American Modern Art

Original "The Rocky Horror Picture Show" US 1-sheet vintage movie poster. Archvial linen backed. 1975, Style B. Original fold marks pr...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

A charming, vibrant, early Mexican rooftop city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a quiet, picturesque view of the rooftops and c...

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

'Big Poppies', 2014 Donald Sultan Silkscreen print 60.5 x 60.5 in. / 153 x 153 cm. Edition of 30, Signed by the Artist ‘Big Poppies’ is a portfolio consisting of three striking prin...

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...

A strong portrait, and a piece of history. It was confidently sketched in 1923, during the heyday of the "Lost Generation" in Paris, at the Closerie des Lilas - Ernest Hemingway's favourite haunt and home-from-home in the City. This historical café is where Hemingway first read The Great Gatsby with his friend F. Scott Fitzgerald and where he wrote most of The Sun Also Rises...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. 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...

Hotel Hacienda, 1978 - Hotel Swimming Pool, Spanish Island of Ibiza Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

"Record Player" by Jerome Ferretti, Detroit muralist, painter and sculptor, is a genuine Symphonic Record Player with built-in speakers that Je...

Inga Lindgren and Poodles - Fashion Photograph New York Spring Street Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Ed...

Adriaan Lubbers New York City, The El at Chatham Square, 1930 Original lithograph Handsigned in pencil Numbered / 100 On Rives vellum 28 x 22.5 cm (c. 11 x 9 in) Very good condition

Gay Head Cliffs, a 1935 lithograph by Adolf Dehn (1895-1968), depicts a National Landmark in Aquinnah, Martha's Vineyard, MA. Somehow Dehn has managed to capture the very texture of ...

Frida is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller i...

George Gustav Adomeit (American, 1879-1967) Summer Landscape Oil on canvas board Signed lower right 13 x 14.25 inches 18.25 x 19.5 inches, framed A major painter of American scene s...

Floral Still Life, 1928 Oil on canvas, 18 1/4 x 24 inches (46.4 x 61 cm) Framed dimensions: 23 3/4 x 29 1/2 inches Signed and dated lower right: Blanche Lazzell 1928 Provenance By d...

Sister Mary Corita Kent (American, 1918-1986) He Repeated the Letters of the Alphabet... Color Screenprint 22.5 x 38.75 inches Signed Lower Right Sister Mary Corita Kent, once the n...

Michael Frary (1918 - 2005) Austin Artist Image Size: 16 x 20 Frame Size: 17.5 x 21.5 Medium: Oil "Still Life Fruit" Biography Michael Frary (1918 - ...

A Finely Drawn, 1930s Art Deco Modern Figure Study of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing by Haydon demon...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Artist: Unknown Title: University Floral Design Medium: Watercolor on paper, signed lower right Image Size: 17.5 x 25 inches Frame Size: 28 x 35 inches ...

"Paper Making" WPA Industrial Mid-Century American Scene Social Realism Workers Douglas Crockwell (1904-1968) "Paper Making" 19 x 39 inches Oil on board, c. 1936 Signed verso Framed: 28 x 47 Provenance: Estate of the Artist BIO Spencer Douglass Crockwell was born into a comfortable middle class household on April 29, 1904 in Columbus, Ohio. His father, Charles Roland Crockwell, was a mining engineer; his mother, Cora, was the daughter of an Iowa attorney. He became a commercial artist and experimental filmmaker who spent a good part of his career creating illustrations and advertisements for the Saturday Evening Post. In 1907 the Crockwell family moved to St. Louis, Missouri, where he graduated from high school and then attended from Washington University. Initially he studied engineering, but soon switched to business. While still an undergraduate, Crockwell took courses at the St. Louis School of Fine Arts and quickly realized that he wanted to be an artist. After graduating from Washington University in 1926, Crockwell continued to study at the St. Louis School of Fine Arts until 1929. The following year he relocated to Chicago and continued his studies at the American Academy of Art. In 1930 and 1931 he studied in Europe on a Traveling Fellowship. In 1932 Douglass Crockwell moved to Glens Falls, New York, which was to be his home for the remainder of his life. The following year he married Margaret Braman. They had three children, a son Douglass and two daughters, Johanna and Margaret. During the depression he created murals and posters for the Works Progress Administration including Post Office murals in White River junction, Vermont; Endicott, New York; and Macon, Mississippi. In 1934 he painted Paper Workers, Finch Pruyn & Co. (the leading Glens Falls, New York company) for the WPA. In the 1930s Crockwell developed an interest in experimental animated films that occupied him for the rest of his life. In 1936 and 1937, he collaborated with David Smith, a sculptor, to create surrealist films. Because of his interest in experimental films, his output of paintings was limited to just twenty to forty illustrations a year during this time. Crockwell painted his first of many Saturday Evening Post cover in 1933. He also worked for Life, Look, and Esquire, and numerous national advertisers including Friskies dog food, Welch’s Grape Juice, Republic Steel...

