American Realist Prints and Multiples

Summer Shadows, Wiscasset, Maine Lithograph, 1947 Signed in pencil lower right (see photo) "Ed. 85" lower left corner (see photo) Edition: 85 Wiscasset, known as the "prettiest villa...

Harry Schaare, American (1922 - 2008) - Gloucester Fisherman, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 50, Image Size: 29.5 x 22 inches, S...

Signed Limited Edition Art Etching by Charles Bragg. Women in Golf Suite : #18 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 95 /300 Unframed Step into the ...

"Harbor Rainbow" with rippling water reflections of the blue boat floating in the sea is a quintessential example of Tom Swimm's enhanced realism. This c...

This artwork titled "Delusion" c.1980 is an original lithograph on Wove paper by noted American artist Sheldon C. Schoneberg, 1926-2012. It is hand signed, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The image size is 21.5 x 17.5 inches, sheet size is 26 x 20 inches. It is in excellent condition, has never been framed. About the artist: Born in Oak Park, Illinois; family moves to Beverly Hills; Attends El Rodeo, Beverly Hills High then Chouinard Art Institute, Los Angeles; University of Southern California, BFA cum laude. MFA, 1951; Academia di Belle Arti, Rome, 3rd Year Certificate; Universidad Michoacana, Morelia, Mexico, 1952, Graduate School - Fresco Printings. TEACHING: Santa Monica College, 1947; Hollywood Art Center School 1948; Pratt University, New York, 1950; Academic Rank of Full Professor of Art - University of New York, New Paltz, 1964 and University of Southern Maine 1967; Master Drawing Classes, Paris-American Academy of Art, Paris, France 1984-1985, Drawing, Painting and Contemporary Art History- University of New England, Biddeford, Maine 1993 - 2002. CYCLES OF WORKS IN ART: • Biblical, American Indian, Rome 1948-62, Oil Paintings • Drawings Wash and Ink, Wood and Ink, Sepia Conte and Ink, Pastels 1940-1968, California, New York, Maine • Archetypal Frescos 1948-55, Mexico, California, Israel • Goyescas, Satiric Ink and Wash Sketches, Spain and Greece 1954-1962 • Tapestries of the Zodiac 1961-1963, Spain • Para-Mandalas, Collages, Mixed-Media, Oil Paintings 1961-1967 • Flower-Children Series and Flag Series, Charcoal Pastel Drawings, California and Maine 1965-2008 • Bas-Relief polyester Resin Sculpture, Bronze Sculpture, 1966-1968 • The Centaurs Garden Suite, Centre Genevois de Grauvure Contemporaine, Geneva, Switzerland, lithographs on stone and etchings 1971 • Oil Paintings,Landscapes, Portraits, Nudes and Still Lifes, Mykonos, Greece, Spain, California, France, Mexico, Maine, British Columbia, Switzerland 1960-2008 • Barbary Coast Drawings, Full Color and Monochromatic 1967-1994 • The Apocalypse Series, Acrylic and Oil Paintings, Drawings 1973-1983 • Charcoal Pastel Drawings, California, Maine, France, Switzerland 1946-2008 • Metamorphous Series, Charcoal Pastel Collage Drawings on Museum Board 1987-2008 • Collage Series Drawings, San Francisco, Limington, New paltz, Los Angeles 1958-2008 • Poster Series, 90+ Charcoal Pastel Drawings on Museum Board 1985-2008 • Fayum Portrait Series, Charcoal-Pastel and Fauve Drawings 1992-2008 • Formal and Informal Portraits - Oil Paintings, Drawings, Models, Commissions, Compositions, Re-Creations 1942-2008 • Murals- Commissiond, Given and Inspired Oil paintings, Drawings, Acrylic Paintings, Collage Drawings 1936-2008 • Maquettes-100+ small original Charcoal Pastel Drawings for commissions 1970-2008 • The Great Masters of Art Series 1998-2008 • Flower Oil Paintings on Canvas ( Sunflowers, Hydrangas,etc) 2000-2008 EXHIBITIONS: INTERNATIONAL: COMBINED TOTAL OF 214, INCLUDING 82 ONE_MAN EXHIBITIONS. A SELECTION FOLLOWS. • Museum of Munich 1948 • Museum of Morelia, Michoacan, Mexico 1952 • Hellenic-American Union, Athens, Greece 1961 • Casa de Cultura, Malaga, Spain 1964 • Exposition Internationale d'Art de Mode, Val de Grace, Paris, France • 20th Anniversaire Paris American Academy 1985 • Gallery International Inc, St Maarten, Netherlands Antilles 1990-93 • National Museum of Mexico,D.F.1970-2008 Genesis Fresco 12'x35' • Galerie du Carlton, La Croisette, Cannes, France 1964-78 • Galerie des Champs-Elysees, Paris, France 1966-78 • Galeria "M" Copenhagan, Denmark 1967 • Galerie del Cisne, Madrid, Spain • Upper Grosvenor Galleries, London England 1966-68 • Kunsthandel Monet, Amsterdam Holland 1960-80 • Harrison Galleries, Vancouver BC Canada 1970-2008 • Guild Gallerie Calgary, Canada 1975-98 SELECTED EXHIBITIONS: USA • University of Southern California 1950 • Palos Verdes Community Galleries, CA 1955 • Cowie Galleries, Los Angeles, CA 1956 • Los Angeles Municipal Galleries, Barnsdall, CA " Art of the Mural" 1959 • Maxwell Galleries, San Francisco, CA 1962-63 • Raymond Burr Galleries Beverly Hills, CA 1961-64 • Gallery 235, Chicago,IL 1967 • Triton Museum of Art, Santa Clara CA (Retrospective 1969-2008) • Lars Laine Art Galleries, Palm Springs, CA 1969-84 • Two Squares Gallery, Denver, CA 1966-70 • Fisk University Art Museum, Nashville TN 1968 • Lewis Galleries, Omaha Nebraska 1973-2008 • Talberts Galleria Tacoma, WA 1978-2008 • Lyon Art Gallery San Francisco CA 1974-1980 • Owl 57 Galleries Woodmere NY 1979-2008 • Walt Kuhn Galleries, Cape Neddick...

