American Modern Art
Style: American Modern
Color: Beige
Simka Simkhovitch WPA W/C Painting Gouache American Modernist Bouquet of Flowers
Located in Surfside, FL
Simka Simkhovitch (Russian/American 1893 - 1949)
This came with a small grouping from the artist's family, some were hand signed some were not.
These were studies for larger paintings.
This is a miniature watercolor and gouache vibrant, colorful bouquet of flowers in a vase.
Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes.
Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine.
In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi.
Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...
Category
1930s American Modern Art
Materials
Gouache, Board, Watercolor
Under Greylock, Etching by Peter Milton
By Peter Milton
Located in Long Island City, NY
Artist: Peter Milton, American (1930 - )
Title: Under Greylock
Year: 1993
Medium: Intaglio Etching, signed and numbered in pencil
Edition: 175
Image Size: 18.25 x 15 inches
Size: 25 ...
Category
1990s American Modern Art
Materials
Etching
Original Fly TWA India vintage travel poster David Klein
By David Klein
Located in Spokane, WA
Original Fly TWA India vintage travel poster. Artist: David Klein. Archival linen backed in very fine condition, ready to frame.
This poster features a...
Category
1960s American Modern Art
Materials
Offset
Original "Bly by BOAC to Japan" vintage travel poster
Located in Spokane, WA
Original JAPAN, Fly by BOAC to the Caribbean. Small format. Archival linen-backed original vintage European travel poster in mint condition; ready to frame. This antique original poster...
Category
1950s American Modern Art
Materials
Offset
Untitled Double Page Illustration for DLM
Located in Fairlawn, OH
Untitled Double Page Illustration for DLM
Color lithograph, 1968
Unsigned as issued in DLM
Published in Derriere le Miroir (Behind the Mirror), calle...
Category
1960s American Modern Art
Materials
Lithograph
Untitled (Cars)
Located in Los Angeles, CA
This painting is part of our exhibition America Coast to Coast: Artists of the 1940s.
Untitled (Cars), 1940, watercolor on paper, signed and dated lower right, 15 x 18 1/2 inches, ...
Category
1940s American Modern Art
Materials
Paper, Watercolor
My Only Working Tool
Located in Los Angeles, CA
My Only Working Tool, 1949, oil on panel, signed and dated lower right, 16 x 12 inches, remnant of exhibition label verso, exhibited at the Art News Second Annual National Amateur Co...
Category
1940s American Modern Art
Materials
Oil, Board
Untitled (Industrial Street)
Located in Los Angeles, CA
This work is part of our exhibition - America Coast to Coast: Artists of the 1940s
Untitled (Industrial Street), c. 1940s, watercolor on paper mounted on illustration board, estate stamp verso (signed by Peter Corbridge, the artist’s son); 14 x 21 inches; unframed
Edgar Corbridge was a Massachusetts-based precisionist painter who mainly worked in watercolor. In 1916, three years after immigrating from England, Corbridge completed a course of study in sign painting at the Fall River, Massachusetts Technical High School and obtained an apprenticeship with the Armour Sign Shop. Throughout his career, Corbridge was mainly self-taught as a fine artist. In 1918, Corbridge received his first recognition as an artist for his entry in a Fall River Women’s Club poster competition. During much of his professional life, Corbridge worked as a self-employed window trimmer and operator of the Corbridge Display Service, supplemented by income from the occasional sale of his paintings. Corbridge gleaned the subjects for his works in and around his home in Fall River, Massachusetts, as well as Provincetown. In the 1940s, Corbridge began to exhibit frequently, including at the annual exhibitions at the Jordan Marsh Company...
Category
1940s American Modern Art
Materials
Watercolor, Board
Mid Century Figurative Study of Pair
By Joseph Capozio
Located in Soquel, CA
Compelling figurative study in gouache and pencil by Joesph Capozio (American, 1928-2016). Estate stamp lower right corner with bio on verso. Presented in mahogany wood frame. Framed size: 19"H x 17"W.
Capozio was born in Philadelphia, Pennsylvania in 1927. After serving in World War II, he attended art school in Philadelphia, Pennsylvania. He lived and worked in San Francisco, California; New Orleans, Louisiana; Siesta Key...
