American Modern Landscape Prints

A signed impression from the artist's own collection. Kansas City: Miniature Print Society, 1946. Etching on antique cream laid paper, 3 5/15 x 1 7/8 inches (84 x 49 mm), full margi...

Richard Florsheim created this color lithograph entitled “Thunderheads” in 1972 in an edition of 50 pieces. Published by Associated American Artists and printed by Mourlot Press, Par...

Original GONE WITH THE WIND, U. S. 1 sheet Clark Gable, Vivien Leigh, de Havilland, all-time movie classic! Conservation linen backed and ready to frame. Original issue fold marks professionally touched up. Excellent condition. Film Description: Gone With the Wind, the classic 1939 Victor Fleming Civil War romantic melodrama epic ("The Greatest Motion Picture Ever Made!"; "In the New Screen splendor… The most magnificent picture ever!"; "David O. Selznick's production of Margaret Mitchell's story of the Old South"; "Screen play by Sidney Howard") starring Clark Gable (in his nominated for Best Actor Academy Award role; "as Rhett Butler"), Vivien Leigh (in her Best Actress Academy Award winning role; "and presenting Vivien Leigh as Scarlett O'Hara"), Leslie Howard ("as Ashley Wilkes"), Olivia de Havilland (in her nominated for Best Supporting Actress Academy Award role; "as Melanie"), Hattie McDaniel ("as Mammy"), Thomas Mitchell ("as Gerald O'Hara"), Butterfly McQueen, Ann Rutherford ("as Carreen O'Hara"), George Reeves, Victor Jory, Jane Darwell, Ward Bond, Ona Munson ("as Belle Watling"), Yakima Canutt, Harry Davenport ("as Dr. Meade"), Carroll Nye ("as Frank Kennedy"), Laura Hope Crews ("as Aunt Pittypat"), Alicia...

Antonio Frasconi created the color woodcut entitled "View of Venice I – San Giorgio" in 1968. It is signed, titled, dated, and inscribed “17/20” in pencil. The paper size is 24 x 36 ...

Cindy Bernard’s career spans nearly three decades and she is best known for photographs and projections that explore the relationship between cinema, memory, and landscape including the widely exhibited series Ask the Dust (1988-92), now in the collections of the Museum of Contemporary Art, Los Angeles (21 part set), the Pompidou, MOMA and the Whitney Museum of American Art. She is a recipient of grants and fellowships from the J. Paul Getty Trust Fund for the Visual Arts, California Arts Council, Creative Capital, Anonymous Was a Woman, the Harpo Foundation, California Community Foundation, the John Simon Guggenheim Memorial Foundation and the MacDowell Colony. Her work has been exhibited in museums and galleries in the US, Canada, Mexico, Europe, and Japan, and was included in the Whitney and Lyon Biennials. In addition to her visual practice, Bernard takes an active interest in the spaces and production of social exchange. She was a director and advisor to Foundation for Art Resources from 1985 to 1990, a founding director of the Coalition for Freedom of Expression, and co-founder of MOCA Mobilization. Bernard is also the founder and director of The Society for the Activation of Social Space through Art and Sound (SASSAS), an organization she began in response to the need for a flexible and sustainable association dedicated to experimental music in Los Angeles. She has curated and produced more than 50 concerts for SASSAS including Welcome Inn Time Machine for Pacific Standard Time in 2012. Her interest in sound has spurred several projects including a series of photographs of municipal band shells which Bernard sees as an architecture of public exchange and The Inquisitive Musician, an adaptation of a 17th century German satire, Musicus Curiosus, or Battalus, the Inquisitive Musician; the Struggle for Precedence between the Kunst Pfeifer and the Common Players. The Inquisitive Musician pits itinerant “beer fiddlers” against the city sanctioned “Kunstpfeifer” in an argument over who has the right to perform and be compensated. Presented as a staged reading incorporating video and live music, The Inquisitive Musician has been performed in New York, in Los Angeles at the LA County Museum of Art, and most recently at the Stedelijk Museum in Amsterdam in June 2013. Current projects include Vinland, a meditation on the complex and continually shifting relationships between spaces, social and economic structures, and personal and collective histories and, more recently, an “episodic” series based on the history of social nudism: Your Personal View of (Social) Nudism. Bernard is a Adjunct Professor of Graduate Fine Art at Art Center College of Art and Design and was appointed the inaugural Ruffin Distinguished Artist-In-Residence at the University of Virginia for the academic year 2013/2014. She was a 2016 National Endowment for the Arts Fellow at the MacDowell Colony and will be in residence at the UCross Foundation in 2017. Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp, text and photo combinations by Bill Barminski and Nancy Dwyer...

