American Realist Prints and Multiples

Duane Bryers, American (1911 - 2012) - Lonesome Train Whistle, Year: Circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 22 in., Siz...

Duane Bryers, American (1911 - 2012) - His Family, Year: 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 300, AP, Image Size: 14.5 x 22.5 in., Size: 21.5 in. ...

Martin Lewis (1881-1962), Little Penthouse, drypoint, 1931, signed in pencil lower right [signed in the plate in a rectangle lower left]. Reference: McCarron 91, only state. Printed ...

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...

Sylvia Mayzer Rantz, 'Ninth Inning', lithograph, 1949, edition 24. Signed, dated, titled, and numbered '9/24' in pencil. A fine, richly-inked impression, on cream wove paper. The ful...

This artwork "Three Dancers" 1980 is an original color lithograph on Arches paper by noted American artist Alan Feltus, b.1943. It is hand signed and numbered 32/60 in pencil by the artist. With the blind stamp of the publisher, Editions Press, San Francisco. The image size is 18.5 x 24.5 inches, sheet size is 22.5 x 30 inches, framed size is 33.5 x 39.75 inches. Custom framed in a wooden silver frame, with off white matting and silver color spacer. It is in excellent condition About the artist: Alan Feltus was born in Washington, D.C. in 1943 and grew up in Manhattan. He studied for one year at the Tyler School of Fine Arts in Philadelphia, and then Cooper Union in New York (B.F.A. 1966), and Yale University (M.F.A. 1968). He has received many awards for his work that include the Rome Prize Fellowship, a National Endowment for the Arts Individual Grant in Painting, a Louis Comfort Tiffany Foundation Grant in Painting, two Pollock Krasner Foundation Grants in Painting, the Augustus Saint-Gaudens Award from Cooper Union, and the Raymond P...

This artwork titled "TheLong Trail West" c.1980 is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed and n...

Original linen-backed World War 1 YMCA poster. "Workers Lend Your Strength the Red Triangle, YMCA, Help the "Y" help the fighters fight, United War Work C...

Artist : Elizabeth Catlett (1915-2022) Title : Gossip Medium : Color photo-lithograph and digital print on Somerset wove paper with full margins; signed, titled, dated and numbe...

Original prerelease Indiana Jones and the Last Crusade 1 sheet movie poster that was rolled and not folded. Artist: Drew St4uzan. Size: 27" x 40". Linen backed. Excellent co...

Dropping In Drypoint, c. 1940 Signed lower right (see photo) Titled lower left Condition: Excellent Brown paper tape around the sheet edges from the printing and air dryi...

Title continues: Built by Mr. Henry Steers, Greenpoint, L. I. Owned by Mr. James Gordon Bennett, Jr. Winner of the Great Ocean Yacht Race, With the ...

This artwork "Still Life with Silver Vase" 1991 is a large original color serigraph by artist Audean Johnson. It is hand signed and numbered 195/275 in ...

The drypoint created in 1920 is a working state, the fourth of eight. The eight states are listed in the Frank W. Benson catalogue raisonne by Adam Paff #184. There are two recorded impressions of this print making it a rare find. It is signed in pencil and inscribed "D-2." The Image size 4 3/8 x 5 13/16" (11.1 x 14.8 cm). The final printed edition of "Three Yellowlegs" was 150. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Born in Newark, New Jersey, Robert Birmelin became a professor of fine arts at Queens College in New York, and is known for paintings that magnify through texture the realism of natu...

Mel Hunter, American (1927 - 2004) - Quarter Horse, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), De...

Palmettos Jon Carsman, American (1944–1987) Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 26/175 Image Size: 30 x 20 inches Size: 34.5 in. x 24 in. (87.63 cm...

Woodlands (New Hope, Pennsylvania) Lithograph, 1950 Signed by the artist in pencil lower right (see photo) Annotated: Ed/55 in pencil by the artist lower left (see photo) Edition: 55...