Category
1960s American Modern Art
Materials
Pencil, Gouache
untitled (Pueblo)
Located in Fairlawn, OH
Untitled (Taos Pueblo)
Ink on paper, 1985-1990
Signed by the artist in ink lower right (see photo)
An early New Mexico period work, created shortly after the artist moved from New York.
Provenance: estate of the artist
Dehn Heirs
Condition: Excellent
Image/sheet size: 13 1/8 x 18 1/2 inches
Virginia Dehn
From Wikipedia, the free encyclopedia
Virginia Dehn
Virginia Dehn in her studio in Santa Fe
Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections.
Life
Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered.
Early career
Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut.
Virginia and Adolf Dehn
The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work.
The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India.
Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies.
Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...
Category
Early 20th Century American Modern Art
Materials
Ink
Shift Change, Social Realist Woodblock Print by Mike Goscinsky
Located in Long Island City, NY
Shift Change
Mike Goscinsky, American (1933–2021)
Woodblock on thin wove paper, signed, titled and numbered in pencil
Edition of 15/75
Image Size: 14 x 19 inches
Size: 22 x 26.5 in. ...
Category
1990s American Modern Art
Materials
Woodcut
Old Hoadley House
Located in New Orleans, LA
This image was in the personal collection of the artist. The Wheeler-Beecher House, sometimes referred to as the Hoadley House, is located on Amity Road in Bethany, CT. Built at the ...
Category
1910s American Modern Art
Materials
Etching
'African Idol' — 1930s American Modernism
Located in Myrtle Beach, SC
Robert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 ...
Category
1940s American Modern Art
Materials
Screen
Bertoia — Mid-Century Visionary Abstraction, Unique
Located in Myrtle Beach, SC
Harry Bertoia, Untitled (Abstraction), monotype, c. 1960, a unique impression. Signed 'HB' in pencil, lower right sheet corner, verso. Inscribed '1852' (the artist’s inventory number) in pencil, lower right sheet corner, recto. A superb, painterly impression, on cream wove Japan paper, the full sheet, in excellent condition. Unmatted, unframed.
Sheet size 12 x 39 inches (300 x 990 mm).
Provenance: Val Bertoia; Private Collection; Rago Auctions, Lambertville, NJ.
Literature: 'Harry Bertoia: Monoprints,' Nancy N. Schiffer, Schiffer Publishing LTD, 2011; pg. 253.
This work is included in the Harry Bertoia Foundation digital resource, Harry Bertoia Catalogue Raisonné, number TD.MO.1584.
ABOUT THE ARTIST
Harry Bertoia (1915-1978) was a visionary Italian-American artist, sculptor, and designer. Born in San Lorenzo, Italy, Bertoia immigrated to the United States with his family at fifteen, settling in Detroit, Michigan.
From an early age, Bertoia demonstrated a keen interest in art and design, studying painting and drawing at the Cass Technical High School in Detroit. Later, he attended the Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he studied under renowned designers Eliel Saarinen and Charles Eames. At Cranbrook, Bertoia first began to explore the possibilities of working with metal, a medium that would come to define his artistic career.
In the 1940s, Bertoia moved to California to work for Charles and Ray Eames, contributing to the development of innovative molded plywood furniture. However, his experimentation with metal wire sculpture would ultimately catapult him to international acclaim. Bertoia's iconic "Sonambient" sculptures, consisting of delicate metal rods arranged in various configurations, created ethereal sounds when touched or moved, transforming the act of sculpture into a multisensory experience.
Bertoia's talent and innovation caught the attention of Florence Knoll, the founder of Knoll Associates, a leading furniture design company. In 1950, Bertoia began collaborating with Knoll, producing a series of iconic wire chairs that became emblematic of mid-century modern design. His "Diamond Chair," with its geometric form and airy construction, remains a classic of modern furniture design.
Bertoia continued to explore sculpture as a means of artistic expression, experimenting with new forms and materials. His work was characterized by organicism and fluidity, with forms that evoked natural phenomena such as waves, leaves, and clouds.
