American Realist Figurative Prints

History Of The Indian Tribes Of North America, With Biographical Sketches And Anecdotes Of The Principal Chiefs. Embellished With One Hundred And Twenty Portraits, From The Indian Ga...

The original Hawaii Western Airlines 1970s vintage travel poster is archivally linen-backed, in excellent condition, and ready to frame. It was printed with a semi-glossy finish and ...

Original vintage French poster: Christian Dior Homage. (Homage à Christian Dior) Artist: Rene Gruau. Mint condition Original. Size: 15.75" x 24" Very fine condition; read...

Original vintage French poster: Christian Dior Homage. (Homage à Christian Dior) Artist: Rene Gruau. Mint condition Original. Size: 15.75" x 24" Very fine condition; read...

Artist: Earnie Barnes (1938-2009) Title: Destination Unknown Year: 1979 Medium: Lithograph on archival paper Size: 25 x 19.5 inches Edition: 120/300, plus proofs Condition: Excellent...

Original 1970s poster designed by artist Silavno Campeggi. In the United States Campeggi is considered among the most important graphic artists in the history of American cinema. Amo...

THOMAS HART BENTON (1889-1975) COMING ROUND THE MOUNTAIN (MISSOURI MUSICIANS) 1931 (Fath 4) Lithograph, signed in pencil. Although Fath indicates an edition of 75, it is numbered ...

THOMAS HART BENTON (1890- 1975) HYMN SINGER / THE MINSTREL (Portrait of Burl Ives) 1950 (Fath 74) Lithograph signed with full signature “Thomas H. Benton” A large image, 15 ¾ x 12 i...

This artwork titled "Iris" 1998 is an original color lithograph on Wove paper by noted American artist Gary Bukovnik, born 1947. It is hand signed, dated and numbered 109/200 in pencil by the artist. The image size is 10 x 9.75 inches, sheet size is 14.75 x 13.5 inches. It is in excellent condition, the colors are fresh and bright, has never been framed. About the artist. Born and educated in Cleveland Gary Bukovnik has lived in San Francisco for over 25 years. Primarily using the mediums of watercolor, monotype, and lithograph, Bukovnik creating colorful floral images of great depth and intensity. Bukovnik collaborates with Trillium Press, whose owner and master printer, David Salgado, studied at the Tamarind Workshop, formerly in Los Angeles. In 2003, the American Academy in Rome invited Bukovnik to attend the academy as a Visiting Artist for six weeks. He was asked to attend a second session in February 2005. In 2001, he was selected to create a poster for the prestigious List Collection, which creates posters to commemorate programs at Lincoln Center for the Performing Arts in New York. Lincoln Center past contributors have included Roy Lichtenstein, Andy Warhol, Robert Motherwell, Helen Frankenthaler, Alex Katz, Elizabeth Murray, and Donald Sultan. The work of Gary Bukovnik is held in public and private collections worldwide. Selected Museums Art Gallery of Hamilton, Ontario The Art Institute of Chicago Atlanta Botanical Garden Brooklyn Museum Brooks Museum of Art, Memphis The Butler Institute of American Art, Youngstown Dallas Museum of Art Fine Arts Museums of San Francisco Frye Art Museum, Seattle Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh Hunterian Art Gallery, University of Glasgow Library of Congress, Washington, DC The Metropolitan Museum of Art, New York The Minneapolis Institute of Arts, Minnesota Museum of Fine Arts, Boston The Museum of Modern Art, New York The Richard L. Nelson Gallery, U.C. Davis, California The New York Public Library Oakland Museum of California Philadelphia Museum of Art Phoenix Art Museum Portland Art Museum, Oregon Rhode Island School of Design Museum, Providence San Francisco Museum of Modern Art University of Arizona Museum of Art, Tucson University of California, Berkeley Art Museum Selected public collections ALZA Corporation, Mountain View ART In Embassies Program, U.S. Department of State AT&T, New York Atlantic Richfield, Los Angeles BankAmerica Corporation, Charlotte Citigroup, New York Cleveland Institute of Music Clorox Company, Oakland Comerica Bank, Costa Mesa & San Jose H.J. Heinz Company, Pittsburgh Illinois Bell Telephone...

Artist: Alex Katz, American (1927 - ) Title: Night: William Dunas Dance II Year: 1983 Medium: Lithograph, signed and numbered in pencil Edition: 106/125 and there were also 17 artist...

