American Realist Prints and Multiples

Reginald Marsh (1898-1954), East Tenth Street Jungle, 1934, etching, signed and annotated “Second Proof, First State”, in pencil [also initialed and dated in the plate]. Reference: S...

Raphael Soyer (1899-1987), The Search Party (From the Cracked Mirror), color lithograph, c. 1975, signed in pencil lower right and numbered III/XXV lowe...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excel...

Montparnasse Street– 1931, Etching Duffy 128. Edition 50, only 25 printed. Signed, dated, and annotated imp and 50 in pencil. Image size 4 7/8 x 9 7/8 inches (124 x 251 mm); sh...

Benson, Frank. THE BRIDGE. Paff 227. Drypoint on copper, 1923. A trial proof of the second state, printed on uncalendared Japanese Vellum, annotated "B-1," the first of two trial pro...

John Sloan (1871-1954) etching, James B. Moore, Esq., signed in pencil lower right and inscribed “100 proofs” lower left (although only 25 were printed). [Also signed and dated lower...

Sloan, John. MAN MONKEY. M.130. Etching, 1905. Edition of 100, Signed by Sloan. Dated in the lower margin "June 13 - 1905," and further inscribed "J. S. imp. dated by Sloan - final s...

Reginald Marsh (1898-1954), Skyline from Pier 10, Brooklyn, etching, 1931, signed in pencil [also signed in the plate]. Reference: Sasowsky 129. First state (of 4). In very good cond...

Bishop, Isabel. SEATED MAN. Ink drawing on paper, c. 1932. 5 1/4 x 4 3/4 inches. Signed in pencil.

Published by N. Currier, 152 Nassau St. New York. Drawn on the stone by O. Knirsch. Lithograph hand-colored, 1853. This print was produced by Nathaniel Currier's staff as a Christ...

Reginald Marsh (1896-1954), Jersey City Landscape, etching and engraving, 1939, signed in pencil lower right [also signed and dated in the plate]. Referenc...

MacLaughlan, Donald Shaw. Canada/US, 1876-1938. THE BIG DOME. Etching. 7 1/8 x 4 11/16 inches; 182 x 120 mm. Signed in pencil, and signed and dated (1910?) in the plate. Trimmed at o...

Martin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impress...

Reginald Marsh (1898-1954), Merry-Go-Round, etching, 1930, signed in pencil lower right and numbered "24" lower left. In very good condition, with margins (cut irregularly,...

John Sloan (1871-1951), Hell Hole, 1917, etching and aquatint, signed bottom right, titled bottom center, and inscribed “100 proofs”. Reference: Morse 186, second state (of 2). From ...

Reginald Marsh (1896-1954), Pennsylvania Rail Road Loco Waiting to be Junked, 1932, etching, signed in pencil lower right and numbered “12” lower left. Reference: Sasowsky 130, fift...

Diana Thorne’s Dogs: An Album of Drawings. Diana Thorne. Julian Messner, Inc. New York, 1944. 24 Drawings in Lithography. “In drawing them,” she writes, “I have tried to ma...

Reginald Marsh (1898-1954), Irving Place Burlesk, etching, 1929, signed in pencil lower right and numbered (18) lower left. Reference: Sasowsky 75, third state (of 3). In very good c...

Aquatint engraving, 1839-44. Drawn by Karl Bodmer. Engraved by Rene Rollet. Printed by Bougeard, Paris. Published in Paris, A. Bertrand.; Coblenz, J. Holscher; and Lon...

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...

Aquatint, etching and roulette engraving, 1839-44. Drawn by Karl Bodmer. Engraved by R. Rollet. Printed by Bougeard, Paris. Published in Paris, A. Bertrand; Coblenz, J...

Aquatint, mezzotint and etching, 1839-44. Drawn by Karl Bodmer. Grave par J. Hurlimann. Published in Paris, A. Bertrand; Coblenz, J. Holscher and London by Ackermann & ...

Artist: Richard Haas, American (1936 - ) Title: Manhattan View from Governor's Island (Color) Year: 1999 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 85 ...

