American Modern Art

Original Spokane (Washington), The Colorful Capital of the Inland Empire vintage travel fun map. Printed in 1971, this seldom if ever found original map is archival linen backed an...

Original vintage poster: WONDERFUL COPENHAGEN created by the artist Viggo Vagnby. This antique poster is archival linen-backed, in excellent condition, and ready to frame. No da...

Tennis in The Bahamas, 1957 - Tennis Players Socialise after Tennis Match in Sun by Slim Aarons 16 x 16" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Refreshment and Intermission, tempera on board, 11 x 19 inches, c. 1930/40s, signed lower middle, exhibited at Groom's one person show at Closson’s Gallery, Cincinnati, OH, March, 1943 (see The Cincinnati Enquirer, March 7, 1943, section 3, p. 4); provenance includes a private Ohio collection; presented in a period gold painted frame About the Painting Refreshment and Intermission is part of a series of paintings of Amish subjects Grooms started in 1938 based on his travels in Pennsylvania. These tempera works reflect the Regionalist impulse to paint local scenes far away from big cities. Focusing on both people and landscape, Grooms' compositions tell the stories of the uniquely American experience of the Amish. “Grooms paints the Amish people with as much understanding of type and appreciation of the plastic quality as any artist who has approached this challenging subject," noted the art critic for The Cincinnati Inquirer when reviewing Grooms' solo exhibition at Closson' Gallery, "In his current show, ‘Refreshment and Intermission,’ is a case in point. Here the absorbed concentration of people eating is described without an ounce of sentimentality. He has made the most of the interest between groups and of the conversations, both humorous and serious. The work has the quaint simplicity of a Lord’s Supper...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

The Society of Iconophiles (New York, 1894–1936), 1898. Each a lithograph printed on grayish-green, or white wove paper each sheet 10 3/4 x 7 1/2 inches (274 x 190 mm), each with ful...

Arthur Meltzer 

(American, 1893-1989)

 Title: Bejeweled Nocturne
 Medium: Oil on Canvas
 Size: 22 x 32 inches / 28 ¾ x 38 ½ 
Markings: Signed lower left
 Titled and dated 1980 on ...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

Elwood Warren Bartlett is a Wisconsin native who also worked in Indiana. Largely self taught as a printmaker, Bartlett worked in a style that once identified as his, immediately t...

"Glass Fused Ceramic Vase" is vintage Mid-Century Modern. This handsome vase has an elongated neck with a white glass-fused inlay portion on the front body...

Title: French Gouache Painting of Acoma Pueblo Corn Dance in New Mexico by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, Si...

Charles Turzak, 'The Workers (No. 2)', woodcut, edition 50, c. 1935. Signed and numbered 2/50 in pencil. A fine, richly-inked impression, on cream wove Japan paper, with full margin...

Lord Fauntleroy Nash (Americana, Rusty, Classic Cruiser, Retro, Timeless) 2024 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24 x 24 in...

Etching and sand ground on cream laid paper, 10 1/2 x 7 5/8 inches (262 x 193 mm), full margins. Inscribed "No. 29" in black ink, lower right margin. In good condition with minor tim...

Original 1919 Vintage "Americans All!" Victory Liberty Loan Poster by Howard Chandler Christy. Archival linen backed in A- condition, ready to frame. This iconic 1919 "American...

Connecticut-born Edward Landon (1911-1984) studied at the Art Students League, NYC. Later he became a member of the circle of artists around the art historian Elisabeth McCausland a...

Original Vintage 1957 "Holiday on Ice" Poster. Sizew: 60" x 43.5", archival linen-backed, Grade A- condition. Capture the glamour and excitement of a bygone era with this authent...

Minimal image in black ink on buff rice paper. Taro leaves are a simple form inspiring this woodcut print. Three leaves (taro) - Landscape Print - Woodcut Print By Marc Zimmerman T...

An exceptional, large, early work by American artist Dorothy Eisner (1906-1984). This painting was recently exhibited at Gracie Mansion in 2019 as part of “She Persists” - a show de...

Original poster: United Behind The Service Star ; Great vibrant colors. Linen backed. All the various support organizations that backed up the soldiers and war relief during World War One. A-, B+ condition. Paper tear from the bottom about 10" professionally laid down. No paper loss. A large blue star appears over the flags, and below the image reads "United Behind the Service Star". The poster features American soldiers carrying the flags of seven major service organizations: the YMCA, the National Catholic War Council, the Jewish Welfare Board, the Salvation Army, War Camp Community Service, the American Library Association, and the YWCA. These organizations were instrumental in providing various forms of support, such as food, medical care, and morale-boosting services, both to soldiers and civilians. If you have ever looked to have a 'supreme' version of this great war poster...

