Art

Fernand LÉGER Chair, Hat and Cow, 1959 Original lithograph and stencil Printed signature in the plate On vellum Auvergne 38,9 x 50 cm (c. 15,3 x 19,6 Inches) Published in 1959, under the control of the wife of the artist, Nadia Léger...

Marc Chagall (1887-1985) - Sketch for L'Âne bleu stamped with the signature 'Marc Chagall' (lower right) pastel and charcoal on paper 18 7⁄8 x 24 in. (48 x 61 cm.) Executed in 1954 ...

This piece is a lithograph in colors (after)Pablo Picasso, done in 1957. Picasso created this piece for the special issue of the art publication XXe Sicle Review No. 10, entitled "Ho...

Jean Cocteau ( 1889 -1963 ) " Bouc Trois Faces " . circa 1958 . coupe 36cm Terre Blanche engobes : noir et fer rouge Tirage : 20 exemplaires Ref: R 306 page 76 du catalogue rais...

Pablo Picasso (1881-1973) - Dans l'Atelier de Picasso Lithograph from 1957. The edition 211/275. Dimensions of work: 44.5 x 33.5 cm Publisher: Fernand Mourlot Éditeur, Paris. Re...

Morris Blackburn, 'Avalon South', wood engraving, 1951, edition 30. Signed, titled, and numbered '12/30' in pencil. A fine black impression on cream wove Japan paper, with wide margins (1 3/8 to 2 1/4 inches), in excellent condition. Archivally sleeved, unmatted. Image size 5 x 7 inches (127 x 178 mm); sheet size 8 5/8 x 10 7/8 inches (219 x 276 mm). ABOUT THE ARTIST Morris Blackburn was a prominent painter, printmaker, and graphic artist, as well as a respected teacher at the Philadelphia Museum School of Industrial Art and the Pennsylvania Academy of Fine Arts. Born in Philadelphia, where he spent most of his career, Blackburn was a descendant of the notable colonial portrait artist Joseph J. Blackburn (c. 1700–1780). He developed an interest in art early on and studied architectural drawing at the Philadelphia Trade School. In 1922, he took classes at the Graphic Sketch Club and later attended the School of Industrial Art. While working for the well-known Philadelphia furniture designer Oscar Mertz, he studied at the Pennsylvania Academy of the Fine Arts from 1925 to 1929. During his studies, he learned painting from Henry Bainbridge McCarter...

Wonderful early American modernist abstract expressionist oil painting. Framed. Oil on canvas. Signed.

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 8...

Henri Matisse (1869-1954) - Fleurs de Neige Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm Plate signed. Publisher: Tériade, Paris. First, original edition. The work ...

Lithograph on vélin paper. Paper Size: 15 x 22 inches; image size: 15 x 18 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné ref...

A beautiful large 1950's French expressionist oil on canvas depicting locals taking an afternoon stroll, by Paris painter André Beaucé. Excellent quality ...

Y. Gonez (French, mid-20th century) Market Scene, Montmartre with Sacré-Cœur, ca. 1950s Oil on canvas, in a Montparnasse-style frame In this lively street scene, Y. Gonez captures t...

