American Modern Figurative Prints

Original poster: Original World War II poster: Strong in the Strength of the Lord (L) Note that this is the large version of this poster. Acid-free archival linen-backed original WWII, U. S. Government printed vintage poster. A factory worker and a soldier all played a key part in the U.S. war effort. Published by the War Information Office in an attempt to foster greater cooperation between some different segments of society. AMERICANS SUFFER WHEN CARLESS TALK KILLS! Original 1943 U.S. Government (military propaganda) poster. Archival linen backed in A- - B+ condition, ready to frame. Note that WW2 U. S. Government posters were folded prior to being distributed. This is not considered a defect. The fold marks were restored during linen backing. Tiny chips along the bottom border. This poster promoted cooperation among various segments of American society- a woman, a soldier, and a factory worker. It is a mixture of crusading, religious, and industrial symbolism. The text quotes Henry Wallace, then Vice-President. Artist: Martin, David Stone...

Zinc lithograph on cream wove paper, 12 3/4 x 10 inches (272 x 253 mm), full margins. Signed and titled in pencil, lower margin. One work from the series titled "Salute to New York,"...

Original vintage poster Algeciras Feria 1948 vintage Spanish travel poster. Archival linen backed in very fine condition, ready to frame. N...

Etching on cream wove paper, 5 9/16 x 2 3/4 inches (142 x 70 mm), full margins. Signed, titled, numbered "III," and inscribed in pencil by the artist in the lower margin, recto. In v...

Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...

Etching on antique laid paper, 6 9/16 x 3 15/16 inches (167 x 100 mm), signed and dated in pencil, lower margin. Potentially a trial proof impression aside from the unsigned edition of 1459. Non-archival tape residue along the top and bottom sheet edges, recto, well outside of image area. Scattered handling creases and general scattered soiling in the margins, minor and unobtrusive. [Fletcher 217]. This work was commissioned by The Architectural Forum...

S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...

Associated American Artists published "Sleeping Car" by James Hendershot. This image shows a rail car filled with passengers and conductors. This exhibit...

Benton Spruance, 'Slack Rope Artist', lithograph, 1930, edition 30, Fine and Looney 35. Signed and titled in pencil. Numbered '2' in the bottom right margin. A fine impression, with ...

This extravagant subject is a clear exception in the oeuvre of Bernard Sanders. Signed in pencil; interestingly signed in the plate at the upper right ...

Foire de Paris; original lithograph; artist: Albert Solon. Year: 1954. Acid free archival linen backed Size 10.5" x 16 5/8". Excellent condition. Ready to frame The top of this antique poster features the image of the first poster from 1904 in the art nouveau style; and the bottom of the 1954 Foire de Paris where the sails cover part of the earliest poster image. The bottom portion of this design is reflected in its art deco style with the wording of the name of the Foire de Paris reflecting in the water. Original. Linen-backed. The annual Paris Fair was a large international industrial exhibition that attracted not only manufacturers from around the world, but also posterists who vied for the honor of having their design selected as the official poster of the event. For 1954, this poster artist is nostalgic for the turn of the century. He is reminding us that it is the 50th anniversary of the Paris Fair. The vintage poster...

New York: 1947. Etching on white wove paper, 7 x 5 inches (752 x125 mm), full margins. Signed and titled in pencil, lower margin. In very good condition with some minor spots of ligh...

Etching on handmade cream laid paper, 3 1/2 x 4 1/4 inches (890 x 108 mm), full margins. Signed, dated and inscribed "III" in pencil, lower margin. Edition of 150, third state (of th...

Dennis Corrigan gives us a fresh, admittedly whimsical, interpretation of the important nineteenth-century American author, Nathaniel Hawthorne. Known to most of us for the 'dark rom...

Etching on fine, laid antique Head & Co. paper with a partial watermark. 1/2 x 13/16 (13 x 21 mm), full margins. Signed, dated, and inscribed "II" in pencil, lower margin. A trial pr...

Original French poster: Camembert, E. PAILLAUD lithograph. Artist: Andre Roland. Size: 12.75" x 17.75" Archival linen backed and in excellent condition; ready to frame. The ...

Etching on antique cream laid paper, 5 x 2 inches (127 x 52 mm), full margins. Signed and dated in pencil lower margin. From the editoin of 156, printed by Frederick Reynolds. In s...

Etching on bluish-grey wove paper, 8 5/8 x 5 1/8 inches (221 x 130 mm), full margins. Signed and dated in pencil. In good condition with light mat tone on the recto and various frame...

Etching on antique cream laid paper, 7 7/8 x 5 1/8 inches (201 x 130 mm), full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil, lower right. Arms wa...

Original Les Vignobles de France , Vins du Sud-Quest French vintage wine map poster. Horizontal. Size 36.5" x 27". Archival linen backed and re...

Paul KOSTABI (Paul Indrek KOSTABI, called) Psychedelic Man Original Digital Pigment Print Handsigned in pencil Numbered /75 On vellum 61 x 49 cm (c. 24 x 19.2inch) Authenticated wi...