Edward Landon, 'Flyable Objects Identified', color serigraph, 1969, edition 30, Ryan 83. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, o...

Edris Eckhardt (American, 1905-1998) Vernal Equinox, c. 1975 Bronze Signed on base 16.5 x 4 x 3 inches Born in Cleveland, Ohio January 28, 1905, Edris was given the name Edythe Alin...

Bernard BUFFET New York : Statue of Liberty, 1986 Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 76 x 58 cm (c. 30 x 22 inch) REFRENCES : Catalogue raisonne Bernard Buffet lithograph...

Nestor Hippoyle Fruge (American, 1914/16 - 2011/12) Signed: N Fruge 51 (Lower, Left) " Pirate's Alley, French Quarter ," 1951 (New Orleans) Watercolo...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Standing Male Model (Legs, Backside and Feet) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). This is a double s...

Porto Ercole Boats - Porto Ercole Tuscany Italian Riviera Coastline Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

Original 1989 Louis Vuitton Automobile Classiques Poster –Hand Signed, Archival Linen-Backed. This poster was created for the Concours d’Elegance ...

Louise BOURGEOIS (1911-2010) Sheaves, 1985 Original lithograph Signed on the plate On Arches vellum, 31 x 21 cm (c. 12 x 8 in) REFERENCES: Wye Smith Catalogue Raisonné #79-2 INFOR...

A Stylized, 1950s Mid-Century Modern Studio Figure Study of a Standing Female Nude Model (Back) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Executed in a Mannerist, Ru...

Meet the genuinely exciting modernist William Einstein, who is probably better known in Europe, where numerous publications on his work have been written, than in his native US! Eins...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Charles Turzak, 'Under the Bridge', color woodcut, edition c. 50, 1934. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan paper; th...

Jane Peterson Cattleya Orchids, circa 1940s Signed lower right Oil on canvas 32 x 32 inches Provenance Estate of the artist Artist’s estate sale, Ipswich, Massachusetts, 1960s Priva...

A vibrant pictorial map of San Francisco’s Chinatown, created by Ethel Chun in 1939. It is rendered in striking tones of traditional Chinese red and yellow. Oriented with west at the...

An exceptional original etching with drypoint by renowned American printmaker Gene Kloss, titled Red Mountain Relic (View of Red Mountain, Colorado). This striking black-and-white co...

Original 1918 Gerrit A. Beneker "Sure! We'll Finish the Job" Victory Liberty Loan Poster, archival linen-backed in good condition, ready to frame. Grade B+ An iconic and authentic ...

Original watercolor on archival paper of a Rocky Mountain Meadow by the well known American artist, Werner Drewes. Signed lower right. Titled and dated 1956 on verso of sheet. Con...

Crying Clown Portrait in Oil on Canvas Portrait of a sad clown by San Francisco artist John Peers (American, 1922-2009). This portrait is closely fra...

Minimalist Acrylic Painting Inspired by Everyday Romance Escape the noise of modern life with this minimalist acrylic painting.” Inspired by the slow-living philosophy and the poeti...

A Fine 1930s Modern Academic Figure Study Drawing, Seated Male Nude Model (Back) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

Giclee print on 300 gsm archival cotton rag with dimensions of 30 x 40 in. Released in 2021 from an edition of 254. Signed and numbered by Mark Maggiori. Large format stunning print.

R2D2 from the original Kenner release of the Star Wars toys in May of 1977 This is pre release is the first release in the much anticipated series "The Toys" These iconic figures hav...

A modern art painting of three horses by artist Theodore Polos, in the manner of Marino Marini. Theodore C. Polos, (1901-1976), was a painter, printmaker and educator, was born in Mytilene, Greece. In 1916 Polos immigrated to the United States, settling in Boston first before moving to San Francisco in 1922. He studied art at the San Francisco Institute of Art, and at the College of Arts and Crafts in Oakland with Xavier Martinez...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

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...

This original oil painting on board by Mary Cane Robinson depicts a scenic view of the Colorado Springs mountain landscape. The composition reflects t...

WPA Mural Study American Scene Social Realism Mid 20th Century Modern Workers Seymour Fogel (1911-1984) Mural Study, untitled 11 x 49 1/4 inches (sight) Tempera on board Provenance:...

A contemporary photograph of an AC/DC - Back In Black cassette tape. "They encapsulate an era instantly transporting the viewer to another time." - Destro Printed on Archival Paper...

Bob Dylan, Girl Of The North Country, Mondo Scripto, 2020 Somerset 300gsm paper and framed in charcoal pine and spruce wood 102.9 x 74.9 cm (40.5 x 29....

