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Original Tennis, Henry V, Act I, Scene ii vintage motivational poster

1970

Original linen-backed World War II antique poster. "More Tomahawks for Our United Warriors" Buy War Bonds now!. In this poster by Charles Presbeton...

Original AMERICAN LABOR - PRODUCING FOR ATTACK vintage 1943 poster. Size: 19.5" x 22.25. Professional archival linen backed; ready to frame. War Production Board, Washington D.C. Original. Lithograph. printed by the US Government...

Original ‘Ghost of Zorro’ vintage movie poster. 1949. Museum archival mounted on acid-free archival linen. Original fold marks touched up but could use more touch-up on the fol...

Original “Skyjacked” vintage US 1-sheet movie poster 1972. NSS: 72/181 Starring Charlton Heston, Yvette Mimieux, James Brolin, Claude Akins, and Je...

Original Hell's Angels '69 vintage half-sheet movie poster. Original horizontal half sheet movie poster from 1969: Hell's Angeles '69. The film stars the original Oakland Hell's Angeles with Tom Stern, Jeremy Slate, Conny Van Dyke; Steve Sandor, Sonny Barger, Terry the Tramp. Am American International Release original. 'For a wild, wicked weekend and the deadliest gamble ever dared!. The left-hand side features the famous landmark hotel signs from Flamingo Sahara, Caesars Palace...

Original Madhouse vintage 1974 movie poster, folded as issued. Very good condition with bright colors. No pin holes. Very minor edge wear Very good condition, ready to frame. See images. We flatten the poster at the time it is scanned to provide you with the most detailed and correct color of the vintage poster...

This artwork titled "Platform" 1963 is an original silkscreen by American artist Kenneth William Auvil, 1925-1999. It is signed, dated, titled and numbered 9/27 in pencil by the artist. The image size is 17 x 11.25 inches, framed size is 23.5 x 17.65 inches. Custom framed in a bronze color metal frame. It is in good condition, paper is slightly toned by age. About the artist: Educational Background University of Washington, 1953 MFA Art University of Washington, 1949 BA Art Teaching Experience San Jose State University, 1956 -1988 Selected Publications Serigraphy: Silk Screen Techniques for the Artist, Prentice‑Hall, 1965‑1996. Activities: Learning to Use the Macintosh Computer...

This artwork :La Seine a Paris" c.1990 is an original color serigraph on hand made paper by American artist Linea Pergola, b.1953. It is hand signed and numbered A.P. 25/50 in pencil...

Central City (Colorado) 3/25 is a lithograph by Arnold Ronnebeck from 1933 depicting a city scene with buildings. Presented in a custom black frame, outer dimensions measure 24 ½ x 19 ⅝ x ⅝ inches. Image size is 14 ¾ x 10 inches. Piece is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private collection, Denver Expedited and internship shipping available - please contact us for a quote. About the Artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...

The Blue Bicycle, 1979 Will Barnet (American, 1911-2012) 26 x 25.5 inches 41 x 40 inches with frame Titled Lower Center Signed and Dated Lower Right Edition 41/300 Lower Left From B...

Christo and Jeanne-Claude The Pont Neuf, Paris Wrapped (Hand Signed), ca. 1985 Offset Lithograph Hand Signed by Christo on the front upper left 24 1/2 × 37 inches Unframed This elega...

Lichtenstein Exhibition Poster is a very colorful poster realized in occasion of the artist's exhibition at Leo Castelli Gallery New Yor...