A decade before Harry Bertoia began creating three-dimensional sculpture, he dedicated his creative efforts to producing experimental prints at the Cranbrook Academy in Bloomfield Hills, Michigan, pursuing a passion that would continue for the rest of his life. With these spontaneous works, he worked intuitively, testing different tools and techniques to achieve his desired effects. Rather than using a traditional mechanical pressing process, he would apply ink to a glass or smooth Masonite plate with a sheet of paper laid directly on top. Then, tools such as brayers, dog hair brushes, styluses, and different parts of his hands were employed to draw or “press” the images on the back of the sheet. Rice paper was typically used due to its semi-translucent nature, offering Bertoia limited visibility of the effects of his experimentation, but ultimately, the unpredictable nature of the process was an integral aspect of the results, which never ceased to delight him. Each work was a singular composition with abstract imagery ranging from linear, structural compositions to fantastic surrealistic forms to poetic tonal landscapes. He received little input from other artists, developing his unique vision with rare purity and a deep personal resonance.
From his first year of printmaking in 1940, Bertoia quickly amassed an extensive collection of unique works. The compositions were strongly tied to the non-objective movement, which, while popular in Europe, was still in its nascent stages in the US. There were few proponents of this new art form to be found in the 1940s, and it was Hilla Rebay, then Director of the Guggenheim Museum of Non-Objective Art, who gave Bertoia the encouragement and promotion he needed. In 1943, Bertoia sent approximately 100 monotypes to Rebay for review. After receiving the prints, she responded with a surprising offer to buy them all. Rebay then began including them in the museum’s exhibitions.
The Guggenheim shows succeeded in putting Bertoia’s name out into the world. He began exhibiting his works regularly at the Neierndorf Gallery in New York and was provided a stipend to ensure a steady supply of prints until Karl Neierndorf died in 1947. By the 1950s...
Category
1960s American Modern Art
Materials
Monotype
'The Gateway to the New World' — 1920s New York City
By Otto Kuhler
Located in Myrtle Beach, SC
Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...
Category
1920s American Modern Art
Materials
Etching
'The Welder' — 1920s American Expressionism
By Otto Kuhler
Located in Myrtle Beach, SC
Otto Kuhler, 'The Welder', etching, c. 1926, edition unknown but small, Kennedy 9. Signed in pencil. A fine, richly-inked impression, in dark brown ink, with selectively wiped overal...
Category
1920s American Modern Art
Materials
Etching
America impressionist portrait young boy 1937 Modern Figurative Oil Painting
Located in Buffalo, NY
A fantastic modern portrait of a young boy. This work is signed what appears to be Paul Sellers and dated 1937, but we have not found information on the artist.
The work dated 1936...
Category
1930s American Modern Art
Materials
Board, Oil
'Food Not Cannon' — rare WPA modernist work of Social Conscience
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Food Not Cannon', etching, 1937, edition 12 (an early state, probably unique). Signed in pencil. A fine impression, on cream wove paper, with full margins (7/8 to 2 1/8 ...
Category
1930s American Modern Art
Materials
Etching
Ratfinkbonerthunk : Surrealist Rat - Original Giclee Print, Handsigned
By Kenny Scharf
Located in Paris, FR
Kenny Scharf
Ratfinkbonerthunk : Surrealist Rat, 1990
Original Giclee Print
Handsigned in pencil
On Arches vellum 56 x 76 cm (c. 22 x 30 in)
Published by Editions Vermorel in 1990
...
Category
1990s American Modern Art
Materials
Screen, Giclée
Reclining Nude — Mid-Century Modernism, African American Artist
Located in Myrtle Beach, SC
Robert Blackburn, Untitled (Reclining Nude), brush and ink, c. 1948, unsigned. A fine, spontaneous work, on cream wove paper. Slight toning to the sheet edges; otherwise in excellent condition. Matted to museum standards, unframed.
Image size 18 3/4 x 23 1/2 inches (476 x 597 mm).
Provenance: Adrienne E. Wheeler Collection, acquired from the artist.
