in their 1,915th game together, setting an American League record.
 * September 15 – The St. Louis Cardinals' shortstop Ozzie Smith is a part of his 1,554th double play to establish a new Major League record, despite the Cardinals losing to the Los Angeles Dodgers, 7-6.
 * September 25 – In a 7-0 victory over the St. Louis Cardinals at Wrigley Field, Frank Castillo of the Chicago Cubs has a no-hitter broken up with two out in the ninth—by inches. Bernard Gilkey hits a line drive to right field and despite an all-out attempt by Sammy Sosa to make a diving catch, the ball falls in for a hit and eventually rolls to the wall for a triple, the Cardinals' lone hit of the game. The near no-hitter is almost the first by a Cub pitcher and the first one the Cubs are involved in, since Milt Pappas in 1972.
 * September 28 – Greg A. Harris of the Montreal Expos becomes the first major league pitcher since 1893 to pitch with both hands in one game. Harris faces four batters, two from his usual right side and two from the left, in the ninth inning of a 9–7 loss to the Cincinnati Reds.
 * September 30 – Albert Belle hits his 50th home run of the season, and becomes the first player in Major League history to collect 50 home runs and 50 doubles in a season.

October–December

 * October 2 – In a one-game playoff the Seattle Mariners beat the California Angels 9–1 at Seattle after finishing tied atop the AL West.
 * October 8 – After being down 2 games-to-zero in the best of 5 series to the New York Yankees, the Seattle Mariners complete a comeback, capped by the late inning heroics of Edgar Martínez, their designated hitter. Forever known as "the double" in Mariner lore, Martinez strokes a breaking ball into left field, scoring Joey Cora and Ken Griffey Jr. in the bottom of the 11th to erase a 1 run deficit and win the game and the series.
 * October 23 – The St. Louis Cardinals hire Tony La Russa as their manager.
 * October 28 – In a pitchers' duel, the Atlanta Braves win Game 6 of the World Series 1-0, on a combined one-hitter by Tom Glavine and Mark Wohlers. David Justice's sixth-inning home run accounts for the game's only run. In winning, the Braves become the first team to win World Championships representing three different cities – Boston (1914), Milwaukee (1957) and Atlanta. Catcher Tony Peña's leadoff single in the 6th is Cleveland's only hit. Glavine is named Series MVP.
 * November 2 – The New York Yankees name Joe Torre as their new manager, replacing Buck Showalter.
 * November 9 – Los Angeles Dodgers pitcher Hideo Nomo is named National League Rookie of the Year, becoming the first Japanese player ever to win a Major League award. Nomo posts a 13-6 record with 236 strikeouts and a 2.54 ERA in $191 1/3$ innings of work.
 * December 22:
 * Anheuser-Busch agrees to sell the St. Louis Cardinals for $150 million to an investment group that agrees to keep the team in St. Louis.
 * The Florida Marlins sign free agent pitcher Kevin Brown.
 * The Philadelphia Phillies sign free agent third baseman Todd Zeile.
 * The Boston Red Sox sign free agent pitcher Jamie Moyer.

Movies

 * Hank Aaron: Chasing the Dream (TV)
 * Past the Bleachers (TV)

January

 * January 9 – Gabriel Moya
 * January 11 – J. P. Crawford
 * January 11 – Stephen Nogosek
 * January 11 – Nick Solak
 * January 13 – Jack Larsen
 * January 13 – Andre Scrubb
 * January 15 – Riley Smith
 * January 17 – Randy Dobnak
 * January 17 – Michael Hermosillo
 * January 17 – Joe Jiménez
 * January 17 – Yohander Méndez
 * January 17 – Dom Nunez
 * January 17 – Jhon Romero
 * January 21 – Zach Plesac
 * January 21 – Antonio Senzatela
 * January 23 – Yairo Muñoz
 * January 24 – Mark Contreras
 * January 25 – Wyatt Mills
 * January 27 – Matt Foster
 * January 27 – Bryan Reynolds
 * January 29 – Connor Brogdon

February

 * February 2 – Yunior Marte
 * February 3 – Anthony Bender
 * February 3 – Andrew Knizner
 * February 4 – Greg Weissert
 * February 5 – Caleb Hamilton
 * February 6 – Zack Collins
 * February 6 – Riley O'Brien
 * February 7 – Víctor Arano
 * February 7 – Roberto Osuna
 * February 8 – Jake Fishman
 * February 9 – Bruce Zimmermann
 * February 10 – Cal Quantrill
 * February 11 – Gregory Soto
 * February 12 – Parker Dunshee
 * February 14 – Abiatal Avelino
 * February 19 – Joel Kuhnel
 * February 21 – C. D. Pelham
 * February 21 – Kodi Whitley
 * February 22 – Germán Márquez
 * February 24 – Chance Sisco
 * February 27 – Zach Muckenhirn
 * February 28 – Randy Arozarena

March

 * March 1 – Adbert Alzolay
 * March 2 – Miguel Andújar
 * March 2 – Reese McGuire
 * March 3 – Zack Kelly
 * March 6 – Eduardo Paredes
 * March 7 – Nick Ciuffo
 * March 7 – Jason Delay
 * March 9 – Zack Burdi
 * March 10 – Luis Castillo
 * March 10 – Josh VanMeter
 * March 11 – Joe Jacques
 * March 13 – Nicky Lopez
 * March 13 – Keegan Thompson
 * March 16 – Rowdy Tellez
 * March 21 – Anthony Kay
 * March 21 – Chadwick Tromp
 * March 22 – James Meeker
 * March 23 – Isiah Kiner-Falefa
 * March 24 – Nate Mondou
 * March 28 – Will Smith
 * March 31 – Brent Honeywell Jr.
 * March 31 – Mason McCoy
 * March 31 – David McKay

April

 * April 1 – Keegan Akin
 * April 3 – Jacob Nottingham
 * April 4 – J. P. France
 * April 4 – Conner Greene
 * April 4 – Eduardo Jiménez
 * April 6 – Bennett Sousa
 * April 9 – Mac Sceroler
 * April 11 – Cavan Biggio
 * April 12 – Gabe Speier
 * April 13 – Anthony Castro
 * April 15 – Jesús Cruz
 * April 15 – Danny Jansen
 * April 17 – Kean Wong
 * April 18 – Jake Rogers
 * April 19 – Bryan Garcia
 * April 19 – Chas McCormick
 * April 25 – A. J. Puk
 * April 26 – Nomar Mazara
 * April 28 – Brett Martin
 * April 29 – Zach McKinstry
 * April 30 – Jesús Tinoco

May

 * May 1 – Lucas Erceg
 * May 1 – José Urquidy
 * May 3 – Elieser Hernández
 * May 3 – Ronald Herrera
 * May 3 – Austin Meadows
 * May 4 – Akeem Bostick
 * May 5 – Brian Serven
 * May 6 – Yohan Ramírez
 * May 6 – Matt Thaiss
 * May 9 – Tommy Edman
 * May 11 – Ryder Ryan
 * May 16 – Freddy Fermín
 * May 16 – Gabe Klobosits
 * May 19 – Ronnie Dawson
 * May 21 – José Alvarado
 * May 25 – Jake Fraley
 * May 25 – Michael King
 * May 26 – Roel Ramírez
 * May 27 – Yoan Moncada
 * May 29 – Conner Menez
 * May 29 – Zack Short
 * May 30 – Christian Arroyo
 * May 30 – Iván Castillo
 * May 30 – Sterling Sharp
 * May 31 – Gerson Bautista
 * May 31 – Shane Bieber
 * May 31 – Greg Deichmann

June

 * June 1 – Jordan Sheffield
 * June 2 – Mickey McDonald
 * June 3 – Eric Lauer
 * June 5 – Phoenix Sanders
 * June 6 – Will Vest
 * June 8 – Chad Smith
 * June 10 – Patrick Murphy
 * June 12 – Aaron Civale
 * June 12 – Jeremy Walker
 * June 15 – Dominic Smith
 * June 16 – Ian Hamilton
 * June 16 – Tyler Zuber
 * June 18 – Jamie Westbrook
 * June 19 – Cody Sedlock
 * June 20 – Félix Bautista
 * June 22 – Matthew Batten
 * June 22 – Tyler O'Neill
 * June 23 – Jorge Mateo
 * June 25 – Franklyn Kilome
 * June 27 – Jonah Heim
 * June 29 – Bobby Dalbec
 * June 29 – Nick Senzel
 * June 30 – Irving Lopez

