American Realist Figurative Prints
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Style: American Realist
Original BOAC lithograph Caribbean vintage poster
Located in Spokane, WA
Original vintage poster: (CARIBBEAN JET) BOAC travel poster by the artist Hayes. Dressed in a beautiful dress this Caribbean beauty is dancing an...
Category
1950s American Realist Figurative Prints
Materials
Lithograph
Partings Long Seen Coming from the Rilke Portfolio
By Ben Shahn
Located in Mount Vernon, NY
The Rilke Portfolio by Ben Shahn contained 24 prints from the Atelier Mourlot in New York. The Munn Collection offers 7 unframed lithographs from the o...
Category
1960s American Realist Figurative Prints
Materials
Lithograph
WNEW Peggy Lee
Located in Brooklyn, NY
Paper Size: 45 x 29.5 inches ( 114.3 x 74.93 cm )
Image Size: 41.75 x 26.75 inches ( 106.045 x 67.945 cm )
Framed: No
Condition: A-: Near Mint, very light signs of handling
Supplemen...
Category
20th Century American Realist Figurative Prints
Materials
Offset
THE EVANGELIST
Located in Santa Monica, CA
JOHN STOCKTON DE MARTELLY (American 1903 - 1980)
THE EVANGELIST, 1941 (Zink 19)
Lithograph, signed, dated and numbered 80/100 in pencil below image. Signature and date in lighter pencil. Image. Very Good Condition. image, 13 1/2 x 9 3/4". Full sheet with deckle edges, 16 x 11 3/4". The Evangelist apparently represents de Martelly's New Hampshire neighbor Lizzy Osgood. De Martelly worked in an American Regionalist Style, often depicting his New Hampshire neighbors. He was associated with Thomas Hart Benton at the Kansas City Art Institute. Most of de Martelly's regionalist prints were published by Associated American Artists in editions of 250. This lithograph is scarcer in an edition of only 100. He became an art professor at Michigan State University. After the 1940's de Martelly abandoned his Regionalist style for abstraction.
Roger Genser...
Category
1940s American Realist Figurative Prints
Materials
Lithograph
The Elevated, East 42nd Street, New York
By William Monk
Located in Myrtle Beach, SC
William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...
Category
1910s American Realist Figurative Prints
Materials
Etching
THE PARTISAN (SF Dock strike)
By Herman Roderick Volz 1
Located in Santa Monica, CA
HERMAN VOLZ (Swiss/American 1904 - 1990)
THE PARTISAN, 1937
Lithograph, signed and no. in pencil. Edition 30. 10 1/2 x 14. Sheet 11 1/4 x 17 1/2" Generally good condition aside fro...
Category
1930s American Realist Figurative Prints
Materials
Lithograph
Of Light, White Sleeping Women in Childbed from the Rilke Portfolio
By Ben Shahn
Located in Mount Vernon, NY
The Rilke Portfolio by Ben Shahn contained 24 prints from the Atelier Mourlot in New York. The Munn Collection offers 7 unframed lithographs from the o...
Category
1960s American Realist Figurative Prints
Materials
Lithograph
Under Sail original lithograph by Norman Rockwell
Located in Paonia, CO
Under Sail is an original limited edition Artists Proof ( A. P. ) lithograph by Norman Rockwell and signed in pencil by the artist. This delightful image shows a young boy who has used a ladder to climb atop a barn and is sitting on a weather vane with the vanes rooster beside him. He is staring out over the town with his cowboy hat in his right hand and the roosters pole in his left dreamily watching the birds in flight in the distance. This original lithograph is framed in a burnished silver frame , white mat and silver fillet. It comes with a certificate of authenticity and is in excellent condition.
Norman Rockwell ( 18984 - 1978 ) one of Americas most iconic artists who illustrated covers for The Saturday Evening Post for 47 years with a total of 321 covers. His depiction of everyday American scenes with an emphasis on the warmth of small town life infused with his particular charm and humor made him a beloved figure in American history. He once said " Maybe as I grew up and found the world wasn't the perfect place I thought it to be , I unconsciously decided that if it wasn't an ideal world, it should be, and so painted only the ideal aspects of it". Rockwell also covered important events of the day such as Charles Lindberg's 1927 crossing of the Atlantic and Neil Armstrong's 1969 moon...