In the painting "Lady Victory", a powerful and inspiring image comes to life, capturing a woman who stands tall and resolute, her figure dominating the canvas. This masterpiece conve...

Sabena Most Helpful Airline Original vintage travel advertising poster. Conservation linen-backed and ready to frame. Excellent condition. The image features an iconic image from...

Cindy Bernard’s career spans nearly three decades and she is best known for photographs and projections that explore the relationship between cinema, memory, and landscape including ...

Richard Florsheim created this color lithograph entitled “Glowing City” in 1969 in an edition of 250 pieces. Published by Associated American Artists and printed by Mourlot Press, Pa...

Embrace the power of nature with a masterfully rendered cliffside seascape, reminiscent of Caspar David Friedrich's style. This evocative painting captures the essence of a thunderst...

Linen-backed original German / Germany culinary map in excellent condition. MIT DER DEUTSCHEN BUNDESBAHN DURCH DAS GASTLICHE DEUTSCHLAND. Mit der Deutschen Bundesbahn durch das Gastliche Deutschland (With Deutsche Bundesbahn through Hospitable Germany). A map of Germany showing all the food and wine features in various regions and cities. If you go to Germany and want to find the origins of foods, this will lead you to the correct city. From wine, bread, fish, cookies, spat, prezels, pork, bier, french...

Niagara Falls Lithograph, 1931 Signed lower right (see photo) Titled/edition lower left. (see photo) Edition of 25 Provenance: the Estate of the Artist Condition: Excellent Image si...

Embrace the power of nature with a masterfully rendered cliffside seascape, reminiscent of Caspar David Friedrich's style. This evocative painting captures the essence of a thunderst...

Samuel Chamberlain, 'Soaring Steel', drypoint, 1929, edition 100, Chamberlain and Kingsland 79. Signed, titled, and numbered '64/100' in pencil. Annotated '48.00' in pencil, in the artist's hand, bottom right margin. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 3/8 to 1 7/8 inches), in excellent condition. Matted to museum standards, unframed. The subject of the print is the construction of the Daily News Building in Chicago, Illinois. Image size 12 1/4 x 9 1/2 inches (311 x 241 mm); sheet size 15 1/2 x 12 3/8 inches (394 x 314 mm). Impressions of this work are held in the collections of the Art Institute of Chicago, Boston Public Library, Crystal Bridges Museum of American Art, Museum of Modern Art, New York Public Library, University of Michigan Museum of Art, Smithsonian American Art Museum, and the Western Australia Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm...

Mid Century Modern Architecture Classic 1965 Pontiac Vivant & Mercedes Benz SL - Palm Desert, Moon Light, Limited Series. Archival Inkjet Print on Cotton Paper. Mid Century Modern ...

Landscape, Classic Red Porsche Carrera, Palm Tree, Mid Century Modern, Limited Series. Archival Inkjet Print on Cotton Paper. Mid Century Modern Architecture Design. Tom Blachford,...

Ira Moskowitz, 'Navajo Trading Post', lithograph, 1946, edition 30, Czestochowski 161. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 3 1/8 inches). Pale mat line, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 11/16 x 15 1/2 inches (297 x 395 mm); sheet size 16 5/16 x 191/8 inches (414 x 486 mm). ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of American Indian...

Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...