"Figure" is an original linoleum print by Gerrit Sinclair, signed in plate the lower left corner. It features a woman fixing her hair in front of a mirror, her nude body visible to the viewer from the back and front reflecting in the mirror. Image: 6" x 5" Framed: 13.37" x 12.43" Gerrit Sinclair brought the charming style of American Regionalism painting...

"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...

Herschel Levit 'Duet', lithograph, c. 1937. Signed in pencil. A fine, richly inked impression, on cream wove paper, with full margins (1 1/2 x 2 inches)...

This artwork titled "Iris at Dusk" 1980 is an original color woodblock print with embossing by American artist Daniel Joshua Goldstein, b.1950....

Backyard II Lithograph, 1972 Signed lower right Signed lower right Annotated: Printer's Proof Reference: Karl Lunde 58 An impression is in the collection of the Art Institute of Chic...

Harry Schaare, American (1922 - 2008) - The Seagull, Year: circa 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 300, AP 50, Image Size: 21 x 29 inches, Size: ...

Original; archival linen backed "The Big TNT Show". This was the night when the ALL-TIME greats of ROCK 'N ROLL Traditional blues; country Western and Folk Rock came together for the biggest bash in the history of show business!. Featuring: Roger Miller, Joan Baez; The Byrds; The Lovin' Spoonful; Ike and Tina Turner; The Modern Folk Quartet; Ray Charles and his band; Donovan; Petula Clark; The Ronettes; Bo Diddley; and David McCullum (The Man from U.N.C.L.E.) NSS: 66/49. Phil Spector...

This artwork titled " The Purple Mountain's Majestic" 1973 is a color lithograph after artist Hall Drake Diteman, 1925-2009. It is hand signed at the l...

Original one-sheet vintage American movie poster, The Sting. Archival linen backed. In very good condition, ready to frame.

Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...

Original vintage World War 2 poster: A Careless Word … A Needless Sinking. A Careless Word ... A Needless Sinking. Linen backed origin...

Original 1943 WWII War Savings Stamps poster – “He’s Fighting For You – Join the Club” – U.S. Home Front lithograph – vintage military wall art. This poster is linen-backed and read...

Signed Limited Edition Etching by Charles Bragg. Women in Golf Suite : FORE! 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 94/300 Unframed Charles Bragg (1931 – 2017) was an American sculptor, painter, artist and author known best for his satirical artwork. Bragg has won many awards, including the Gold Medal for the National Society of Illustrators as well as the Award of Merit from the Art Directors Guild of New York. Step into the world of Charles Bragg, a master satirist whose exceptional talent shines through in his artwork. With "FORE!" a signed limited edition art...