July

 * July 1 – Ron Marinaccio
 * July 3 – Trenton Brooks
 * July 3 – Robert Dugger
 * July 5 – Austin Hays
 * July 7 – Richard Lovelady
 * July 7 – Nathaniel Lowe
 * July 7 – Franmil Reyes
 * July 8 – Sam Long
 * July 9 – Kenny Rosenberg
 * July 9 – Jared Young
 * July 10 – Phil Bickford
 * July 11 – Daniel Johnson
 * July 11 – Justin Steele
 * July 12 – Narciso Crook
 * July 12 – Bailey Ober
 * July 12 – Logan Porter
 * July 13 – Cody Bellinger
 * July 13 – Alec Bettinger
 * July 13 – Kyle Lewis
 * July 14 – Isaac Mattson
 * July 20 – Jake Walsh
 * July 22 – José Siri
 * July 25 – Darick Hall
 * July 26 – Paul Campbell
 * July 27 – Foster Griffin
 * July 27 – Brad Keller
 * July 27 – Adalberto Mondesí
 * July 27 – Drew Rasmussen
 * July 28 – Jorge Alcalá
 * July 28 – Tylor Megill
 * July 29 – Tyson Miller
 * July 30 – Josh Palacios

August

 * August 1 – T. J. Zeuch
 * August 2 – Daulton Jefferies
 * August 3 – Zac Gallen
 * August 8 – Tomoya Mori
 * August 10 – Monte Harrison
 * August 10 – Allan Winans
 * August 11 – Michael Chavis
 * August 14 – TJ Friedl
 * August 14 – Josh Maciejewski
 * August 14 – Stephen Ridings
 * August 17 – Blake Taylor
 * August 18 – Yu Chang
 * August 19 – Gerson Garabito
 * August 20 – Brian Miller
 * August 20 – Justin Williams
 * August 21 – Ryan Dorow
 * August 21 – Tyler Johnson
 * August 22 – Shed Long
 * August 23 – Bernardo Flores
 * August 23 – Lane Thomas
 * August 23 – Carlos Tocci
 * August 24 – Brandon Wagner
 * August 26 – Ranger Suárez
 * August 29 – José Rodríguez
 * August 30 – Sean Reid-Foley

September

 * September 1 – Eduard Bazardo
 * September 2 – Willy Adames
 * September 3 – David Peterson
 * September 4 – Mark Kolozsvary
 * September 5 – Jason Martin
 * September 6 – Shawn Dubin
 * September 7 – Sandy Alcántara
 * September 7 – Devin Smeltzer
 * September 8 – Drew Carlton
 * September 10 – Mike Baumann
 * September 10 – Luis González
 * September 11 – Domingo Leyba
 * September 14 – Kazuto Taguchi
 * September 18 – Vladimir Gutiérrez
 * September 20 – Cory Abbott
 * September 20 – Joe Dunand
 * September 20 – Jon Kennedy
 * September 22 – Justin Dunn
 * September 22 – Calvin Faucher
 * September 22 – James Karinchak
 * September 22 – Luis Ortiz
 * September 22 – Taisuke Yamaoka
 * September 24 – Levi Jordan
 * September 25 – Javy Guerra
 * September 26 – Albert Abreu
 * September 28 – Joe Barlow
 * September 28 – Enoli Paredes

October

 * October 1 – Charlie Barnes
 * October 2 – Alex Lange
 * October 2 – Kyle Wright
 * October 5 – Zack Littell
 * October 6 – Jake Bauers
 * October 8 – Colin Holderman
 * October 9 – Merandy González
 * October 10 – Collin Snider
 * October 10 – Nick Snyder
 * October 10 – Nick Vespi
 * October 12 – Kirk McCarty
 * October 13 – Andrew Wantz
 * October 15 – Jack Flaherty
 * October 17 – Ha-seong Kim
 * October 18 – Osvaldo Bido
 * October 24 – Nick Gordon
 * October 27 – Bryce Johnson
 * October 27 – Francisco Mejía
 * October 30 – Yuki Matsui
 * October 31 – Miles Mastrobuoni

November

 * November 1 – Jason Foley
 * November 2 – Rei Takahashi
 * November 9 – José Quijada
 * November 12 – Alex Faedo
 * November 14 – J. J. Matijevic
 * November 15 – Luis Barrera
 * November 16 – Victor González
 * November 20 – Jeremy Beasley
 * November 20 – David Fry
 * November 20 – Amed Rosario
 * November 20 – Forrest Wall
 * November 22 – Stone Garrett
 * November 22 – Parker Mushinski
 * November 23 – Lewis Thorpe
 * November 24 – Francis Martes
 * November 25 – Trevor Stephan
 * November 26 – Ryan Walker
 * November 27 – Jared Oliva

December

 * December 1 – Drew Ellis
 * December 1 – Brandon Hughes
 * December 4 – Jake Bird
 * December 5 – Julián Fernández
 * December 5 – Nick Nelson
 * December 6 – Allen Córdoba
 * December 10 – Tyler Cropley
 * December 12 – DJ Peters
 * December 18 – Luis Liberato
 * December 18 – Brendan McKay
 * December 23 – Dalton Guthrie
 * December 25 – Enyel De Los Santos
 * December 25 – Alex Jackson
 * December 27 – Jonah Bride
 * December 28 – Dylan Cease
 * December 28 – Corbin Martin
 * December 29 – Sean Guenther
 * December 30 – Derek Hill

January

 * January  2 – Don Elston, 65, two-time All-Star relief pitcher who played for the Chicago Cubs and  Brooklyn Dodgers during nine seasons spanning 1953–1964, topping the National League with 69 relief appearances in 1958 and 65 in 1959 and leading all relievers with 127 innings pitched in 1960.
 * January  3 – Ollie Bejma, 87, middle infielder and third baseman for the Chicago White Sox and St. Louis Browns in a span of four seasons between 1934 and 1939.
 * January  3 – Bob Darnell, 64, pitcher who played for the Brooklyn Dodgers during the 1954 and 1956 seasons.
 * January  3 – Mickey Haefner, 82, left-handed pitcher who played from 1943 through 1950 for the Washington Senators, Chicago White Sox and Boston Braves; one of four knuckleballers who were regular starting pitchers for 1945 Senators.
 * January  3 – Jim Tyack, 83, outfielder for the 1943 Philadelphia Athletics.
 * January  4 – Harry Gumbert, 85, pitcher who played with four clubs during 15 seasons from  1935–1950, going 11–3 in 1936 and winning 10 in 1937 for the New York Giants, helping them win back-to-back National League pennant winners, then going 9–5 to help the St. Louis Cardinals clinch the NL pennant in 1942 and 10-5 a year later, en route to the 1942 World Series which the Cardinals beat the New York Yankees, 4 games to 1.
 * January  4 – Ralph Onis, 86, catcher for the 1935 Brooklyn Dodgers.
 * January  7 – Kite Thomas, 71, outfielder who played from 1952 to 1953 for the Philadelphia Athletics and Washington Senators.
 * January 12 – Hi Simmons, 89, head baseball coach at the University of Missouri from 1937 through 1973, guiding his team to the 1954 College World Series title.
 * January 17 – John Hall, 71, pitcher for the 1948 Brooklyn Dodgers.
 * January 18 – Ron Luciano, 57, American League umpire from 1968 to 1979, known for his flamboyance and as the author of humorous books on the life of an MLB arbiter; briefly a color man on Major League Baseball Game of the Week telecasts after his umpiring career.
 * January 20 – Mark Filley, 82, pitcher for the 1934 Washington Senators.
 * January 21 – Russ Bauers, 80, pitcher for the Pittsburgh Pirates, Chicago Cubs and St. Louis Browns over eight seasons between 1936 and 1950.
 * January 23 – Saul Rogovin, 72, pitcher for the Detroit Tigers, Chicago White Sox, Baltimore Orioles and Philadelphia Phillies in a span of eight seasons from 1949 to 1957; led the American League with a 2.78 ERA in 1951.
 * January 24 – Herb Karpel, 77, pitcher for the 1946 New York Yankees.
 * January 26 – Dick Tettelbach, 65, outfielder who played from 1955 through 1957 for the New York Yankees and Washington Senators.
 * January 30 – Buddy Gremp, 75, first baseman for the Boston Braves from 1940 to 1942.

February

 * February  6 – Elmer Burkart, 78, pitcher who appeared in 16 games over four brief trials with the Philadelphia Phillies from 1936 to 1939.
 * February  7 – Cecil Upshaw, 52, right-handed reliever who played for five teams during nine seasons from 1966 to 1975, saving 27 games for the Atlanta Braves in 1969, well known for his unorthodox but effective submarine delivery, as he tore up the ring finger on his pitching hand and had at least two surgeries and rehabbing.
 * February 24 – Woody Williams, 82, second baseman for the Brooklyn Dodgers and Cincinnati Reds during four seasons spanning 1938 to 1945, appearing in 338 career games.
 * February 28 – Wally Millies, 88, backup catcher for the Philadelphia Phillies, Washington Senators and Brooklyn Dodgers in a span of six seasons between 1934 and 1941; minor-league manager and longtime scout.

