American Modern Landscape Prints

Etching on antique handmade laid paper, 9 5/8 x 4 1/4 inches (246 x 109 mm), full margins. Signed and dated (1928) in pencil, lower margin. Printed by Frederick Reynolds. In very goo...

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

Etching on cream wove Japon paper, 7 3/8 x 7 3/4 inches (188 x 197 mm), full margins. Signed and dated in pencil, lower margin. In excellent condition with some minor surface soiling...

Etching and aquatint on hand made F.J. Head & Co watermarked cream laid paper, full margins. Signed and dated in pencil, lower right margin. From the edition of 160 (from a total of ...

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

Fine Art Aquatint Etching of Gordes, in Provence, France - "Legendary Provence" by Ronald Stephen Riddick Beautiful aquatint etching of a sunset over iconic Provence French town, Go...

A lower Manhattan landscape as it existed in 1922, with Trinity Church and City Hall visible in the background. New York: c 1922 Etching with aquatint on heavy-weight cream wove pap...

Signed titled, and dated, in pencil, and annotated in lower margin "My great-great grandfather's house, built in Bentleyville, Ohio in 1831; torn down in 1956." The wood engraving i...

Original Anno Santo 1983 Italian travel poster map. Linen-backed in Grade A condition, ready to frame. A large yellow sun invites you into this image as it shines down on the entire ...

An Ohio native Witonski made his home in the Chelsea neighborhood of New York City and this subject may well be a Chelsea scene. But mostly it is a homage to intaglio printmaking. It...

NEW YORK FLY TWA is an original vintage travel poster created by David Klein. Size 25.25" x 40". Archival linen is backed in very good condition, Grade A, and is ready to frame. No damage, no restoration, no stains, no tape, just an excellent condition original. Klein is best remembered for the dozens of destination advertisements he created for TWA during the 1950s and ‘60s. For Destination New York, Klein creates a stacked perspective of some of the city’s best-known sights, piling landmark upon a landmark – St. Patrick’s Cathedral, Rockefeller Plaza’s Prometheus et al. – then crowning them with a bust of the Statue of Liberty, and the typeface of the New York Times. 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...

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,...

Original American Airlines World Cup ’94 vintage soccer poster. La Coupe Du Monde Aux Couleurs D’American. Bringing the World to the World Cup. Archi...

Landscape, Car, Palm Tree, Vintage Chevy El Camino, Mid Century Modern, Limited Series. Archival Inkjet Print on Cotton Paper. Mid Century Modern Architecture Design. Tom Blachford, Palm Springs California. This is a limited edition print in a series of 10. Each pieces comes with a hand-signed certificate of authenticity. 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. Loosening the shackles of Palm Springs and Mid Century, Blachford’s large scale works explores some of the outer reaches of the Modernist movement in Architecture, and captured using only the light of the full moon. Blachford's series is a surreal ode to the landscapes of California and its cache of pristine Modernist buildings. Shot entirely at night, bathed in moonlight, the homes, vintage cars, and foliage appear as they have been captured in another space and time. Recognizing the locations may be easy, but it is more difficult to identity when the image was actually taken, be this day or night, in the past, present, or future. The images act as portals in time where it seems these moments exist in all places at once. For Blachford these unique residences act as the sets for infinite narratives, both real and imagined, which the viewer is invited to script for themselves. Each image acts as a still frame for a story about to start and end simultaneously. California has a unique geography and climate, and this gives rise to a distinct deep blue sky: a hue of moonlight ideal for this approach to architectural photography. The long exposure allows the camera to capture a world just beyond our perception and distil it into a single moment. Midnight Modern has already included Palm Springs' most iconic properties; the Kaufman Desert House...

Original Type 59. Grand Prix Bugatti. Linen-backed, horizontal format, fine condition. Small format. This is an original small format type 59. Grand Prix Bugatti sports car print ...

Bird House by Chinese/American artist Chase Chen depicts a barn on a hillside with birds flying into the sky from the roof and a small stream or irrigation ditch flowing downhill and a water pail sitting in the field. There is a blue above the hill. A limited edition [124/350] serigraph created in the year 2000, signed in pencil and in very good condition. Paper size 30.25 x 38.75 image 25 x 33.25. Born into a family of doctors and growing up during the cultural revolution Chinese...

Original poster: Parc de Bagatelle et Louis Vuitton 1999 Hand-signed by the artist Razzia in black marker on the left side. In plate right side. Linen backed, ready to frame. Excellent condition. Linen-backed Parc de Bagatelle. Concours Automobiles et Louis Vuitton. September 1999. Hand-signed by the artist in black marker in the lower left. The signature on the plate is in the lower right. This original poster is also archivally linen-backed and ready to frame. This was the merger of Mercedes Benz and Chrysler with an automobile from each company represented. The Louis Vuitton house...