“LA CASA VIVENDA” Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casa Vivenda” circa 1991. Image size 18.38 x 25 inches and the paper size 21.75 x 29.38 inches. Printed in an edition of 100 this impression is inscribed “70/100” - the 70th impression of 100. This impression is pencil signed in the lower right and inscribed in the lower left. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

A large, expansive 1950s Mid-Century Modern Southwestern landscape painting of Sedona, Arizona by notable Chicago artist, Francis Chapin. Depicting a scenic, colorful view of Cathed...

"Ali" is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller im...

Louis Lozowick, 'Mural Study: Lower Manhattan', lithograph, edition 10 or fewer, 1936. Flint 135. Signed and dated in pencil. Signed in the stone, lower right. A fine, richly-inked...

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 ...

Frank Nelson Wilcox (American, 1887–1964) High Pastures, Cattle Round Up, Wyoming, 1937 Watercolor on paper Signed and dated lower right, titled verso 15 x 20 inches 18.5 x 24 inche...

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...

Antique American modernist pastel drawing by noted New Jersey/Philadelphia New Deal Muralist Charles William Ward. Pastel on paper. Gorgeously framed in an antique frame.. Signed low...

Hotel du Cap Pool, Eden Roc - Cap d'Antibes French Riviera Hotel Views Coastline by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

A unique, contemplative 1930s Modern table top still-life painting featuring a spoon, egg and an artichoke by famed Chicago artist, Francis Chapin. Image size: 11 1/4 x 15 1/4 inc...

Original Rome Fly TWA Jets vintage travel poster. Conservation linen backed in excellent condition, ready to frame. This is the earlier edition of the image Before ‘up up and away’! TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was from New York to Los Angeles, followed by multiple National routes. The airline expanded to serve Europe, the Middle East, and Asia after WWII when the company was under Howard Hughes's owner's control from 1939 until 1961. Hughes was a dominant force in expanding and promoting his company's routes. The economy was vastly improving, and travel by air for business and pleasure increased, too. Posters were a crucial element in promoting this form of travel and TWA. The airline started a decline in the 1970s, ending in a third bankruptcy that caused its acquisition by American Airlines in 2001. The airline operated in 132 destinations worldwide and had a fleet size of 190. This Rome poster was created by the gifted American artist David Klein (1918 -2005), and depicts a member of the Pontifical Swiss Guard in the center wearing the iconic yellow, blue, and red uniform. The Guard is playing a drum that has the pontifical emblem. In the background, we see a representation of the ancient Roman Coliseum and the Baroque...

August Frederick Biehle (1885-1979) Houses in Zoar, c. 1921 Gouache, litho crayon, colored pencil and graphite on paper Signed lower right 14 x 19 inches 20.25 x 25.25 inches, framed...

Villa del Balbianello, June 1983 - Afternoon Gathering on Terrace with Vines by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Vi...

Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...

A superb impression from the artist's own collection. Etching with drypoint on watermarked FJ Head & Co. handmade laid paper, 10 3/4 x 9 7/8 inches (272 x 252 mm); sheet 18 1/8 x 14 ...

John Taylor Arms, 'Downtown, New York', etching with aquatint, 1921, edition 75, Fletcher 108. Signed, dated, and numbered 14/75 in pencil. A superb, finely nuanced impression, in d...