March

 * March  2 – Ray Moore, 68, pitcher who played for the Brooklyn Dodgers, Baltimore Orioles, Chicago White Sox, Washington Senators and Minnesota Twins over 11 seasons from 1952 to 1963.
 * March  5 – Roy Hughes, 84, middle infielder and third baseman for four teams over nine seasons from 1935 to 1946, who delivered 188 hits and scored 112 runs for the 1936 Cleveland Indians; starting shortstop for Chicago Cubs in six of seven games of 1945 World Series, batting .294.
 * March 11 – Don Manno, 79, left fielder and third baseman for the Boston Bees and Braves from 1940 to 1941.
 * March 13 – Leon Day, 78, seven-time All-Star pitcher for the Newark Eagles of the Negro leagues, who set several league strikeout marks, including 18 victims in one game, and was enshrined into the Baseball Hall of Fame just six days before his death.
 * March 14 – Charlie Letchas, 79, backup infielder who played for the Philadelphia Phillies and Washington Senators in a span of four seasons from 1939 to 1946.
 * March 17 – Muriel Kauffman, 78, philanthropist and civic leader who, with her husband, Ewing, founded the Kansas City Royals in 1968 and operated the team for over 25 years.
 * March 17 – Jimmy Uchrinscko, 94, pitcher for the 1927 Washington Senators.
 * March 27 – Chet Nichols Jr., 64, pitcher for the Boston/Milwaukee Braves, Boston Red Sox and Cincinnati Reds during nine seasons between 1951 and 1964, who posted 10 wins and led the National League with a 2.88 ERA in his rookie season.
 * March 29 – Terry Moore, 82, four-time All-Star center fielder for the St. Louis Cardinals in 11 seasons from 1935 to 1948, who hit a .304 average in 1940, and captained the and  World Series champion teams; manager of Philadelphia Phillies from July 15, 1954 to end of that campaign.

April

 * April  7 – Frank Secory, 82, National League umpire from 1952 to 1970 who worked in four World Series, six All-Star Games and nine no-hitters; previously an outfielder for three MLB clubs between 1940 and 1946, well known for a pivotal hit in the 1945 World Series as a Chicago Cub.
 * April  9 – Bob Allison, 60, All-Star outfielder for the Washington Senators and Minnesota Twins (1958–1970), who earned the 1959 American League Rookie of the Year award, had three 30-home run seasons, and led the league in triples and runs once each.
 * April 10 – Billy Myers, 84, shortstop who played with the Cincinnati Reds from 1935 to 1940 and for the Chicago Cubs in 1941, being a member of the National League champion Reds in 1939 and 1940, and best remembered for his 1940 World Series-winning sacrifice fly in Game 7 against the Detroit Tigers.
 * April 13 – Hal Peck, 77, right fielder who played from 1943 to 1949 for the Brooklyn Dodgers, Philadelphia Athletics and Cleveland Indians, and also was a member of the 1948 World Series champion Indians.
 * April 18 – Elizabeth Emry, 72, All-American Girls Professional Baseball League pitcher for the 1946 Racine Belles champion team.
 * April 19 – Jack Wilson, 83, pitcher who played from 1934 through 1942 with the Boston Red Sox, Philadelphia Athletics, Washington Senators and Detroit Tigers.
 * April 23 – Howard Cosell, 77, flamboyant and controversial sportscaster whose many assignments included acting as color commentator for the World Series and League Championship Series for ABC Television during the 1970s.
 * April 23 – Jake Daniel, 85, first baseman for the 1937 Brooklyn Dodgers.
 * April 24 – John Campbell, 87, pitcher for the Washington Senators in the 1933 season.
 * April 27 – Kent Peterson, 69, pitcher who played for the Cincinnati Reds and Philadelphia Phillies in all or part of eight seasons spanning 1944–1953.
 * April 28 – Peaches Davis, 89, pitcher who played from 1936 to 1939 for the Cincinnati Reds.
 * April 28 – Gustavo Polidor, 33, Venezuelan infielder for the California Angels, Milwaukee Brewers and Florida Marlins during seven seasons between 1985 and 1993.
 * April 29 – Ray Prim, 88, pitcher for the Washington Senators, Philadelphia Phillies and Chicago Cubs in a span of six seasons from 1933 to 1946; one of many ballplayers whose career was interrupted during World War II, who posted a 13-8 record and led National League pitchers with a 2.40 ERA for the pennant winning Cubs in 1945.

May

 * May  4 – Connie Wisniewski, 73, four-time All-American Girls Professional Baseball League All-Star pitcher and outfielder, who set several records in the circuit in a nine-year career from 1944 through 1952.
 * May  7 – Gus Bell, 66, All-Star outfielder with four NL teams, mainly the Cincinnati Reds, in 15 seasons (1950–1964); had four 100-RBI seasons and led the National League in triples in 1951; patriarch of a Major League family that includes son Buddy and grandsons David and Mike.
 * May  9 – Marguerite Jones, 77, Canadian pitcher who played for the Minneapolis Millerettes and Rockford Peaches of the All-American Girls Professional Baseball League.
 * May 17 – George "Catfish" Metkovich, 74, outfielder and first baseman who played for the Boston Red Sox, Cleveland Indians, Chicago White Sox, Pittsburgh Pirates, Chicago Cubs and Milwaukee Braves in a span of ten seasons from 1943 to 1954.
 * May 18 – Jack Kramer, 77, three-time All-Star pitcher, whose 17 victories and 2.49 earned run average helped lead the St. Louis Browns to their only World Series appearance in 1944; later, an 18-game-winner for 1948 Boston Red Sox.
 * May 19 – Fred Frink, 83. outfielder for the 1934 Philadelphia Phillies.
 * May 23 – Ab Wright, 89, outfielder who played with the Cleveland Indians in the 1935 season and for the Boston Braves in 1944.
 * May 30 – Glenn Burke, 42, center fielder for the Los Angeles Dodgers and Oakland Athletics in four seasons from 1978 to 1979, who was the first player in Major League history to publicly acknowledge his homosexuality during his professional career.
 * May 31 – Norm Brown, 76, pitcher who played for the Philadelphia Athletics in the 1943 and 1946 seasons.

June

 * June  7 – Eddie Lake, 79, middle infielder and third baseman who played for the St. Louis Cardinals, Boston Red Sox and Detroit Tigers during eleven seasons spanning 1939–1950.
 * June  9 – Zoilo Versalles, 55, Cuban two-time All-Star and two-time Gold Glove shortstop who led the Minnesota Twins to the 1965 American League pennant, as well as the first Latin American player to win the Most Valuable Player Award, while leading the league in triples three times and in doubles and runs once each.
 * June 10 – Stan Andrews, 78, backup catcher who played for the Boston Bees, Brooklyn Dodgers and Philadelphia Phillies. in a span of four seasons from 1939 to 1945.
 * June 10 – Lindsey Nelson, 76, broadcaster for the New York Mets from 1962 to 1979, and later for the San Francisco Giants and CBS Radio.
 * June 17 – Bruce Campbell, 85, right fielder for five clubs during 13 seasons from 1930 to 1942, who returned from a bout with spinal meningitis in 1936 while playing for the Cleveland Indians, to get six hits in a nine-inning ball game and reach a .372 average in 172 at-bats, appearing also in all seven games of the 1940 World Series with the Detroit Tigers, posting a batting line of .360/.448/.520 with one home run and six RBI, while batting sixth in the line-up behind Charlie Gehringer, Hank Greenberg and Rudy York.

July

 * July  4 – Adeline Kerrar, 70,  All-American Girls Professional Baseball League catcher and infielder.
 * July  4 – Al Unser, 82, backup catcher who played with the Detroit Tigers from 1942 to 1944 and for the Cincinnati Reds 1945; one of many ballplayers who only appeared in the major leagues during World War II; father of Del Unser and longtime scout.
 * July 17 – Herb Hippauf, 56, relief pitcher for the 1966 Atlanta Braves who became a longtime scout.
 * July 27 – Rick Ferrell, 89, Hall of Fame and eight-time All-Star catcher who played for the St. Louis Browns, Boston Red Sox and Washington Senators from 1929 to 1947, whose 1,806 career-games caught were an American League record until 1988; batterymate of his brother Wes Ferrell with the Red Sox from 1934 through 1938; later a coach for Washington and the Detroit Tigers, and a longtime Tiger front-office executive.

