American Modern Art

"Play" is an original etching by Kenneth Hayes Miller. The artist signed the piece in pencil and in the plate. This piece features a nude figure with two smaller doll-like figures. ...

Charles Elmer Harris (Beni E. Kosh), Untitled (African Idol), watercolor, c. 1950s. Estate stamped verso, 'Beni E Kosh COLLECTION' and numbered '570' in ink. A fine, spontaneous wat...

Lovers - Nude Couple in Bed - Figurative Composition in Acrylic on Paper Expressive depiction of a nude couple by Byron Richard Rodarmel (American, 1932-2007). A couple is intertwin...

This is not your grandmother’s typical still life painting. But if she was young and hip for her time, maybe it is. Painted on stretched canvas and dated (19)56, it is only signed ...

Foire de Paris; original lithograph; artist: Albert Solon. Year: 1954. Acid free archival linen backed Size 10.5" x 16 5/8". Excellent condition. Ready to frame The top of this antique poster features the image of the first poster from 1904 in the art nouveau style; and the bottom of the 1954 Foire de Paris where the sails cover part of the earliest poster image. The bottom portion of this design is reflected in its art deco style with the wording of the name of the Foire de Paris reflecting in the water. Original. Linen-backed. The annual Paris Fair was a large international industrial exhibition that attracted not only manufacturers from around the world, but also posterists who vied for the honor of having their design selected as the official poster of the event. For 1954, this poster artist is nostalgic for the turn of the century. He is reminding us that it is the 50th anniversary of the Paris Fair. The vintage poster...

"Mission Impossible" Original TV Guide Drawing Illustration Caricature Mid Century NYC with Greg Morris, Barbara Bain, and Steve Hill. This original drawing...

Paul Landacre, 'Verdi', wood engraving, 1936, edition 60, (only 14 printed), Wien 188. Signed, titled, and numbered '10/60' in pencil. A fine impression, on cream, laid Japan paper, ...

Bert Stern, American (1929 - 2013) - Marilyn Monroe, Medium: Photograph, signed and numbered in crayon, Edition: AP, Image Size: 34 x 20 inches, Size: 34.75 x 21 in. (88.27 x 53.34 cm)

American painter and illustrator Amos Carter Brinton was born in Wilmington, Delaware in 1888. He went on to have a successful career in illustrations, mainly maritime themed. Fishi...

A ink on paper figure study by artist Harold Haydon depicting a conversation. Artwork size: 12" x 9 1/2". Archivally matted to 14" x 16". Provenance: Estate of the artist. Haro...