Category
1970s American Realist Figurative Prints
Materials
Lithograph
Duet — Cellist and Pianist, 1930s Lithograph
Located in Myrtle Beach, SC
Herschel Levit 'Duet', lithograph, c. 1937. Signed in pencil. A fine, richly inked impression, on cream wove paper, with full margins (1 1/2 x 2 inches)...
Category
1930s American Realist Figurative Prints
Materials
Lithograph
Dawn, Lithograph by Will Barnet
By Will Barnet
Located in Long Island City, NY
Artist: Will Barnet, American (1911 - 2012)
Title: Dawn
Year: 1975
Medium: Lithograph on Arches, signed in pencil
Edition: 59/175
Image Size: 24 x 11 in.
Frame Size: 36 x 25 inches
...
Category
1970s American Realist Figurative Prints
Materials
Lithograph
The Crucifixion, Realist Lithograph by Joseph Hirsch
Located in Long Island City, NY
Artist: Joseph Hirsch, American (1901 - 1981)
Title: The Crucifixion
Year: circa 1979
Medium: Lithograph, Signed and Numbered in Pencil
Edition: 100
Si...
Category
1960s American Realist Figurative Prints
Materials
Lithograph
THANKSGIVING IN CAMP
Located in Santa Monica, CA
AFTER - WINSLOW HOMER (1836-1910)
THANKSGIVING IN THE ARMY - After Dinner: the Wishbone, 1864
Original wood engraving as published by Harpers Weekly December 3, 1864, after a drawing by Winslow Homer. Image 9 3/4" x 14, Sheet 10 3.\/4 x 15 3/4" . Generally good condition, a small stain in the upper right margin.
Homer contributed drawings to Harper's Weekly from 1857 to 1875. They were converted to wood engravings by Harper's craftsman and published in Harper's Weekly. Although after his original drawings, they are now accepted as an important part of his body of work by museums and collectors. They were very large editions. As such, they occur often in the marketplace. Harper's published during the Civil War years as this was, were widely read and kept as people followed the war first hand and its aftermath over the years continuing today as both Homer and Civil War collectables
Category
1860s American Realist Figurative Prints
Materials
Woodcut
'Coupe Gordon Bennett 1909' original lithograph by Marguerite "Gamy" Montaut
Located in Milwaukee, WI
"Coupe Gordon Bennett 1909 — Curtiss le Gagnant" is an original Lithograph with Pochoir created by Marguerite Montaut (GAMY). Gamy presents the viewer w...
Category
Early 1900s American Realist Figurative Prints
Materials
Lithograph, Ink
Old Injun
Located in Myrtle Beach, SC
Charles Banks Wilson, 'Old Injun', lithograph, 1948, edition 250, Hunt 39. Signed in pencil. A fine, richly-inked impression, on off-white wove paper, with full margins (1 3/4 to 2 inches), in excellent condition. Published by Associated American Artists.
Impressions of this work are in the permanent collections of the following institutions: Ackland Art Museum, Georgetown University...
Category
1940s American Realist Figurative Prints
Materials
Lithograph
'Tree, Manhattan' — Classic American Realism
By Martin Lewis
Located in Myrtle Beach, SC
Martin Lewis, 'Tree, Manhattan', drypoint, 1930, edition 91 (including 10 trial proofs), McCarron 87. Signed in pencil. A superb, atmospheric impression, in warm black ink, on cream...
Category
1930s American Realist Figurative Prints
Materials
Drypoint
'Bedrock' — Construction of the New Yorker Hotel, 1920s
By Otto Kuhler
Located in Myrtle Beach, SC
Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...
Category
1920s American Realist Figurative Prints
Materials
Etching
Memories of Many Nights of Love from the Rilke Portfolio
By Ben Shahn
Located in Long Island City, NY
Artist: Ben Shahn, Lithuanian/American (1898 - 1969)
Title: Memories of Many Nights of Love from the Rilke Portfolio
Year: 1968
Medium: Lithograph on Richard de Bas, printed signatur...
Category
1960s American Realist Figurative Prints
Materials
Lithograph
Can't Wait
Located in Missouri, MO
Norman Rockwell
"Can't Wait" 1977
Lithograph
Signed Lower Right
Numbered Lower Left 186/200
Sheet Size: 30 x 24 inches
Framed Size: 30.5 ...