August

 * August  1 – Ruby Knezovich, 77, Canadian catcher who played from 1943 to 1944 in the All-American Girls Professional Baseball League.
 * August  3 – Harry Craft, 80, manager of the Houston Colt .45s in their 1962 debut, who also managed the Kansas City Athletics and Chicago Cubs, and previously was a Cincinnati Reds center fielder.
 * August  4 – Dick Bartell, 87, All-Star shortstop for five teams, known for his combative personality, who batted .300 five times and scored 100 runs three times, while batting .381 for the New York Giants in the 1936 World Series.
 * August 13 – Mickey Mantle, 63, Hall of Fame and 16-time All-Star center fielder, as well as a powerful switch-hitter for the New York Yankees, being a successor to Babe Ruth and Joe DiMaggio as symbol of the Yankees' long reign, who earned the American League MVP Award from 1956 to 1957 and in 1962, while setting a record with 18 home runs in World Series play, hitting .300 or more ten times, leading the AL in runs six times to set an all-time record, winning the 1956 Triple Crown, four home run titles –hitting 50 twice–, and retiring with the third most career HRs (536) and walks (1,733) in MLB history, including career marks for runs (1,677), RBI (1,509) and slugging percentage (.557).
 * August 20 – Bill Kennedy, 76, pitcher who played for the Washington Senators in a span of three seasons from 1942 to 1947.
 * August 20 – Von McDaniel, 56, pitcher who joined his elder brother Lindy on the 1957–1958 St. Louis Cardinals pitching staff, throwing a complete game, two-hit shutout for St. Louis in his debut against the defending National League champion Brooklyn Dodgers in 1957, winning his first four decisions, including 19 consecutive scoreless innings and a one-hitter; a breakdown in his pitching mechanics resulted in severe control problems that curtailed his promising pitching career, and caused him to eventually become a third baseman in the minor leagues.
 * August 28 – Juan Rios, 53, Puerto Rican middle infielder who played for the Kansas City Royals in its 1969 inaugural season.

September

 * September  7 – Al Papai, 78, knuckleballer specialist for four major league teams from 1948 to 1955, and one of 29 players to pitch for the St. Louis Browns and Cardinals clubs.
 * September 15 – Napoleón Reyes, 75, Cuban corner infielder for the New York Giants in part of three seasons spanning 1943–1950, who tied a National League record for the most hit by pitches in a season, being hit on eight occasions in 1945, joining Hall of Famer Mel Ott and All-Star center outfielder Andy Pafko.
 * September 19 – Mem Lovett, 83, who appeared as a pinch-hitter in a single game with the Chicago White Sox in the 1933 season.
 * September 20 – Walter A. Haas Jr., 79, San Francisco business executive (Levi Strauss & Company) who owned the Oakland Athletics from August 1980 until his death.
 * September 21 – Tony Cuccinello, 87, three-time All-Star second baseman and third baseman for five teams during 15 seasons spanning 1930–1945, who led National League second basemen in assists and double plays three times and hit .300 or better five times, with a career high .315 in 1931; hit .308 in 1945, losing the American League batting title in the last day of the season by .001 to Snuffy Stirnweiss; later, spent two decades as a third-base coach for four clubs, including 1968 world champion Detroit Tigers.
 * September 21 – Andrew Rozdilsky, 77, who performed as Andy the Clown at Chicago White Sox games from 1960 to 1990.

October

 * October  3 – Nippy Jones, 70, backup first baseman for the St. Louis Cardinals, Philadelphia Phillies and Milwaukee Braves in eight seasons between 1946 and 1957, who made a token appearance as a pinch hitter in the 1946 World Series, won by the Cardinals, whose last time at bat in his undistinguished career earned him enduring fame in a memorable shoe-polish incident that helped the Braves win Game 4 of the 1957 World Series en route to the world championship.
 * October 10 – Ed Gill, 100, pitcher for the 1919 Washington Senators.
 * October 15 – Thelma Griffith Haynes, 82, who shared majority ownership of the Washington Senators/Minnesota Twins with her older brother, Calvin Griffith, from 1955 through 1984.
 * October 16 – Joe Szekely, 70, right fielder who played with the Cincinnati Redlegs in its 1953 season.
 * October 21 – Vada Pinson, 57, three-time All-Star and Gold Glove center fielder, who spent his 18-year career with five clubs from 1958 through 1975, most prominently with the Cincinnati Reds, leading the National League in hits, doubles and triples twice each, including four 200-hit seasons, while ending his career with 2,757 hits, 256 home runs and 305 stolen bases.
 * October 26 – Lyman Linde, 75, pitcher for the Cleveland Indians during two seasons from 1947 to 1948.
 * October 29 – Al Niemiec, 84, second baseman who played with the Boston Red Sox in the 1934 season and for the Philadelphia Athletics in 1936.
 * October 31 – Jim Campbell, 71, longtime Detroit Tigers executive; as farm system director (1957–1962), general manager (1962–1983) and club president (1983–1992) he played a major role in Tigers' 1968 and 1984 World Series championships.

November

 * November  2 – Sal Gliatto, 93, pitcher for the 1930 Cleveland Indians.
 * November 19 – Ed Wright, 76, pitcher for the Boston Braves and Philadelphia Athletics between 1945 and 1952, who also threw a no-hitter in the American Association in 1945 and hurled the first shutout in Caribbean Series history in 1949.
 * November 22 – Art Smith, 89, pitcher who played for the Chicago White Sox in 1932.
 * November 23 – Lee Rogers, 82, pitcher who played for the Boston Red Sox and Brooklyn Dodgers during the 1938 season.
 * November 24 – Irene Hickson, 80, All-Star catcher who played in the All-American Girls Professional Baseball League in a span of nine seasons from 1943 to 1950, winning the batting title in 1943 and being a member of two championship teams in 1943 and 1946.
 * November 30 – Jim Davis, 69, pitcher for the Chicago Cubs, St. Louis Cardinals and New York Giants from 1954 to 1957, who in 1956 became the first pitcher in 40 years to record four strikeouts in a single inning.
 * November 30 – William Suero, 29, Dominican Republic infielder for the Milwaukee Brewers from 1992 to 1993.

December

 * December  2 – Art Herring, 89, pitcher who played for the Detroit Tigers, Brooklyn Dodgers, Chicago White Sox and Pittsburgh Pirates during eleven seasons spanning 1929–1947.
 * December  5 – Bill Bruton, 70, speedy center fielder for the Milwaukee Braves and Detroit Tigers over 12 seasons from 1953 to 1964; led the National League in stolen bases three times, triples twice and runs once; a member of Braves teams that won two NL pennants (1957–1958) and the 1957 World Series; tied an MLB record with two bases-loaded triples in one game (August 2, 1959).
 * December 11 – Woody Wheaton, 81, two-way outfielder / pitcher for the Philadelphia Athletics in two seasons from 1943 to 1944.
 * December 12 – Mike Modak, 73, pitcher for the 1945 Cincinnati Reds.
 * December 15 – Paul Pryor, 68, National League umpire (1961 to 1981) who worked three World Series, three All-Star games, and 3,094 NL tilts.
 * December 17 – George Cox, 91, pitcher who played for the Chicago White Sox in 1928.
 * December 20 – Betty Wanless, 67, All-American Girls Professional Baseball League infielder.
 * December 27 – Al Barlick, 80, Hall of Fame umpire for 28 National League seasons between 1940 and 1971, who officiated seven World Series and an MLB record seven All-Star Games.
 * December 26 – Bob Veselic, 40, relief pitcher for the Minnesota Twins in the 1980 and 1981 seasons.
 * December 27 – Oscar Judd, 87, left-handed pitcher who played from 1941 through 1948 for the Boston Red Sox and Philadelphia Phillies; American League All-Star (1943); member of the Canadian Baseball Hall of Fame.

title: 1995 in baseball


text:
William Tillyer

William Tillyer (born 28 September 1938) is a British artist working within painting, watercolour and the printmaking tradition. His approach is constantly evolving; redefining and reinterpreting classic subject matter, such as landscapes, still lifes and portraits, in methods that challenge historical traditions and vary between bodies of work. Since the 1950s, Tillyer has exhibited internationally, and his work can be found in the collections of major institutions including the Arts Council of Great Britain, the Brooklyn Art Museum, the Museum of Modern Art (MOMA), Tate Britain and the Victoria and Albert Museum. There are at least 15 works by Tillyer in the Tate collection, including High Force (1974).