screenprint printed in color ink on wove paper. New York City subway station interior. Anthony Velonis (1911 – 1997) was an American painter and designer born in New York City who helped introduce the public to silkscreen printing in the early 20th century. While employed under the federal Works Progress Administration, WPA during the Great Depression, Velonis brought the use of silkscreen printing as a fine art form, referred to as the "serigraph," into the mainstream. By his own request, he was not publicly credited for coining the term. He experimented and mastered techniques to print on a wide variety of materials, such as glass, plastics, and metal, thereby expanding the field. In the mid to late 20th century, the silkscreen technique became popular among other artists such as Robert Rauschenberg and Andy Warhol. Velonis was born into a relatively poor background of a Greek immigrant family and grew up in the tenements of New York City. Early on, he took creative inspiration from figures in his life such as his grandfather, an immigrant from the mountains in Greece, who was "an ecclesiastical painter, on Byzantine style." Velonis attended James Monroe High School in The Bronx, where he took on minor artistic roles such as the illustration of his high school yearbook. He eventually received a scholarship to the NYU College of Fine Arts, into which he was both surprised and ecstatic to have been admitted. Around this time he took to painting, watercolor, and sculpture, as well as various other art forms, hoping to find a niche that fit. He attended NYU until 1929, when the Great Depression started in the United States after the stock market crash. Around the year 1932, Velonis became interested in silk screen, together with fellow artist Fritz Brosius, and decided to investigate the practice. Working in his brother's sign shop, Velonis was able to master the silkscreen process. He reminisced in an interview three decades later that doing so was "plenty of fun," and that a lot of technology can be discovered through hard work, more so if it is worked on "little by little." Velonis was hired by Mayor LaGuardia in 1934 to promote the work of New York's city government via posters publicizing city projects. One such project required him to go on a commercial fishing trip to locations including New Bedford and Nantucket for a fortnight, where he primarily took photographs and notes, and made sketches. Afterward, for a period of roughly six months, he was occupied with creating paintings from these records. During this trip, Velonis developed true respect and affinity for the fishermen with whom he traveled, "the relatively uneducated person," in his words. Following this, Velonis began work with the Public Works of Art Project (PWAP), an offshoot of the Civil Works Administration (CWA), where he was assigned to serve the different city departments of New York. After the formation of the federal Works Progress Administration, which hired artists and sponsored projects in the arts, he also worked in theater. Velonis began working for the federal WPA in 1935. He kept this position until 1936 or 1938, at which point he began working in the graphic art division of the Federal Art Project, which he ultimately led. Under various elements of the WPA program, many young artists, writers and actors gained employment that helped them survive during the Depression, as well as contributing works that created an artistic legacy for the country. When interviewed in December 1994 by the Library of Congress about his time in the WPA, Velonis reflected that he had greatly enjoyed that period, saying that he liked the "excitement" and "meeting all the other artists with different points of view." He also said in a later interview that "the contact and the dialogue with all those artists and the work that took place was just invaluable." Among the young artists he hired was Edmond Casarella, who later developed an innovative technique using layered cardboard for woodcuts. Velonis introduced silkscreen printing to the Poster Division of the WPA. As he recalled in a 1965 interview: "I suggested that the Poster division would be a lot more productive and useful if they had an auxiliary screen printing project that worked along with them. And apparently this was very favorably received..." As a member of the Federal Art Project, a subdivision of the WPA, Velonis later approached the Public Use of Arts Committee (PUAC) for help in "propagandizing for art in the parks, in the subways, et cetera." Since the Federal Art Project could not be "self-promoting," an outside organization was required to advertise their art more extensively. During his employment with the Federal Art Project, Velonis created nine silkscreen posters for the federal government. Around 1937-1939 Velonis wrote a pamphlet titled "Technical Problems of the Artist: Technique of the Silkscreen Process," which was distributed to art centers run by the WPA around the country. It was considered very influential in encouraging artists to try this relatively inexpensive technique and stimulated printmaking across the country. In 1939, Velonis founded the Creative Printmakers Group, along with three others, including Hyman Warsager. They printed both their own works and those of other artists in their facility. This was considered the most important silkscreen shop of the period. The next year, Velonis founded the National Serigraph Society. It started out with relatively small commercial projects, such as "rather fancy" Christmas cards that were sold to many of the upscale Fifth Avenue shops...

This artwork titled "Metropolitan Opera, New York City, Premiere" 1980 is an original colors serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbere...

Portrait of the Artist by the Artist Original Charcoal Drawing on Paper 1960 Excellent detailed original drawing of the artist by Eugene Hawkins (American, b. 1933). A realistic dep...

Field by Millard Owen Sheets, American (1907–1989) Date: circa 1977 Lithograph, signed and numbered in pencil Edition of 250 Size: 24 in. x 35 in. ...

A charming 1956 oil on canvas board painting of a red brick house, titled "Corner of the Brick House with Last Snow Bank, Calais, VT" by artist Harold Haydon. The painting is framed...

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

Modern portrait of young girl named Cathy Gutman by American painter, Patricia Gren Hayes (b. 1932), 1982. Signed and dated lower left corner and on verso Provenance: Purchased as part of larger collection of artist's work from the estate of Larry Miller fine Art Unframed. Canvas size: 18"H x 16"W. Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez. She started a freelance commercial art business in 1963; copyrighted a National Cartoon, 1976, and served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976-1978. She was a workshop instructor at the San Francisco Woman Artists Gallery, 1977-1985; and was Manager/Owner Stanton Art Gallery, Alameda, CA, 1976-1982. Solo Exhibitions: Berkeley Marina, 1974; Oakland Center for The Visual Arts, "Images of Women", 1979 Group Exhibitions: Oakland's Dept of Education, 1963, Studio One; Alameda County Fair, 1975, 1976, 1978; San Francisco Art Festival, 1969, 1970, 1976, 1977, 1978; San Francisco Museum of Modern Art, 1976, 1977, 1978; San Francisco Women Artists Gallery Exhibition, award winner - 1970, 1977, 1978; Hayward Bay Fair Art Festival, award winner - 1971; Capricorn Assunder Gallery, 1973; Oakland Art Festival, 1973, 1974; Alameda Art Association, 1978; El Cerrito...

Abstract Expressionist Self Portrait in Black and Grey Dynamic self portrait by Michael William Eggleston (American, b. 1948). Greyscale acrylic paint on paper. Unsigned, but acquire...