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....

6th Avenue El at 8th St NYC Cityscape American Scene Social Realism Mid-Century Max Arthur Cohn (1903-1998) 6th Avenue El at 8th Street 13 x 18 inches Watercolor on paper, c. 1930 ...

Fabulous original mid century modern oil on canvas painting by the well known New York artist, William Katz. The painting is done in a colorful abstraction of sailboats and is signed by the artist lower left. The artist has mixed sand into the oil paint to give the painting a highly textured look. Condition is excellent. Circa 1955. The frame is original with a studded gold edge detailing and with natural wood sides. Frame is in fine original condition. Overall framed measurements are 17 by 29.25 inches. Provenance: A Saint Petersburg, Florida collector. William P. Katz (1926-2003) American William Katz was born in New York, studied at The Art Students League and with Sebastiano Mineo of New York City. For five years he worked and lived in the home that was once occupied by the great American sculptor Gutson Borglum. His works are in many private collections in the United States, Norway, England, Canada and Greece. Best known for sculptures, he also created paintings and designed textiles and jewelry. Alexander Kirkland called him an abstract "figurist-fantasist." He has had one-man exhibits at many galleries including: 1964, Miami Museum of Modern Art, Miami, FL; 1965, Fordham University...

Mid Century Modern Jazz Quartet Figurative -- "The Band Box" Signed A vivid, mid-century modernist interpretation of a jazz ensemble by Louis M. Centofanti (American, 1921-2018). "B...

MORTON DIMONDSTEIN (NY 1920 - LA 2000) MARKET IN ERONGARICUARO 1954 Serigraph, silkscreen. Signed titled and dated in pencil. Image 10 ¼ x 25 ½ inches. Large full sheet 17 1/4 x 30...

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:...

Irving Lehman, Untitled (Woodland Reflection), watercolor, c. 1955. Unsigned, with the artist's estate stamp verso: 'Original Artwork By: IRVING G. LEHMAN Russian/American 1900-1982'...

“When the Bells Chime” (1939) by Ethel Magafan is a dynamic and historically significant watercolor capturing the energy and vertical rhythm of New York City at the height of the WPA...

1975 Color Lithograph by Alexander Calder from Our Unfinished Revolution portfolio One of 250 copies, with the printed signature and date on offset paper. This is not pencil signed ...

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...

Original Hell's Angels '69 vintage half-sheet movie poster. Original horizontal half sheet movie poster from 1969: Hell's Angeles '69. The film stars the original Oakland Hell's Angeles with Tom Stern, Jeremy Slate, Conny Van Dyke; Steve Sandor, Sonny Barger, Terry the Tramp. Am American International Release original. 'For a wild, wicked weekend and the deadliest gamble ever dared!. The left-hand side features the famous landmark hotel signs from Flamingo Sahara, Caesars Palace...

Michael Lyne (1912-1989) The Heythrop, coming up from Lower Swell, Gloucestershire Signed lower left Oil on canvas Canvas size - 28 x 42 in Michael Lyne was one of Britain’s most r...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº3 + Year: 2023 + Edition Size: 20 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative...

Pink flower power acrylic painting with heart and childlike face Acrylic Painting on canvas One of a kind artwork Size: 90 × 100 × 3 cm (unframe...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Standing Male Model (Legs & Feet) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, early 193...

Catch Up by the Pool, 1970 - Poolside Conversation, Kaufmann House Palm Springs by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. ...

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 ...

WILLIAM SELTZER RICE (1873 - 1963) THE THAW c 1915-20 Color woodcut, signed and titled in pencil. Image 8 7/8 x 12 inches, sheet 10 3/4 x 14 3/8 inches. On textured fibrous paper. V...

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 ...

August Frederick Biehle (American, 1885-1979) Abstract Floral Still Life Watercolor and pencil on paper Signed lower right 24 x 19 inches 29.5 x 24.5 inches, framed A versatile pain...

Neighbors, 1939, oil on canvas, signed and dated lower right, 22 x 26 inches Norman Barr was an American Scene painter and muralist known for his poignant depictions of working-clas...

A Finely Drawn 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, ea...