Signed lower left, 'Pauline Palmer' (American, 1867-1938) and painted circa 1915, two years after the artist's first solo exhibition at the Art Institute of Chicago. Exhibited: Chicago Galleries Association and titled, 'Sunny Yards' (attached, partial label from original frame) A staunch proponent of pure Impressionism at the turn of the twentieth century, Pauline Palmer influenced the world of American art far beyond her Midwestern art community. Primarily known for her landscapes and portraits, Palmer rejected the waves of modernism that hit the United States in the teens and twenties, remaining true to the traditions of Impressionism. In 1923, she established the Association of Chicago Painters and Sculptors as an alternative to the increasing number of institutions celebrating Abstraction and Cubism. Pauline Palmer was enrolled at the Art Institute of Chicago from 1893 to 1898, and studied with some of the most prominent artists of the period, including William Merritt Chase and Frank Duveneck. Following her graduation, Palmer moved to Paris and attended the Académie de la Grande Chaumiére and the Académie Colarossi, where she studied under Raphael Collin. While in France, she exhibited with success including at the Paris Salon each year from 1903-06 and, again, in 1911. Her principal teacher and friend in Paris was the American Impressionist, Richard Emil Miller, whose shimmering handling of light made a profound impression upon her. Palmer also traveled extensively throughout Europe, a rite of passage for aspiring artists of her time. Returning to Paris, she studied with Gustave Courtois and Lucien Simon, both exemplars of compositional structure. Upon her return to the United States, Palmer set up her first American studio in the legendary Tree Studios building in Chicago. The artist's husband, Dr. Albert Palmer, whom she had married in 1891, both supported and encouraged his wife's artistic development. The couple kept a summer home in Provincetown, Massachusetts, where she made friends with many of the Portuguese fishermen's families, often using their children and the routines of their daily lives as subject matter for her painting. Pauline Palmer exhibited widely and with success, including in Italy, France, Norway and throughout the United States. Her works were shown at the National Association of Women Painters and Sculptors and, beginning in 1899, she exhibited at the Art Institute of Chicago for twenty-seven consecutive years. Over the course of her long career, she exhibited over 250 paintings at the Art Institute of Chicago, including at two solo exhibitions. She was the recipient of numerous prizes, medals and juried awards including nearly all the AIC's major awards, purchase prizes and honorable mention citations. Palmer also received a gold medal from the Colarossi Academy in Paris. Involved in numerous artist organizations, she was a member of the Chicago Municipal Art League, the Chicago Art Guild, the Chicago Arts Club and a charter member of the Chicago Women's Salon. Elected the first woman president of the Chicago Society of Artists, she went on to serve as president of both the Art Institute Alumni Association and the Chicago Association of Painters and Sculptors. Considered by the Modernists of her day to be a traditionalist, Pauline Palmer remained true to her artistic vision and she continues to be regarded as one of the leading women of American Impressionism. Her light-filled, colorful compositions captured landscapes and scenes of American daily life with unusual freshness and seeming effortlessness. Celebrated during her life as "Chicago's Painter Lady," Palmer was honored twelve years after her death by a posthumous retrospective at the Art Institute of Chicago and the establishment of an annual scholarship awarded in her honor by the Art Institute of Chicago. (with thanks to Hali Thurber) CHRONOLOGY 1867, Born in McHenry, IL 1885, Moves to Chicago to teach art 1891, Marries Dr. Albert Elwood Palmer 1893, Exhibits, World's Columbian Exposition, Chicago 1896, First exhibits at the Art institute of Chicago 1898, Exhibits at Exposition in Omaha, NE 1899, First exhibit, Pennsylvania Academy of Fine Arts 1900-1902, Studies with various artists in Paris 1901, Exhibits at Exposition in Buffalo 1903-1906, Exhibits at Paris Salon 1904, Exhibits at Universal Exposition in St. Louis, 1907, Four prizes at the Art Institute of Chicago 1911, Exhibits at the Paris Salon 1911, Exhibits at the Expositione de Belle Arti, Naples 1913, Solo exhibition, Art Institute of Chicago 1915, First prize, Society of Western Artists 1917, Opens first American studio in Chicago 1918, First woman president, Chicago Society of Artists 1918-1929, holds position of president for 11 years 1918-1921, Silver medals, Society of Chicago Artists 1921, Silver medal at Peoria Society of Allied Artists 1927, President, The Art Institute Alumni Association 1929-1931, President, Chicago Association of Painters and Sculptors 1938, Dies, Trondheim, Norway AWARDS 1904, Universal Exposition in St. Louis, bronze medal 1907, Art Institute 's Chicago Artists' Exhibition 1915, Society of Western Artists exhibition, first prize 1918, Society of Chicago Artists, silver medal 1921, Peoria Society of Allied, silver medal Solo Exhibitions: 1913, Art Institute of Chicago 1939, Art Institute of Chicago, memorial exhibition Union League Club of Chicago, memorial exhibition Group Exhibitions: 1893, World's Columbian Exposition in Chicago 1896, Art institute of Chicago 1898, Exposition in Omaha, NE 1899, Pennsylvania Academy of Fine Arts 1899-1926, Art Institute of Chicago 1901, Exposition in Buffalo 1903-06 Paris Salon 1904, Universal Exposition in St. Louis 1911, Paris Salon 1911, Expositione de Belle Arti, Naples 1915, Exposition in San Francisco 1950, Chicago Galleries Association 1984, Lakeview Museum of Arts and Sciences, Peoria Memberships: 1918-29, First woman President,Chicago Society of Artists 1927, President of The Art Institute Alumni Association 1929-31, President of Chicago Association of Painters and Sculptors Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. X, page 523; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. XXVI, page 129; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. III, page 2512; Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, Glen B. Opitz, Apollo Press 1983, page 708; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. II, page 1047; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, page 326; Pauline Lennards Palmer...

Medium: Lithograph on vélin paper Year: 1954 Paper Size: 14.25 x 10.125 inches Inscription: Inscription: Unsigned and unnumbered, as issued Catalogue Raisonné Reference: Cramer 67; B...

