American Modern Art

River Reflections Color woodcut, c. 1910 Unsigned Provenance: Dow Family Album, Cincinnati Condition: Excellent Image size: 2 1/2 x 4 inches Sheet size: 3 1/8 x 4 7/8” A color varian...

Oil on board, signed top left Image size: 15 3/4 x 11 1/2 inches (40 x 29 cm) Bespoke gilt cased frame Provenance By descent from the estate of the artist Emma Fordyce MacRae Emma Fordyce MacRae was an American representational painter. She was a member of the Philadelphia Ten, a group of women artists who worked and exhibited together. Her work — including still lifes and paintings of women — shows the influence of Asian flower paintings and of Seurat. MacRae grew up in New York City, where she attended Miss Chapin's School and the Brearley School. She enrolled at the Art Students League in 1911, studying first with Frank DuMond and Kenneth Hayes Miller, and beginning in 1915, with Luis Mora, Ernest Blumenschein, and John French Sloan. She also attended one of Robert Reid's summer courses. MacRae's painting, "Green Jade," was shown at the Anderson Galleries in 1928, at an exhibit of artist members of the American Woman's Association. Many exhibitions and gallery showings followed. In 1937, MacRae's painting "A Persian Girl," was listed as deserving of special mention by The New York Times critic Edward Alden Jewell. In the 1940s, MacRae was chairman of the awards jury of the National Association of Women Artists. Galleries rediscovered MacRae's art in the 1980s; the Richard York Gallery in New York exhibited thirty of her paintings in December 1983. In 1987, her painting of a Venetian cafe was part of "American Women Artists, 1830-1930," an exhibition displayed at the National Museum of Women in the Arts in Washington, D.C. and in four other museums. MacRae had studios in New York City and in Gloucester, Massachusetts. Where MacRae painted her New England landscapes form the Cape Ann Landscapes...

John DePol, 'Endless Day', chiaroscuro wood engraving, 1979, edition 160 in 1983. Signed, dated, and titled in pencil. Signed in the block, lower right. A superb impression, on off-w...

This work is part of our exhibition - American Coast to Coast: Artists of the 1940s A Valley Streetscape at Night, 1948, oil on masonite, signed and dated lower right, 18 x 24 inches; literature: King, Chloe, The Paintings of Edgard O. Kiechle – Unearthed After 60 Years, Ventura Blvd, January/February, 2023, pp. 46 – 53 (illustrated) Edgar Kiechle...

Original poster: Original World War II poster: Strong in the Strength of the Lord (L) Note that this is the large version of this poster. Acid-free archival linen-backed original WWII, U. S. Government printed vintage poster. A factory worker and a soldier all played a key part in the U.S. war effort. Published by the War Information Office in an attempt to foster greater cooperation between some different segments of society. AMERICANS SUFFER WHEN CARLESS TALK KILLS! Original 1943 U.S. Government (military propaganda) poster. Archival linen backed in A- - B+ condition, ready to frame. Note that WW2 U. S. Government posters were folded prior to being distributed. This is not considered a defect. The fold marks were restored during linen backing. Tiny chips along the bottom border. This poster promoted cooperation among various segments of American society- a woman, a soldier, and a factory worker. It is a mixture of crusading, religious, and industrial symbolism. The text quotes Henry Wallace, then Vice-President. Artist: Martin, David Stone...

A Vibrant, 1930s Chicago City Street Scene of the Old Town Neighborhood by Notable Chicago Modern Artist, Francis Chapin (Am. 1899-1965). Depicting a colorful, blustery, autumn view...

Provenance Mr. and Mrs. Miles Valentine; Estate of above; Sale, Christie’s, New York, New York, June 13, 2001, lot 206, from above; John Davis collection, Falls Church, Virginia; Sal...

Clarence Holbrook Carter (American, 1904–2000) Over and Above: No. 6, 1963 Oil, sand & fish bones on canvas Signed and dated upper left 53 x 31 inches Clarence Holbrook Carter achie...

Artist: Christo Title: Over The River, Project for the Arkansas River, State of Colorado Medium: Offset lithograph in colors on Rives vellum ragpaper Date: 1996 Edition: Unnumbered S...

A Sandstorm on the Little Colorado River, Arizona. 1920. Watercolor on watercolor board. Study for Seeber 189. 10 3/8 x 14 1/4. Signed lower left; titled verso. An exquisitely subtl...

Original California Fun Map vintage poster from 1973. Archival linen backed in fine condition that is ready to frame. Artist: Darrel Millsap. This fun map...

"Dr Dre The Chronic Cassette" is a photomosaic artwork by Destro. This image is made up of 100's of smaller images of Dr Dre imagery. Archival photographic paper Signed edition of...