The 21st Floor-A View of the World Trade Center in the Skyline Screen print, c. 1990 Signed: Joni Frankel lower left Edition 200 (42/200) Signed lower lef...

UNION POND, WILLIAMSBURGH, L. I. [sic] is a lithograph printed in color in circa 1862. It was published by Thomas & Eno, 37 Park Row, N.Y. The printed image size is 16 3/4 x 27 in...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Artist: Jack Beal, American (1931 - 2013) Title: Blue Crab Year: circa 1975 Medium: Silkscreen, Signed and numbered in pencil Edition: 52 Image Size: 9 x 12 ...

Philip Pearlstein (American, 1924-2022) Stonehenge Landscape Sugar Lift Aquatint Etching with Roulette on Rives BFK Paper, 1979 Series: Ruins and Landscapes Printer: Orlando Condesso Printer: Nancy Brokopp Medium: Sugar-lift aquatint with roulette Philip Pearlstein is an influential American painter best known for Modernist Realism nudes. Cited by critics as the preeminent figure painter of the 1960s to 2000s, he led a revival in realist art. He is a Distinguished Professor Emeritus with paintings in the collections of over 70 public art museums. Philip M. Pearlstein was born on May 24, 1924 in Pittsburgh, PA. He attended Saturday morning classes at Pittsburgh's Carnegie Museum of Art. In 1942, at the age of 18, two of his paintings won a national competition sponsored by Scholastic Magazine, and were reproduced in color in Life magazine. In 1942, he enrolled at Carnegie Institute of Technology's art school, in Pittsburgh, where he painted two portraits of his parents now held by the Carnegie Museum of Art, but after one year he was drafted by the US Army to serve during World War II. He was initially assigned to the Training Aids Unit at Camp Blanding, Florida, where he produced charts, weapon assembly diagrams and signs. In this role, he learned printmaking and the screenprinting process, and subsequently was stationed in Italy making road signs. While in Italy, he took in as much renaissance art as was accessible in Rome, Florence, Venice and Milan, and also produced numerous drawings depicting life in the Army. In 1946, sponsored by the GI Bill, he returned to Carnegie Institute, and first met Andy Warhol, who was attracted to Pearlstein because of his notoriety in the school, having been featured in Life magazine. During the summer of 1947, the three rented a barn as a summer studio. Immediately after graduating in June 1949 with a BFA, Pearlstein and Warhol moved to New York City, at first sharing an eighth-floor walkup tenement apartment on St. Mark's Place at Avenue A. He was eventually hired by Czech designer Ladislav Sutnar, mainly doing industrial catalog...

Original Christmas Mailing Time vintage poster: Artist: Bogorad. Original World War I (2) U. S. Army and Navy Postal Service. Linen backed in B co...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Two Yellow Irises on Sage II Year: 1980 Medium: Serigraph, signed and numbered in pencil Editio...

Gene Kloss: 1903-1996. Well listed and very important female American artist. She has Auction results up to $34,000 for an etching. She was born in Oakland California and died in Tao...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Island of Yellow Flowers Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 32 x 40 inch...

Hutty, Alfred. PHOEBE PASSES MY GATE. Drypoint, c. 1931. Edition size c.75. 8 1/8 x 7 1/4 inches (plate), 10 1/4 x 8 3/4 inches (sheet). Print...

Artist: Richard Haas, American (1936 - ) Title: 57th Street Looking East Year: 2007 Medium: Etching, signed and numbered in pencil Edition: 36/200 Image Si...

Original linen backed 1949 International Jumping Steeple Chase Van Gent poster. The events were held at the Royal Cercle Equestre Gent; at the Feestpaleis The Royal Cercle Eque...

Lighthouses are unique to decorate with to create a look that is comforting as well as historical. This painting by Michigan artist Leo Kuschel is of the 3...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

Artist: Ben Shahn, Lithuanian/American (1898 - 1969) Title: Skowhegan Year: 1965 Medium: Wood Engraving, signed in pencil Edition: 200 (unnumbered) Image Size: 9 x 8 inches Size: 16 ...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Published and printed by Art in America, New York in an edition of D. From the f...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Three Irises on Green Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 40 Image Size: 20 x 44 inche...