Norman Rockwell (1894-1978) First Airplane Ride/ Old Women Riding Airplane, 1938 Originally created as cover illustration for The Saturday Evening Post. Media print lithography on paper, this twelve-color lithograph was hand proofed and printed at Atelier Ettinger in December 1976. A/P Artist Proof impression on papier d'Arches. Hand signed in pencil by Norman Rockwell. hand editioned and with publishers blindstamp. Norman Percevel Rockwell (1894 – 1978) was an American author, painter and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine in a modern folk art style over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand, among many others. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His most popular calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He painted six images of classic Americana for Coca-Cola advertising. Illustrations for booklets, catalogs, posters (particularly movie promotions...

MEDIUM Lithograph on paper DIMENSIONS Unframed: 16 ½ x 12 ½ inches Framed: 24 x 20 inches SIGNATURE lower right Geo Bellow / G.B.B.

Artist: Norman Rockwell (1894-1978) Title: Snow Sculpture Snowman Year: 1985 Edition: 350/350, plus proofs. Medium: Offset lithograph on wove paper Size: 24.5 x 18.5 inches Condition...

Doris Lee Thanksgiving, 1942 Signed lower right, titled lower left Lithograph on paper Image 8 3/4 x 11 3/4 inches Sheet 12 x 17 inches From the edition of 250 An American Scene pai...

Ward Lockwood (1894 - 1963) New Mexico, Texas, Kansas / Mexico Artist Image Size: 12 x 16 Frame Size: 17.75 x 21.75 Medium: Charcoal "Siesta By The Oven" Biography Ward Lockwood (189...

Signed Limited Edition Etching by Charles Bragg. Women in Golf Suite : FORE! 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 94/300 Unframed Charles Bragg (1...

Signed Limited Edition Etching by Charles Bragg. Women in Golf Suite : The Perfect Couple 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 100/300 Unframed Ch...

Signed Limited Edition Art Etching by Charles Bragg. Women in Golf Suite : #18 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 95 /300 Unframed Step into the ...

Dr. Goldfoot and the Bikini Machine. This is a bikini machine ... Order your '66 model now. US 1 sheet, linen backed with original fold marks restored, ready to frame. Excellent condition. NSS: 65/364 Starring Vincent Price, Frankie Avalon, Dwayne Hickman, Susan Hart...

Original 1942 CASABLANCA vintage movie poster. Archival linen backed in very good condition, ready to frame. The original production fold marks have been touched up and restored. This is an authentic vintage 1942 issue of Casablanca for sale. "Casablanca" is widely regarded as one of the greatest films in cinema history. It received critical acclaim upon its release and won three Academy Awards, including Best Picture, Best Director for Michael Curtiz, and Best Adapted Screenplay. The cast's performances, memorable dialogue, and timeless romance have contributed to the film's enduring popularity. "Casablanca" remains a cultural touchstone and is often referenced in popular media. • Rick Blaine (Humphrey Bogart): The owner of Rick's Café Américain, an establishment known for its lively atmosphere. Rick is initially portrayed as detached and cynical, but his past is revealed as the story progresses. • Ilsa Lund (Ingrid Bergman): A Norwegian woman with a complicated history with Rick. She is caught in a love triangle between Rick and her husband, Victor Laszlo. • Captain Louis Renault (Claude Rains): The corrupt and witty French police captain in Casablanca. He adds a layer of humor to the film and undergoes a moral transformation as the story unfolds. Over the years, the Casablanca poster...

A wonderful silk screen print by Riva Helfond of Air Force soldiers preparing a plane for action. Signed in the image in ink and signed, titled "Warming Up", and numbered 30/45 in th...

Probably a bank poster from the first half of the 20th century urging financial literacy. The poster features a young man dreaming about the future abd th...

RgrFineArts is pleased to offer this New York WPA color woodcut by Paul Weller titled Shampoo. The WPA label is affixed to the margin on the reverse of the print.

This artwork "Tulips in a Vase" 1995 is an original color lithograph on Wove paper by noted American artist Gary Bukovnik, born 1947. It is hand signed, dated and numbered 169/200 in...