Watercolor and pencil on buff wove watercolor paper, 10 x 8 inches (255 x 203 mm). In good condition with overall minor toning. Some watercolor paint splatters on the verso, contem...

British-born, New Jersey-based, George Drittler was primarily know for landscapes. In this still life that expansive approach serves him well. Richly drawn, with pottery, books and a...

Robert Kushner is an American contemporary painter who is known especially for his involvement in Pattern and Decoration and has been called "a founder" of that artistic movement. In addition to painting, Kushner creates installations in a variety of mediums, from large-scale public mosaics to delicate paintings on antique book pages. Kushner draws from a unique range of influences, including Islamic and European textiles, Henri Matisse, Georgia O'Keeffe, Charles Demuth, Pierre Bonnard, Tawaraya Sotatsu, Ito Jakuchu, Qi Baishi...

Keep Your Cool - Backgammon Players Swimming Pool France by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. Keep Your Cool is a Lim...

Joseph Wolins 1915-1999 Wolins was born in Atlantic City, New Jersey. He studied at the National Academy of Design from 1935 to 1941 under Leon Kroll. He also studied in Europe in ...

Gayle Fraas and Duncan Slade (American, 20th Century) Mixed Technique Textile Art Dye painted and printed on cotton fabric, machine and hand stitched, fused metal foil (gold leaf). 2002 'North Woods Suite' This listing is for one piece. i am showing a picture of all 4 so you can see them. I currently have the 4 available. Dimensions: 36.25 X 36.25 frame. Quilt is 28 X 28 inches Float mounted behind acrylic in wood frames bearing Fraas / Slade studio labels verso Collaborating artists Gayle Fraas and Duncan Slade's work has always explored the relationship of ornamental surface and portrayal of landscape in quest of a sense beyond place. Recognized for developing techniques for screen printing and painting with dye on fabric, other mediums include paint and ink on paper, metal, and wood. Their work sits at the junction of fine and applied arts with an influence of naive and folk art. Their collaborative dialogue has been continuous since the mid 1970’s. Fraas-Slade’s work has been selected for some of the defining exhibitions that have influenced the field of Art Quilts: “The New American Quilt”; originating at the Museum of Contemporary Crafts, New York City in 1976, (along with Helen Bitar, Katherine Westphal, Radka Donnell, Anne Raymo) “The Art Quilt” at the Los Angeles Municipal Museum in 1986 (including Nancy Crow, Jean Hewes, Terrie Mangat, Jan Myers-Newbury, Theresa May, Pamela Studstill and Pauline Burbidge) and “Six Continents of Quilts: the Permanent Collection of the Museum of Art and Design,” NYC, touring internationally from 2002-2005. (the show included Jenny Hearn, Anne Marie Kenny, Gayle Fraas and Duncan Slade, Susan Denton, Sanae Hattori, Joan Schultze, Jenny Hearn and Mary Baxter). Books where work is featured include : Paintings of Maine by Carl Little, American Quilts: the Democratic Art 1780-2007 by Robert Shaw, The Art Quilt by Robert Shaw, Quilts Today by Robert Shaw, The Art Quilt by Penny McMorris and Michael Kile and Art to Wear by Julie Schafler Dale. Fraas and Slade continue to teach and lecture on their work. Workshops have been taught at conferences, art centers and colleges including: Haystack Mt. School of Crafts, ME, Arrowmont School of Crafts, TN and the School of Visual Arts, NYC. In 1989 and 2003, the artist team received Maine Visual Artist Fellowships and in 1995 a National Endowment for the Arts/ New England Foundation Visual Artist Fellowship. Collections include the Philadelphia Museum, Baltimore Museum, MD, Peabody Essex Museum, Museum of Art and Design, NYC., the International Quilt Study Center at the University of Nebraska and the corporate collections of Fidelity Investments, Nuveen, IL., Hilton Corporation and Elmira College. Public collections in Maine include Portland Public Library, Department of Transportation, Department of Marine Resources and the University of Maine/Orono. In 1989 and 2003 the artist team received Maine Visual Artist Fellowships and in 1995 a National Endowment for the Arts/ New England Foundation Visual Artist Fellowship. There has been a huge surge of interest in textile and tapestry art led by Anni Albers, Sheila Hicks, El Anatsui, Judith Scott, Nick Cave, Tanya Aguiñiga, Faith Ringgold and