Signed lower right, 'Bickerstaff' for George Sanders Bickerstaff (American, 1893-1954) and painted circa 1950. This California landscape painter was born in Arizona and studied at t...

"Superficie 324" is a 1988 screen print (serigraph) of a 1959 painting by Capogrossi. This is one of his famous "comb" or "fork" works that he perfected in the 1950s and continued to create for the remainder of his life. The blocks of primary red and yellow colors give a bright, joyful feel and contrast to the strong bold black that was Capogrossi's consistent color for the "combs". With no allegorical, psychological, or symbolic meanings, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi's signs determined the construction of the pictorial surface. This piece is identified along one side: Giuseppe Capogrossi By SIAE 1988 Silvio Zamorani Editor Via Saccarelli, 9 10144 Torino Italy Tel. (39)(11) 4730554 Progetto Grafico (Graphic Project): Studio Walter Benjamin. Serigrafia (Screen Print): BISI Torino. Capogrossi was born in Rome. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artists and acquaintances Fausto Pirandello, Corrado Cagli and Emanuele Cavalli...

ANDREAS PAUL WEBER (German 1893-1980) THE LAST PRIVATE PERSON - DER LETZIE PRIVATIER Lithograph signed in pencil and with the artist's Clan Press Stamp l...

Medium: lithograph (after the colored pencil drawing). Printed in Paris in 1952 by Mourlot Freres in an edition of 1500. The total sheet (including margins) measures 12 1/8 x 9 1/4 i...

Impressive early American modernist abstract oil painting. Framed. Oil on board. Signed. Image size, 12H by 10L.

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 12.44 x 8.31 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Henri Matisse (1869-1954) - Femme Bleue Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm Publishe...

André Lanskoy (1903-1976) - Abstract Compositon Lithograph from 1959. Edition of 25/80. Dimensions of work: 56 x 44 cm The work is in Excellent condition. Fast and secure shipment.

Pablo Picasso (1881-1973) - Los Banderillos Lithograph from 1961. Dimensions of work: 31 x 25 cm. Reference: Bloch 1016; Cramer 113.IV. Printed by Atelier Fernand Mourlot, Paris. ...

Roy Lichtenstein, ‘St. Macarius Before His Monastery,’ circa 1951: Included in the Roy Lichtenstein Foundation, Roy Lichtenstein: A Catalogue Raisonné - this unique, rare early sket...

Impressive early American modernist abstract oil painting. Framed. Oil on board. Signed.

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a couple sunbathing by the sea at Palm Beach, Florida. This is an estate stamped and hand ...

Nicely painted early American impressionist seacape painting by Elmer Ellsworth Garnsey (1862 - 1946). Oil on board. Framed. Signed verso. Image s...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 25 x 30 Frame Size: 34 x 39 Medium: Oil on Canvas Circa 1950 "Lazy Day Blues" Texas Bluebonnet Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas is in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit, and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

"Le Port de Marseille" Eugène Galien Laloue (French, 1854-1941) Gouache and watercolor on paper, original carved and gilded frame. 12 3/8 x 7 3/4 (14 1/2 x 9 5/8 frame) inches Signe...

Vibrant tidal pool seascape at sunset at Manresa Beach in Santa Cruz by Cecil F. Chamberlin (American, 1899 -1963), circa 1950. Translucent wave and breaking wave add interest and de...

This circa 1950 lithograph by Pablo Picasso, titled "L'image envahit le monde moderne...", reflects both the artist’s genius and the societal shifts of the post-war era. Picasso, one...

Medium: original lithograph. This lithograph was printed in 1956 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Medium: lithograph (after the pencil drawing). Printed in Paris in 1952 by Mourlot Freres in an edition of 1500. The total sheet (including margins) measures 12 3/8 x 9 5/8 inches (3...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Henri Matisse created a series of posters at the atelier of Mourlot Frere...

An artistically composed and colored photograph of Frank Sinatra in front of the Sands Motel with his Tbird. Sinatra at the Sands is a live album by Frank Sinatra accompanied by Coun...

Original WW1 poster. Put Fighting Blood in Your Business. Here’s his record! Does he get a Job? Arthur Woods, Assistant to the Secretary of...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 46-47, 1952. Published by Aimé Maeght, Éditeur, Paris; ...

Medium: pochoir (after the lithograph). Printed by the atelier of Daniel Jacomet, and published in Paris in 1955 by Heinz Berggruen. The image measures 5 x 3 3/4 inches (130 x 93 mm)...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Marc Chagall created a series of posters at the atelier of Mourlot Freres...