Mexican Travelers by Millard Owen Sheets, American (1907–1989) Date: Circa 1977 Lithograph on Arches paper, signed and numbered in pencil Edition o...

Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...

Mid Century Modern Palm Springs Architecture. Steve McQueen vintage car photographed for the first time at his pool in Palm Desert. A...

Original lithograph: POINT BLEU RADIO. Artist: Pierre. Baudouin (1921 - 1971). Size is 31" x 47". Archival linen backed and ready to frame. Cleaned and restored rare original French antique...

Original vintage travel poster: FLY PSA, "For a Song"; "How' ya gonna keep 'em down on the ground…." Flower power and psychedelic design on this Fly Pacific Southwest Airlines r...

TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was from New York to Los Angeles, followed by multiple National routes. The airline expanded to serve Europe, the Middle East, and Asia after WWII when the company was under Howard Hughes's owner's control from 1939 until 1961. Hughes was a dominant force in expanding and promoting his company's routes. The economy was vastly improving, and travel by air for business and pleasure increased, too. Posters were a crucial element in promoting this form of travel and TWA. The airline started a decline in the 1970s, ending in a third bankruptcy that caused its acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190. The Boston FLY TWA shows a three-masted schooner in the background, a large colonial drum in the center with an American Eagle...

Ira Moskowitz, 'Relic of the Insurrection of 1845' also 'Taos Pueblo with Ruin)', lithograph, 1944, edition 30, Czestochowski 121. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 3/8 to 1 15/16 inches). Very pale light toning within a previous mat opening, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 5/8 x 15 1/2 inches (296 x 394 mm); sheet size 15 1/8 x 19 inches (384 x 483 mm). ABOUT THE IMAGE The Taos Revolt was a populist insurrection in January 1847 by Hispano and Pueblo allies against the United States occupation of present-day northern New Mexico during the Mexican–American War. The rebels killed provisional governor Charles Bent and several other Americans. In two short campaigns, United States troops and militia crushed the rebellion of the Hispano and Pueblo people. The New Mexicans, seeking better representation, regrouped and fought three more engagements, but after being defeated, they abandoned open warfare. The hatred of New Mexicans for the occupying American army, combined with the rebelliousness of Taos residents against imposed outside authority, were causes of the revolt. In the uprising's aftermath, the Americans executed at least 28 rebels. The Treaty of Guadalupe Hidalgo in 1850 guaranteed the property rights of New Mexico's Hispanic and American Indian residents. ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of American Indian...

Yesterday, Today, Tomorrow by Dorothy Dell Dennison, American (1908–1994) Date: circa 1977 Lithograph, signed and numbered in pencil Edition of 1...

Richard Florsheim created this color lithograph entitled “Light and Water” in 1972 in an edition of 50 pieces. Printed by Mourlot Press, Paris, this impression is signed and inscribed “5/50” – the fifth print of fifty. It is in good condition with full original color. The printed image size is 16 7/8 x 23 1/16 inches and paper size 19.75 x 25.50 inches. RICHARD ABERLE FLORSHEIM...

Lawrence Nelson Wilbur (1897-1988), 'The East River', drypoint, edition 65, 1946. Signed, titled, and annotated 'A. Jones Proof 1946' in pencil. Signed and dated in the plate, lower ...

Palm Springs Mid Century Modern Architecture, Vintage Classic Mercedes SL, Palm Desert, Limited Series. Archival Inkjet Print on Cotton Paper. Mid Century Modern Architecture Desig...

A lithograph of a Modernist depiction of fireworks by artist Richard Florsheim. Richard Florsheim was born in Chicago to the wealthy Florsheim Shoe family. He studied at the Univer...