Original vintage poster: Paglieri dai fiori le Cipri i Profumi. Italian artist: Gino Boccasile (1901 - 1952). Size: 13.25" x 19". Archival linen backed authentic Italian post...

"Fredericksburg, TX" Folk Landscape - Artist's Proof #10 Lively landscape by Lee Ethel (American, 1926-1992). There are several rows of buildings, shown in ...

Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

Original vintage French poster: Christian Dior Homage. (Homage à Christian Dior) Artist: Rene Gruau. Mint condition Original. Size: 15.75" x 24" Very fine condition; read...

Missouri Arrival (Flood) c. 1940 By Joseph Vorst (1897-1947) Signed Lower Right Unframed: 11" x 8.25" Framed: 18.5" x 15.5" German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind. Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...

One of Their Pets (Two Farm Boys and Cow at The Watering Hole) By Joseph Vorst (1897-1947) Signed Lower Right Edition 1/50 Lower Left Unframed: 8.5" x 11" Framed: 16" x 18.5" German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind. Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...

Neil Welliver Loon, 1998 color etching, ed. of 175 29 3/4 x 29 5/8 in. (75.6 x 75.2 cm)

drawing, limited edition archival print 8/10

After Norman Rockwell Reproduction print of "Barbershop Quartet" 1936 Lithograph Signed in Pencil Lower Right Numbered Lower Left 182/200 This i...

Norman Rockwell "Charwomen in Theater" 1946 Lithograph Signed in Pencil Lower Right Numbered Lower Left 160/200 Site Size: approx 26 x 20 inches Framed Size: approx. 34.5 x 28.5 inc...

George Caleb Bingham (American, Missouri, 1811-1879) Painted by G. C. Bingham. Engraved by Gautier, published by Goupil and Co. Stump Speaking, 1856 Hand Colored Engraving 22 5/16 x 30 inches (image) 32 x 39 inches (framed) The following exhibition review is from The Kansas City Star, September 8, 2013, and refers to an exhibition at the Jackson County Historical Society. By BRIAN BURNES The Kansas City Star Three judges can be found on the second floor of the renovated Jackson County Truman Courthouse in Independence. That wouldn't be unusual, except for the way the judges gaze upon visitors — steady, unmoving and frozen on canvas. Turns out all three judges sat for 19th century Missouri artist George Caleb Bingham. Now their portraits hang on a wall of the new Jackson County Museum of Art, opening Saturday in the recently renovated courthouse, not far from the offices of the county's assessments and collections departments. Many of the 27 Bingham artworks displayed are owned by Ken McClain, Independence lawyer and developer. "Bingham is recognized as a national treasure, but his Jackson County roots are not focused on that frequently," McClain said of the artist, who maintained a studio in his Independence home, later served as a Kansas City police commissioner and is buried in Union Cemetery. "I thought the courthouse would be an appropriate place for a museum dedicated to him." Jackson County Executive Mike Sanders worked with McClain to set aside during courthouse renovations several second-floor rooms that have been transformed into a gallery. Ceiling-mounted pendant lamps that recall the courthouse's 1933 renovation now hang alongside track lighting. Long blinds have been installed in the building's tall window frames to protect the paintings, some of them about 150 years old. "Ken's vision has moved the courthouse renovation from a great project to an incredible one, increasing its value exponentially," Sanders said. "Visitors will come here from all over the country." The Bingham artworks make up the principal holdings of the nonprofit museum, which will be administered by its own board of directors. Other works are on loan from the State Historical Society of Missouri and the Jackson County Historical Society. McClain hopes that future acquisitions, as well as other loaned artworks, can be rotated through the holdings. Bingham began painting about 1830. Although his reputation today may rest on paintings such as The Jolly Flatboatmen...