Category
1970s American Realist Figurative Prints
Materials
Lithograph
"Boy With Cows, " Original Drypoint Etching signed by John Edward Costigan
Located in Milwaukee, WI
"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...
Category
1930s American Realist Figurative Prints
Materials
Etching, Drypoint
"Figure, " Nude Portrait Linoleum Cut signed in Image by Gerrit Sinclair
Located in Milwaukee, WI
"Figure" is an original linoleum print by Gerrit Sinclair, signed in the lower left hand corner. It features a woman fixing her hair in front of a mirror, her nude body visible to the viewer from the back and front reflecting in the mirror.
Image: 6" x 5"
Framed: 13.37" x 12.43"
Gerrit Sinclair brought the charming style of American Regionalism painting...
Category
1930s American Realist Figurative Prints
Materials
Linocut
"Models & Horses, " Original Color Lithograph signed by Philip Pearlstein
Located in Milwaukee, WI
"Models & Horses" is an original color lithograph by Philip Pearlstein. The artist signed the piece lower left and it is edition 15/140. This piece features two nude female models lo...
Category
1990s American Realist Figurative Prints
Materials
Lithograph
Partings Long Seen Coming from the Rilke Portfolio
By Ben Shahn
Located in Long Island City, NY
Artist: Ben Shahn, American (1898 - 1969)
Title: Partings Long Seen Coming from the Rilke Portfolio
Year: 1968
Medium: Lithograph on Richard de Bas, si...
Category
1960s American Realist Figurative Prints
Materials
Lithograph
RUNNING THE RAPIDS
By Frank Benson
Located in Portland, ME
Benson, Frank. RUNNING THE RAPIDS. Paff 269. Etching, 1927. Edition of 150. Signed in pencil. Printed on Whatman paper. 5 7/8 x 7 3/4 inches (plate), 8 1/2 x 10 5/8 inches (sheet). A...
Category
1920s American Realist Figurative Prints
Materials
Etching
At the Show
By Jerome Myers
Located in New York, NY
Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and ...
Category
1920s American Realist Figurative Prints
Materials
Drypoint, Etching
CALIFORNIA VISTA
Located in Santa Monica, CA
HAROLD L. DOOLITTLE (1883 – 1974
CALIFORNIA VISTA, 1923
Aquatint signed and titled in pencil. 8 7/8 x 6 7/8 inches. Sheet 11 x 14 inches. Good condit...
Category
1920s American Realist Figurative Prints
Materials
Aquatint
Tennis (Tennis Tournament)
Located in New York, NY
George Bellows (1882-1925), Tennis (Tennis Tournament), lithograph, 1921, signed in pencil lower right, also signed and annotated by the printer Bolton Brown, imp lower left, and num...
Category
1920s American Realist Figurative Prints
Materials
Lithograph
Les Moissonneurs (The Reapers)
Located in New York, NY
Alphonse Legros (1837-1921), Les Moissonneurs (The Reapers), etching, c. 1890, signed in pencil lower right margin. Reference: Bliss 464, third state (of 3)...
Category
19th Century American Realist Figurative Prints
Materials
Etching
Artist's Hand, Realist Lithograph by Joseph Hirsch
Located in Long Island City, NY
Artist: Joseph Hirsch, American (1901 - 1981)
Title: Artist's Hand (Cole 51)
Year: 1966
Medium: Lithograph, signed and numbered in pencil
Edition: 30/200
Image Size: 19 x 15 inches
F...
Category
1960s American Realist Figurative Prints
Materials
Lithograph
Michaelangelo (Edition 96/100)
Located in New York, NY
Thomas Cornell (American b. 1937), "Michaelangelo", Edition 96/100, Figurative Drypoint/ Etching signed and numbered in pencil, 24 x 18.50, 1964, Late 20th Century
Colors: Black and...
Category
1960s American Realist Figurative Prints
Materials
Etching
"Arab Children, " Portrait of Two Figures Lithograph signed by Fletcher Martin
Located in Milwaukee, WI
"Arab Children" is an original lithograph by Fletcher Martin. The artist signed the piece lower right. This piece features two young children--a boy and a girl--with downcast eyes in draped fabric clothes in an interior.