Original Rome Fly TWA Jets vintage travel poster. Conservation linen backed in excellent condition, ready to frame. This is the earlier edition of the image Before ‘up up and away’! TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was from New York to Los Angeles, followed by multiple National routes. The airline expanded to serve Europe, the Middle East, and Asia after WWII when the company was under Howard Hughes's owner's control from 1939 until 1961. Hughes was a dominant force in expanding and promoting his company's routes. The economy was vastly improving, and travel by air for business and pleasure increased, too. Posters were a crucial element in promoting this form of travel and TWA. The airline started a decline in the 1970s, ending in a third bankruptcy that caused its acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190. This Rome poster was created by the gifted American artist David Klein (1918 -2005), and depicts a member of the Pontifical Swiss Guard in the center wearing the iconic yellow, blue, and red uniform. The Guard is playing a drum that has the pontifical emblem. In the background, we see a representation of the ancient Roman Coliseum and the Baroque...

Modern Architecture, Mid Century Home, Palm Tree & Pool Design. Mid Century Modern Architecture Design. Tom Blachford. Moonlight Classic Design home in Palm Springs California. Thi...

Aline Feldman was born in 1928 and grew up in Kansas. She studied design and printmaking at Washington University in St. Louis under Werner Drewes and Fred Becker, respectively. She studied painting at Indiana University...

Limited Edition series of Classic a couple Porsche Targa within Palm Springs California. Mid Century Modern Design Architecture. Photography by Tom Blach...

Original Philadelphia Fly TWA vintage American travel poster created by master artist David Klein. Professional acid-free linen backe...

Richard Florsheim created this color lithograph entitled “Approaching Storm” in 1967 in an edition of 125 pieces. Published by Associated American Artists and printed by Mourlot Press, Paris, this impression is signed and inscribed “Artist Proof.” It is in good condition with full original color. The printed image size is 28.25 x 19 3/4 inches and the paper size is 31.12 x 22 inches. RICHARD ABERLE...

The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loos...

Original Fly to South America Pan American – Panagra vintage travel poster. Linen backed in excellent condition. Artists were both Jean Carlu and Fred Dubois. 1952 full lithogr...

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

New York Night\Lithograph, 1930 Edition: 30 Printer: Meister Schulz, Berlin Printed on heavy wove paper without watermark This lithograph was created in...

This image is from an exclusive edition published by Stone + Press in 1994 in an edition of 100. This impression is #98. It brings to mind the Robert Frost poem, Stopping by Woods on a Snowy Evening. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. Mary Teichman...

“THE SHADOW OF THE BROOKLYN BRIDGE” Emilio Sanchez (1921-1999) created this color lithograph entitled “Shadow of the Brooklyn Bridge” in 1988. The image size is 21.38 x 30.50 inche...