Original Agricoltori Tafanoide Italian vintage poster. Linen-backed and in good condition with edge wear. Colors are still bright and vibrant. Museum linen backed. This is a good pi...

Harry Schaare, American (1922 - 2008) - First Mountain Flying, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP 50, Image Size: 20 x 28 inches, Si...

"The Fisherman's Catch" is a signed (in pencil lower right and in plate lower left) etching by James Fagan. It depicts a fisherman walking on a beach in black and white. It is signed...

Original Linen backed vintage travel poster. De Rouen au Havre et vice versa par la Seine Maritime. Billets directs aller et retour Chemin de Fer et...

This artwork titled "A Letter from Picasso" 1974 is a color lithograph on Wove paper by noted American artist George Charles Deem, 1932-2008. It is hand signed and numbered 157/300 i...

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

This artwork titled "Winners Loosers" is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed and inscribed/n...

"Morning By The Bay" features a colorful street scene leading to the sparkling Caribbean sea, and is a quintessential example of Tom Swimm's enhanced realism. This colorful hand pull...

Original “Gulflex Lubrication for your car” vintage poster. Linen backed in very fine condition, ready to frame. No tears, no folds, no paper loss. This series of posters for Gulf Oil and Gulflex were designed to be displayed for 2 weeks and then removed. This series of posters for Gulflex Lubrication has a different image at the top. This is one of the most interesting designs with the woman grooming her cocker spaniel and reads “Best Care Pays”. Looking for an original vintage poster to add to your collection? We have a wide selection of original vintage posters for sale, including this striking Gultlex lubrication poster from the mid-20th century. These posters were once used for promoting everything from movies and advertisers to political campaigns...

'Rocamadour' (French Church Series # 10), etching, 1927, edition 50, Fletcher 186. Signed, dated, and annotated 'First State' in pencil. Titled and dated 'Rocamadour 1926' in the plate, bottom right. A superb, finely detailed impression, in dark brown ink, on buff laid Japan paper, with full margins (1 to 1 7/8 inches), in excellent condition. Image size 13 3/4 x 10 inches (349 x 254 mm); sheet size 15 3/4 x 13 5/8 inches (400 x 346 mm). Matted to museum standards, unframed. Literature: illustrated in Dorothy Noyes Arms, 'Churches of France', The Macmillan Company, 1929. Impressions of this work are in the permanent collections of the Blanton Museum of Art, Chrysler Museum of Art, Cleveland Museum of Art, Davis Museum (Wellesley), McNay Art Museum, Metropolitan Museum of Art, Rhode Island School of Design Museum, and the Whitney Museum of Art. ABOUT THE SUBJECT Rocamadour is a small clifftop village in south-central France. It is known for the Cité Réligieuse complex of religious buildings, accessed via the Grand Escalier staircase. It includes the Chapelle Notre-Dame, with its Black Madonna statue, and the Romanesque-Gothic Basilica of St-Sauveur. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

"Learn to Make and Test the Big Guns" original vintage poster: linen backed. Grade A condition. Ordnance recruiting poster No. 2. Better yourself – Enlist and learn a Trade in the Ordnance Department U.S.A. Linen-backed, horizontal, fine condition. A rare original poster. Aberdeen Proving Ground …. Daily peacetime firing. Publisher: Washington, D.C.: Engineer Reproduction Plant, U.S. Army, 1919. OCLC: 51040606 The recruiting and training of artillery units were crucial to American victory in World War I. For the Saint-Mihiel offensive, General Pershing...

A fine impression, on cream wove paper, with full margins (5/8 to 1 3/8 inches), in excellent condition. Edition 20. Signed and dated in pencil. Annotated 'Bolton Brown...

Original WWII vintage poster: FOR THEIR FUTURE - BUY WAR BONDS. Original vintage WWII poster by the artist Munsett, 1943. U. S. Government printing: 1943-0-513138. Archival l...

Alessandro Mastro-Valerio, 'Morning Paper', 1941, mezzotint, edition 350. Signed in pencil. A superb, richly-inked, luminous impression, on cream, wove paper, with wide margins (1 9/16 to 1 13/16 inches), in excellent condition. Matted to museum standards; unframed. 32nd Presentation Print of the Chicago Society of Etchers, 1941, with the Chicago Society of Etchers blindstamp in the bottom, left margin. ABOUT THE ARTIST Painter and printmaker Mastro-Valerio was educated at the Salvador Rosa Institute in Naples, Italy (1906-1912), and came to the United States in 1913. He settled in Chicago and after a brief period as a commercial artist, established a reputation as a portrait painter. Among his patrons were the industrialists Harvey S. Firestone and Anheuser Busch. Mastro-Valerio was also the owner and editor of the progressive magazine 'La Tribuna Transatlantica'. He wrote and published articles supporting the cause of Italian immigrants. He helped form the Giordano Bruno...