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

Etching on bluish-grey, antique laid paper, 5 x 3 5/8 inches (127 x 93 mm), signed, dated, and inscribed "III" in pencil, lower margin. A proof impression from the third state (of 3)...

Cavallo Coast - View of Yachts in Turquoise Waters between Corsica and Sardinia by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Returning from the General Store William Henry Dethlef Koerner (German, American, 1878-1938) Oil on Panel Signed Lower Right 24 x 30 inches 27 x 33 inches with frame William Henry D...

A Fabulous 1950s Mid-Century Modern Still Life Painting by Notable Chicago Woman Artist, Vivian Kinsley Chapin (Am. 1909-1984). A vibrant, colorful still life painting of a turquois...

ED BAYNARD (American, 1940-2016) Flowers, Flowers in a Vase, Etching. 1979/1980, Hand signed, dated l.r., Hand numbered from small edition 12/24, Dimensions: 23 by 19 in. Framed 25 by 21 in Born in Washington, D.C. in 1940. Raised in Washington, D.C. and newly graduated from high school, he flew to Europe living off and on in Paris and London. During this time, he designed costumes for Jimi Hendrix, worked as a graphic designer for the Beatles as well as Elizabeth Taylor and Richard Burton. Returning to New York, he dedicated his life to art after a surprise success with his first show in 1971 at the Willard Gallery in NYC. Ed's images are Zen-like in their simplicity and grace rendered in a flat, graphic style that recalls Japanese Ukiyo-e prints. His watercolors are luminous, like the rest of his representations regardless of the medium. The Japanese inspired ukiyo-e style woodblock prints and lithograph works he created at Tyler Graphics in 1980 contain a 20th century "floating world" sensibility. Ed's wish was to bring harmony, color, and a meditative stillness to this chaotic planet. He did so in a gentle and powerful way, always as an expression of his deep gratitude for the love and beauty, friendship, and concerns he held dearest. His first solo exhibition was in 1971 at New York's legendary Willard Gallery on the recommendation of Agnes Martin. Baynard went on to have exhibitions at galleries including Betty Parsons Gallery, New York (1973); Marian Goodman Gallery, New York (1977); John Berggruen Gallery, San Francisco (1980); and Barbara Gladstone Gallery, New York (1980/81).. Baynard manages to retain a simplicity of form inspired by a love of Japanese Woodblock prints. His new works reflect the same poetry of his earlier paintings, retaining his stylized compositions with their Zen like minimalism and Oriental calm, along with a new sense of rhythm and movement. Baynard uses familiar themes such as flowers, plants, pots, and vases, incorporating them into his delicate watercolor still lifes, thus creating stunning visual feasts. He was included in the 1972 Landscape exhibition at MoMA NY alone with other luminaries James Boynton...

This artwork titled "Amos" 1960 is an original woodcut on paper by noted American artist Leonard Baskin, 1922-2000. It is hand signed, titled and numbered 35/50in pencil by the artis...

This original watercolor painting by American artist Edgar Britton captures the serene beauty of a Colorado mountain landscape. Created in 1946, this piece showcases soft, airy tones...

John Melville Kelly, 'Kanani (Hawaii)', drypoint, 1946. Signed, titled and annotated 'No 36' in pencil. A superb impression, in dark brown ink, on ...

Frank Nelson Wilcox (American, 1887-1964) The Entertainment, c. 1955 Watercolor on paper Signed lower right 20 x 30 inches Exhibited: 1955 May Show, Cleveland Museum of Art "The first district schools were log houses...

A limited edition woodcut portrait of Don Quixote de la Marcha by George De Groat (1917-1995). Don Quixote is instantly recognizable due to his thin fa...

Chimeras, 1974 Acrylic and pastel on textured paper Mid-century figural abstract blue acrylic painting Clarence Holbrook Carter achieved a level of national artistic success that w...

"In Front Of The Fire" - Original 1981 Oil on Canvas Modern figurative portrait of a nude woman by American painter Patricia Gren Hayes (American, 1932). The woman is laying back in...

Figurative Cubist Surrealist Abstraction Mid 20th Century American Modern Large O. Louis Guglielmi (1906 - 1956) OBSESSIVE THEME 44 x 33 inches Oil on canvas Signed and dated '48 lo...

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

David HOCKNEY New York Metropolitan Opera House : Tirésias Original Vintage Poster Printed in France by Imprimerie Moderne du Lion in Paris 63 x 43 cm (c. 24.8 x 16.9 inch) This poster was created for the exhibition at Galerie Claude Bernard...