screenprint printed in color ink on wove paper. New York City subway station interior. Anthony Velonis (1911 – 1997) was an American painter and designer born in New York City who helped introduce the public to silkscreen printing in the early 20th century. While employed under the federal Works Progress Administration, WPA during the Great Depression, Velonis brought the use of silkscreen printing as a fine art form, referred to as the "serigraph," into the mainstream. By his own request, he was not publicly credited for coining the term. He experimented and mastered techniques to print on a wide variety of materials, such as glass, plastics, and metal, thereby expanding the field. In the mid to late 20th century, the silkscreen technique became popular among other artists such as Robert Rauschenberg and Andy Warhol. Velonis was born into a relatively poor background of a Greek immigrant family and grew up in the tenements of New York City. Early on, he took creative inspiration from figures in his life such as his grandfather, an immigrant from the mountains in Greece, who was "an ecclesiastical painter, on Byzantine style." Velonis attended James Monroe High School in The Bronx, where he took on minor artistic roles such as the illustration of his high school yearbook. He eventually received a scholarship to the NYU College of Fine Arts, into which he was both surprised and ecstatic to have been admitted. Around this time he took to painting, watercolor, and sculpture, as well as various other art forms, hoping to find a niche that fit. He attended NYU until 1929, when the Great Depression started in the United States after the stock market crash. Around the year 1932, Velonis became interested in silk screen, together with fellow artist Fritz Brosius, and decided to investigate the practice. Working in his brother's sign shop, Velonis was able to master the silkscreen process. He reminisced in an interview three decades later that doing so was "plenty of fun," and that a lot of technology can be discovered through hard work, more so if it is worked on "little by little." Velonis was hired by Mayor LaGuardia in 1934 to promote the work of New York's city government via posters publicizing city projects. One such project required him to go on a commercial fishing trip to locations including New Bedford and Nantucket for a fortnight, where he primarily took photographs and notes, and made sketches. Afterward, for a period of roughly six months, he was occupied with creating paintings from these records. During this trip, Velonis developed true respect and affinity for the fishermen with whom he traveled, "the relatively uneducated person," in his words. Following this, Velonis began work with the Public Works of Art Project (PWAP), an offshoot of the Civil Works Administration (CWA), where he was assigned to serve the different city departments of New York. After the formation of the federal Works Progress Administration, which hired artists and sponsored projects in the arts, he also worked in theater. Velonis began working for the federal WPA in 1935. He kept this position until 1936 or 1938, at which point he began working in the graphic art division of the Federal Art Project, which he ultimately led. Under various elements of the WPA program, many young artists, writers and actors gained employment that helped them survive during the Depression, as well as contributing works that created an artistic legacy for the country. When interviewed in December 1994 by the Library of Congress about his time in the WPA, Velonis reflected that he had greatly enjoyed that period, saying that he liked the "excitement" and "meeting all the other artists with different points of view." He also said in a later interview that "the contact and the dialogue with all those artists and the work that took place was just invaluable." Among the young artists he hired was Edmond Casarella, who later developed an innovative technique using layered cardboard for woodcuts. Velonis introduced silkscreen printing to the Poster Division of the WPA. As he recalled in a 1965 interview: "I suggested that the Poster division would be a lot more productive and useful if they had an auxiliary screen printing project that worked along with them. And apparently this was very favorably received..." As a member of the Federal Art Project, a subdivision of the WPA, Velonis later approached the Public Use of Arts Committee (PUAC) for help in "propagandizing for art in the parks, in the subways, et cetera." Since the Federal Art Project could not be "self-promoting," an outside organization was required to advertise their art more extensively. During his employment with the Federal Art Project, Velonis created nine silkscreen posters for the federal government. Around 1937-1939 Velonis wrote a pamphlet titled "Technical Problems of the Artist: Technique of the Silkscreen Process," which was distributed to art centers run by the WPA around the country. It was considered very influential in encouraging artists to try this relatively inexpensive technique and stimulated printmaking across the country. In 1939, Velonis founded the Creative Printmakers Group, along with three others, including Hyman Warsager. They printed both their own works and those of other artists in their facility. This was considered the most important silkscreen shop of the period. The next year, Velonis founded the National Serigraph Society. It started out with relatively small commercial projects, such as "rather fancy" Christmas cards that were sold to many of the upscale Fifth Avenue shops...

Ira Moskowitz, 'The Three Gods of Healing (Navajo Medicine Ceremony of the Night Chant)', lithograph, 1945, edition 30, Czestochowski 148. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 1/4 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Image size 12 1/4 x 15 13/16 inches (311 x 402 mm); sheet size 17 1/8 x 20 7/8 inches (435 x 530 mm). ABOUT THIS WORK The nine-night ceremony known as the Night Chant or Nightway is believed to date from around 1000 B.C.E. when it was first performed by the Indians who lived in Canyon de Chelly (now eastern Arizona). It is considered the most sacred of all Navajo ceremonies and one of the most difficult and demanding to learn, as it encompasses hundreds of songs, dozens of prayers, and several highly complex sand paintings. And yet the demand for Night Chants is so great that as many as fifty such ceremonies might be held during a single winter season, which lasts eighteen to twenty weeks. The Night Chant is designed both to cure people who are ill and to restore the order and balance of human and non-human relationships within the Navajo universe. Led by a trained medicine man who has served a long apprenticeship and learned the intricate and detailed practices that are essential to the chant, the ceremony itself is capable of scaring off sickness and ugliness through techniques that shock or arouse. Once the disorder has been removed, order and balance are restored through song, prayer, sand painting, and other aspects of the ceremony. The medicine men who supervise the Night Chant ensure that everything—each dot and line in every sand painting, each verse in every song, each feather on each mask is arranged precisely, or it will not bring about the desired result. There are probably as many active Night Chant medicine men today as at any time in Navajo history due to the general increase in the Navajo population, the popularity of the ceremony, and the central role it plays in Navajo life and health. ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of...