12" x 8" art
22" x 18" frame
Fletcher Martin was an American painter, illustrator, muralist and educator. He is best known for his images of soldier life during World War II and his sometimes brutal images of boxing and other sports. His artistic skills were largely self-taught.
He worked as a printer in Los Angeles in the late 1920s, and as an assistant to Mexican muralist David Alfaro Siqueiros in the early 1930s. He taught at local art schools such as Otis Art Institute.
He won commissions to paint murals for the New Deal's Section of Painting and Sculpture, including Mail Transportation (1938), painted for the San Pedro Federal Building and Post Office in Los Angeles. Under the WPA he painted a mural study for the Kellogg, Idaho post office titled Mine Rescue (1939). Local industrialists objected that it depicted the dangers of mining, while officials of the Mine & Smelt Workers Union praised it. The industrialists prevailed and Martin painted an uncontroversial mural, Discovery (1941), depicting the prospector who founded the town. The rejected mural study is now in the Smithsonian American Art Museum. Perhaps his most ambitious mural, also done under the WPA, was painted for North Hollywood High School in Los Angeles. Legends of Fernandino and Gabrileno Indians (1937) depicts overlapping scenes of Native American life and ritual, and the world being carried on the backs of giants.
As an artist-correspondent for Life Magazine during World War II, he made hundreds of sketches of U.S. soldier life. Fourteen of his paintings from the North African campaign were published in the December 27, 1943 issue of Life, and brought him national recognition. Among these was Boy Picking Flowers...
Category
1940s American Realist Figurative Prints
Materials
Lithograph
"French Air Show with Remarque of Head of Pilot, " Lithograph & Stencil by GAMY
Located in Milwaukee, WI
"French Air Show with Remarque of Head of Pilot" is an original lithograph and stencil print by Marguerite Montaut (GAMY). It depicts an early airplane flying above a crowd of specta...
Category
1910s American Realist Figurative Prints
Materials
Lithograph, Stencil, Ink
Bareback Act, Old Hippodrome
By Gifford Beal
Located in Missouri, MO
Gifford Beal (1879-1956)
"Bareback Act, Old Hippodome" 1950
Lithograph
Signed Lower Right
With original Associated American Artists label verso
image: 6 3/8 x 9 5/8 in. (16.2 x 24.6 cm)
sheet: 12 x 16 in. (30.4 x 40.6 cm)
framed: 17 x 20 in.
Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist."
His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World.
He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work."
Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...
Category
1950s American Realist Figurative Prints
Materials
Lithograph
Untitled (Edition 46/50)
Located in New York, NY
Thomas Cornell (American b. 1937), "Untitled", Edition 46/50, Figurative Drypoint/ Etching signed and numbered in pencil, 24 x 20, Late 20th Century
Colors: Black and White
Category
Late 20th Century American Realist Figurative Prints
Materials
Etching
Reflections
By Will Barnet
Located in Buffalo, NY
“Reflection, 1971”
Medium: Color serigraph
Signed and titled
Ed: 121/225
Sheet: 30 x 23 in.
Image: 22 x 14.5 in.
Condition: Excellent
Category
1970s American Realist Figurative Prints
Materials
Lithograph, Archival Paper
Children in Mulberry Street
By Jerome Myers
Located in New York, NY
Jerome Myers (1867-1940), Children in Mulberry Street, c. 1910, soft ground etching and plate tone, signed in pencil lower right. In good condition (apart from weakening at platemark...
Category
1910s American Realist Figurative Prints
Materials
Etching
Subway Stairs
By John Sloan
Located in New York, NY
John Sloan (1871-1951), Subway Stairs, etching, 1926, signed, titled and inscribed “working proof 1;” also with the notation “JS imp” in pencil bottom margin [with the name and date ...
Category
1920s American Realist Figurative Prints
Materials
Etching
Metro 2nd Class
By Clement Haupers
Located in New York, NY
Clement Haupers (1900-1982), Metro 2nd Class, aquatint and etching, 1928, signed, titled, numbered (6/20), dated and inscribed “Paris.” In very good condition, slight toning and rema...