Original George Petty pinup, woman sitting with big sunhat and telephone. Archivally linen backed vintage pinup in very fine condition, ready to frame. (Note: this lithograph is NOT removed from a pinup calendar!) Introducing the original George Petty pinup, a captivating piece of art that showcases the iconic style and exquisite talent of George Petty himself. This artwork features a stunning woman adorned with a large red outlined sun hat, donning a classic one-piece bathing suit and high heels. The addition of a telephone in her right hand adds an intriguing element, making this pinup a unique and visually striking piece. The attention to detail and expert craftsmanship are evident in every brushstroke, bringing the woman to life and capturing the essence of Petty's artistic mastery. As an original George Petty pinup, this artwork holds historical and artistic value, making it a collectible and valuable addition to any art enthusiast's repertoire. About Petty: George Petty was an American pin-up artist from the 1920s to the 1970s. His pin-up art appeared primarily in Esquire and True magazine, but was also in calendars marketed by Esquire, True and Ridgid Tool Company. Petty's Esquire gatefolds originated and popularized the magazine device of centerfold spreads. Reproductions of his work were widely rendered by military artists as nose art decorating warplanes during the Second World War, including the Memphis Belle...

Signed in pencil by the artist lower right Titled "Hold Up" by the artist in pencil. Signed by the printer Bolton Brown lower left. Edition: 42 in this state Note: In The Hold Up, se...

This artwork titled 'Helping with the Dress" 1996, is an original color lithograph on paper by noted American realist artist Malcolm Liepke, b.1953. It is hand signed and numbered A...

RGRFINEARTS is pleased to offer this baseball themed lithograph of Alibi Ike after the character in the 1935 movie. A fine example of the draftsmanship that Pickhardt was known for.

Moses Soyer (December 25, 1899 – September 3, 1974) was an American social realist painter. Soyer was born in Borisoglebsk, Russian Empire, in 1899. His father was a Hebrew scholar, writer and teacher. His family emigrated to the United States in 1912. Two of Soyer's brothers, Raphael (his identical twin) and Isaac were also painters. Soyer's wife, Ida, was a dancer, and dancers are a recurring subject in his paintings. Soyer studied art in New York, first at Cooper Union and later at the Ferrer Art School, where he studied under the Ashcan painters Robert Henri and George Bellows. He had his first solo exhibition in 1926 and began teaching art the following year at the Contemporary Art School and The New School. He died in the Chelsea Hotel in New York while painting dancer and choreographer Phoebe Neville. He was included in the show “American Modernism – Paintings from the Dr. and Mrs. Mark S. Kauffman Collection,” along with 30 leading masters of American modernism, which captured the essence of a revolutionary era...

Original Mercedes-Benz Type 300-SL. Linen-backed, horizontal format, fine condition. This is an original small format Mercedes 300 SL sports car pri...

Original Pin-Up Girl with Red Hat vintage pin-up poster. Artist: Billy Devorss. Size: 15.25" x 20". Archival linen backed in mint condition; ready to frame. This striking ...

Norman Rockwell Title: Convention. Year: 1976 Medium Type: 7-Color Collotype on Rives BFK paper Size-Width Size-Height: 25" x 31" Signed Edition Size: Signed by the artist 9/200 ...

Original WWII poster: YOU CAN LICK RUNAWAY PRICES ORIGINAL VINTAGE WWII POSTER BY JAMES MONTGOMERY FLAGG Distributed originally by OWI for the Office of Economic Stabilization. 1. Buy and hold War Bonds. 2. Pay willingly our share of taxes. 3. Provide adequate life insurance and savings for our future. 4. Reduce our debts as much as possible. 5. Buy only what we need and make what we have last longer. 6. Follow ration rules and price ceilings. 7. Cooperate with our Government's wage stabilization program. Publisher: [S. l.]: Distributed by O.W.I. for the Office of Economic Stabilization. Linen backed fine condition. Restored original Government fold marks (on all World War 2 American vintage posters) James Montgomery Flagg is best known for depicting Uncle Sam in recruitment and public service announcement posters of both World War I and II. You Can Lick Runaway Prices? Features a new painting created by Flagg in c.1942. The poster emphasizes seven steps that the average American could take to prevent inflation. Among these points include significant themes of buying war bonds, conservation, and food rationing. The seven steps correspond to the seven letters that spell Victory. The imagery references Flagg's iconic I Want You poster...

