American Modern Prints and Multiples

Original XXII Gran Premio de Espana vintage poster; artist Michael Turner, size: 26.5" x 38". Year 1975. Archival linen backed original Spanish racing poster. 17th Gran Prix...

A handsome woodcut on paper of the University of Chicago Chapel by artist Siegfried Weng. A perfect gift for your U of C grad! Arwork size: 9 3/4" x 7 1/2". Archivally matted to...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Original Radio Radiola vintage French antique poster. Archival linen-backed and in very good condition. Bright and vibrant. Artist: Rene Ravo....

Animal Kingdom (Magnificent Jungle Cats) Etching, 1953-1955 Signed and titled in pencil by the artist (see photos) Annotated: "First Proof" (see photo) Estate stamp verso (see photo)...

Rio Osmarin shows boats on the canal Rio de S. Provolo o de l'Osmarin in Venice) It was created in 2006 and this impression is #31 of 75 It is signed, titled, numbered and dated by...

Minimal image in black ink on buff rice paper. Taro leaves are a simple form inspiring this woodcut print. Three leaves (taro) - Landscape Print - Woodcut Print By Marc Zimmerman T...

Original vintage poster Algeciras Feria 1948 vintage Spanish travel poster. Archival linen backed in very fine condition, ready to frame. N...

'The Orange Point', color serigraph, edition 54, c. 1940. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet wi...

Original BLAZING the OVERLAND TRAIL 1956 Chapter 1, US 1-sheet .. Lee Roberts, Tom Bridger. Chapter 1. "Gun Emperor of the West!" NSS: 56/4803. Archival linen backed with original fold marks restored, ready to frame. Blazing the Overland Trail, Heroes of the Pony Express!, the 1956 Spencer Gordon Bennet cowboy western serial ("A Columbia Super-Serial") starring Lee Roberts ("as Tom Bridger, Army Scout"), Dennis Moore, Norma Brooks, Gregg Barton, and Don C. Harvey. Heroes of the Pony Express! Movie poster description: BLAZING THE OVERLAND TRAIL 15 CHAPTER SERIAL , Chapter ! 1956 "Blazing the Overland Trail" is Columbia's 57th and last serial production and also the last sound-era serial (of 231 total) made for theatrical release by any major studio. PLOT: Rance Devlin intends to build his own empire in the American west, using his Black Raiders and allied Indians to do so. Only US Army scout Tom Bridger, associated with Pony Express rider Ed Marr and US Cavalry Captain Frank Carter, can stop him. This is a genuine 27" x 41" U.S. one-sheet ORIGINAL MOVIE POSTER issued by the studio when the film was released and meant for theatrical display. CAST: Lee Roberts … Tom Bridger Dennis Moore … Ed Marr Norma Brooks … Lola Martin Gregg Barton … Captain Carter Don C. Harvey … Rance Devlin Lee Morgan...

This artwork "Landscape with Trees" c.1980 is an original lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand si...

Charles Quest, 'Work Bench', 1949, wood engraving, edition 40. Signed, dated and numbered 9/40 in pencil. Titled and annotated 'wood engraving 1949' in pencil, in the artist’s hand, lower right margin. A fine, richly-inked impression, on off-white wove Japan, with full margins (1 3/4 to 2 inches), in excellent condition. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, a successful artist, and fine art instructor, worked in a variety of mediums including mosaic, stained glass, mural painting, and sculpture, but remains best known as a printmaker. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929, and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium which he apparently learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting a lot of critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’ were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’ and the print ‘Still Life with Vise’, was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in the Graphic Arts Division of the Smithsonian's National Museum (now known as the American History Museum). This one-man exhibition was a remarkable achievement for Quest, who had been working in the medium for only about ten years. In the press release for the show, Kainen praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had also won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. Charles Quest retired from teaching in 1971 and made relatively few prints in his later years, as the rigors of the medium were too demanding. He moved to Tryon, North Carolina, with his wife Dorothy, an artist and portrait painter, and remained active as a painter until his death in 1993. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted the interest of Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for the University's collection. In 1990 Georgetown University Library's Special Collections Division became the grateful recipient of a large body of Quest's work including prints, drawings, paintings, sculpture, and stained glass, as well as his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

This vintage original lithograph by celebrated American modernist Mary Chenoweth (1918–1999) presents a dynamic abstract interpretation of birds in flight. Chenoweth’s innovative pri...