ABOUT THE ARTIST
Robert Blackburn (1920 - 2003) participated in the rich mix of art programs and creative groups available in Harlem as he grew up, including Charles Alston's Harlem Arts Workshop, the Harlem YMCA, and later the Harlem Artist's Guild. In 1937 he joined the WPA at the Harlem Community Art Center, the largest New York center for instruction in the arts. There he was exposed to Harlem's most prominent artists, Aaron Douglas, William Henry Johnson...
Category
1940s American Modern Art
Materials
Ink
"Farmer, " Portrait Linoleum Cut signed by Schomer Lichtner
Located in Milwaukee, WI
"Farmer" is an original linoleum print by Schomer Lichtner, signed in the lower right hand corner. A side profile of a man in rendered in clear lines full of expression.
Image: 6" x...
Category
1920s American Modern Art
Materials
Linocut
Cathedral of Saint Cyr and Saint Julitta, Nevers
Located in Middletown, NY
Etching on antique cream laid paper, 12 7/8 x 5 1/2 inches (328 x 140 mm), full margins. Signed in pencil, lower margin. Laid down to non-archival board, general age tone and some ma...
Category
Mid-20th Century American Modern Art
Materials
Handmade Paper, Laid Paper, Etching
La Tour D'Horloge, Dinan
Located in Middletown, NY
tching on green-hued antique laid Japon paper, 9 7/16 x 4 1/16 (240 x 104 mm), full margins. Signed, dated and inscribed "Ed. 100 II." One of a total edition on 124 impressions, prin...
Category
Mid-20th Century American Modern Art
Materials
Handmade Paper, Laid Paper, Etching
Somewhere in France
Located in Middletown, NY
Etching on antique cream laid paper with a partial watermark (likely Arches), 12 1/8 x 6 1/8 inches (308 x 156 mm), full margins. Signed and dated in pencil in the lower right margin...
Category
Mid-20th Century American Modern Art
Materials
Handmade Paper, Laid Paper, Etching
Family of Flowers
By Andy Warhol
Located in Toronto, Ontario
Andy Warhol is arguably the most important American artist of the 20th century. In the 1950s, he was an in-demand and celebrated illustrator working for New York's toniest publicatio...
Category
1950s American Modern Art
Materials
Ink
Gloria, Saint Riquier; The Church of Saint Riquier; Gloria Ecclesiae Antiquae
Located in Middletown, NY
Etching on antique cream laid paper with an "England" watermark; 13 7/8 x 8 5/8 inches (353 x 221 mm), full margins. Signed, dated, titled, numbered "III," and inscribed in pencil. O...
Category
Mid-20th Century American Modern Art
Materials
Handmade Paper, Etching, Laid Paper
Sunlight on Stone; Caudebec-en-Caux
Located in Middletown, NY
An extremely scarce impression from the artist's own collection.
Etching on watermarked antique laid J Whatman Japon paper, 14 1/2 x 7 5/8 inches ( 368 x 195 mm), full margins. Signe...
Category
Mid-20th Century American Modern Art
Materials
Handmade Paper, Laid Paper, Etching
'Brooklyn Bridge' — 1920s view of an iconic New York City landmark
Located in Myrtle Beach, SC
Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil.
A superb impression, with fresh colors, on heavy, cream wove paper; with margins...
Category
1920s American Modern Art
Materials
Etching, Aquatint
'Madman's Drum (Plate 41)' — 1930s Graphic Modernism
By Lynd Ward
Located in Myrtle Beach, SC
Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed.
Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm).
From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974.
Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974.
ABOUT THE ARTIST
Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society.
The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...
Category
1930s American Modern Art
Materials
Woodcut
Mystic Cafe, Signed Aquatint Etching California Woman Artist
By Susan Hall
Located in Surfside, FL
Susan Hall lives and works in Point Reyes Station, California, a town in the heart of the Point Reyes National Seashore. This pristine wilderness area is dominated by a mosaic of bay...
Category
1970s American Modern Art
Materials
Etching, Aquatint
Yellow Cab Madison Square Garden
Located in West Palm Beach, FL
Khawam’s first genre of paintings started in 1980 during the heights of the Superrealism movement in New York City where Khawam was the youngest among the group and in his first year...