Sunday Morning. Title: Sunday Morning Artist: Dox Thrash (American, Griffin, Georgia 1893–1965 Philadelphia, Pennsylvania) Printer: Sam J. Brown (1901-1994). Date: ca. 1939. Medium: Drypoint Dimensions: sheet: 12 5/8 x 10 5/8 in. (32 x 27 cm) plate: 8 7/8 x 7 7/8 in. (22.5 x 20 cm) This is the most heavily inked, atmospheric example known to exist. Unique, unsigned example from the collection of artist Samuel J. Brown. Dox Thrash (1893–1965) was an African-American artist who was famed as a skilled draftsman, master printmaker, and painter and as the co-inventor of the Carborundum printmaking process.[1] The subject of his artwork was African American life. He served as a printmaker with the W.P.A. at the Fine Print Workshop of Philadelphia. The artist spent much of his career living and working in Philadelphia, Pennsylvania.[1] Early life Dox Thrash was born on March 22, 1893, in Griffin, Georgia.[2] He was the second of four children in his family. Thrash left home at the age of fifteen in search of work up north. He was part of the Great Migration (African American) looking for industrial work in the North. The first job that Thrash got was working with a circus and a Vaudeville act. In 1911, at the age of 18, he moved to Chicago, Illinois.[3] He got a job as an elevator operator during the day, and used this source of income to attend school.[3] In 1914 he attended the School of the Art Institute of Chicago.[1] In 1917, the United States declared war on Germany and entered World War I. In September 1917, at the age of twenty-four, Thrash enlisted in the army.[3] He was placed in the 365th Infantry Regiment, 183rd Brigade, 92nd Division, also known as the Buffalo Soldiers.[1] During combat, Thrash suffered shell shock and a gas attack, but was not permanently injured. Career as an artist Front cover of Dox Thrash: An African American Master Printmaker Rediscovered, by John Ittmann. After having served in the war, Thrash qualified as a war veteran and enrolled in the Art Institute of Chicago with the support of federal funding.[3] After finishing his education, he traveled intermittently from Georgia to Chicago, Boston, New York, and finally Philadelphia, working odd jobs - experiences that provided him with subject matter to later paint. Settling in Philadelphia by 1925, he took a job working as a janitor. In his free time, he continued his art career and used his talent to create emblems, such as the one for the North Philadelphia Businessmen's Association, and posters in exhibitions and festivals, including the 2nd Annual National Negro Music Festival and the Tra Club of Philadelphia.[1] This gained him local recognition and opened doors for new artistic endeavors. By 1929, Thrash was attending nightly classes within these clubs, namely with Earl Horter of the Graphic Sketch Club, now known as the Samuel S. Fleisher Art Memorial.[3] In 1937 Thrash joined the government-sponsored Works Progress Administration (WPA)'s Federal Art Project.[4] Through the WPA, Thrash began working at the Fine Print Workshop of Philadelphia.[5] At the Fine Print Workshop of Philadelphia, Thrash, along with Michael J. Gallagher and Hugh Mesibov, began experimenting and co-inventing the process of carborundum mezzotint, a printmaking technique.[1] Carborundum printmaking uses a carbon-based abrasive to burnish copper plates creating an image that can produce a print in tones ranging from pale gray to deep black. The method is similar to the more difficult and complicated mezzotint process developed in the 17th century. He used this as his primary medium for much of his career and created his greatest works with it. One of his first pieces employing this nascent technique was his anonymous self-portrait entitled Mr. X. With this new technique, the three gained increasing recognition as they published more and more graphics within newspapers and featured more and more pieces within exhibitions. Their works often featured subtle commentaries about social and economic exploitation regarding the contemporary politics of the Great Depression and the Second World War. By 1940, Thrash, Gallagher, and Mesibov all began to gain attention in local circles for their carborundum prints, although the role that each artist played in the development of the process was left unclear.[6] In 1960, Thrash participated in a show at the Pyramid Club, a social organization of Black professional men that held an annual art exhibit starting in 1941. Others on hand were Howard N. Watson, Benjamin Britt, Robert Jefferson and Samuel J. Brown Jr. Thrash spent the later years of his life mentoring young African American artists. He died on April 19, 1965, in Philadelphia, Pennsylvania.[2] He was posthumously honored almost 40 years later in 2001 with a major retrospective, titled Dox Thrash: An African-American Master Printmaker Rediscovered, at the Philadelphia Museum of Art.[7] Thrash's work was included in the 2015 exhibition We Speak: Black Artists in Philadelphia, 1920s-1970s at the Woodmere Art Museum.