Original linen backed one sheet "The Savage Guns". Nss: 62/298. Archivally linen backed with the original issued fold marks restored. Great color, no paper loss, Excellent condition. As close to mint as you will find. Because the original fold marks were restored, it can only be listed as good. Condition: A. The gunfighter and the spitfire meet and love in a wild wind-lashed land where the law ends ... And the one they thought was afraid surprised them the day the banditos came!. Metro Goldwyn Mayer. Starring: Richard Basehart; Don Taylor, Alex Nicol, Pacquita Rico. In Metrocolor and Metroscope. Western movie poster...

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...

Katherine S. Dreier, 'Variation 4, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

"Mexican Orchestra" is one of the George Overbury Hart's largest pieces. It is #14 from a limited edition of 50. The image captures a festive event with hanging lanterns, an orches...

Edward Landon, 'Time Silhouette', color serigraph, 1969, edition 30, Ryan 201. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on cream wo...

This artwork titled "Circe" 1979 is an original colors serigraph on Wove paper by noted American artist Will Barnet, 1911-2012. It is hand signed, titled and numbered 43/100 in pencil by the artist. The image size (circle) is 18 x 18 inches, sheet size is 23.25 x 24 inches. It is in excellent condition, has never been framed. About the artist: Born in 1911 in Beverly, Massachusetts, Barnet knew by the age of ten that he wanted to be an artist. As a student, he studied with Philip Leslie Hale at the School of the Museum of Fine Arts, Boston and viewed first-hand John Singer Sargent at work on the murals of the Boston Public Library. In 1930, Barnet studied at the Art Students League of New York, with Stuart Davis and Charles Locke, beginning his long association with the school. Here he concentrated on painting as well as printmaking, and, in 1936, he became the official printer for the Art Students League. There, he later instructed students in the graphic arts at the school and taught alongside the likes of Yasuo Kuniyoshi, Robert Beverly Hale and Richard Pousette-Dart. Barnet influenced a generation of artists, including James Rosenquist, Knox Martin, Emil Milan, Paul Jenkins, Ethel Fisher...

This artwork titled "II Cup of Joe" c.1990, is an original color serigraph by American artist Rickey Jewell Hohimer, 1946-2021. It is hand signed, titled and numbered 250/300 in pencil by the artist. The image size is 19.5 x 23.5 inches, framed size is 26.75 x 30 inches. The artwork is in excellent condition, the frame is slightly damaged at the top, and will be replaced by a new similar black frame when sold. This will bring the over all condition to excellent. About the artist: Although formally trained with a MFA in painting, Rickey Jewell Hohimer has used the styles of Van Gogh and Gaughin to reach for the spontaneity and simplicity of today's folk art. Hohimer creates figures which are not photos of reality; they are romantically stylized to encourage straightforward emotional responses both to the colorful images and to the situations in which they find themselves. Each of Hohimer's paintings lays out a basic story line to which viewers add their own details. "I want the viewer to become personally involved. My paintings offer a change from those which encourage extensive intellectualizing about what the artist is trying to convey. I want viewers to smile -- to enjoy the whimsical nature of what they are experiencing -- to feel it, not to analyze it!. His jazz paintings are stories on canvas of inspired musicians spontaneously making music of the moment. Life in the jazz age is clubs and nightlife beckoning to musicians to produce jazz art...

James Rosenquist An Intrinsic Existence, 1975 Original lithograph (Printed in Mourlot workshop) Unsigned On vellum 31 x 24 cm Edited by San Lazarro, 1975 Excellent condition

Original David Klein, Germany Fly TWA Jets (Smaller format)—professional acid-free archival linen backing; ready to frame. The image of this original travel to Germany scene features an old cathedral in the background and a wrought iron decorative 'rathauskeller' wine sign. The statue in the center holding the two birds spewing water. About the fountain: Gänsemännchenbrunnen (The Geeseman Fountain) depicting Philip Melanchthon, anonymous (presumed cast by Pankraz Labenwolf), ca. 1526, Nuremberg, Germany During the 1950s and 1960s, David Klein designed and illustrated dozens of posters for Howard Hughes’ Trans World Airlines (TWA). They remain the iconic images of the Jet Set Era. Up, up and away! David Klein was an American artist, best known for his influential work in advertising. Klein is best remembered for the iconic travel images he created for Howard Hughes and Trans World Airlines (TWA) during the 1950s and 1960s. TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was New York to Los Angeles, soon followed by multiple National routes. The airline expanded to serve Europe, the Middle East and Asia after WWII when the company was under the control of Howard Hughes, owner 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...

Original linen backed vintage travel poster on United Air Lines to Washington D. C. Artist: Jebary. Linen backed vintage poster. Ve...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper a reproduction lithograph after the drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

Original first edition printing of Scandinavia by SAS, Scandinavian Airlines System. The first edition has a greyish panel along the bottom. The poster also features the SAS logo...