Early life and education
Born in Middlesbrough, Tillyer studied painting at the Middlesbrough College of Art from 1956 to 1959 before moving to London in the 1960s to study at the Slade School of Art, with painting as his main subject and printmaking as his subsidiary. There, he encountered William Coldstream and Anthony Gross, among others.

In 1959, Tillyer had two of his paintings – Painting and Sea, Clouds and Beach (both 1958) – accepted for the 'Young Contemporaries' exhibition, the tenth in a series of annual shows arranged to make public the best work done by students in England's art schools. The paintings were selected that year by Victor Pasmore, Terry Frost, Andrew Forge, Ceri Richards and William Turnbull.

Following his time at the Slade, Tillyer took up a French Government Scholarship to study gravure under Stanley William Hayter, at Atelier 17 in Paris. Here, Tillyer had what he describes as "the archetypal artist's studio" at rooftop level in the American Pavilion of the Cité Universitaire, where he lived and worked when not in Hayter's studio. There he found a dense population of students, and a properly equipped print workshop. The pressure, though, was such that he spent much of his time in his room, making prints without a press. In 1963 he returned to England, and lived first in Notting Hill, in something close to abject poverty, and then in Middlesbrough.

By the later 1960s Tillyer was experimenting with constructed works with a conceptual basis, working on ideas of the grid and of the implied performative nature of hardware such as hinges and handles, he made works including Fifteen Drawer Pulls, 1966.

Printmaking
Tillyer began experimenting with printmaking in 1958, while a student at the Slade, and it was as a printmaker that he made his first reputation. He won international acclaim at the Second International Print Biennale in Kraków in 1968, and, the following year, found the support of Bernard Jacobson, who has been his dealer ever since. They met after Tillyer paid a visit to Jacobson, one of the leading print dealers and publishers in the country, in his office on Mount Street, Mayfair armed with a selection of his newest prints. Jacobson was enthusiastic and selected two for immediate publication, Mrs Lumsden's and The Large Birdhouse.

The late 1960s saw a sudden explosion in the making and marketing of prints in Britain and generally in the Western world. International print exhibitions became regular events, some of them awarding major prizes. There was a new interest in prints as an art form, one that attracted a growing class of art-interested people not wealthy enough to collect unique paintings and sculpture. Finely edited and packaged suites and portfolios of prints, especially those produced by young and rising artists, were seen as attractive investments.

Tillyer's first major exhibition was held at Arnolfini Gallery in Bristol in 1970 and consisted of 33 etchings, three of which were immediately purchased by the British Council for its enterprising collection. With these prints, Tillyer used a variety of techniques, from etching to five tone screenprinting, to create lattices which through their gradation of tone depict what Pat Gilmour described as "a cool and unpeopled world...in which to reflect the surrounding flux of nature."

Encouraged by Tillyer's showing at the Arnolfini Gallery, Jacobson published a further four etchings, the Dry Lake suite. In 1971, 26 of his etchings were shown in the new Print Gallery within the Arts Council's Serpentine Gallery in London. Henceforth, with Jacobson marketing them, Tillyer's prints were seen and appreciated more widely. Other artists responded to them with enthusiasm, notably David Hockney, Sam Francis, Roy Lichtenstein, Ed Ruscha and Andy Warhol. From 1972 onwards, Tillyer's work has been shown regularly in group and solo exhibitions around the world.

During 1975–76, while participating in an artist's a residency at Brown University, Providence, Rhode Island, Tillyer began to use an idiosyncratic tall format for prints produced by diverse processes. He claimed at the time that the format echoed the tall window of his campus studio, and was confirmed for him by Chinese scroll paintings he saw in the university's gallery. Jacobson had asked him to contribute an image to a portfolio of new prints to be published in 1976 in celebration of the bicentenary of John Constable's birth; the other artists contributing included David Hockney, Robyn Denny and Richard Smith. Tillyer used this unfamiliar, anti-landscape format for an etching done in honour of Constable, For John Constable: The Cape, New England; it enabled him to keep his distance from the artist he was paying respect to. He used a large proportion of aquatint, apparently brushed on like watercolour. Evening light catches on clouds that fill the vertical slice of sky; at the bottom can be seen the sails of the Hampstead windmill that appears in certain Constable pictures. Its presence determines the scale of the whole, and presents a contrast between that one man-made detail, at the foot of the tall print, and the soft, delicate, but somewhat threatening swathes of lilac that almost fill the rest.

The Providence Prints (1976) is a suite of seven woodcuts and linocuts, using the same format but wholly different in technique, expression and subject. Exceptionally, Tillyer here allowed himself a variety of genres within a suite: landscape (waterfall), still like (the cylindrical vase with flowers), the human figure (two images of a nude posed indoors against a screen and a mirror). To each of the seven prints the Tillyer lattice makes major contributions, including in the figure images, where three or four lattices, cut with differing strengths and at varying scales, present floor, screen, background and the figures themselves. These may be echoes of Matisse's early figures, more obviously in the instance of the reclining figure, redolent as it is of the Blue Nude of 1907. The other, a standing figure, reflected in a mirror, her elbows raised as her hands meet behind her head, is likewise reminiscent of leftmost figure in Matisse's Le Bonheur de Vivre of 1905–06, a stock pose adapted from nineteenth-century academic painting.

Mesh works
The mid-1970s were a busy exhibiting period for Tillyer, but those years also show him reconstructing his professional image. Without playing down his prominence as a printmaker, he was eager to bring painting to the fore as his principal medium and vehicle of artistic expression. There followed a drastic reworking of the methods he had been using, and the images resulting from them, with Tillyer combining the canvas with a steel mesh ground, a bold decision without art historical precedent. In Blue Vase and Arrangement (1977–78), wire mesh occupies the centre and supplies the frame. The middle is occupied by the vase, which in turn is surrounded by colourful strokes and blotches: the nominal "arrangement" of flowers. These red, orange and green palimpsests burst forth from a dark, canvas ground, the jouissance of the flowers' colour being matched by the artist's self-consciously incongruous and witty identification of steel mesh with a ceramic vase.

There followed a second group of mesh paintings, which do away with the canvas altogether, made in 1979–80. Tillyer calls them the Mesh Works. Among the larger ones is Study for the House at Fontenay-aux-Roses by Way of the Admiral's House (1980), which was painted on an orthogonally positioned mesh of squares, collaged with bits of board front and back. There is thick paint on the mesh and thick paint on the boards, and these too come in primarily vertical and horizontal units. The white vertical form in the centre is not, this time, a vase, but a glimpse of a house amid foliage; to the left is a tall mottled green horizontal brushstroke, a poplar tree. The upper register, laden with bits of chipped wood panel assumes the form of a clear blue sky, and generally the scene is bathed in sunshine. A baroque gilt frame is hinted at on the right.

Tillyer would seem in this "study" to have tested how much and how little information would serve to convey his theme. He has expressed his interest in "the tension between the artificial and the real". Tillyer makes images—often, though not exclusively—with subjects derived from the natural world, which, through varying degrees of transformation, are turned into something essentially different: pictorially and materially. He tests, and ultimately expands, the limits of how far he is able to distance the artificial depiction from its real-world referent, without losing the reference itself, the point of this enterprise being to investigate and to demonstrate ever more fully the axiomatic contrivance and conceit implicit in the creation of all art.