Medium: original etching. Printed in 1919 and published in Berlin by Paul Cassirer. Image size: 5 1/2 x 7 3/8 inches (138 x 186 mm). Not signed.

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 115, 1959. Published by Aimé Maeght, Éditeur, Paris; pr...

Oscar Lycke’s Aprilafton, Delsbo (“April Evening, Delsbo”), c. 1910, is a luminous oil painting that masterfully captures the gentle transition from winter to early spring in the rur...

Signed lower left, 'Ventosa' for Jose Ventosa Domenech (Spanish, 1897-1982) and painted circa 1950. A very substantial oil showing a luminous view of the isle of Mallorca with ancient olive groves and mountain cliffs bathed in warm evening light beneath clouded blue skies. A large and rare Mallorcan landscape by this notable Catalan painter. Born in Barcelona, José Ventosa Doménech first attended the San Jorge School of Fine Arts in 1911. He then undertook an extended trip to Brussels where he studied Vanguard painting before returning to Barcelona where he continued his studies with the Realist, Martí Alsina. In 1922, Ventosa worked alongside Eliseu Meifren and Domingo Soler in Ripoll. From 1924, Ventosa exhibited in Barcelona as a member of the "Nou Ambient", the Catalan art...

Rare early 1950s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of model, one of the finest, STAN STANCZYK. Stanczyk was a Gold Medali...

Original vintage poster: The U.S. Marines Want You. This military vintage poster is archival linen-backed and in fine condition, ready to frame. There is no date, artist, or printer'...

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of t...

A colorful signed lithograph by French Modern artist Jean Cocteau. This print features a stylized dancing lion with the title “Lions Club” in the upper left corner and a signature an...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

Picasso's *Colombe volant (à l'Arc-en-ciel)* is a captivating example of his mastery in the realm of printmaking. This color lithograph, signed and dated in the lower right corner, f...

This lovely British Edwardian Impressionist portrait oil painting is by noted artist Charles Henry Sims. Painted circa 1910, the young child in the painting is Alan Sims, the artist'...

Original. FIGHT OR BUY BONDS. THIRD LIBERTY LOAN. Linen backed. Lithograph. World War 1 authentic vintage poster. ARTIST: Howard Chandler Christy. Linen-backed, larger size format for this poster. Ready to frame. Despite minor edge wear touch-up from linen backing, this poster presents very well and is in above-average condition. You can be confident in the quality of this piece. One of the most famous and powerful WW1 propaganda images, this flag-waving Ms. Liberty (aka Columbia) poster is unusual in that it urged both recruitment and bond sales. The US had just entered the war when this poster appeared and it is one of the earliest examples of myriad illustrations that were used to motivate both troops and the American public. It's designer, Howard Chandler Christy, was at the height of his fame. He earned his spurs as a wartime artist when he accompanied US troops to Cuba in 1898, an experience that stood him in good stead when he was called on to create his famed series of patriotic WW1 posters...

Palm Beach Pastels 1959 by Slim Aarons Slim Aarons Limited Estate Edition Socialite Alice Topping relaxing by a swimming pool in Palm Beach, Florida, 1959. unframed c type pr...

Tempera, white lead  and watercolor in paper realized by Sirio Pellegrini in 1950s. Hand signed. Includes a wooden frame realized by the Artist cm. 78.5x58.5

Nicely painted American impressionist tropical beach landscape. Oil on board. In excellent original condition. Handsomely framed in a period wood molding. Excellent condition, re...

Realized by Picasso in 1956. Lithograph on Arches Paper. Hand Signed and numbered. Edition of 19/50.  Ref. Bloch n.790. 

Untitled, 1951 Oil on canvas 19 7/8 x 24 in. Framed: 28 1/2 x 32 1/2 x 1 1/2 in. Signed and dated lower left

Medium: original lithograph. Catalogue reference: M 234. Printed in 1956 at the Mourlot atelier and published in Paris by Maeght for the Jacques Prévert catalogue. Size: 9 x 15 inche...

Medium: lithograph (after the original lithograph poster "Sur Quatre Murs -- On Four Walls" for the Maeght Gallery). During the late 1940's and throughout the 1950's, Georges Braque ...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Miro created a series of posters at the atelier of Mourlot Freres. The li...

Flower Vase, Red Camellia, white plum, white daffodils and orchids Color woodcut, c. 1950 Signed "B. Ohno" (see photo) Seal: Bakufu (see photo) Series: Flowers of the Four Seasons Ca...