[8] Relation to Alain Locke and the New Negro Movement This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (June 2022) (Learn how and when to remove this template message) Alain LeRoy Locke (1885-1954) was an intellectual, professor and author who espoused that African Americans, specifically artists, to capture the personality, lives, and essence of their people in The New Negro. He explained “The Negro physiognomy must be freshly and objectively conceived on its own patterns if it is ever to be seriously and importantly interpreted. Art must discover and reveal the beauty which prejudice and caricature have overlaid.”[9] What Locke is expressing here is not only the call for black artists to overcome racial prejudices via positive artistic representations of blacks, but that the actual African American individual like Thrash portrayed the lives of fellow blacks, and had the power to propagate this idea of the New Negro, as Locke explains, “There is the possibility that the sensitive artistic mind of the American Negro, stimulated by a cultural pride and interest, will receive…a profound and galvanizing influence.”[10] In his shadowy carborundum mezzotint Cabin Days, Thrash depicts a southern black family on the porch of their shack-like home in a rural landscape. The man, woman, and child, clutched tenderly to the female figure's breast, create an intimate scene highlighted by the bright cleanliness of the laundry hanging behind them. Placed in front of the drying laundry, they are framed by one aspect of the hard work accomplished during the day. Close to one another, staring collectively outward at the Southern landscape, they, and their laudable priorities of cleanliness and family, are made the bright focal point in the poor, unstable atmosphere. Such inner warmth is seemingly incompatible with the family's crooked and disheveled surroundings, and their fuzzy appearance with a lack of facial detail makes the scene into a general archetype for rural southern blacks living conditions and qualities. Thrash was referencing an experience common to thousands of black families in rural occupations at the turn of the 20th century, often forced into slavery-like tenant farming as their only means of livelihood in the racist South. The “uneven clapboards, leaning porch, broken shutter, and uprooted fence” are rife with instability, much like the post-slavery economic and social systems of the South, making it clear that for African Americans, “the house is not the home; rather, the figures on the porch represent family unity and continuity”.[10] In this way, Thrash is able to not only champion the positive qualities of blacks in the family setting but underscore this with a symbolic look at their disadvantaged situation, making it all the more impressive that they persevere. Thrash symbolically depicted harsh realities for the African American at this transitional point in history while conferring a sensitive rendering of their humanity, akin to any other race, despite its utter denial by American society. Through softer tempera washes like A New Day, he literally and figuratively paints a picture of a black family transitioning from the South to the North during the Great Migration, making a hopeful, daring leap to attempt to be equal members of the society that has historically oppressed them. On the left side of the canvas lie muddled farm houses and plow handles, embodiments of their rural life of tedious hard labor behind them, fading to gray. Their hopeful gazes “…convey the optimism of the scores of African Americans who left the countryside to pursue better job opportunities, health care, and education in urban centers”.[6] The stance of the figures, with their chins raised in a dignified gesture towards cityscape ahead suggest a confidence and ambitiousness in their collective futures in this new northern industrial terrain. Even the child, clutched securely in the arm of the mother figure against her breast is not only serenely grinning, but calm enough to appear to gently doze, confident in that the journey ahead will result positively, poses no threat. The exposed arm of the woman is notable as well, being unusually thick and muscular, along with the general proportions of the kneeling father, who position on the ground appears not pleading but rather in a slightly exhausted, but upright gratefulness for the promise ahead. Thrash makes it clear that this family has traveled a long way, but is not depleted; rather they are strong and preparing for further hard work and hopeful success ahead. They are the quintessence of the New Negro, in that they are not only journeying forward to seize previously unobtainable opportunities that will enhance their lives, but the manner with which they hold themselves provokes a certain level of warranted respect for their humanity, from the viewer. In fact it was the strength of his fellow African Americans that Thrash often emphasized, amongst other positive characteristics in the face of adversity in personal portraits. Through his carborundum print Life, he depicts a neatly dressed black girl reading...