George Josimovich, Untitled (Harbor with Sailboats) ', linocut, 1923, edition 35. Signed, dated, and annotated '4/35' in pencil. Initialed 'G J' in ...

A life drawing by a well known book illustrator and long-term resident of the Chelsea Hotel in the 1930s. Caswell, Edward Gin giving Doris a hair cut Black crayon on lightweight, br...

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...

Girl's Head - Woman's Head (Harvard) Drypoint, 1920 Unsigned (as issued) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, proof from the original zinc an...

Donald Shaw MacLaughlan Chicago : Michigan Avenue n°1, c. 1931 Original etching Printed signature in the plate On vellum 38 x 50 cm (c. 15 x 20 in) V...

Etching on elaborately watermarked, antique, cream laid Dard Hunter paper, 13 5/8 x 7 1/78 inches (347 x 181 mm), full margins. Signed, titled, dated and inscribed "Ed. 100 II." From...

Artist: Clarence Holbrook Carter, American (1904 - 2000) Title: Carousel Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 200, 30 AP Size: 26 in. x 31.5 in. (66....

Etching with aquatint on cream wove paper, 1 3/4 x 5 inches (178x 127 mm), full margins. Signed, dated and inscribed "Ed. 150" in pencil, lower margin. Second state (of 3), before th...

tching on green-hued antique laid Japon paper, 9 7/16 x 4 1/16 (240 x 104 mm), full margins. Signed, dated and inscribed "Ed. 100 II." One of a total edition on 124 impressions, prin...

Etching on antique cream laid paper with an "England" watermark; 13 7/8 x 8 5/8 inches (353 x 221 mm), full margins. Signed, dated, titled, numbered "III," and inscribed in pencil. O...

The Boston Tea Party by Joseph Hirsch, American (1901–1981) Date: 1975 Offset Lithograph (unsigned as issued) Size: 17 x 14 in. (43.18 x 35.56 cm) Frame Size: 20 x 17 inches An orig...

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...

Circa 1950. Etching with aquatint on cream wove paper, 6 x 4 3/4 inches (151 x 119 mm), full margins. Signed "Zavel" and numbered 2/55 in pencil, lower margin. In good condition wit...

Original. “OUR AMERICA, #3 USING MOTION PICTURES FOR SOCIAL VALUE.” vintage poster. Presented by the Coca-Cola Bottling Company. This poster displays the benefits of American Motion Picture making on society as a whole and is number three in the series of Our America, Motion Pictures. From leisure, as in entertainment, to the practical, like legal documentation and recording important events, are displayed in this poster. These benefits are shown in eight small windows along either side of a large ninth window, which is all brought into harmony by the use of green tones, and that the windows are set upon a mint green background. Presenting Facts of History. Our America Motion Pictures # 3. Using Motion Pictures for Social Values. 1. Using cartoons for amusement. 2. Reporting an important event. 3. Making biography dramatic. 4. Reporting athletic events. 5. Dramatizing a famous book. 6. Showing places of natural beauty. Y. Using motion pictures in legal cases. 8. Making pictures true to facts. We Can All Do Our Part! In 1943, during World War II, Coca-Cola created the “Our America” series of vintage motion picture posters...

An extremely scarce impression from the artist's own collection. Etching on watermarked antique laid J Whatman Japon paper, 14 1/2 x 7 5/8 inches ( 368 x 195 mm), full margins. Signe...

George Josimovich, 'Commuters', linocut, 1922-23, edition 20. Signed, dated '22, titled, and annotated '9/20' in pencil. Initialed in the block 'G.J....

Japanese born, Fugi Nakamizo came to New York City in 1910. He studied at the Art Students League and Cooper Union, NYC, and also printmaking with Joseph Pennell. He worked on the Federal Public Works of Art Project in the 1930s and in the 40s, during WWII, was interned at the Japanese-American internment camp in Topaz, Utah. His work is in the permanent collections of the Metropolitan Museum of Art and the Brooklyn Museum of Art, NYC, and the Library of Congress and Smithsonian Institution, Washington, DC. This etching of New York...

Original Holiday on Ice of 1957 linen-backed vintage poster. Size is 22” x 28”. Excellent condition, ready to frame. Rarely seen and rarely available. Mid-century modern, over ...

Crucifixion Engraving, 1958 Signed, dated, titled, and annotated 'Printers Proof II' in pencil A printed by Master Printer Jon Clemens, c. 2000 A brilliant impression full of burr Im...

The Minature Print Society of Kansas City, Mo. , 1942. Etching on cream colored Japon wove paper, 2 1/4 x 2 15/16 inches (58 x 75 mm), full margins. Signed, dated and inscribed "II"...

Leon Bibel, 'Abstract Boats', color serigraph, 1938, edition 12. Signed, dated, and numbered ' /12' in pencil. A fine, painterly impression, with fresh colors, on buff wove paper; t...

Woman and White Cat Will Barnet, American (1911–2012) Date: 1971 Screenprint, signed, titled and numbered in pencil Edition of 45/200 Image Size: 23.25 x 20 inches Size: 26 x 22 in. ...

Martha Reed was the daughter of the artist Doel Reed and as an adult she joined her parents in Taos, New Mexico. There she designed clothes with a south-we...