Phyllis Diller Love you David! Black & White Photograph on Archival Kodak Paper Year: 1993 Image Size: 8.75 x 6 inches (22.4 x 15.4 cm) Sheet Size: 10 x 8 inches (24.4 x 20.32 cm) Signed and dated in marker COA provided Phyllis Diller (1917–2012) was an American comedian, actress, author, musician, and visual artist, known for her eccentric stage persona, wild hair, self-deprecating humor, and iconic cackling laugh. One of the first female comics to achieve national fame, she influenced Joan Rivers, Roseanne Barr, and Ellen DeGeneres and had a strong gay following. Diller openly promoted plastic surgery, earning recognition from the cosmetic surgery industry. She appeared in 40+ films and numerous TV shows, including The Muppet Show, CHiPs, The Love Boat, Cybill, and Boston Legal, plus 11 seasons on The Bold and the Beautiful. Her voice roles included A Bug’s Life...

Invitation to a party on the occasion of John and Dolly Sloan's twenty-fifth wedding anniversary. Sante Fe: Printed by Peter J. Platt, 1926. 100. Etching on cr...

Will Beger and his contemporary-minimalist paintings, take on an entirely unique approach to southwest art. Influenced by his youth and inspired by nature, he effortlessly captures a...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 38.25" x 29.25", Framed 45" x 35" Cover of The Saturday Evening Post Magazine, June 13, 1925 Edmund Davenport was a New Yorker and a successful illustrator in the 1920’s. He painted covers for Women’s Home Companion and The Saturday Evening Post, and at the same time, he worked in the art department of Paramount Studios. At the time of this publication, a young woman’s graduation from college was a rare accomplishment, and the opportunities for employment that required a college diploma, were even rarer. Nevertheless, it was a good reason for this pretty, young woman to be sitting on top of the world in the vicinity of “cloud nine.” “Top of the World” appeared on the cover of The Saturday Evening Post on June 13, 1925. Exhibited: Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 A luminous and rare Golden Age of Illustration cover...

An extremely rare and lovely hand signed etching by American Maurice Sterne, dating from the turn of the century when the artist was working in Paris. Maurice Sterne, born in 1877 ...

Original Stan Galli "Pacific Northwest" United Air Lines Vintage Poster – Stunning Mid-Century Travel Art. Archival linen backed in excellent condition, ready to frame. Grade A. ...

ANDERS ALDRIN (Swedish /American 1889 – 1970) THE SUNFLOWER ca. 1935 (Newark Museum 9) Color woodcut, edition c. 150. Signed, unnumbered, but dedicat...

Chaim Gross (American, 1904-1991) Patinated cast bronze sculpture, Three Acrobats, signed mounted on black marble plinth 24.5"h x 14"w x 7"d (bronze alone) Chaim Gross (March 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

An early 20th century view of Times Square. The Society of Iconophiles, 1904. Lithograph in black ink on tissue-thin, laid Japon paper with an anchor and numeral 48 watermark, 8 3/...

A wonderful 1950s Mid-Century Modern portrait of a young woman seated at a table by famed Chicago artist, Francis Chapin (Am. 1899-1965). Great color palette and expressive, contemp...

Jungle with creative license of tangled growth and bright flowers and peaking out from the foliage is a strange hybrid of jungle cat. Playful and somewhat surreal. Jungle Creature -...

A moody evening in New York City. The buildings capture the quiet that New York sometimes achieves. Signed and dated in pencil.

Marguerite Redman Dorgeloh, 'de Young Mansion – San Francisco', lithograph, c. 1937, edition 25. Signed and titled in pencil. A fine, richly-inked impr...

"Rosemary" with Feather Boa - Bay Area Figurative Movement Study Oil on Canvas A dark-haired woman with a feather boa sits propped on a stool surrounded by bright textures and patte...

Robert Vale Faro, 'Sylvan Maze', color lithograph, 1946, edition 20. Signed, dated, titled and numbered '112' and '11/20' in pencil. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1 to 1 1/2 inch), in excellent condition. Image size 13 11/16 x 9 11/16 inches; sheet size 16 1/8 x 12 5/16 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

This artwork titled "Silver Wood" 1966 in an original color serigraph by American artist Virgil Trasher b.1943. It is hand signed, dated, inscribed A.P and titled in pencil by the artist. The image size is 16 x 22 inches, sheet size is 12.25 x 27 inches. It is in excellent condition. About the artist: Virgil Thrasher...

An exceptional original landscape painting by acclaimed Colorado artist Herndon Davis (1901–1962), showcasing the dramatic natural beauty of Red Rocks Park, located near Morrison, Co...

Poolside Glamour at Kaufmann House in Palm Springs, taken by Slim Aarons during the same shoot as Poolside Glamour and Poolside Gossip, both now sold out editions 16 x 20" print. Li...

A nude viewed from behind, with black hair , inscribed on the lower right by the artist John Begg "Mature Nude" c.1953 Outlined in black ink and with som...