Category
1980s American Modern Art
Materials
Acrylic
'River View' — 1940s American Modernism
Located in Myrtle Beach, SC
Edward Landon 'River View, color serigraph, 1942, edition 50, Ryan 159. Signed in pencil in the image, lower right. Titled, dated, and annotated '9 COLORS – 50 PRINTS' in the screen,...
Category
1940s American Modern Art
Materials
Screen
Whimsical Fishing Illustration Cartoon 1938 Mt Tremblant Ski Lodge William Steig
Located in Surfside, FL
Lighthearted Illustration of Outdoor Pursuits This one of a fisherman signed "W. Steig"
Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938.
Mont Tremblant, P.Q., Canada
Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed.
In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper.
William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988.
Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each.
Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage.
In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator.
Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand."
Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me."
According to the Los Angeles Times, fellow New Yorker artist...
Category
1930s American Modern Art
Materials
India Ink, Watercolor, Illustration Board
'Mountain Trees' — 1930s Southwestern Regionalism
Located in Myrtle Beach, SC
Bertha Landers, 'Mountain Trees', etching and drypoint, c. 1938, edition not stated but small. Signed and titled in pencil.
A fine, richly-inked impres...
Category
1930s American Modern Art
Materials
Drypoint, Etching
'Soaring Steel' — 1920s Realism, Chicago Cityscape
Located in Myrtle Beach, SC
Samuel Chamberlain, 'Soaring Steel', drypoint, 1929, edition 100, Chamberlain and Kingsland 79. Signed, titled, and numbered '64/100' in pencil. Annotated '48.00' in pencil, in the artist's hand, bottom right margin. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 3/8 to 1 7/8 inches), in excellent condition. Matted to museum standards, unframed.
The subject of the print is the construction of the Daily News Building in Chicago, Illinois.
Image size 12 1/4 x 9 1/2 inches (311 x 241 mm); sheet size 15 1/2 x 12 3/8 inches (394 x 314 mm).
Impressions of this work are held in the collections of the Art Institute of Chicago, Boston Public Library, Crystal Bridges Museum of American Art, Museum of Modern Art, New York Public Library, University of Michigan Museum of Art, Smithsonian American Art Museum, and the Western Australia Museum.
ABOUT THE ARTIST
'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints.
Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist.
Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm...
Category
1920s American Modern Art
Materials
Drypoint
Early Drawing and Watercolor Painting Figurative Abstraction
By Mitch Becker
Located in Surfside, FL
Mitchell Mitch Becker, painter, born November 12, 1938, Chicago, Illinois. 1972, Emigrated to Israel.
Education
1961 - School of the Art Institute, Chicago, Illinois. Bachelor of Art Education,
1971 - University of Chicago, Chicago, Illinois, Master of Fine Arts,
Teaching
1968-1972 High School, Skokie, USA.
1973-1974 Thelma Yellin Art School, Givatayim
1974-1976 Institute of Visual Art, Beersheba
1977-1981 Art Teachers College, Ramat Hasharon
1981-1982 Bezalel, Jerusalem
Awards And Prizes
1958-61, Anna Tucson Scholarship, USA
Mitchell Becker emerged into the art world of late 1950s Chicago, between gestures of Abstract Expressionism and declarations about the "death of painting." The hot names of his youth, such as Willem De Kooning, Mark Rothko, and Larry Rivers, provided him with interest and challenges for years to come, and his awe for them is still evident in his voice to date, many years after drawing away from them. This work is reminiscent of the work of Saul Steinberg and Philip Guston.
Heroes - Past and Present, Yad Labanim Museum, Petach-Tikva
Artists: Shalom Moskowitz, (Shalom of Safed) Yohanan Simon, Boris Schatz, Motti Mizrachi, Hanan Milner, Mitchell Becker, Edith Samuel, Ludwig Schwerin, Igael Tumarkin, Talia Tokatly.
EDUCATION:
1971 Master of Fine Arts,University of Chicago, Illinois
1961 Bachelor of Art Education School...
Category
1960s American Modern Art
Materials
Watercolor
Mr. Magoo Original Vintage Animation Cel Hand Drawing Painting
By Jules Engel
Located in Surfside, FL
Born in 1918 in Budapest, Hungary, Engel began his professional career in animation as a color designer at the Walt Disney studio. Although his credits include work on such classics as Disney’s Bambi...