Original “Chicago Continental Airlines” linen-backed mint vintage poster. FREE Continental USA shipping on this Continental poster! Step back in ...

Girl in Ballerina Dress, c. 1970 Color lithograph printed on wove paper, hand signed in pencil and numbered 22/75, with the inkstamp of the publisher, Landfall Press, Chicago (they have published an eclectic list of many important artists including Christo, Judy Chicago, David Levinthal and Jack tworkov to name a few.) Philip Pearlstein is an influential American painter best known for Modernist Realism nudes. Cited by critics as the preeminent figure painter of the 1960s to 2000s, he led a revival in realist art. He is a Distinguished Professor Emeritus with paintings in the collections of over 70 public art museums. Philip M. Pearlstein was born on May 24, 1924 in Pittsburgh, PA. He attended Saturday morning classes at Pittsburgh's Carnegie Museum of Art. In 1942, at the age of 18, two of his paintings won a national competition sponsored by Scholastic Magazine, and were reproduced in color in Life magazine. In 1942, he enrolled at Carnegie Institute of Technology's art school, in Pittsburgh, where he painted two portraits of his parents now held by the Carnegie Museum of Art, but after one year he was drafted by the US Army to serve during World War II. He was initially assigned to the Training Aids Unit at Camp Blanding, Florida, where he produced charts, weapon assembly diagrams and signs. In this role, he learned printmaking and the screenprinting process, and subsequently was stationed in Italy making road signs. While in Italy, he took in as much renaissance art as was accessible in Rome, Florence, Venice and Milan, and also produced numerous drawings depicting life in the Army. In 1946, sponsored by the GI Bill, he returned to Carnegie Institute, and first met Andy Warhol, who was attracted to Pearlstein because of his notoriety in the school, having been featured in Life magazine. During the summer of 1947, the three rented a barn as a summer studio. Immediately after graduating in June 1949 with a BFA, Pearlstein and Warhol moved to New York City, at first sharing an eighth-floor walkup tenement apartment on St. Mark's Place at Avenue A. He was eventually hired by Czech designer Ladislav Sutnar, mainly doing industrial catalog work, while Warhol immediately found work illustrating department store catalogs presaging Pop Art. In April 1950, they moved to 323 W. 21st Street, into an apartment rented by Franziska Marie Boas, who ran a dance class on the other side of the room. During this time, Pearlstein painted a portrait of Warhol, now held by the Whitney Museum of American Art. In 1950, Philip Pearlstein married Dorothy Cantor, with Andy Warhol in the wedding party...

Original Ford of Germany, The All New Taunus 12M Super vintage German antique poster. Archivally linen-backed om excellent condition and ready to frame. We have not be able to locate any other document copy of this poster. The Taunus 12M, presented in 1952, was the first new German Ford...

This artwork titled "Pintail" c.1990 is a color lithograph by noted Wild life American artist Christopher Forrest, b.1946. It is hand signed, titled and numbered 86/300 in pencil by the artist. The image size is 17.5 x 22.85 inches, framed size is 27.35 x 32.5 inches. Custom framed in a oak frame, with light brown matting. It is in excellent condition About the artist: Born in Trenton, New Jersey, 1946 Interested in art from the age of 7, Christopher Forrest still speaks fondly of a set of colored pencils presented to him then by his parents; At 11, he won his first award for painting and started exhibiting in galleries. Along with his interest in art grew a keen attraction for the outdoors and the wildlife which thrived there. After considering schooling in art, Chris chose to study civil engineering. Upon graduation from Virginia Polytechnic Institute, Chris began a career as a commissioned officer in the United States Army Corps of Engineers. The Army provided Chris the opportunity to observe wildlife from the swamps of Florida to the lakes of Quebec, in addition to Europe and Viet Nam. In 1973, the Army sent Chris to graduate school at North Carolina State University, at this time Chris started to paint wildlife. Chris resigned from the Army in 1978 and took a position as an artist with Evergreen Publishing Co. He has produced more than thirty original graphic editions for Evergreen. His original graphics are handled by some 350 galleries in North America. He is currently General Manager at Evergreen. His work and articles about his work have appeared in numerous wildlife and art publications. Chris strongly believes in wildlife conservation and is a member of many conservationist organizations. His donated prints have raised a great deal of money for Ducks Unlimited, Newjersey, Audubon and Ward Foundations. In 1980 he realized one of his major professional goals. He was elected to membership in the Society of Animal Artists. "Creating a painting or graphic is an exciting adventure and challenge for me. Starting with the observation of the animal in the wilderness, I then approach the painting with the attitude that it will be my finest work." COLLECTIONS National Academy of Science, Washington, D.C. New Jersey State Museum, Trenton, N.J. Ferrum College, Ferrum, Va. Franklin Mint, Franklin Center, Pa. Parsons, Brinkerhoff, Quade & Douglas, consulting Engineers, N.Y.C. Fine Art Corporation of America, N.Y.C. Central Carolina Bank, Raleigh, N.C. Ward Foundation Museum, Salisbury, Md. New Jersey Audubon Society, Rancocas, N.J. I.B.M., Louisville, Ky. American World Airways (Pan Am), Miami, Fla. Baush & Lomb, Rochester, N.Y. Thermos, Norwich, Conn. Metro-Goldwyn Mayer, Ca. Ford Motor Co., Atlanta, Ga. Chemical Bank, N.Y.C. City Bank, N.Y.C. ONE-MAN SHOWS N.J. State Museum, Trenton, N.J. 1979 Palette Gallery, Cary, N.C., 1973,-74,-77,-78,-79 Lambertville House, Lambertvi lie, N.J., 1975-76 Triangle Art, Trenton, N.J., 1975 INVITATIONAL SHOWS Triangle Art Christmas Show, 1975 Golden Door Gallery Wildlife Show, New Hope, Pa., 1976 Ward Foundation Wildlife Art & Carving Exhibition, Salisbury and Ocean City, Md., 1976,-78,-79 Easton Waterfowl Art...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Summer Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Hutty, Alfred. PHOEBE PASSES MY GATE. Drypoint, c. 1931. Edition size c.75. 8 1/8 x 7 1/4 inches (plate), 10 1/4 x 8 3/4 inches (sheet). Printed on laid paper. In excellent condit...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Winter Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Autumn Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Artist: Will Barnet, American (1911 - 2012) Title: Meditation and Minou Year: 1980 Medium: Lithograph and Serigraph on BFK Rives, signed and numbered in pencil Edition: 40/150