'Gateside Conversation' is an original signed lithograph by Thomas Hart Benton (1889-1975) from 1946. Singed by the artist in the lower right margin and titled verso. Portrays a figu...

The WEBB imagery is of the most important imagery every taken. The finest museum quality WEBB images available. Printed on archival paper using archival inks. Framing options avail...

Ira Moskowitz, 'Navajo Courtship Dance (Squaw Dance)', lithograph, 1946, edition 30, Czestochowski 161. Signed and titled in pencil. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/16 to 2 3/4 inches). Pale mat line, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 13/16 x 14 13/16 inches (300 x 376 mm); sheet size 13 1/16 x 20 1/8 inches (332 x 511 mm). ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of...

A striking view of the Edgartown Yacht Club on Martha's Vineyard by Francis Chapin, from around 1958. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his col...

Original Watch Him! Feed Him! Go to the Oregon Coast! They Want You There! Vintage poster. Linen backed in excellent condition, ready to frame. Whale watching has been popular among people in the Pacific Northwest for decades. The Oregon coast, in particular, is a prime location for spotting various whale species, including gray whales, humpbacks, and orcas. One of this activity's most iconic and memorable reminders can be seen in the “Watch Him! Feed Him! 3 tons of krill” whaling poster from Oregon State. The poster, which features a stylized image of a gray whale, was initially created in the mid-20th century to promote whale-watching trips along the Oregon coast. It is a testament to the region’s natural beauty and the importance of conservation efforts to protect these magnificent creatures. The first line of the poster, “Watch Him!” is a call to action for people to come and witness these majestic animals in their natural habitat. For many people, whale watching is a once-in-a-lifetime experience that leaves a lasting impact on their lives. Seeing a whale breaching the water or gliding gracefully through the ocean is a sight that cannot be replicated in any other environment. The second line...

A charming lithograph of children on a carousel, created by children's book illustrator, Jo Poulson. In 1904, Josephine Hollingsworth Poulson was born in Lebanon Indiana. In 1926, she graduated from the John Herron School of Art in Indianapolis and in 1929, she moved to Chicago to become an illustrator of children’s books. She continued her studies at the Art Institute of Chicago, studying with Francis Chapin. In 1942, she had a one-woman show of her watercolors at the Hoosier Art...

Original New England American Airlines vintage travel poster. Size 30” x 40”. Archival linen backed, untrimmed, A condition. This original vintage poster from the 1950s captures the essence of New England and American Airlines flights to the region. Designed by Bern Hill...

The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loos...

Both of Arms' Lake Como images were mostly printed in color. is a rarer black and white impression, John Taylor Arms was born in Washington, DC. He studied architecture at the Massa...

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...

Richard Florsheim created this color lithograph entitled “Waves” in 1973 in an edition of 50 pieces. Printed by Mourlot Press, Paris, this impression is signed and inscribed “3/50” – the third print of fifty. It is in good condition with full original color. The printed image size is 16 3/8 x 23.75 inches and the paper size is 19.75 x 26.50 inches. RICHARD ABERLE FLORSHEIM...

Ira Moskowitz, 'Navajo Horse Race', lithograph, 1946, edition 30, Czestochowski 204. Signed and titled in pencil. Signed and dated in the stone, lower le...

This is a modernist view of a New York City park. It's interesting because we're given so much detail and yet it's drawing style also keep things hidden. Really I think it's about Cu...

Richard Florsheim created this color lithograph entitled “Carnival” in 1972 in an edition of 30 pieces. Published by Associated American Artists and printed by Landfall Press, this i...