Category
Mid-20th Century American Modern Art
Materials
Mixed Media
Original Rome Fly TWA Jets vintage American travel poster
By David Klein
Located in Spokane, WA
Original Rome Fly TWA Jets vintage travel poster. Conservation linen backed in excellent condition, ready to frame. This is the earlier edition of the image Before ‘up up and away’!
TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was from New York to Los Angeles, followed by multiple National routes. The airline expanded to serve Europe, the Middle East, and Asia after WWII when the company was under Howard Hughes's owner's control 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 pleasure increased, too. Posters were a crucial element in promoting this form of travel and TWA. The airline started a decline in the 1970s, ending in a third bankruptcy that caused its acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190.
This Rome poster was created by the gifted American artist David Klein (1918 -2005), and depicts a member of the Pontifical Swiss Guard in the center wearing the iconic yellow, blue, and red uniform. The Guard is playing a drum that has the pontifical emblem. In the background, we see a representation of the ancient Roman Coliseum and the Baroque...
Category
1960s American Modern Art
Materials
Offset
Vintage Rockwell Kent Copy of "Vermont Winter 1921" Oil on Canvas Painting, 1960
Located in Baltimore, MD
This large painting is a ca. 1960 copy of a famous Rockwell Kent painting that was executed in Vermont in 1921. The work is oil on canvas and well represents the original image, tho...
Category
1960s American Modern Art
Materials
Oil
"Nude Musicians" WPA Mid 20th Century American Modernism LGBT Social Realism Gay
Located in New York, NY
Carl Gustaf Simon Nelson, American (1898-1988) "Nude Musicians," 30 x 35 inches, oil on canvas
Signed and dated 1938 signature lower right. Provenance: Collection of Seymour Stein
Bio
Carl Gustaf Simon Nelson (1898 - 1988)
A painter, graphic artist and teacher whose paintingfocus was color and content landscapes, Nelson at age five immigrated with his family to Sioux City, Iowa from Sweden in 1903. He studied at the Chicago Academy of Fine Arts* from 1920 to 1921, then at the Art Students League* in New York from 1923 to 1927 with Kimon Nicolaides and Kenneth Hayes Miller. He taught at the American Peoples School of New York, an adult education project; at the Cambridge School of Design from 1948 to 1952; and finally at the Boston YMCA until 1968.
His work was exhibited at the Carnegie...
Category
1930s American Modern Art
Materials
Canvas, Oil
'Manhattan Old and New' —1920s Realism, Cityscape
Located in Myrtle Beach, SC
Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed.
A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition.
The subject of the print is the lower Manhattan cityscape just before the Depression.
Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm).
Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum.
ABOUT THE ARTIST
'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints.
Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist.
Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...
Category
1920s American Modern Art
Materials
Drypoint
Origiinal Boston Fly TWA Jets vintage American travel poster
By David Klein
Located in Spokane, WA
TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was from New York to Los Angeles, followed by multiple National routes. The airline expanded to serve Europe, the Middle East, and Asia after WWII when the company was under Howard Hughes's owner's control 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 pleasure increased, too. Posters were a crucial element in promoting this form of travel and TWA. The airline started a decline in the 1970s, ending in a third bankruptcy that caused its acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190.
The Boston FLY TWA shows a three-masted schooner in the background, a large colonial drum in the center with an American Eagle...
Category
1960s American Modern Art
Materials
Offset
'Partners' — Mid-Century Modernist Regionalism
By Dale Nichols
Located in Myrtle Beach, SC
Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...
Category
1950s American Modern Art
Materials
Lithograph
1950s "Hand Over Head I" Mid Century Figurative Ink University of Paris
By Donald Stacy
Located in Arp, TX
Donald Stacy
"Hand Over Head I"
c 1950s
Ink on paper
14" x 16.5" unframed
Signed in pencil lower right
Came from artist estate
Donald Stacy (1925-2011) New Jersey
Studied: Newark S...
