American Realist Landscape Prints

George Biddle (1885-1973), Hombre! Que Sin Vergeunza!, 1928, lithograph, signed and dated in pencil lower right, titled and numbered lower left [also signed in plate lower left ”Biddle/1928/44]. References: Pennigar 78, Trotter 44. Edition 100. In excellent condition (never framed, without light or time staining), with wide margins, the full sheet, 9 3/4 x 13 3/4, the sheet 15 1/2 x 20 1/2 inches. Printed by George C. Miller. On cream wove paper with the FRANCE watermark. Archival mounting (mylar unattached mounting between acid-free board). A fine, fresh impression, in pristine condition. According to Pennigar the title translates roughly to “Buddy! Aren’t you ashamed of yourself!” The title refers to the composition: the well-groomed man with his foot up in the carriage passes a group of naked little boys...

"French Air Show with Remarque of Head of Pilot" is an original lithograph and stencil print by Marguerite Montaut (GAMY). It depicts an early airplane flying above a crowd of specta...

"Homeward Bound" is an original etching by D. Landers after a painting by Charles Harold Davis. The artist signed the piece lower right. It depicts a woman in a field. 13 1/4" x 20...

John Stobart "St. Louis, Gateway to the West" Color Lithograph 30 x 42 inches framed Signed in Pencil and Numbered 434/750

A fine impression, on cream wove paper, with full margins (5/8 to 1 3/8 inches), in excellent condition. Edition 20. Signed and dated in pencil. Annotated 'Bolton Brown...

A superb impression in warm black ink, on cream, laid paper; the full sheet with margins (1 5/8 to 2 3/4 inches); original brown paper hinges on the top sheet edge recto, in excellen...

Michael Di Cerbo was born in Paterson, New Jersey in 1947. He received his BFA and MFA from Pratt Institute. He is a member of the National Academy of Art, the Society of American...

Artist: Richard Haas, American (1936 - ) Title: Copley Square, Boston Year: 1993 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 65...

Beautiful early 20th Century etching on vellum of the Monterey Bonifacio Adobe known as The Old Sherman Rose House, with climbing roses, by Ferdinand Burgdorff (American, (1881 - 1975), 1923. As in many of the artist's works, this piece conveys a mysterious and dark mood. Artwork has been professionally conserved. Titled, signed and dated lower edge. Archival mat and backing. Image size: 9.75"H x 11.75"W. Born in Cleveland, Ohio, Ferdinand Burgdorff studied at the Cleveland School of Art and in Paris with Rene Menard and Florence Este...

Frank Arthur Nankivell (18691959), [Walking in the Woods at Night], drypoint, c. 1910, signed in pencil lower right. Printed on a cream laid paper. In good condition, with margins (s...

Michael Di Cerbo was born in Paterson, New Jersey in 1947. He received his BFA and MFA from Pratt Institute. He is a member of the National Academy of Art, the Society of American...

Published by N. Currier, 152 Nassau St. New York. Drawn on the stone by O. Knirsch. Lithograph hand-colored, 1853. This print was produced by Nathaniel Currier's staff as a Christ...

Artist: Richard Haas, American (1936 - ) Title: General Electric Building Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 20 Image Size:...

"The Fisherman's Catch" is a signed (in pencil lower right and in plate lower left) etching by James Fagan. It depicts a fisherman walking on a beach in black and white. It is signed...

Artist: Richard Haas, American (1936 - ) Title: American Radiator Building Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 20 Image Size...

Reginald Marsh (1898-1954), Erie RR and Factories, etching and engraving, 1930, signed in pencil lower right and numbered (10) lower left [also signed and dated in the plate]. Refere...

Ira Moskowitz (1912-1985), [Mountain Scene], 1943, lithograph, signed in pencil lower right, numbered lower left (27/50) [also signed and dated 1943 in ...

Artist: Richard Haas, American (1936 - ) Title: Guggenheim Bilbao Year: 2000 Medium: Lithograph and Silkscreen on Aluminum, signed and numbered Edition: 15...

John Sloan ((1871-1951), Westminster Abbey, c. 1891, the complete set of13 etchings, ribbon bound with ahand-painted gilt cover [many of the etchings...

Howard Cook (1901-1980), Soaring New York, aquatint, soft0ground etching, roulette, 1931-2; signed, dated and annotated “imp” in pencil lower right, titled lower margin. Reference: D...

Armin Landeck created this 1936 drypoint was printed in an edition of 100. The image size is 6 7/8 x 10 7/8" and the paper size 12 1/2 x 16". It is Signed and dated in the...

Reginald Marsh (1898-1954), Tank Car Rail, 1929, etching, signed lower right and numbered 15 lower left margin [also signed and dated in the plate]. Reference: Sasowsky 86, fifth sta...

Artist: Richard Haas, American (1936 - ) Title: Cities Services Building (Blue) Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 30 Image Size: 20 x 16 inches Size:...

Frederick Garrison Hall (1879-1946), Beach and Willows, etching, c. 1920, signed in pencil by the artist (?) and annotated "by HPH". Reference: Elton Waylon Hall: Frederick Garrison ...

John Sloan etching Schuylkill River, 1894, signed, titled, annotated “100 proofs” [only 25 were printed], also signed by the printer “Peter Platt im...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

Montparnasse Street– 1931, Etching Duffy 128. Edition 50, only 25 printed. Signed, dated, and annotated imp and 50 in pencil. Image size 4 7/8 x 9 7/8 inches (124 x 251 mm); sh...

Reginald Marsh (1898-1954), Skyline from Pier 10, Brooklyn, etching, 1931, signed in pencil [also signed in the plate]. Reference: Sasowsky 129. First state (of 4). In very good cond...

Reginald Marsh (1896-1954), Jersey City Landscape, etching and engraving, 1939, signed in pencil lower right [also signed and dated in the plate]. Referenc...

Martin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impress...

Reginald Marsh (1896-1954), Pennsylvania Rail Road Loco Waiting to be Junked, 1932, etching, signed in pencil lower right and numbered “12” lower left. Reference: Sasowsky 130, fift...

Artist: Richard Haas, American (1936 - ) Title: Manhattan View from Governor's Island (Color) Year: 1999 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 85 ...

Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

Original Fight or Buy Bonds, Third Liberty Loan vintage poster. Linen backed in excellent condition. Ready to frame. This image features an image of a woman known as a ‘Christy Girl’. His wife inspired the women in Howard Chandler Christy’s Women. The hair color may change in the various posters, but the woman is always the same. What a tribute for his wife. One of the most famous and influential WW1 propaganda...

Missouri Arrival (Flood) c. 1940 By Joseph Vorst (1897-1947) Signed Lower Right Unframed: 11" x 8.25" Framed: 18.5" x 15.5" German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind. Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...

One of Their Pets (Two Farm Boys and Cow at The Watering Hole) By Joseph Vorst (1897-1947) Signed Lower Right Edition 1/50 Lower Left Unframed: 8.5" x 11" Framed: 16" x 18.5" German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind. Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...

Neil Welliver Loon, 1998 color etching, ed. of 175 29 3/4 x 29 5/8 in. (75.6 x 75.2 cm)

Armin Landeck (1905-1884), Sunset Palace Lodge, 1938, drypoint, signed, dated and inscribed “ed 100” in pencil, on a heavy cream wove paper, the full sheet with deckle edges, 6 x 7 7...

Reginald Marsh (1898-1954), Loco-Erie Watering, 1929, etching, signed in pencil lower right, and numbered (16) lower left. Reference: Sasowsky 85, fourth state (of 4). On Whatman pap...