Category
1920s American Realist Figurative Prints
Materials
Aquatint, Etching
Coffee Huskers
Located in New York, NY
George Biddle (1885-1973), Coffee Huskers, 1928, lithograph, signed, titled and numbered [also inscribed ’43/Biddle/1928 in the plate]. Reference: Pennigar 77, Trotter 43. From the edition of 100, on Rives cream wove paper, with the Rives watermark. In excellent condition, probably never framed or matted, the full sheet, 13 1/4 x 9 3/4, the sheet 16 x 11 1/2 inches, archival mounting (mylar non-attached hinging between acid free boards glassine cover).
A fine black impression.
Biddle wrote of this lithograph, in 1943: “After scraping the tusche away…I worked back with a pensil (sic) and again with diamond. This all adds to the richness of texture and color.” This work produces a very sophisticated lithographic look, akin in some ways to drypoint work in etching.
After Groton, Harvard College and Harvard Law (and several breakdowns) Biddle concluded that a conventional career in law was not for him; he decided on art, went to Paris, worked with Mary Cassatt and familiarized himself with modernist currents in art (as well as more traditional European art).
After serving in WWI, and the dissolution of his marriage, he became interested in working outside of the European tradition (although his travels continued to include Europe, and he spent a period working under the influence of Jules Pascin in Paris in the mid-‘20’s). Coffee Huskers, like many of the Mexican and Haitian prints...
Category
1920s American Realist Figurative Prints
Materials
Lithograph
Untitled, Street Scene
Located in San Francisco, CA
Artist: Raphael Soyer (Russian, American, 1899-1987)
Title: Untitled
Year: Circa 1975
Medium: Lithograph
Edition: Inscribed A.P (Artist Proof) in pencil
Paper: Arches
Image s...
Category
Late 20th Century American Realist Figurative Prints
Materials
Lithograph
Romany Marye in Christopher Street
By John Sloan
Located in New York, NY
John Sloan (1871-1951), Romany Marye in Christopher Street, 1922, etching, signed in pencil lower right, titled, dated and inscribed 100 proofs bott...
Category
1920s American Realist Figurative Prints
Materials
Etching
Anshutz on Anatomy
By John Sloan
Located in New York, NY
John Sloan (1871-1951), Anshutz on Anatomy, etching, 1912, signed titled and inscribed “100 proofs” by the artist, and also signed “Ernest Roth imp” by the printer. Reference: Morse 155, eighth state (of 8), from the edition of 80. In very good condition, the full sheet, printed in dark brown ink on a brown/tan wove paper, 7 1/2 x 9, the sheet 11 1/8 x 12 3/4 inches.
A fine impression.
Sloan wrote of this print: “Tom Anshutz, our old teacher at the Pennsylvania Academy, gave anatomical demonstrations of great value to art students. Modelling the muscles in clay, he would then fix them in place on the skeleton. Those present in this etched record of a talk in Henri’s New York class include: Robert and Linda Henri, George Bellows, Walter Pach...
Category
1910s American Realist Figurative Prints
Materials
Etching
Little Penthouse
By Martin Lewis
Located in New York, NY
Martin Lewis (1881-1962), Little Penthouse, drypoint, 1931, signed in pencil lower right [signed in the plate in a rectangle lower left]. Reference: McCarron 91, only state. Printed ...
Category
1930s American Realist Figurative Prints
Materials
Drypoint
Merry-Go-Round
Located in New York, NY
Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left, [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches.
A very good impression, printed in black on a wove paper with a partial FRANCE watermark.
Sasowsky notes that Marsh printed 15 impressions of this state (and only one or two of the prior states), and considered only 10 of the 15 valuable. His notation “Forty Proofs” is therefore surely an expression of a hoped-for edition size, as opposed to an actual edition size. We have found this quite often the case with Marsh prints – he indicates an edition size but the actual number of impressions printed is considerably smaller.
There is an eerie, almost ominous note in this, as in several of Marsh’s merry-go-round prints...
Category
1930s American Realist Figurative Prints
Materials
Engraving, Etching
Putting on the Coat (front)
Located in New York, NY
Isabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellen...
Category
1940s American Realist Figurative Prints
Materials
Etching
[Untitled] Beach Scene
By Harriet Keese Lanfair
Located in New York, NY
Harriet (Keese) Lanfair (1900-1988) lithograph, c. 1935, signed in pencil on lower right margin. Printed on a very light japan paper, with margins. A proof impression, with printers...