Category
Mid-20th Century American Modern Art
Materials
Ink, Paper
'The East River', Brooklyn Bridge — Mid-Century Realism, New York City
Located in Myrtle Beach, SC
Lawrence Nelson Wilbur (1897-1988), 'The East River', drypoint, edition 65, 1946. Signed, titled, and annotated 'A. Jones Proof 1946' in pencil. Signed and dated in the plate, lower ...
Category
1940s American Modern Art
Materials
Drypoint
New York Night
By Adolf Dehn
Located in Fairlawn, OH
New York Night\Lithograph, 1930
Edition: 30
Printer: Meister Schulz, Berlin
Printed on heavy wove paper without watermark
This lithograph was created in...
Category
1930s American Modern Art
Materials
Lithograph
Untitled (Kneeling Male Nude)
By David Smith
Located in Fairlawn, OH
Untitled (Kneeling Male Nude)
Graphite on paper, c. 1930
Unsigned
Annotated in pencil verso:
"This drawing was made by David Smith in the Matulka class at A. S. L. 1931
Signed
Doroth...
Category
1930s American Modern Art
Materials
Paper, Pencil
'To Market, to Market' — 1930s Surrealist Fantasy
Located in Myrtle Beach, SC
Zena Kavin, 'To Market, to Market', lithograph, c. 1935, edition 20. Signed, titled, and numbered '6/20' in pencil. A fine, richly-inked impression, on cream wove paper, with full ma...
Category
1930s American Modern Art
Materials
Lithograph
Divertimento I (Picasso)
By Conger A. Metcalf
Located in Fairlawn, OH
Divertimento I (Picasso)
Graphite, color wash and oil paint on coated glossy paper, c. 1940
Signed C. Metcalf lower left (see photo)
Inscribed Matisse, Picasso, C. Metcalf lower left by the artist (see photo)
Condition: Irregular sheet margins
Framed in a carved corner, gilt decorated frame with foliate corners. Very complimentary to the work!!! ( See photo)
Oil paint transfer on verso
Three small bits of masking tape along the upper margin from previous framing
Colors fresh, appears to be no fading
Photos available upon request
Sheet/Image size: 13 x 9 1/4 inches
Provenance: Private Collection, Ohio
Exhibited: Childs Gallery, Boston, 2013-2023 (see label)
Conger Metcalf (1914–1998) was an American painter.
"He was born in Cedar Rapids, Iowa and died in Boston, Massachusetts. Metcalf began his art studies in 1932 at the Iowa Stone City Art Colony, headed by American Regionalist painter Grant Wood. Metcalf continued his studies at Coe College in Cedar Rapids with Stone City co-founder Marvin Cone...
Category
1940s American Modern Art
Materials
Oil
'The Visitor' — 1930s Surrealist Fantasy
Located in Myrtle Beach, SC
Zena Kavin, 'The Visitor', lithograph, c. 1935, edition 20. Signed, titled, and numbered '9/20' in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (7/...
Category
1930s American Modern Art
Materials
Lithograph
Original 'Apollo Stumpen' vintage Swiss cigar poster
Located in Spokane, WA
Original Swiss poster: Apollo Stumpen Cigars. Johannes Handschin created this Swiss poster. Swiss size of 35" x 49". Professional acid-free archival linen backed, ready to frame. The colors are vibrant and intense. Great colors. Rare original Swiss (Switzerland) vintage poster.
This is the rarer large format, the rarest version of the poster. The small format is 20 x 27, about 1/2 the size.
There is a flaw in the lower section of the man’s covering, the lower left of his chin. Shown in images.
Switzerland was known for some of the better printing of their posters and the use of more expensive inks, thus richer colors in the posters that survive today.
This art deco-style cigar poster...
Category
1940s American Modern Art
Materials
Lithograph
'Navajo Horse Race' — 1940s Southwest Regionalism
Located in Myrtle Beach, SC
Ira Moskowitz, 'Navajo Horse Race', lithograph, 1946, edition 30, Czestochowski 204. Signed and titled in pencil. Signed and dated in the stone, lower le...