"New Hampshire Lobster with Chips" - Screen Print by Timothy Lee The artwork "N.H. Lobster" by Timothy Lee, created in 1983, is a print that combines elements of realism and abstrac...

Howard Cook (1901-1980), Chrysler Building (Chrysler Building in Construction) – –1930, Wood Engraving. Duffy 122. Edition 75, only 50 printed. 19...

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

Clarence Holbrook Carter (American, 1904-2000) People, 1964 Ink and crayon on paper Signed and dated upper right 36.5 x 24 inches Clarence Holbrook Carter achieved a level of nation...

Large sized sculpture of a standing shirt including large piedestal.

This painting is part of our exhibition Charles Goeller: A Wistful Loneliness. Oil on canvas, 20 x 15 inches, Signed lower right Exhibited: 1) Portrai...

Cortina d'Ampezzo, 1982 - Shopping in Winter in Italian Mountain Landscape by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Corti...

Genre: Modern Subject: Landscape Medium: Oil Surface: Board Country: United States Dimensions: 30" x 22" EMANUEL ROMANO Rome, Italy, b. 1897, d. 1984 Emanuel Glicenstein Romano was born in Rome, September 23, 1897. His father Henryk Glicenstein was a sculptor and was living in Rome with his wife Helena (born Hirszenberg) when Emanuel was born. His father obtained Italian citizenship and adopted the name Enrico. Emanuel was brought up in Italy, Switzerland, Germany, England and Poland. In 1926 Emanuel and his father sailed for New York. They briefly visited Chicago. Romano's sister, Beatrice, and mother only joined them in New York years later. Romano changed his name on his arrival to America and some have erroneously speculated that this was to avoid antisemitic discrimination. In truth, as the son of a highly-regarded artist, Romano changed his name to ensure that any success or recognition he would later attain, would be the result of nothing other than his own merit as an artist, and not on account of his father's fame. In 1936 Romano was worked for the Federal Art Project creating murals. During and immediately after World War II, Romano created a series of allegorical works depicting graphic holocaust images that were held closely by the family until after his passing. One of these works is now on permanent display in the Florida Holocaust Museum in St. Petersburg Florida. Emanuel's father died in 1942 in a car accident before they could realize their shared dream of visiting Israel. In 1944 Romano, having completed his degree at the Pennsylvania Academy of Fine Arts and the Art Institute of Chicago, began teaching at the City College of New York. Romano moved to Safed, Israel in 1953 and established an art museum in his father's memory, the Glicentein Museum. COLLECTIONS Indianapolis Museum of Art Metropolitan Museum of Art Boston Fine Arts Museum Fogg Museum Musée Nacional de France Recently his work has been added to the Florida Holocaust Museum collection. His notable works include his holocaust themed allegorical paintings as well as portraits of Marianne Moore, his father and William Carlos...

Gloria Dudfield Driver with Hard Hat 1960s Gouache and Oil Pastel on Paper 27"x36" unframed Gloria (Fischer) Dudfield July 12, 1922 – May 27, 2015 Came from...

Provenance An American Place, New York; World House Galleries, New York, 1953; Private collection, New York; Betty Krulik Fine Art, 2007; Avery Galleries until present Exhibitions An American Place, New York, Exhibition of New Arthur G. Dove Paintings...

Skiing in St Moritz, 1983 - Winter Landscape in Swiss Alps Mountain Scenery by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Skiing in St Moritz is a beautiful Limited Edition Estate Stamped Digital C-Type print from 20th Century photographer Slim Aarons. Countess Jan Blonde smiles and poses in the Palace Hotel sleigh on Lake St. Moritz, Switzerland, 1983. The world of Aarons’s photographs...

Christmas Swim - Christmas Tree in Swimming Pool with Tinsel and Star by Slim Aarons features Slim Aarons' wife, Rita 16 x 20" print. Limited Edition Estate Stamped Print. Edition o...

This artwork titled "Left Bank Cafe, Paris" 1987 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered H.C 166/175 in pencil by the artist. The image size is 26 x 38 inches, sheet size is 32.25 x 44 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

"Ceremonial Day at Taos" is a captivating vintage black and white etching by renowned American artist Gene Kloss. Created in 1953, this drypoint etching depicts the vibrant life of T...

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

A contemporary photograph of a BRUCE SPRINGSTEEN "BORN IN THE USA" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These i...