Category
1930s American Realist Figurative Prints
Materials
Lithograph
Fashions of the Past
By John Sloan
Located in New York, NY
John Sloan (American 1871 – 1954), Fashions of the Past, etching and aquatint, 1926, signed and titled by the artist in pencil (Morse 224 IV/IV), also signed by the printer. From the...
Category
1920s American Realist Figurative Prints
Materials
Etching, Aquatint
Fifth Avenue, 1909.
By John Sloan
Located in New York, NY
Supposedly inspired by an earlier photograph, Sloan created this etching in 1941 depicting ‘Ladies Mile,’ a fashionable hot spot located on Fifth Avenue north of 23rd street. The Fl...
Category
1940s American Realist Figurative Prints
Materials
Etching
Up the Line, Miss?
By John Sloan
Located in New York, NY
John Sloan (1871-1951), “Up the Line, Miss?”, etching, 1930, signed, titled and inscribed 100 proofs [also signed in the plate]. Reference: Morse 243, fifth state (of 5). In excellen...
Category
1930s American Realist Figurative Prints
Materials
Etching
East Tenth Street Jungle
Located in New York, NY
Reginald Marsh (1898-1954), East Tenth Street Jungle, 1934, etching, signed and annotated “Second Proof, First State”, in pencil [also initialed and dated in the plate]. Reference: S...
Category
1930s American Realist Figurative Prints
Materials
Etching
MAN MONKEY.
By John Sloan
Located in Portland, ME
Sloan, John. MAN MONKEY. M.130. Etching, 1905. Edition of 100, Signed by Sloan. Dated in the lower margin "June 13 - 1905," and further inscribed "J. S. imp. dated by Sloan - final s...
Category
Early 1900s American Realist Figurative Prints
Materials
Etching
THE BRIDGE
By Frank Benson
Located in Portland, ME
Benson, Frank. THE BRIDGE. Paff 227. Drypoint on copper, 1923. A trial proof of the second state, printed on uncalendared Japanese Vellum, annotated "B-1," the first of two trial pro...
Category
20th Century American Realist Figurative Prints
Materials
Drypoint
The Bridge Party
By Peggy Bacon
Located in New York, NY
Peggy Bacon drypoint The Bridge Party, signed, dated (Nov. 1918) and titled (Bridge) in pencil by the artist. Flint 3. In generally ok but rough condition as befits an early working ...
Category
1910s American Realist Figurative Prints
Materials
Drypoint
Flying Concellos
Located in New York, NY
Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excel...
Category
1930s American Realist Figurative Prints
Materials
Etching
Irving Place Burlesk
Located in New York, NY
Reginald Marsh (1898-1954), Irving Place Burlesk, etching, 1929, signed in pencil lower right and numbered (18) lower left. Reference: Sasowsky 75, third state (of 3). In very good c...
Category
1920s American Realist Figurative Prints
Materials
Etching
Merry-Go-Round, 1930
Located in New York, NY
Reginald Marsh (1898-1954), Merry-Go-Round, etching, 1930, signed in pencil lower right and numbered "24" lower left. In very good condition, with margins (cut irregularly,...
Category
1930s American Realist Figurative Prints
Materials
Etching
Tatoo-Shave-Haircut
Located in New York, NY
Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting.
A very fine rich black impression; we have not seen impressions of comparable quality on the market.
Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman.
Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major.
This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence.
Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”).
Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...
Category
1930s American Realist Figurative Prints
Materials
Etching
Harvest
Located in San Francisco, CA
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...
Category
Mid-20th Century American Realist Figurative Prints
Materials
Lithograph
'Threshing' — 1940s American Regionalism
Located in Myrtle Beach, SC
Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed.
Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art.
ABOUT THE ARTIST
“Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61
Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris.
Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals.
When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.”
While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim.
The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.'
In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox.
Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.
Category
1940s American Realist Figurative Prints
Materials
Lithograph
American Realist figurative prints for sale on 1stDibs.
Find a wide variety of authentic American Realist figurative prints available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add figurative prints created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, pink, purple and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Gary Bukovnik, Charles Bragg, Ben Shahn, and John Sloan. Frequently made by artists working with Lithograph, and Etching and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large American Realist figurative prints, so small editions measuring 2.5 inches across are also available. Prices for figurative prints made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $100 and tops out at $78,000, while the average work sells for $795.
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