Olga de Amaral. More museums are showing and collecting this work. Selected Solo Exhibitions 2018 - Silo Gallery, Nantucket Island School of Design and the Arts 2011 - Silo Gallery, Nantucket Island School of Design and the Arts 2010 - New Work, Silo Gallery, Nantucket Island School of Design and the Arts, 2009 - Island Images, Silo Gallery, Nantucket Island School of Design and the Arts, Nantucket, MA. 2007 - Watermarks, James Patrick Gallery, Wiscasset, ME; Frankie Weems Gallery, Meredith College, Raleigh, NC. Along the Coast, Maine Fiberarts Gallery, Topsham, ME Varieties of Disturbance. Susan Maasch Fine Art, Portland, ME 2005 - Nauticals, Gleason Gallery, Boothbay Harbor, ME 2003 - New Work, Winfisky Gallery, Salem State College, Salem, MA 2001 - New Work, Works Gallery, Philadelphia, PA. Selected Group Exhibitions 2020 - Maine Quilts: 250 Years of Community, Maine State Museum 2016 - Museum Collection: New Arrivals, Baltimore Museum of Art, Berman Gallery 2015 - Shared Sensibilities: The Piano Roll Project, Bates Mill Complex, Lewiston, ME 2014 - Masters: Contemporary Fiber Art, Maine Fiberarts Gallery, “Masters: Contemporary Fiber Art,” May - June 2013 - Layers: The John Walsh II Collection, Arnot Museum, Elmira College 2012 - Man-Made Quilts, Shelburne Museum, Shelburne, VT Tribute to Ardis, University of Nebraska, Lincoln, International Quilt Study Center/Museum 2011 - Instruct, The Studios at Key West Artpark 1974-1984, University of Buffalo Center for the Arts, 2009 - Reservoir, the John M. Walsh Collection, San Jose Museum of Quilts, San Jose, CA 2008 - Visual Systems, University of Nebraska, Lincoln, Howard Gallery 2005 - Rooted in Tradition, Foothills Art Center, Golden, CO 2004 - Envision 20/20, Colby College Museum of Art Another Layer, Portland Museum of Art 2002 - The Portland Show, Greenhut Galleries Six Continents of Quilts, Museum of Art and Design, NYC, traveling to: National Museum of Fine Arts, Taiwan Kaohsiung Museum of Fine Arts, Taiwan Selected Collections Elmira College, Cowles Hall, commissioned by John Walsh III 2017 Philadelphia Museum, Philadelphia, PA Museum of Art and Design, NYC Baltimore Museum of Art, Baltimore, MD Peabody Essex Museum, Salem, MA. Bowdoin College, Walker Art Museum, Brunswick, ME John Nuveen Inc. Chicago, Ill., commissions 1985, 1994, 2000, 2001 University of Nebraska, Lincoln International Quilt Study Center, The James Collection Rocky Mountain Quilt Museum, Golden, CO Mass Mutual, Boston MA Waban, Inc. Boston, MA University of Wisconsin, Madison, WI Selected Awards and Fellowships 2012- The Studios at Key West, artist residency 2008, 2007 - Nantucket Island School of Design and the Arts. A.I.R. program 2007 - Robert M. MacNamara Foundation 2003, 1989 - Maine Visual Artist Fellowships 2004 - Maine Art Commission Good Idea Grant Selected Biography Art Quilts Unfolding: 50 Years of Innovation, Bavor, Ellis, Sielman, Sider – 10/2018 Artpark: 1974-1984, Sandra Firmin, University of Buffalo Art Galleries /Princeton Architectural 2010 Masters: Art Quilts Volume 2, Sterling Publications, 2011 American Quilts: The Democratic Art 1750-2007 by Robert Shaw- Sterling Press 2009 Paintings of Maine, by Carl Little and Arnold Skolnick, Downeast Press, 2006 Six Continents of Quilts, The Museum of Art and Design Collection, 2005 Contemporary Art Quilts...

A Finely Drawn, 1930s Art Deco Modern Female Figure Study, Portrait of a Young Woman in Profile by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exquisite studio portrai...

Samuel J. Woolf (American, 1880-1948) First Aid Station at Seicheprey Lithograph Sight: 11 x 14 1/2 in. Framed: 20 x 23 x 1 in. Signed lower right: S. J. Woolf Numbered lower left: 23/150 This print is based on Woolf 1918 oil painting: Front Line Dressing Station...

Atilt, 1982, acrylic on canvas, 32 x 48 inches, signed and dated lower right, “Alfred P. Maurice 2725 A South Michigan Ave, Chicago, IL, 60616” inscribed verso, “ATILT” inscribed verso, “Maurice.018” inscribed on frame, exhibited: 1) Alfred P. Maurice Artist in the City Paintings 1979 - 1997, Archer Gallery of Clark College, Vancouver, WA, April 8 – April 30, 1997, #11, and 2) An Artful Life: Celebrating the Life of Creator, Teacher, and Collector Alfred Maurice...

This 1950 signed lithograph by American modernist Kenneth Miller Adams captures the iconic San Francisco de Asís Mission Church in a striking moonlit composition, one of the most cel...