An intriguing, ca. 1935, still life painting featuring a derby, fruit bowl, wine bottle vase & books by artist Francis Chapin. Image size: 16" x 36". Framed size: 21" x 41". Pro...

Original The New Great Lakes in South Dakota vintage travel and sports poster. Promoting fishing, camping, boating, and swimming. Linen backed and ready to frame. Although hard...

"Eat Out More Often" - Menu - Intaglio Hand painted Print by Bernadette Emrick The artwork "Eat Out More Often - The Perfect Meal - Menu - by Bernadette Emrick (American, 20th C), ...

Pioneering Woman Illustrator Margery Stocking Hart draws a pen-and-ink story depicting a round table of predators encircling a vulnerable bunny rabbit. ...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

An American Female Artist in her late signature style depicts a Horse and a Colt in an abstract landscape. Ethel Magafan scapes the defining lines with a knife to add to the creative...

"Self Portrait" by Philadelphia born modernist painter Leon Kelly, is a moody and atmospheric self portrait of the artist in younger years at age 24. The 18" x 16" oil on board, fram...

A vibrant 1930s American Scene painting of a sunlit Victorian house by noted American Modern painter Francis Chapin (Am. 1899-1965). Very reminiscent of Edward Hopper's artwork, the...

“Thru a Glass Brightly” by artist Alec Montroy is a view of Times Square from a unique elevated perspective.

Still Life with Vase of Flowers Oil on board with incised scraffito, c. 1929-1930 Unsigned by the artist Signed and inscribed verso: "Painting by my father, Aileen B. Cramer" verso, ...

Original General Electric Professional TV Service midcentury modern vintage poster. “I’m no artist, but I know what makes the best picture.” I install General Electric Tubes, Best for any set! Service-designed Black-Daylite picture tubes. In the black-and-white area of the television tube is an image of Whistler’s mother in a rocking chair. Of course, during this time frame, all televisions were only black and white. Archival linen is backed and ready to frame and in A- condition. Note that the white mark on the service man’s sleeve is printed into the image and is not a flaw. A great vintage poster for the collector of old televisions, radios, and early electronics...

Provincetown (Sunbathing) Sepia ink on tan paper, 1966 Signed in ink lower center (see photo) Exhibited: Art from Lexington Homes, Lincoln Massachusetts, May 14-22, 1966 (see label) ...

Hotel du Cap Pool, Eden Roc - View of the Swimming Pool on French Riviera by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Pool ...

Frank Nelson Wilcox (American, 1887-1964) Women's Corner, Along the Cuyahoga River, c. 1916 Watercolor and graphite on paper 21 x 29 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Chicago Modernist, William Schwartz, painted this exceptional self-portrait in 1926. He studied at the Art Institute of Chicago shortly after emigrating to the United States from Ru...

'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...

Wonderful large scale natural toned mixed media abstract comprising a rectangle of antiqued white texturized with gesso'd hemp sacking and set above second ivory rectangle in pale ivory with circle of scumbled grey by British contemporary artist Richard Lawrence...

Etching on cream wove Japon paper, 7 3/8 x 7 3/4 inches (188 x 197 mm), full margins. Signed and dated in pencil, lower margin. In excellent condition with some minor surface soiling...

The symbol of American Capitalism is cloaked in the symbol of American Freedom. A monumental American Flag drapes the shiny facade of the New York Stock Exchange. Bright light illu...

Leon Bibel, 'Clown', color serigraph, 1939, edition 20. Signed, dated, titled, and numbered '/20' in pencil. A fine, richly-inked, painterly impression, with fresh colors, on buff la...

The Artist's Christmas homage to the attack on the twin towers with reindeer atop the buildings. Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

Twilight on the Balcony, Original Watercolor This minimalist architectural painting, by Rachel Mason Burger (English-American, 20th Century) creates wonderful line in 1-point perspe...

Signed (at lower left): WILLIAM S. SCHWARTZ

This artwork titled "East Cove" 1987 in an original color serigraph by American artist Virgil Trasher b.1943. It is hand signed, inscribed A.P and titl...

John Evans (American, b. 1945), Untitled oilstick on paper, signed in pencil lower center, gallery label (Allan Stone Gallery, New York) affixed verso, sheet: sight size is 22"h x 3...

Clarence Holbrook Carter (American, 1904-2000) Still Life with Apples, 1940 Oil on canvas Signed and dated upper right 18 x 24 inches Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Orignial Skarby Sultana vintage poster. A.k.a.The Story of Little Much. Archival linen-backed Very good condition A. Bright and vibrant, lithograph, no stains, no damage, no...

Signed upper left: Witkowski

Original Les Vignobles de France - Cote du Rhone vintage wine map poster. Horizontal. Size 36.5" x 27". Archival linen backed and ready to fram...