Watercolours
In 1987, the Bernard Jacobson Gallery showed a selection of Tillyer's 'English Landscape Watercolours'. The title-page of the catalogue states: "From April 1985 until March 1987, William Tillyer travelled throughout the British Isles and produces over 200 watercolours." Twenty-seven of these were exhibited and finely reproduced in the catalogue. Peter Fuller's thoughtful introduction raises a number of points. It outlines Tillyer's position vis-à-vis tradition and innovation: "Tillyer's paintings depend, for their aesthetic effects, upon his responses to the world of nature; and yet, at the same time, his pictures do not offer a reproduction of the appearances of that world. Indeed, they seem to be deeply involved with that kind of questioning of the nature of the medium itself, so typical of late modernist concerns; Tillyer's painting in oil shows a characteristically self-critical doubt about the validity of illusion and representation, and a restless preoccupation with the nature of the picture plane, the support and the framing edge. Tillyer often seeks out 'radical' solutions, assaulting the surface, tearing, reconstituting, collaging." Fuller goes on to outline the history of English watercolour painting, associating Tillyer's use of the medium especially with the examples of Alexander Cozens and Thomas Girtin. He also stresses how J. M. W. Turner and others enlarged the effects achieved in it by "roughing and scraping the surface of the paper" and other such means, while Ruskin recommended the admixture of white to make watercolour opaque. Girtin, before Ruskin weighed in, had "sought to 'purify' the practice of watercolour" and made positive use of the whiteness of his chosen paper, together with delicate and also denser washes of colour. Fuller found this technique in Tillyer. He concludes: "that in watercolours, and perhaps only in watercolours, the great cry of the Romantic aesthetic (i.e. 'Truth to Nature') and that of emergent Modernism (i.e. 'Truth to Materials') were, in effect, one and the same. For, when used in a way which preserved the particular qualities of the medium (even at the price of loss of immediate resemblance to the appearance of things) watercolour painting seemed to come closest to embodying the fragility, and elusive spontaneity, of our perceptions of nature itself." This, he adds, is what "Tillyer seems to have understood so fully." Thus Tillyer appeared to be extending the researches of Ivon Hitchens and of Patrick Heron, Peter Lanyon and others associated with St Ives, fusing their response to nature, inherited from Romanticism, with the modern call for independent, often abstract image-making, guided by the doctrine of 'Truth to Materials'. In this, Fuller argues, we should recognise "a quest for spiritual values"; indeed this is a function of the continuing vitality of English landscape painting. Here Fuller makes good use of a quotation from Ruskin: "The English tradition of landscape, culminating in Turner, is nothing other than a healthy effort to fill the void which the destruction of Gothic architecture has left." To this tradition belong, according to Fuller, "Tillyer's best watercolours" even as they declare their modernity: his response to nature is linked to "the search for 'spiritual values'." Thus Tillyer is saved from what Fuller sees as late modern art's "greatest weakness": ending in "aesthetic failure" in pursuit of "an abstract 'art of the real'." Tillyer's watercolours are beautiful in themselves. His gentle washes of colour tell us that our finest aesthetic feelings are intimately related to out experience of nature. Not to be aware of that which leads us "to injustice and to exploit the natural world (and, indeed, each other)." Tillyer's watercolours invite us to share with him a tentative and tremulous sensation of physical and spiritual oneness with the natural world.

The Westwood Paintings
In 1987 Tillyer bought some farm buildings in an isolated spot in North Yorkshire and put much effort into developing them as a home and workplace. It was here that he painted the Westwood series, a group of large-scale acrylic and oil paintings on canvas. There is an epic gravity about the works. The artist painted them using a broom head to deposit large arcs and commas of paint, keen to explore and exploit "the physicality of the medium." These paintings overwhelm the viewer with their sheer visual presence, their muscular use of paint and the power of their formal and colour contrasts. Yet at the same time, according to Lynton, Tillyer seems to be stating something which "comes perilously close to the thoughts of that famous piece of versifying: 'Poems are made by fools like me / But only god can make a tree.' Or: beware, this is only art; admire it, but know what you are admiring; do not use my paintings as a pretext for adoring nature." The implication here seems to be that while Tillyer could, had he wished, have created paintings which cajoled the viewer to bask in the pleasures that convincing landscape images provide, he elected not to, instead utilising a marked economy of means to suggest form, using, for example, only a single brushstroke to articulate a cloud, or the canopy of a tree, as in Untitled (1989). The Westwood paintings, sparse, yet Herculean in their vigour, insist on being blatantly synthetic; they declare their own artifice emphatically. Colours seem to lie on the very threshold of the picture plane, recession is implied very rarely, and patches of unpainted canvas abound. These are not landscapes, they cannot even accurately be termed depictions of them. This is Tillyer's version of the Verfremdungseffekt, Brecht's way of "making strange" lest his audiences should settle down into passive receptivity.

Many forms and gesture recur. However, what Tillyer calls "gestures", a word redolent of the ostensibly intuitive actions of abstract expressionist painting, are in fact wholly deliberate. They need to be: their placing is exact and they can be huge. Their colour identifies their real-world referent, for example: (blue) sky, (white) cloud, (green) tree, (red) plant, (brown) earth and so on. Wide brushes are used to pick up more than one colour or tone. Thus in the same form might be found green, mingled with yellow or brown. In Green Landscape with Tree and Cloud (1989), a broad blue arc is partly covered by a black curve, and this in turn is overlaid with a shorter stroke in brilliant white, the topmost lateral edge of which is yellow, indicating a Tillyer cloud. In many places colours nestle within other colours, to suggest form, in this way.

Living in Arcadia
The Living in Arcadia paintings were made in Yorkshire in 1990–91. In them, writes David Cohen, Tillyer "juxtaposes the organic and the geometric, the gestural and the rational, the empirical (felt, observed) and the ideal (thought, imposed)." These dualities are certainly there, and patent once we look for them. But the way he explores them makes it dangerous to attribute standard qualities to them: nothing is ever quite what it seems. Certainly they are "organic" and "geometric": these adjectives are clear enough. "Gestural", however, implies that the forms are not planned and thought-out, which axiomatically they are. Tillyer deploys pictorial rhetoric masterfully, using forms that look spontaneous and emotive with the same deliberation as geometric forms. Tillyer observes nature, but he also observes mankind's work. The world of design is as much within his remit as the world of nature, and "design" here includes aspects of modern and old-master art that could well be labelled "ideal". His process is constructive as well as deconstructive. In paintings such as Square Form (1990), we see him assembling forms and marks in a considered way. The work's form betrays the artist's process, which involves clear thought before and during its creation. The canvas is square and white. In its lower left corner is a black square, its sides uneven, a blue parallelogram apparently rising from either behind or above it, the bottom edge of which seems to fade away. All the other forms are gestural, and yet their clear, crisp outlines would appear to belie the artist's ostensibly spontaneous mark-making. Organic yet geometric; gestural yet rational.

Tillyer's presentation of elements which speak of nature together with elements that speak of human manufacture and human logic has been in his art from the first: two sorts of reality, linked because nature too adheres to logical processes and by the fact that we live in an environment made up of both. His habit of interrupting our reception of his images was born out of his desire to stop us mistaking art's artificial procedures and results as reality—that is to say, as a persuasive representation of something real. Here we get to the point of the series. The title, Living in Arcadia refers to two pictures by the classical French Baroque painter Nicolas Poussin. Their original titles are uncertain now. They are often labeled Et in Arcadia ego (1627/1637–38), in itself an ambiguous phrase, that is perhaps best translated: "I too lived in Arcadia". In both versions, shepherds examine a sarcophagus. The implication is that they have just discovered the stone monument and, having read its portentous epitaph, are pictured in the process of comprehending its significance. Even in Arcadia, that idyllic pastoral land associated with perfect well-being, death rules. Poussin's humans and the sarcophagus make for an unambiguous contrast: they and their natural environment live, while it speaks of death. Tillyer's series engages broadly with the same idea. His coloured forms may refer to nature, but he shows us quite clearly that they are merely acrylic (and therefore artificial) pigments, applied to panel – not natural and not alive – while the nominal "square form" is perhaps his equivalent to Poussin's man-made tomb.

Fearful Symmetries
When Tillyer's Fearful Symmetries series was shown at the Bernard Jacobson Gallery in 1993, the catalogue reprinted an article Martin Gaylord had written a few weeks earlier. Gayford visited Tillyer in Yorkshire, and discussed with him his ideas about nature and landscape and his thoughts concerning watercolour painting, his own and his most important predecessors', Alexander and John Robert Cozens, J. M. W. Turner, John Sell Cotman etc. The first months of 1993 saw a large exhibition of 'The Great Age of British Watercolours' at the Royal Academy, and it made good sense to get Tillyer's response to this on the way to focusing on his own use of the medium. Tillyer declared his interest in the founders of this 'great age', and distanced himself from the elaborately worked watercolours of the mid-Victorians, done, as he said, to compete with oil paintings but essentially unable to. "Each medium has its own nature. It's what you're saying with the medium that's important." He emphasised the originality, the modernity, of the past painters he admired, and also his personal aversion to making topographical portraits of selected landscapes. But he also stressed the affinity of watercolours to the British landscape, and vice versa: "Around here moisture appears actually to rise out of the ground, out of the earth. It almost feels as if the sky is being formed from the earth – a rising of moisture into the void of the sky. Watercolour is almost the very nature of landscape in itself, its own properties. Landscape is simply weather – air and water... To my mind, the pure use of watercolour involved starting from white paper, and then gradually working back – so that any light and air you want in the piece is the first mark you make." About the new series of paintings Gayford said very little. It was primarily Tillyer's watercolours he had gone to discuss, in the context both of 'the great age' and of Tillyer's thoughts about nature and about the Romantic/classical duality signalled so firmly in the Westwood and Living in Arcadia paintings. The new paintings were being prepared for their trip to London. Gayford mentioned the contrast each of them offered, the "rather jarring opposition" between the natural forms, usually on the right, and the geometrical forms, usually on the left, now made as cuts into the canvas-on-board front plane. He rightly emphasised both that contrast, which seemed to him like "a contest, even a battle", and the resolution of the two elements on the conceptual level, since nature's forms too are structured mathematically. He also explained Tillyer's use of the series title, Fearful Symmetries. The words echo William Blake's, in his poem The Tyger, but Tillyer says he took them from the title of a piece of music by the American composer John Adams. In many respects the new series continues methods and images initiated in the Living in Arcadia series. However, the new series, produced in 1992–93 is more concentrated, in that all the paintings have the same format and dimensions (36 x 42 inches), and are all set into the characteristic Tillyer timber frame, painted in various blue-greys. Ayton (1993), for example, is painted on uninterrupted canvas, sans wire mesh and sans planar recession, in thinned acrylic over white and could almost be a watercolour, a suitably delicate response to light and air.