George Caleb Bingham (American, Missouri, 1811-1879) Painted by G. C. Bingham. Engraved by John Sartain, published by Goupil and Co. The County Election, 1854 Hand Colored Engraving 21 1/4 x 30 inches (image) 30 x 37 inches (sheet) 31.5 x 39 inches (framed) The following exhibition review is from The Kansas City Star, September 8, 2013, and refers to an exhibition at the Jackson County Historical Society. By BRIAN BURNES The Kansas City Star Three judges can be found on the second floor of the renovated Jackson County Truman Courthouse in Independence. That wouldn't be unusual, except for the way the judges gaze upon visitors — steady, unmoving and frozen on canvas. Turns out all three judges sat for 19th century Missouri artist George Caleb Bingham. Now their portraits hang on a wall of the new Jackson County Museum of Art, opening Saturday in the recently renovated courthouse, not far from the offices of the county's assessments and collections departments. Many of the 27 Bingham artworks displayed are owned by Ken McClain, Independence lawyer and developer. "Bingham is recognized as a national treasure, but his Jackson County roots are not focused on that frequently," McClain said of the artist, who maintained a studio in his Independence home, later served as a Kansas City police commissioner and is buried in Union Cemetery. "I thought the courthouse would be an appropriate place for a museum dedicated to him." Jackson County Executive Mike Sanders worked with McClain to set aside during courthouse renovations several second-floor rooms that have been transformed into a gallery. Ceiling-mounted pendant lamps that recall the courthouse's 1933 renovation now hang alongside track lighting. Long blinds have been installed in the building's tall window frames to protect the paintings, some of them about 150 years old. "Ken's vision has moved the courthouse renovation from a great project to an incredible one, increasing its value exponentially," Sanders said. "Visitors will come here from all over the country." The Bingham artworks make up the principal holdings of the nonprofit museum, which will be administered by its own board of directors. Other works are on loan from the State Historical Society of Missouri and the Jackson County Historical Society. McClain hopes that future acquisitions, as well as other loaned artworks, can be rotated through the holdings. Bingham began painting about 1830. Although his reputation today may rest on paintings such as The Jolly Flatboatmen...

George Caleb Bingham (American, Missouri, 1811-1879) Painted by G. C. Bingham Engraved by T. Doney The Jolly Flatboatmen, 1847 Engraving 18 1/2 x 24 ...

Ted Blaylock (b. 1946) "Nest Builder III" 1986 Print Ed. 586/950 Signed and Numbered Ted Blaylock opened his own art studio and gallery in Collinsville, IL in 1969. He eventually mo...

Armin Landeck (1905-1884), Sunset Palace Lodge, 1938, drypoint, signed, dated and inscribed “ed 100” in pencil, on a heavy cream wove paper, the full sheet with deckle edges, 6 x 7 7...

Gordan Hope Grant (1875-1962) "Work and Play" Lithograph Signed in Pencil Lower Right Image Size: 9 x 11.5 inches Framed Size: approx 18 x 20.5 inches Born in San Francisco, Gordon Grant is known for his etchings and paintings of marine subjects. He also painted portraits, streets, harbors, beaches and marines, and was an illustrator, whose work included pulp fiction* for Popular Detective magazine in the 1930s. Skilled with watercolor, Grant was honored many times by the American Watercolor Society*. Memberships included the Society of Illustrators*, Salmagundi Club*, Allied Artists of America*, New York Society of Painters, and American Federation of Artists*. At age 13, he was sent to Scotland for schooling, and the four-month sail around Cape Horn remained a permanent influence on his career. He studied art in Heatherly and at the Lambeth School of Art* in London, and then in 1895, he became a staff artist for the San Francisco Examiner. The next year, he took the same type of job for the New York World and covered the Boer War for Harper's Weekly. He also worked for Puck magazine...

Signed in Pencil Lower Right Ed. 500 Circulated by Twayne Publishers, New York City Image Size: 16 x 12 3/8 Framed Size: 24 1/4 x 20 1/2 inches The legendary actor actor and musici...

Reginald Marsh (1898-1954), Loco-Erie Watering, 1929, etching, signed in pencil lower right, and numbered (16) lower left. Reference: Sasowsky 85, fourth state (of 4). On Whatman pap...

Paul Cadmus (1904-1999) Coney Island–1935, Etching. Johnson and Miller 81. Edition 50. Signed in pencil. Annotated Edition of 50 – 1935 in pencil, i...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...