Don Snider

Original Give War Bonds, the Present with a Future vintage WWII poster

1943

Original World War 1 vintage poster: Save Your Child from Autocracy and Poverty. Buy War Savings Stamps. W.S S. (Small Format). This poster for War Savings Stamps features a small blond child wearing nothing but shoes and socks. He is clutching the arm of the Statue of Liberty. The poster was designed by Minneapolis born Herbert Paus. His most noted work is found in the famed advertising campaigns for Victor Records...

Original 'La France Manque d’Huile, cultivez des Oleagineux' vintage French poster. Linen backed in excellent condition, ready to frame. FREE Continential USA shipping. Transpor...

La Soda Purfinfruit. Original vintage poster: Archival linen backed in fine condition Original, linen-backed, excellent condition, vintage fruit drink poster for SODA PURFINFRUIT...

Original Vultee "Vengeance" World War II, 1942, vintage spotter airplane poster. Original linen-backed U. S. Naval Aviation Training Division, Nov.,...

Original, linen-backed, vintage poster Bieres Excelsior. The 4 beers: Pearle; Bock; Saphir; '51 from the grand brasseries de Lille (Belgium). Artist: Sogno. Fine, excellent condition. Professional acid-free archival linen-backed, ready to frame. Large size format! Need to spruce up and decorate a large bar area, a beer drinking man...

Original Russian European Weight Lifting Championship held in Leningrad in 1968. This poster is archival linen-backed and in very good condition. The original fold marks have been restored during linen backing. The event was June 19th – 25th, 1968. Translation: USSR WEIGHTLIFTING FEDERATION June 19.25 LENINGRAD EUROPEAN WEIGHTLIFTING CHAMPIONSHIP The image of a big hand holding one side of a set of giant weights for the bench press...

This poster, produced for an exhibition at the Milwaukee Art Museum, features the bold work of American architect and designer Frank Lloyd Wright. Beneat...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...

Artist: Tom Wesselmann Title: Still Life with Fruit Portfolio: 1¢ Life Medium: Lithograph in colors Year: 1964 Edition: 2000 Frame Size: 20 5/8" x 29 1/2" Sheet Size: 16 1/4" x 22 3/...

The marriage between the art of science and the art of seeing was cemented by the invention of the lens. It is FIROS #48 in the catalogue raisonne. Carol Wax originally trained to b...

Leonardo da Vinci "Nature Studies from the Royal Library at Windsor Castle" The J. Paul Getty Museum, November 15, 1980 - February 15, 1981 Exhibition Poste...

'As I Opened Fire' triptych, offset-lithograph poster after the original painting by Roy Lichtenstein (American, 1923-1997) in the collection of the Stedelijk Museum, Amsterdam. Signed in pencil by the artist, lower right of right hand panel, 'Roy Lichtenstein' and printed circa 1988. Published by the Stedelijk Museum with publisher's imprint "Copyright S.M.A." printed on each sheet lower right within image. Printer: Drukkerij Luii & Co., Amsterdam, Netherlands. Artwork and printing information printed, verso, lower left and lower right of each sheet. Publishing information lower right, verso, on each sheet: "edition and color-correction Stedelijk Museum, Amsterdam (copyright) R. Lichtenstein 1964...