Original WWII poster: Protect his Fugtures buy and Keep War Bonds The color poster shows a young, smiling boy being lifted in the air, holding on to a man's hands. The boy has blond...

A superb impression in warm black ink, on cream, laid paper; the full sheet with margins (1 5/8 to 2 3/4 inches); original brown paper hinges on the top sheet edge recto, in excellen...

Original WW1 poster: "Be Patriotic sign your country's pledge to save the food." U. S. Food Administration. Miss Liberty calls with outstretch...

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.

Allan Mardon, Canadian (1931 - ) - Illegal, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Image Size: 17 x 24 inches, Size: 22 in. x 29 in. (...

Harry Schaare, American (1922 - 2008) - The Getaway, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 50, Image Size: 16 x 24.5 inches, Size: 23 ...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Autumn Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Allan Mardon, Canadian (1931 - ) - NBA (Sonics), Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 950, Size: 26 x 23 in. (66.04 x 58.42 cm)

Harry Schaare, American (1922 - 2008) - Track, Year: circa 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 300, AP 50, Image Size: 19 x 27 inches, Size: 26 in...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

Original “The Joe Louis Story” vintage movie poster (United Artists, 1953). One Sheet (27" X 41"). Sports. Archival linen backed. Starring: Coley Wallace, Hilda Simms, Paul Stewart, James Edwards, John Marley, Dots Johnson, Evelyn Ellis, Carl 'Rocky' Latimer, John Marriott, Ike Jones, P. Jay Sidney, Royal Beal, Ruby Goldstein, Max Baer...

Mel Hunter, American (1927 - 2004) - North Over Hudson Bay, Year: 1976, Medium: Lithograph, Signed in Pencil, Size: 22 in. x 26 in. (55.88 cm x 66.04 cm)

Artist: Richard Haas, American (1936 - ) Title: General Electric Building Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 20 Image Size: 20 x 16 inches Size: 26 x ...

The Law vs. Billy the Kid, is an original 1954 vintage movie poster. Dead for six dollars! Archival linen backed and ready for framing. This The Law...

John Taylor Arms, 'Limoges (French Church Series #32)', etching, 1932, edition 142, third (final) state impressions, Fletcher 244. Signed, dated, and annotated 'Ed 100 III' in pencil. A superb, finely detailed impression, in warm black ink, on antique, pale gray laid paper, with full margins (1 1/16 to 1 1/2 inches); adhesive stains in the bottom left and right sheet corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. A view of Limoges, France and the Saint-Martial Bridge from the far side of the Vienne river. According to Fletcher, author of the catalogue raisonné on the artist's graphic work, this etching is among the artist’s preferred plates. Published references: "An Appreciation to John Taylor Arms 1887-1953", in PRINT, Vol. VIII #5 P. viii, Feb.-March 1954. Impressions of this print are in the permanent collections of the Davis Museum at Wellesley College, National Gallery of Art, Saint John’s University, Smithsonian Institution, and Wake Forest University. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

This artwork titled "Liberated Village" c. 1940, is an original lithograph on paper by noted American artist William Gropper, 1897-1977. It is hans signed and titled in pencil by the artist. The artwork (image) size is 12 x 16.5 inches, framed size is 20.25 x 24.25 inches. Custom framed in a black metal frame, with off white matting. It is in excellent condition. An example of this particular artwork is held at the Metropolitan Museum of Art, New York. About the artist: William Gropper was born in New York City's Lower East Side in 1897. He was the first of six children to parents who earned small wages working in sweatshops. At the age of fourteen, Gropper left school to help support his family. While carrying bolts of cloth for his deliveries, Gropper began to draw on scraps of paper, sidewalks, and walls. A passerby saw some of these drawings and invited Gropper to attend a life-drawing class at the Ferrer School. He studied there for three years from 1912 to 1915, attending classes taught by Robert Henri and George Bellows. From 1915 to 1918 Gropper attended the New York School of Fine and Applied Art part-time on scholarship. Gropper also won a scholarship to the National Academy of Design, but remained as a student for only a short time; the rigid and systematic institution conflicted with Gropper's belief in the personal nature of art. At the New York School of Fine and Applied Art, Gropper earned several prizes. One of these prizes was for his cartoons, which led him to be hired by the New York Tribune in 1917 to sketch for their features. A few years later through freelance work, his cartoons and drawings appeared in other newspapers and magazines, such as The Liberator, The New Masses...