THOMAS HART BENTON (1889-1975) INSTRUCTION 1940 (Fath 41) Lithograph, signed edition of 250 as published by Associated American Artists. 10 ¼” x 12 ¼”. Full margins, deckle edges....

Albert Abramovitz (1879-1963), Wuxtry! [Extra?!], linocut in colors, c. 1936, signed in pencil lower right and titled lower center [also initialed in the plate]. In very good conditi...

TAKE CARE Don't be delayed by V.D.; 1946 military poster by Franz Oswald Schiffers. the 1946 U.S. (or Australian) World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. Thisis a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

WARNING! Register*Vote, INFLATION means DEPRESSION Photo lithograph, 1946 Signed in the image lower left Published by CIO (Congress of Industrial Organizations) before their merger w...

Going home? Don't be delayed by V.D.; 1946 military poster by Franz Oswald Schiffers. Going home? Don't be delayed by V.D. VD, the 1946 U.S. (or Australian) World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. Bound up in rope. Going home? Don't be delayed by V.D.! is a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

This is a vintage 1946 public service announcement poster The artwork is bold, clear and direct. "it will look even bigger… after the war!" Girl looks on longingly at 10 dollar bill....

Original vintage poster: Make your own Declaration of War, Buy War Bonds. Size 22" x 28:. Original 1942 World War II (WWII) American military vintage poster. Archival linen ba...

DELAYED VD; 1946 military poster by Franz Oswald Schiffers. Delayed! VD, the 1946 U.S. World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. He can see the bright lights big city in the distance but he is chained to the VD block... VD Almost! is a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

Artist: Ben Shahn, Lithuanian/American (1898 - 1969) Title: Many Men from the Rilke Portfolio Year: 1968 Medium: Lithograph on Richard de Bas, signed in the plate Edition Size: 750 S...

James Allen, 'The Connectors', 1934, etching, edition not stated, Ryan 66. Signed in pencil. A superb, richly-inked impression, on handmade, cream laid paper, with margins (1/2 to 1...

James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...

ALMOST VD; 1946 military poster by Franz Oswald Schiffers. Almost! VD, the 1946 U.S. World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. VD Almost! is a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

Meditation and Minou Color lithograph and serigraph, 1980 Signed and numbered in pencil (see photo) Printer Styria Studio, Inc. New York Publisher: Harry Abrams...

This artwork titled "Harvest" c.1930 is an offset lithograph on wove paper by noted Taos, New Mexico artist Kenneth Miller Adams, 1897-1966. It is signed and titled in the plate. Th...

"Young Girl With Hat" is a classical Victorian portrait etching. It is signed in graphite in the lower right by the artist, F.M. Spiegle. It depicts a Victorian girl with curly hair ...