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

Etching with drypoint on Japan paper, 9 3/4 x 12 3/4 inches (245 x 322 mm), full margins, from an edition of approximately 50. Signed by the artist in pencil, lower center margin, t...

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

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/...

Spot the Ball, 1960 - Polo Match at Myopia Club in Hamilton Massachusetts in USA by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Mayan Trio Lithograph, 1950 Signed in pencil lower right (see photo) Edition 250 for Associated American Artists Publsihed 1950 Reference: AAA Cat.: 1950‑05; 1958‑01 AAA Index 1087 Condition: Excellent Image size: 13 x 9 1/2 inches Francisco Dosamantes (b. October 4, 1911 - d. July 18.1986) was a Mexican artist and educator who is best known for is educational illustrations and graphic work against fascism. He was a founding member of the Taller de Gráfica Popular and the Salón de la Plástica Mexicana. Life Francisco Dosamantes was born in Mexico City on October 4, 1911. His father was Daniel Dosamantes who was a builder, interior decorator and painter. He was not registered into the civil registry until he was about twenty years old on March 6, 1939. His mother’s name is not listed on the certificate. As a child, he demonstrated a strong interest in drawing and color, influenced by his father and his uncle Juan. The Mexican Revolution occurred while he was a young child and he stated that he remembered events such as soldiers on horses charging as well as the execution of rural farm workers. He attended primary and high school in Mexico City but stated that his education was irregular and deficient. He then entered the Escuela Nacional de Artes Plásticas, where he studied for five years. Initially, however, he was disappointed with the inexperience of the young professors and he left for a short time to study on his own. During this time, some of the dissatisfied professors organized the 30 30 group against the academic system of the school and which whom he sympathized. The effort gained the attention of established artists such as Diego Rivera who intervened. He died on Mexico City on July 18, 1986 Career After he graduated, he worked with the cultural missions of the Secretaría de Educación Pública in Oaxaca, Michoacán, Guerrero, Colima, Coahuila and Chihuahua (state) from 1932 to 1937 then again from 1941 to 1945. He stated that this experience was vital to his conscience as he worked with rural farm workers and others he stated were worthy of dignity and respect, but victims of deceit and exploitation. When he returned to Mexico City, he gave classes in high schools from 1937 to 1941. In 1945 he founded and directed the Taller Escuela de Dibujo y Pintura “Joaquín Claussell” in Campeche, Campeche. Dosamantes was a politically and culturally active artist with most of his work and affiliations related to such. He was a member of the Liga de Escritores y Artistas Revolucionarios from 1934 to 1938. He was a founding member of the Taller de Gráfica Popular, serving as administrator in 1940 and remaining a member until his death except for one short hiatus. He created posters for conferences about fascism and Nazism such as Alemania bajo bayonetas (Germany under bayonets) in 1938. In 1940 he became the secretary general of the Sindicato de Maestros de Artes Plásticas. He was also a member of the Sociedad para el Impulso de las Artes Plásticas en 1948, a founding member of the Salón de la Plástica Mexicana in 1949 and a member of the Frente Nacional de Artes Plásticas from 1952. He painted a number of murals in rural areas of Mexico generally when he was there on cultural missions. His main mural is at the former home of José María Morelos in Carácuaro, Michoacán, but there are a number at various rural schools. These were all painted between 1941 and 1946. As a book illustrator he mostly worked for the Secretaría de Educación Pública working on books for literacy campaigns. He exhibited his works, which included engravings, oils, tempuras and lithographs in Mexico and abroad. His first individual exhibition was in 1930 at the Galeria de Arte Moderno in Mexico City. His major exhibitions include the Excelsior Gallery in Mexico City in 1932, various exhibitions in New York, Washington, Philadelphia and Los Angeles in 1937; the Nelson Gallery of Art in Kansas City, Missouri in late 1947, and the Gallery of Mexican Art in...

In the tradition of Modigliani, Maurer's depictions of women are expressive and lively. America had very few modernists who painted in this manner but Maurer is famous for exactly t...

Original poster: BOMBAY (American President Lines) Small format without text along the bottom. This is the smaller format for the poster. Archival linen-backed in very fine cond...

Oil on canvas, signed with initials center left. Measures 32" x 23.5" including the frame. Provenance: ACA Galleries, NYC Bradbury Art and Antiques, Wiscasset, Maine Brought to...

Gelatin silver print Signed in pencil, verso 11 x 14 inches, sheet size 9.75 x 12.5 inches, image size This artwork is offered by ClampArt, located in New York City. Lillian Bassm...