The Kachina paintings
In the autumn of 1994 Tillyer showed his next series, the Kachina paintings, at André Emmerich's gallery in New York. The catalogue appends a Tillyer text, 'some Brief Notes'; the introduction is by Martin Gayford. In it, Tillyer writes about the Italian Renaissance as, for all its positive achievements, a deleterious episode in the long history of art: "The Kachina paintings... may also be seen as a visual essay on the relation of illusion to reality... of the Renaissance ideal of spatial illusionism to the Byzantine concept of the object. The failure in the 15th century to couple the new Renaissance concepts of perspective and illusionistic space with those of Byzantium made for a lost opportunity. It is only in the 20th century that this failure has begun to be redressed." For the art historian this raises all sorts of difficulties, but the underling truth in what Tillyer outlines was known to the great innovators of Modern art, to Gauguin and Cézanne especially, as is shown by their efforts to abandon not only academic illusionism but also the illusionism of tone and colour still purveyed by Impressionism, in favour of a new flatness and formal, as opposed to naturalistic, rightness; also known to Matisse, Kandinsky, Malevich etc., who gave priority to the demands of the pictorial object and of their media. The Cubism of Picasso and Braque was, among other things, a dialectical treatment of the opposition to which Tillyer refers. And surely by at the very latest 1950, roughly the time when Matisse made his great paper cut-out compositions, and Pollock his finest drip works, the Albertian tradition of the tabula quadrata as a window on to reality had been set aside, countered by something equally powerful. Tilyer, however, takes this rejection further still. It is one thing for Pollock to substitute for perspective and tonal modelling the material reality of paint and colour and the brushstroke as visual fact. It is quite another to change the language of painting altogether, fracturing its traditional logic by introducing other, conventionally incongruous media, as in Tillyer's substitution of the canvas for a wire lattice in his earlier Mesh works.

The Kachina paintings likewise make reference to unconventional media: the kachina dolls made by the Native America Hopi tribe. The kachina doll, writes Tillyer in the catalogue, is "icon-like," and provided him "with a vehicle to explore the dialogue between nature seen romantically and the geometry of man-made forms" to which the series (and much of his earlier work) makes reference. Kachna dolls are at once figurative and geometrical; in them "gesture counters geometry." The forms of the paintings are themselves taken from the dolls, most obviously the blue ratchet-edged insectile biomorph that in Blue Ogre (1994) appears to devour the green and yellow comma-like gestures around which it curves. Though almost every painting in the series is vertical and many of them present dominant forms – "gestures" – of this sort, the artist has remarked: "They are all landscapes. All the paintings are kachinas, but most could just as well be given the title Landscape with Ruins." This refers to Tillyer's use of the type of landscape inherited from, primarily, Poussin. In the Westwood and Living in Arcadia paintings, we saw him knotting and fusing his pictorial signs for nature into quite concise clusters, operating as emblems more than as glimpses of landscape. Now he uses parts and aspects of the dolls in addition to Poussin's geometric and stereometric forms in his internal debate on the nature of art. This becomes more assertive than before, more up-front, less implicit. It is partly that the images themselves are so insistent. Big forms, on the surface as paint, run swiftly from top to bottom, sometimes organic and gestural, or else hard and geometric, flat and voluminous, relief and planar. They attempt to deal with the artist's strongly felt ideas about landscape and the nature of painting: of the eternal struggle between artifice and reality implicit in the creation, consumption and ontology of all art.

The verticality of most of the Kachina paintings, together with their compositions, which are usually firmly centred, gives them an almost figurative presence: something stands there, emerging from the tenebrous canvas ground beneath. But there are exceptions. Heart of the Sky: Orange Heaven (1994) is the only horizontal canvas in the series. It presents a dark Tillyer landscape, sliced open in the middle in the shape of a slightly asymmetrical diabolo (a sharply waisted cylinder). The back plane is black, so deep as to be almost luminous, and set against it we see most of what we take to be a bright red rectangle. The black and the red are so positive that they seem to shine out from this carved recess, overwhelming the landscape to which they play background.

The 21st century
The 21st century saw Tillyer return to making constructed works and painting on mesh much as he did in the 1960s and 70s. In the early 2000s he began work on the Hardware Variations a series of works which included door handles and unusual materials such as glass and fabric. He followed this up with the Farrago constructs in 2004, large scale sculptural constructions of wood, paint and straps and ratchets.

In 2010 a major monograph on his watercolours was published by 21 Publishing covering almost 40 years of his practise. In the extensive text American art critic and poet John Yau writes: "However beautiful they are, and many of them are extremely beautiful, almost painfully so, Tillyer's watercolours never lead us away in favour of an Edenic vision."

In 2013 Middlesbrough Institute of Modern Art in Middlesbrough MIMA held the first major retrospective exhibition of Tillyer's work since 1996.

In late 2017, Bernard Jacobson announced in the Art Newspaper that he would be filling most of his 2018 exhibition schedule with shows dedicated to Tillyer, launching "five separate exhibitions incorporating new and historic works by the Middlesbrough-born artist." Jacobson, who has been Tillyer's dealer since 1969, stated: "He was an unknown then, and I’ve stayed loyal to him since. I consider him the heir to Constable through Cézanne and Matisse. He is an intensely private man who is completely outside the system, and I’m keen to set the record straight."

In 2018 Tillyer made his largest work to date, The Golden Striker, a free hanging 9 metre work of 5 panels of acrylic mesh in which the paint seems to be woven through the image, Tillyer describes these paintings as Tapestry paintings.

Selected solo exhibitions

 * 1971: Serpentine Gallery, London
 * 1975: ICA Galleries, London
 * 1978: Bernard Jacobson Gallery, London
 * 1983: Bernard Jacobson Galleries, London, New York and Los Angeles
 * 2008: "William Tillyer: The Cadiz Caprices", Bernard Jacobson Gallery, London
 * 2014: "William Tillyer: Against Nature", mima, (Middlesbrough Institute of Modern Art), Middlesbrough
 * 2015: "William Tillyer: The Palmer Paintings", Bernard Jacobson Gallery, London
 * 2018: "William Tillyer: Radical Vision — Works 1956–2017", Bernard Jacobson Gallery, London
 * 2018: "William Tillyer: À Rebours — A portfolio of 52 Prints", Bernard Jacobson Gallery, London
 * 2018: "William Tillyer: A Painting Survey", Bernard Jacobson Gallery, London
 * 2018: "William Tillyer and Alice Oswald: Nobody", Bernard Jacobson Gallery, London
 * 2018: "William Tillyer: The Golden Striker — Esk Paintings", Bernard Jacobson Gallery, London

Selected bibliography

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: William Tillyer


text:
Daniel Steibelt

Daniel Gottlieb Steibelt (22 October 1765 – 2 October 1823) was a German pianist and composer. His main works were composed in Paris and in London, and he died in Saint Petersburg, Russia. He once challenged and lost to Ludwig van Beethoven in a piano duel.

Biography
Steibelt was born in Berlin, and studied music with Johann Kirnberger before being forced by his father to join the Prussian Army. After deserting, he began a nomadic career as a pianist before settling in 1790 in Paris, where he attained great popularity as a virtuoso as the result of a piano sonata called La Coquette, which he composed for Marie Antoinette. Also in Paris, his dramatic opera entitled Romeo et Juliette, which was later highly regarded by Hector Berlioz, was produced at the Théâtre Feydeau in 1793. This is held by many to be his most original and artistically successful composition.