"Air Jordan" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundre...

Lois Ward created a Fragile Series of images including "Crushed Beetle" in 1990 in a very small edition of just 9. This impression is #1 of 9. Ward has always been concerned with t...

Original " Are You 100% American? Prove it! Buy US government bonds. Third Liberty Loan" vintage poster. This poster from World War I questions whether the viewer is genuinely A...

Etching on antique cream laid paper with a deckle edge and an unidentified round watermark with an arm holding a torch, 3 1/2 x 5 5/8 inches (89 x 144 mm); sheet 5 3/4 x 8 3/8 inches...

Image is 48 X 36 inches. Still life of flowers in a vase. In bold red, orange green and yellow color. Born and educated in Cleveland, Gary Bukovnik has lived in San Francisco for more than a third of a century. Primarily using the media of watercolor, monotype, and lithograph, Bukovnik fuses sensual vitality with fluid yet powerful colorations, creating floral and culinary images of great depth, intensity, and size. In 2003 and 2005, invited Bukovnik was Visiting Artist at the American Academy in Rome in 2003 and 2005 and was an artist-in-residence at the Michigan Institute of Arts in Kalamazoo in 2010, as well as making a tour of exhibitions and watercolor demonstrations across Japan in 2010. Solo exhibitions include Caldwell Snyder Gallery in San Francisco and in St. Helena, CA, Campton Gallery in New York City; the Concept Gallery in Pittsburgh, the A.C.T. Gallery in San Francisco, and the Bonfoey Gallery in Cleveland. Other recent exhibitions have been organized by the Butler Institute of American Art, Youngstown, Paula Brown Gallery, Toledo, Neuhoff Gallery, New York; Lisa Kurts Gallery, Memphis; Irving Galleries, Palm Beach; Galerie Kutter, Luxembourg; the Southern Alleghenies Museum of Art, Johnstown, Pennsylvania; Chin Show Cultural Center, Taipei; Takashimaya, Tokyo; the Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh; and Brevard Museum of Art, Melbourne, Florida. SELECTED MUSEUM COLLECTIONS Art Gallery of Hamilton, Ontario The Art Institute of Chicago Atlanta Botanical Garden Brooklyn Museum Brooks Museum of Art, Memphis The Butler Institute of American Art, Youngstown Dallas Museum of Art Fine Arts Museums of San Francisco Frye Art Museum, Seattle Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh Hunterian Art Gallery, University of Glasgow Library of Congress, Washington, DC The Metropolitan Museum of Art, New York The Minneapolis Institute of Arts, Minnesota Museum of Fine Arts, Boston The Museum of Modern Art, New York The Richard L. Nelson Gallery, U.C. Davis, California The New York Public Library Oakland Museum of California Philadelphia Museum of Art Phoenix Art Museum Portland Art Museum, Oregon Rhode Island School of Design Museum, Providence San Francisco Museum of Modern Art University of Arizona Museum of Art, Tucson University of California, Berkeley Art Museum SELECTED PUBLIC COLLECTIONS ALZA Corporation, Mountain View ART In Embassies Program, U.S. Department of State AT&T, New York Atlantic Richfield, Los Angeles BankAmerica Corporation, Charlotte Citigroup, New York Cleveland Institute of Music Clorox Company, Oakland Comerica Bank, Costa Mesa & San Jose H.J. Heinz Company, Pittsburgh Illinois Bell...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...

Bicentennial Indian by Fritz Scholder, Native American (1937–2005) Portfolio: Kent Bicentennial Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 9.5 x 13 inches Frame Si...

This artwork "Trees " c.1990 in an original monotype on B.F.K Rives paper by American artist Kelly Detweiler. It is hand signed, titled and numbered 1/1 in pencil by the artist. The image size is 17.85 x 15.65 inches, sheet size is 24.25 x 22.25 inches. It is in excellent condition, the colors are fresh and bright, has never been framed. About the artist: Born in Twin Falls Idaho, his family immediately moved to Monte Vista, Colorado where he lived until age 12. Many of the idyllic memories of this childhood inform his imagination and enter into his work. Moving from a very small farming and ranching community, he was plunged into the crazed consumer culture of Southern California. He lived in La Mesa, California and watched as the entire face of America changed with Vietnam, rampant divorce, and then the summer of love. He attended Grossmont College and immersed himself in art. Seeking to escape the drug crazed beach culture, he set out for northern California. Kelly attended Cal State University at Hayward where he studied with Mel Ramos, Raymond Saunders, Harold Schlotzhauer, Misch Kohn, Kenji Nanao and Clayton Bailey...