Etching on bluish-grey, antique laid paper, 5 x 3 5/8 inches (127 x 93 mm), signed, dated, and inscribed "III" in pencil, lower margin. A proof impression from the third state (of 3)...

Wuanita Smith, 'Humming Birds and Orchids', white-line color woodcut, circa 1930, edition 50. Signed and titled in pencil. Annotated '50 edition', 'no 5'...

Etching on antique Emberlin 1846 cream laid paper with a parial watermark of Britannia, or Seated Victory, set in a cartouche, surmounted by the Crown of England, 3 1/4 x 5 1/2 inche...

Artist: Felix de Weldon (1907-2003) Title: The Lovers Year: 2001 Edition: 2/10 A.P. Medium: Lithograph with graphite ink on BFK Rives cream color paper Inscription: Signed & numbered...

Etching on buff wove J Whatman handmade paper with a partial watermark, 3 1/2 x 1 3/4 inches (89 x 44 mm), full margins. Signed in pencil and inscribed "III" in the lower margin. A p...

Weyman Michael Lew is a painter and printmaker, born in San Francisco, California in 1935. Without over-mat, silver tone aluminum frame and plexi-glass. Imaqe, 22"H x 27"L. He studied at the University of California, and the San Francisco Art Institute from 1965 to 1966 with Artist Mary Joan Jay DeFeo. His works are in the collection of De Young Memorial Museum; the Institution of Arte Contemporary in Lima, Peru; the Western American Artists...

"From John to John" - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a semi-abstracted style, depicting John F. Kennedy, Jr. saluting his father. Titled, numbered, dated, and signed along the bottom edge: "From John to John litho #46/50 Jan 64 Eugene Hawkins, Legend #412" Presented in a new black mat. Mat size: 20"H x 16"W Image size: 15"H x 11"W Eugene Hawkins (American, b. 1933) is a BIPOC artist...

An evening view of lower Manhattan rooftops, looking north towards Times Square and kleig lights in the distance. New York: 1974. Etching on white wove paper, 7 1/8 x 11 15/16 inche...

Mary Van Blarcom, 'Gardenias', color serigraph, c. 1945, edition small. Signed 'Van B' in pencil in the image, lower right. Titled in pencil, bottom left sheet corner. A rich, painterly impression, with fresh colors, on cream wove paper; the full sheet with margins (5/16 to 1 1/16 inches), in excellent condition. Image size 6 x 8 3/8 inches; sheet size 6 7/8 x 10 1/4 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Painter, printmaker and craftsperson, Mary Van Blarcom was born in Newark, New Jersey and studied at Wellesley College. She was a member of the National Serigraph Society where she served on the board of trustees from 1945 through 1952 and was 1st vice-president from 1949-51. She was also a member of the National Association of Women Artists, the Artists Equity Association, the American Color Print Society, the New Jersey Artists Association (Director), and Artists of Today. Van Blarcom exhibited actively throughout the 1940’s at many prominent art organizations including: Montclair Art Museum, 1941-45 and 1947-51 (prize, 1948); Society of Independent Artists, 1942-44; Artists of Today, 1942-46; Elisabeth Ney Museum, 1943; Northwest Printmakers, 1944, 1946-49; Laguna Beach Art Association, 1945-47, 1949; National Association of Women Artists, 1945-50, (prize, 1946); Library of Congress, 1946-47; Museum of Modern Art travelling exhibition, 1945-47; Carnegie Institute, 1947; Serigraph Gallery, 1946, 1951 (solo); American Color Print Society, 1947-52; Newark Museum, 1947-48, 1951; California State Library, 1947, 1949; National Serigraph Society, 1949 (prize), 1950 (prize); University of Chile, 1950; New Jersey State Museum, 1950; Philadelphia Art Alliance, 1951; and the Main Gallery, NY, 1952. Van Blarcom’s work is in the collections of the Newark Public Library, U.S. Library of Congress; the American Association of University Women; New York Public Library; Tel-Aviv Museum, Alabama Polytechnic Institute, Princeton Print Club...

Providence, Rhode Island, native Herbert Fink is known for his prints, drawings and paintings of the figure. This particular image is in a labor-intensive stipple engraving techniqu...

Original HISWA RAI-Gebouw, Amsterdam vintage sports poster. Also referred to as: HISWA Amsterdam Boat Show. The last boat show was in March 2020, and this iconic event is not be...

Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...

This is an enigmatic image. Between the two center/left trees there appears to be a figure, possibly a woman. At the right, seated on a rock, is a man, in robes. Religious images are...

Original: "Save waste fats for explosives. Take them to your meat dealer" vintage poster—original World War II Acid-free, archival linen-backed, ready-to-frame. The Original "Save...

In the 1950s woodcuts started to get bigger and bigger as they competed with paintings for a space on the wall. This California print by Joseph Zirke...

John DePol, 'Floating Crap Game, chiaroscuro wood engraving, 1958, edition 145. Signed, titled, numbered 'Ed. 145' and dated '3/1958'. Signed in the block, lower right. A fine, rich ...