This drypoint from 1930 was printed in an edition of 150. It is signed in pencil just under the image in the lower left. Listed in the catalogue raisonne on Frank W. Benson by Adam Paff #303. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

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

Artist: Georges Schreiber, Belgian/American (1904 - 1977) Title: Going Home Year: circa 1945 Medium: Lithograph, signed and titled in pencil Image Size: 9.25 x 13.25 inches Size: 12 ...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Multiflower Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 23 x 23 inches Size: 30 i...

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...

Lorna Patrick, American - Pueblo, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Size: 31 x 42 in. (78.74 x 106.68 cm), Description: Set beneath...

John McNulty, Irish/American (1949 - ) - Jardins de Luxembourg, Year: 1984, Medium: Etching with Aquatint, signed and titled in pencil, Edition: 175, Size: 22 x 28 in. (55.88 x 7...

"Coupe Gordon Bennett 1909 — Curtiss le Gagnant" is an original Lithograph with Pochoir created by Marguerite Montaut (GAMY). Gamy presents the viewer w...

Original Groceries and Fruits vintage chromolithograph poster. Antique Cromo lithograph of your early fruit and grocery store. What service! Printed in Germany. This printing st...

Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left, [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches. A very good impression, printed in black on a wove paper with a partial FRANCE watermark. Sasowsky notes that Marsh printed 15 impressions of this state (and only one or two of the prior states), and considered only 10 of the 15 valuable. His notation “Forty Proofs” is therefore surely an expression of a hoped-for edition size, as opposed to an actual edition size. We have found this quite often the case with Marsh prints – he indicates an edition size but the actual number of impressions printed is considerably smaller. There is an eerie, almost ominous note in this, as in several of Marsh’s merry-go-round prints...

Dramatic imagery from Tom Bennett’s series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett ...

Walt Kuhn (1877-1949), [Reclining Nude], c. 1920, etching, signed in pencil lower margin. In pristine condition, soft fold upper right, with no sign of prior framing or exposure, the full sheet on yellow/cream laid paper, 6 x 7 3/4, the sheet 9 3/8 x 11 3/4 inches, archival mounting. A fine impression. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist; illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he joined with others to encourage Arthur B. Davies to get behind the idea of bringing a great European modernist art...

Winter is serene in this landscape of a barn in winter as it begins to fade and head to spring. Owen Wexler is the artist; this is a limited edition lithograph signed and titled by him.

John Sloan (American 1871 – 1954), Fashions of the Past, etching and aquatint, 1926, signed and titled by the artist in pencil (Morse 224 IV/IV), also signed by the printer. From the...

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,...

C-print on argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Addi...

Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good cond...

William Wind McKim, 'Pups in the Pit', lithograph, 1967, edition c. 50. Signed and titled in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/8 to...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Art in America, New York in an edition of CDVII/D. From the folio, The Four Se...

Clement Haupers (1900-1982), Metro 2nd Class, aquatint and etching, 1928, signed, titled, numbered (6/20), dated and inscribed “Paris.” In very good condition, slight toning and rema...

Early modern vintage Santa Fe Southwestern Indian Railroad 1936 calendar featuring the work of Eanger Irving Couse. The calendar features the note: “In his treatment of this strong...

Chris Forrest, American (1946 - ) - Deer Mouse, Year: circa 1979, Medium: Lithograph, Signed and numbered in pencil, Edition: 300, AP XL, Image Size: 14 x 23 inches, Size: 23 in...

Jerome Myers (1867-1940), Children in Mulberry Street, c. 1910, soft ground etching and plate tone, signed in pencil lower right. In good condition (apart from weakening at platemark...

"En Salada" Salad Fixings Etching on Paper by Joseph C. MaCarthy This Intaglio print, titled "En Salada," by San Francisco Bay area artist Joseph C. McCarthy (American, 20th C), cre...