Steibelt began to share his time between Paris and London, where his piano playing attracted great attention. In 1797 he played in a concert of J. P. Salamon. In 1798 he produced his Concerto No. 3 in E containing a Storm Rondo characterized by extensive tremolos, which became very popular. In the following year Steibelt started on a professional tour in Germany; and, after playing with some success in Hamburg, Berlin, Dresden, and Prague, he arrived at the end of March 1800 at Vienna, where he is reported to have challenged Beethoven to a trial of skill at the house of Count Moritz von Fries. The oft-quoted account by Ferdinand Ries was written 37 years later; Ries did not attend it and became only later a student and friend of Beethoven. The duel between Steibelt and Beethoven consisted of multiple rounds as different assessments of each player's skill. The first round was a prepared playing of someone else's composition. For this Beethoven played a Mozart composition, and Steibelt performed a Haydn piece. The next round of competition involved each player improvising over a theme supplied by their opponent. According to Ries, Beethoven won the first two rounds with ease. The third and final round secured Beethoven's victory. Each player was to sightread a newly written piece from their opponent. Steibelt was given Beethoven's Piano Sonata in Bb Major, Op. 22, which did earn him some considerable applause. However, Steibelt proceeded to bend the rules and handed Beethoven a Sonata for Cello and Piano instead of just a Piano composition. This did not faze Beethoven at all, as he simply took the score, placed it upside down, and read it backward. He then began improvising on the inversed themes for about 30 minutes, causing Steibelt to furiously storm out before Beethoven had finished. Ries stated that Steibelt had "made it a condition that Beethoven was not to be invited where his own company was desired".

Following this supposed public humiliation Steibelt ended his tour. (The date of his departure from Vienna is not known, while Beethoven did leave Vienna at the end of April or the beginning of May: he played in Buda, Hungary, on 7 May.) Steibelt went again to Paris, where he organized the first performance of Joseph Haydn's oratorio The Creation, which took place on 24 December 1800 at the Opera House. On his way to it, the First Consul Bonaparte narrowly escaped a bomb attack. Steibelt had just published one of his most accomplished sonatas, which he had dedicated to Bonaparte's wife, Josephine. After a second stay in England from March 1802 to March 1805, Steibelt returned to the continent, gave concerts in Brussels (April 1805), and was back in Paris in Summer. He celebrated Napoleon's triumph at Austerlitz with a Musical Interlude named La Fête de Mars, whose première was attended by Napoleon in person (4 February 1806).

In 1808 he was invited by Tsar Alexander I to Saint Petersburg, succeeding François-Adrien Boieldieu as director of the French Opera in 1811. He remained there for the rest of his life. In 1812, he composed The Conflagration of Moscow, a grand fantasy for piano dedicated to the Russian nation. Steibelt generally ceased performing in 1814 but returned to the platform for his Concerto No. 8, which premiered on March 16, 1820, in Saint Petersburg, and is notable for its choral finale. This was four years before Beethoven's unconventional Symphony No. 9 and was the only piano concerto ever written (excluding Beethoven's Choral Fantasy) with a part for a chorus until Henri Herz's 6th concerto, Op. 192 (1858) and Ferruccio Busoni's Piano Concerto (1904). Steibelt died in Saint Petersburg on 20 September 1823 (2 October N.S.), following a prolonged illness.

Legacy
Besides his dramatic music, Steibelt left behind him an enormous number of compositions, mostly for the piano. His playing was said to be brilliant, though lacking the higher qualities which characterized that of such contemporaries as Cramer and Muzio Clementi. Despite this, his playing and compositional skills enabled him to build a career across Europe. Grove describes him as "extraordinarily vain, arrogant, discourteous, recklessly extravagant and even dishonest." Such harsh moral judgements are justified by some of the facts of Steibelt's life as they have come down to us.

Selected list of his works
1) Stage
 * Romeo et Juliette, 3 acts (1793)
 * Albert et Adelaide, 3 acts (1798)
 * Le retour de Zephyr, 1 act ballet (1802)
 * Le jugement du Berger, 3 acts ballet (1804)
 * La Belle Laitière, ou Blanche Reine de Castille (1805)
 * La Fête de Mars, intermezzo (1806)
 * La Fête de l'Empereur, ballet (1809)
 * Der Blöde Ritter (1810)
 * Sargines, 3 acts, opera (1810) (This is most likely not a work by Steibelt.)
 * Cendrillon, 3 acts opera (1810)
 * La Princesse de Babylone, 3 acts opera (1812)
 * Le jugement de Midas (1823?)

2) Orchestral
 * Concerto No. 1 for Piano and Orchestra in C (Paris edition in 1794)
 * Concerto No. 2 for Piano and Orchestra in E minor (1796?)
 * Concerto No. 3 for Piano and Orchestra in E "L'orage" (created in 1798; Paris ed. 1799)
 * Concerto No. 4 for Piano and Orchestra in E♭ (1800?)
 * Concerto No. 5 for Piano and Orchestra in E♭ "À la chasse" Op. 64 (created in 1802; Paris ed. 1805)
 * Concerto No. 6 for Piano and Orchestra in G minor "Le voyage au mont Saint-Bernard" (Paris edition 1817)
 * Concerto No. 7 for Piano and Orchestra in E minor "Grand concerto militaire dans le genre grec", with 2 orchestras, (Paris ed. 1818)
 * Concerto No. 8 for Piano and Orchestra in E♭ "with bacchanalian rondo, acc. chorus" (1820), not published.
 * Harp Concerto (1807)
 * Ouverture en Symphonie (1796)
 * Marches and Waltzes

3) Chamber
 * Rondo favorite, for violin or flute, and guitar
 * 3 String Quartets, Op. 17 (1796)
 * 3 Quintets for Piano and Strings, Op. 28 (1797)
 * 6 String Quartets, op. 34 (ca 1799)
 * 3 Duos for Violin and Guitar, Op. 37
 * 3 String Quartets, Op. 49 (1800)
 * 3 Violin Sonatas, Op. 69
 * 1 Quartet for Piano and Strings
 * 26 trios for piano and strings
 * 6 trios for harp and strings
 * 115 duos for piano and violin (?)
 * 6 duos for Piano and Harp (or for two pianos)
 * 6 sonatas for harp
 * 36 bacchanals and 12 divertissements for Piano, tambourine and triangle ad lib.
 * 77 sonatas for piano solo
 * 45 rondos
 * 32 fantasias
 * 21 divertissements
 * 12 caprices or preludes
 * 20 pots-pourris
 * 2 series of serenades
 * 25 series of variations
 * 16 sonatas for piano 4 hands (at least 6 of them are apocryphal works)
 * Descriptive pieces (Triumph, sieges, marches funebres ... )
 * Waltzes, danses.
 * Studies, Op. 78

4) Methode de Pianoforte (1805)

5) Songs
 * 6 romances (1798)
 * Air d'Estelle (1798)
 * 30 songs, Op. 10 (1794)

Selective discography

 * Variations on two Russian Folksongs, Irina Ermakova, piano (Arte Nova ANO 516260, 1996)
 * Sonata in E major, Hiroko Sakagami, piano (Hans Georg Nägeli, publisher and composer, MGB CD 6193, 2002)
 * Grand Sonata in E-flat major, dedicated to Madame Bonaparte, Daniel Propper, piano (Echoes of the Battlefields, Forgotten Records, fr 16/17P, 2012)
 * The Conflagration of Moscow, a grand fantasia, Daniel Propper, piano (Echoes of the Battlefields, Forgotten Records, fr 16/17P, 2012)
 * Grand concerto for harp, Masumi Nagasawa, harpe, Kölner Akademie, dir. Michael Alexander Willens (Ars Produktion, ARS 38 108, 2012)
 * Sonata in C minor, Op. 6 No. 2, Anna Petrova-Forster, piano (Gega New, GD 362, 2013)
 * Etudes, Op. 78 (Nos. 50, 32 and 3), Anna Petrova-Forster, piano (Gega New, GD 362, 2013)
 * Sonata in D major, Op. 82, Anna Petrova-Forster, piano (Gega New, GD 362, 2013)
 * Concerto in G minor, No. 6, Le voyage au Mont St. Bernard, Anna Petrova-Forster, piano (Gega New, GD 362, 2013)
 * Rondo The Storm, from his Concerto No. 3, Anna Petrova-Forster, piano (Forgotten Records, fr 32P, 2015)
 * Rondo Les Papillons, Anna Petrova-Forster, piano (Forgotten Records, fr 32P, 2015)
 * Fantaisie and Variations on two Russian themes, Anna Petrova-Forster (Forgotten Records, fr 32P, 2015)
 * Sonata in G major, Op. 64, Anna Petrova-Forster (Forgotten Records, fr 32P, 2015)
 * Etudes op.78, Nos. 10, 11, 24, 26, 30, 31, 33, Anna Petrova-Forster, piano (Toccata Classics, TOCN0005, 2021)

title: Daniel Steibelt