Richard LINDNER Lovers with a Tiger Original lithograph, 1977 Printed signature in the plate On heavy paper 76 x 56 cm (c. 30 x 22 inch) Created for the artist exhibition in Maeght ...

Plombiers Les Bains (Bosges . Original vintage French travel poster: Artist: Adrien Senechal. Travel from Paris in 5 Hours. Note ...

Donald Shaw MacLaughlan's small, even 'miniaturist' etching, 'A Tuscan Farm,' features an idyllic view of a scene he would have encountered on his European...

Artist: Tom Wesselmann Title: American Nude Portfolio: 1¢ Life Medium: Lithograph in colors Date: 1964 Edition: 2000 Frame Size: 20 3/4" x 28 1/2" Sheet Size: 16 1/4" x 22 3/4" Image...

Keep 'em Flying Hennies Bros Show original vintage military, carnival, and amusement park poster. Created during World War Two when entertainment and enj...

Original Queen of the Jungle vintage lithograph movie poster, archival linen backed. US 1-sheet. "The Temple of Mu." Serial. Episode No 10. St...

‘Help RCA Help USA, Beat the Promise, You and I Beat the Promise,’ original WWII antique vintage military poster. In the foreground are two clasped hand...

'Bob" is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller i...

Michael Mazur "The Artist" Hand signed and editioned from the edition of 50 1967 Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grim...

A collage lithograph from her series Various Flying Creatures by Kiki Smith titled: "squirrel." Smith has used one of her animal/insect iconic figur...

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...

Step into the serene beauty of a New Mexico winter with this stunning 1950s signed lithograph, New Mexico Village Under Snow, by acclaimed artist Kenneth Miller Adams. This rare vint...

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

Original World War II poster: NEXT!. 6th War Loan. Original World War 2 government issued poster. Linen backed with original fold marks restored. T...

Original 1959 Yves Brayer Poster — Les Fêtes de Provence (Année Mireille). Archival linen-backed, original French vintage poster — ready to frame. • Authentic 1959 French travel/cu...

William P. Hicks has drawn everything about the circus that will fit in the plate. The main figure is an aerial act with a woman balancing on rope held by a figure on the floor. Ther...

Artist: Ben Shahn, American (1898 - 1969) Title: Paris Review Year: 1968 Medium: Lithograph on Arches, Signed in black crayon, numbered in pencil Edition: 200 Paper Size: 39 x 26 in....

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Summer Gold Medium: Lithograph, signed and numbered in pencil Edition: 250, 5 HC Image S...

From the estate of Jerry Opper and Ruth Opper Abstract Line Print c.1950's Stone Lithograph on Paper 25" x 19.5" Unframed Estate stamp lower left Came from ...

MARK FREEMAN (1908 - 2003) MANHATTAN CLIFFS, 1947 Lithograph (offset?) with 2 color plates. Signed, titled and dated. 19 1/2 x 15 in., large grey sheet, 22 3/8 x 17 1/2 in. Very good condition. A large and very strong image of New York.

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

John Taylor Arms created this superb architectural image of La Colegiata in 1935 in an edition of 153. It is #12 in his Spanish Churches series and is referenced as Fletcher #284. One of the most characteristic examples of transitional Romanesque architecture in Spain, the church of Santa María la Mayor is inspired by the Cathedral of Zamora, in turn inspired by the Old Cathedral of Salamanca. The tower-dome is usually listed as one of the four most typical in León together with those in the cathedrals of Salamanca, Plasencia and Zamora. The church was begun around 1170, and was finished in the mid-13th century. Two different directors of the work have been identified, according to the different types of stone used (limestone in the old sections, sandstone in the most recent ones), and by the barrel vaults...

“LA CASA GRANDE” Emilio Sanchez (1921-1999) created this lithograph entitled “La Casa Grande” in 1997. The printed image size is 30.5 x 30 inches and ...

Etching on watermarked FJ Head cream laid paper with a deckle edge, 11 1/8 x 8 3/4 inches (283 x 223 mm); sheet 14 3/4 x 11 1/2 inches (374 x 292 mm), full margins. Signed and dated ...

Etching with aquatint on white wove paper with a deckle edge, 23 1/2 x 17 1/2 inches (598 x 317 mm); sheet 30 x 22 1/2 inches (762 x 571 mm), full margins. Signed and numbered 4/10 i...

Original, archival linen backed, vintage movie poster: FIREBALL 500. Fireball 500, 1966. Original antique muscle car hot rod movie poster for sale, ...

"Silver Mine, Russell Gulch (12/25)" is a striking black-and-white lithograph by German-born American Modernist Arnold Ronnebeck (1885–1947). This rare print depicts a historic minin...