Lindsey Row, Chelsea. 1888. Lithograph. Way 20; Levy 33; Tedeschi, Stratis and Spink 23. 5 x 8. Edition of 56 posthumous impressions printed by Goulding, in addition to the 14 lifet...

Original Harley-Davidson Daytona Poster - Iconic Motorcycle Brand Artwork for Enthusiasts. Archival linen backed and ready to frame. The poster from the 1980s was created by the ...

Stevan Dohanos was an accomplished draftsman who work was widely known through the Saturday Evening Post. This print 'Backyard,' however, leaves aside the illustrative magazine work ...

Etching on antique cream laid paper with a partial watermark (likely Arches), 12 1/8 x 6 1/8 inches (308 x 156 mm), full margins. Signed and dated in pencil in the lower right margin...

Winker is pulling out all the stops to make as stunning a Western Landscape as possible. The sky in this impression is open. There are also impressions with clouds in the sky. Sign...

Etching and drypoint on greenish cream wove paper, 3 1/4 x 1 15/16 inches (81 x 48 mm), full margins. Signed, dated, and inscribed "III" in pencil. Number 46 from the French Churche...

Published edition, not trial proof Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. A rich, tonal impressi...

Original French poster. Linen-backed KARTING HAFA motor oil KARTING poster estimated to be in the late 1950s—early 60s. It is in excellent condition and ready to frame. COUPE d´ E...

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...

A ca. 1958 lithograph in colors titled "Edgartown Yacht Club" by notable Chicago artist Francis Chapin. Image size: 13 1/2" x 20 1/4". Archivally matted to: 19 1/2" x 26". Prove...

Original California Fun Map vintage poster from 1973. Archival linen backed in fine condition that is ready to frame. Artist: Darrel Millsap. This fun map...

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

Artist: Christo Title: Over The River, Project for the Arkansas River, State of Colorado Medium: Offset lithograph in colors on Rives vellum ragpaper Date: 1996 Edition: Unnumbered S...

Original poster: TREKKERS HIER UW ADRES!. Size: 21" x 31.5". Professional acid-free archival linen backing; ready to frame. The basic translation is 'hikers, here is your address...

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

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

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

This image was in the personal collection of the artist. The Wheeler-Beecher House, sometimes referred to as the Hoadley House, is located on Amity Road in Bethany, CT. Built at the ...

Artist: Christo Title: Over The River, Project for Colorado, The Arkansas River, Seen From Underneath Medium: Offset lithograph in colors on wove paper Date: 1992 Edition: Unnumbered...

Original Prix de La Maison Fleurie vintage French poster. Beautify France and participate in the Prix de La Maison Fleurie. Archival linen backed in fine condition and ready to fr...

Trout Fishing on the Gunnison (Colorado) Lithograph, 1941 Signed and dated '42 in pencil lower right Annotated lower left: "40 Prints-The Gunnison River, Colorado-For Anne & Jack" Ed...

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...

Original 37th Annual Toyota Grand Prix of Long Beach 2011 original racing poster. The event was April 15 - 17, 2011 in Long Beach, Californi...

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

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

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

A series of prints was commissioned by the Met Museum in NY in a regular edition of 40 This impression is from an edition of 5 artist proofs. This impression is #4/5 Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

"Moonlight Glade", a small intimate etching of a New England graveyard, is a remembrance of the artist's roots. There is a quiet reverent calm to this moonlit scene,. William Woodward, born in Seekonk, Massachusetts, received his art training at the Rhode Island School of Design and the Massachusetts Normal Art School. He taught at the Rhode Island School of Design while still a student there. At the behest of William Preston...

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

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

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

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

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

A Sandstorm on the Little Colorado River, Arizona. 1920. Soft-ground etching. Seeber 189. 6 7/8 x 9 3/4 (sheet 9 5/8 x 13). Edition 40, #6. Series: Desert Set. Illustrated: American ...

A 1930 lithograph on paper by artist Raoul Varin, titled "Old Fort Dearborn". Provenance: Arthur Ackerman & Son, Inc., Chicago, IL - Printed in 1930. Artwork size: 13" x 16 1/2"....

Original “Speedy Travel, German Federal Railroad” vintage travel poster. The DB stands for the Deutsche Bundesbahn. Archivally linen-backed in very good condition and ready to fra...

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

Original The New Great Lakes in South Dakota vintage travel and sports poster. Promoting fishing, camping, boating, and swimming. Linen backed and ready to frame. Although hard...

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

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

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...

ANDERS ALDRIN (Swedish /American 1889 – 1970) THE SUNFLOWER ca. 1935 (Newark Museum 9) Color woodcut, edition c. 150. Signed, unnumbered, but dedicat...

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