Category
1940s American Modern Art
Materials
Lithograph
David Smith with Voltri XV - Bolton 1963 by Dan Budnik
By Dan Budnik
Located in Phoenix, AZ
DAN BUDNIK (American, b. 1933-2020
David Smith with Voltr1-Bolton XV, Terminal Iron Works, Bolton Landing, N. Y. 1963
Vintage Print on Afga Paper, Silver gelatin, March 1963, printed 1992 by Igor Bakht
Paper: 24 x 20 inches
Image: 16.38 x 13 inches
Recto: signed in black ink in artist's hand
Verso: titled, dated, signed in graphite in artist's hand, printer information in graphite
State: unmounted.
Dan Budnik 1933-2020
As a photojournalist, Dan Budnik is known for his photographs of artists, but also for his photo-documentation of the Civil Rights Movement and of Native Americans. Born in 1933 in Long Island, New York, Budnik studied with Charles Alston at the Art Students League of New York (1951-53) and began his photography career as Philippe Halsman’s assistant. Working at Magnum Photos (1957-64) in 1963, Budnik persuaded Life Magazine to have him create a long-term photo essay showing the seriousness of the Civil Rights Movement, documenting the Selma to Montgomery march and other historical Civil Rights moments. Budnik went on to photograph for premier publications such as Life, Fortune, Look, Newsweek, Sports Illustrated and Vogue.
He has been a major contributor to eight Time-Life Wilderness and Great Cities series and received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology Project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation.
Biography
Pastaza, Ecuador, December 2004 Photo by Kresta King Cuther
Pastaza, Ecuador, December 2004 Photo by Kresta King Cuther
Dan Budnik, (b. 1933-died 2020), whose career as a photographer has spanned more than half a century, was most recent recipient, in 1998, of the prestigious American Society of Media Photographers Honor Roll Award, an accolade previously accorded to such eminent photographers as Man Ray, Edward Steichen, Walker Evans, Dorothea Lange, André Kertész, Ernst Hass...
Category
1960s American Modern Art
Materials
Photographic Paper
'Victim of Misfortune and Folly' — 1930s Surrealist Fantasy
Located in Myrtle Beach, SC
Zena Kavin, 'Victim of Misfortune and Folly, lithograph, c. 1935, edition 20. Signed, titled, and numbered '17/20' in pencil. A fine, richly-inked impression, on cream wove paper, wi...
Category
1930s American Modern Art
Materials
Lithograph
Joyce T. Nagel Woodcut "Vegetable Forms No. 1" Signed Dated Ltd Ed
Located in Detroit, MI
"Vegetable Forms No. 1" is a bright fresh woodcut print of a mirrored halved cabbage. Nature's intricate design is fully appreciated and apparent in the captured tight crinkled and folded leaves. #7/7 Signed and Dated
Joyce Tilley Nagel...
Category
1970s American Modern Art
Materials
Woodcut
Mother and Son (Colt and Mare)
By Herman Maril
Located in Los Angeles, CA
(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan)
Oil on canvas, 18 x 14 inches unframed, 22 x 18 inches framed, signed and dated lower right, inscribed “Mother and Son by Herman Maril ‘31” and “property Edward B. Rowan Falls Church VA” verso
Literature:
i) Dows, Olin, Herman Maril, The American Magazine of Art, Vol. 28, No. 7 (July 1935), p. 407 (illustrated with the title “Mare and Colt...
Category
1930s American Modern Art
Materials
Oil
'Judgment of Souls' — 1930s Surrealist Fantasy
Located in Myrtle Beach, SC
Zena Kavin, 'Judgment of Souls', lithograph, c. 1935, edition 20. Signed, titled, and numbered '17/20' in pencil. A fine, richly-inked impression, on cream wove paper, with full marg...
Category
1930s American Modern Art
Materials
Lithograph
Carolyn McArthur, (New York City Park)
Located in New York, NY
This is a modernist view of a New York City park. It's interesting because we're given so much detail and yet it's drawing style also keep things hidden. Really I think it's about Cu...
Category
1930s American Modern Art
Materials
Intaglio
American Modern art for sale on 1stDibs.
Find a wide variety of authentic American Modern art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, purple, red and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Slim Aarons, Destro, Howard Schatz, and John Taylor Arms. Frequently made by artists working with Paint, and Oil Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large American Modern art, so small editions measuring 0.25 inches across are also available.
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