This artwork titled "Union Street, San Francisco" is an original etching on creme wove paper by American artist Edith (Mark) Milsk, 1899-1982. It is hand signed and titled in pencil by the artist. The plate mark (Image) size is 5.5 x 3.65 inches, framed size is 16.5 x 13.40 inches. Custom framed in a red Oak frame, with beige matting. It is in excellent condition. About the artist: Edith Milsk...

Original HERE. Mister! AMOCO Service mid-century vintage poster. Archivally linen backed in very good condition, ready to frame. A- condition with a dime size touch-up in the low...

"Morning By The Bay" features a colorful street scene leading to the sparkling Caribbean sea, and is a quintessential example of Tom Swimm's enhanced realism. This colorful hand pull...

Original Khartoum vintage U. S. 1-sheet Style B, movie poster. Archival lien-backed in very fine condition, ready to frame. Original issued movie fold marks restored. - where the Nile dives, the great adventure begins! Khartoum is a 1966 film written by Robert Ardrey and directed by Basil Dearden. It stars Charlton Heston as General Gordon and Laurence Olivier as the Mahdi (Muhammad Ahmed). It is based on Gordon's defense of the Sudanese city of Khartoum from the forces of the Mahdist army during the Siege of Khartoum. The movie depicts the historical events surrounding the Siege of Khartoum in 1884-1885 during the Mahdist War. CAST: Charlton Heston, Laurence Olivier, Ralph Richardson, Richard Johnson, Alexander Knox, Hugh Williams, Nigel Green, Michael Hordern, Johnny Sekka; DIRECTED BY: Basil Dearden; PRODUCER: Julian Blaustein. Movie posters from the 1960s often feature distinctive artwork and design styles that reflect the aesthetics of that era. If you appreciate vintage graphic design...

The British Evacuate Boston - 1932 Etching on Paper by Allen Lewis. From the portfolio "The Bicentennial Pageant of George Washington." In this piece George Washington is front and ...

New England Coast (Greenport, New York) Lithograph, 1969 Signed in pencil lower right (see photo) Edition: 350 Published in the book, Stow Wengenroth's New York, 1969 Limited slipcas...

Original vintage poster: Half sheet original movie poster "POCKET MONEY" with Paul Newman and Lee Marvin. Two of the most memorable characters the west can never forget!. Lower left the GP notice was changed with a 'snipe' covering the previous rating of this movie. Cast: Paul Newman, Lee Marvin, Strother Martin, Christine Belford, Wayne Rogers...

"Erycinids" is an original color lithograph by Louis Prang. It depicts colorful butterflies around a variety of flowers. 5" x 8" art 16 1/2" x 19" framed Louis Prang was an American printer, lithographer, and publisher. He is sometimes known as the father of the American Christmas card. He created L. Prang and Company in 1860 and became successful and known for their Civil War maps...

A lithograph by George Bellows. “The Tournament (Tennis at Newport)” is a realistic lithograph on paper in black and white by American Realist artist, George Bellows. Bellows' depict...

This artwork "Birds in the Tree" 1976 is a color offset lithograph by American wildlife artist Thomas Quinn, born 1938. It is hand signed, inscribed Arti...

Chris Forrest, American (1946 - ) - Snow Geese Landing, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 23 x 18 inches, Size: 29 ...

Make Every Minute Count For Pershing. United States Shipping Board Emergency Fleet Corporation Original 1917 World War 1 vintage poster. Artist: Adolph Treidler Original linen backed World War I vintage poster. Tonnage built in American ship yards tripled after the U.S. entered the war. Poster shows a riveter using his wrench to bolt the steel plates of the hull of a ship together. Until the 1930s, when arc welding was introduced, bolts were secured by hand. Standardization speeded production. Make every minute count for Pershing. United States Shipping Board Emergency Fleet Corporation Artist: Adolph Treidler Dimensions: 27.75 x 22 in. Published: Philadelphia Linen backed, ready to frame. Remember Rosie the Riveter...